Sarah Hibberd

Biographic Data

ID5772918
NAMESarah Hibberd
GIVEN NAMESSarah
FAMILY NAMEHibberd
SIGNATUREHIBBERD S
AFFILIATIONSSarah Hibberd is associate professor in music at the University of Nottingham. Her research centers on nineteenth-century French musical culture, opera, and other forms of music theater such as melodrama, pantomime, and ballet. Her publications include a recent article in the Cambridge Opera Journal, the monograph French Grand Opera and the Historical Imagination (Cambridge University Press, 2009), and an edited volume of essays, Melodramatic Voices: Understanding Music Drama (Ashgate, 2011).
VERIFIEDNo
TOTAL WORKS12
TOTAL CITATIONS3
WORKS AS AUTHOR9
WORKS AS EDITOR3
FIRST PUBLICATION YEAR2001
LATEST PUBLICATION YEAR2014
H-INDEX1

  • "Art, Theatre, and Opera in Paris, 1750-1850 "

    Richard Wrigley, Sarah HibberdBOOKArt, Theatre, and Opera in Paris,…2014

  • Le Naufrage de la Méduse and Operatic Spectacle in 1830s Paris

    Hibberd, Sarah HibberdARTICLE19th-Century Music2013Cited by: 1

    Grand opera's love of all-consuming spectacle is evident in its cataclysmic eruptions, explosions, and shipwrecks, its magnificent processions and ceremonies, and its breathtaking reconstructions of sublime landscapes, from Auber's La Muette de Portici (1828), through Halévy's La Juive (1835), to Meyerbeer's Le Prophète (1849), and beyond. An understanding of the Parisian public's visual experiences and expectations outside the opera house can he…

  • Cherubini and the Revolutionary Sublime

    Open AccessHibberd, Sarah HibberdARTICLECambridge Opera Journal2012Cited by: 2References: 6

    France receives little attention in narratives about the sublime in the late eighteenth and the nineteenth centuries. This article will argue that the cataclysmic tableau at the climax of Cherubini's first opera for the Théâtre Feydeau in Paris, Lodoïska (1791), can be understood as part of a coherent and distinctively French discourse of the sublime, rooted in revolutionary experience that can be understood in relation to wider European trends

  • My father was a poor Parisian musician’

    Open AccessD G Charlton, David Charlton et al.ARTICLEJournal of the Royal Musical…2003References: 9

    The emergence in 1756 of the Journal encyclopédique , published in Liège (later in Bouillon), encouraged an international readership to view cultural developments across national boundaries. An anonymous review of Rameau's new version of Zoroastre was prefaced by ‘Mémoires d'un musicien’, whose author recalls significant events in his musical education and life history to date. These include extended travels to England and Italy. The narrator des…

  • Vieuxtemps, Henry

    Boris Schwarz, Hibberd et al.CHAPTERThe new Grove dictionary of music…2001

  • Lebrun, Louis-Sébastien

    D G Charlton, David Charlton et al.CHAPTERThe new Grove dictionary of music…2001

  • Nourrit, Adolphe

    Evan Walker, Sarah HibberdEDITORCHAPTERThe new Grove dictionary of music…2001

  • Levasseur, Nicholas

    Philip E J Robinson, Sarah HibberdEDITORCHAPTERThe new Grove dictionary of music…2001

  • Deschamps, Emile

    A Richard Oliver, Sarah HibberdEDITORCHAPTERThe new Grove dictionary of music…2001

  • Vieuxtemps family

    Boris Schwarz, Hibberd et al.CHAPTERThe new Grove dictionary of music…2001

  • Vieuxtemps, (Jean-Joseph-) Lucien

    Boris Schwarz, Hibberd et al.CHAPTERThe new Grove dictionary of music…2001

  • Vieuxtemps, (Jules-Joseph-) Ernest

    Boris Schwarz, Hibberd et al.CHAPTERThe new Grove dictionary of music…2001