Rebecca Harris-Warrick

Biographic Data

ID6190293
NAMERebecca Harris-Warrick
GIVEN NAMESRebecca
FAMILY NAMEHarris-Warrick
SIGNATUREHARRIS-WARRICK R
VERIFIEDNo
TOTAL WORKS16
TOTAL CITATIONS1
AUTHOR COUNT13
EDITOR COUNT3
FIRST PUBLICATION YEAR1994
LATEST PUBLICATION YEAR2016
H-INDEX1

  • Dance and drama in French baroque opera a history

    Open AccessRebecca Harris‐Warrick, Rebecca Harris-WarrickBOOKDance and Drama in French Baroque…2016References: 29

    Since its inception, French opera has embraced dance, yet all too often operatic dancing is treated as mere decoration. Dance and Drama in French Baroque Opera exposes the multiple and meaningful roles that dance has played, starting from Jean-Baptiste Lully's first opera in 1672. It counters prevailing notions in operatic historiography that dance was parenthetical and presents compelling evidence that the divertissement - present in every act o…

  • Le répertoire de l’Opéra de Paris (1671-2009)

    Open AccessPhilippe Agid, Mario Armellini et al.BOOKLe répertoire de l’Opéra de Paris…2010

    L'Opéra de Paris, loin de l'uniformité qui règne aujourd'hui entre tous les opéras du monde, a longtemps fait cavalier seul : en jouant majoritairement des œuvres anciennes, en se refusant aux langues étrangères, en cultivant jalousement sa propre tradition. Les études réunies ici explorent les principales options qui structurent son répertoire pendant plus de trois siècles : l'ancien et le nouveau, l'équilibre entre opéra et ballet, l'inclusion …

  • Lully's on-stage societies

    Open AccessRebecca Harris‐Warrick, Rebecca Harris-WarrickCHAPTEROpera and Society in Italy and…2007

    Aside from their numerous and well-discussed musical differences, French and Italian Baroque operas depart radically from each other in their construction of on-stage societies. As a general rule, Italian operas present a small group of individuals who find themselves in unstable situations to which they seek individual resolutions. They may be rulers or generals, and the fate of thousands may depend on their actions, but their subjects or soldie…

  • Paris (opera)

    Rebecca Harris‐Warrick, Rebecca Harris-Warrick et al.CHAPTERThe new Grove dictionary of music…2002

  • Philidor, Pierre Danican

    Rebecca Harris‐Warrick, Rebecca Harris-WarrickCHAPTERThe new Grove dictionary of music…2001

  • Dance

    Rebecca Harris‐Warrick, Rebecca Harris-WarrickCHAPTERThe new Grove dictionary of music…2001

  • Philidor [Filidor] family

    Rebecca Harris‐Warrick, Rebecca Harris-Warrick et al.CHAPTERThe new Grove dictionary of music…2001

  • Philidor, Jacques Danican (i)

    Julian Rushton, Rebecca Harris-WarrickCHAPTERThe new Grove dictionary of music…2001

  • Ballet from 1670 to 1800

    Rebecca Harris-WarrickCHAPTERThe new Grove dictionary of music…2001

  • Dance

    E Kerr Borthwick, Ingrid Brainard et al.CHAPTERThe new Grove dictionary of music…2001

  • Ballet

    Rebecca Harris‐Warrick, Rebecca Harris-Warrick et al.CHAPTERThe new Grove dictionary of music…2001

  • Philidor, Anne Danican

    Julian Rushton, Rebecca Harris-WarrickCHAPTERThe new Grove dictionary of music…2001

  • Dance

    Julia Sutton, Rebecca Harris‐Warrick et al.CHAPTERThe new Grove dictionary of music…2001

  • Philidor, André Danican

    Julian Rushton, Rebecca Harris-WarrickCHAPTERThe new Grove dictionary of music…2001

  • Ingrid Brainard

    Open AccessPatricia Rader, Ruth Ambrose et al.ARTICLEDance Research Journal2000

    An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the 'Save PDF' action button

  • Magnificence in motion

    Open AccessRebecca Harris‐Warrick, Rebecca Harris-WarrickARTICLECambridge Opera Journal1994Cited by: 1References: 5

    Those fortunate enough to have seen the recent production of Jean-Baptiste Lully's Atys mounted by Les Arts Florissants will remember the sumptuously staged realm of sleep in Act III, during which costumed lute and recorder players appeared alongside the singers and dancers. Although conductor William Christie and director Jean-Marie Villégier made no attempt to reproduce the original seventeenth-century staging, they did adhere to Quinault's ins…