David Charlton

Biographic Data

ID983887
NAMEDavid Charlton
GIVEN NAMESDavid
FAMILY NAMECharlton
SIGNATURECHARLTON D
AFFILIATIONSRoyal Holloway University of London
VERIFIEDNo
TOTAL WORKS67
TOTAL CITATIONS4
AUTHOR COUNT63
EDITOR COUNT4
FIRST PUBLICATION YEAR1971
LATEST PUBLICATION YEAR2025
H-INDEX1

  • The Fashioning of French Opera (1672–1791): Identity, Production, Networks . Ed. by Barbara Nestola Benoît Dratwicki Julien Dubruque, and Thomas Leconte

    Open AccessDavid CharltonARTICLEMusic and Letters2025

  • The Sound of Empire: Soundscapes, Aesthetics and Performance between Ancien régime and Restoration

    Open AccessD G Charlton, David CharltonARTICLEMusic and Letters2025

  • French Opera 1730-1830: Meaning and Media

    D G Charlton, David CharltonBOOKFrench Opera 1730-18302024Cited by: 1

    The majority of these collected essays date from 1992 onwards, three of them having been specially expanded for this volume. Drawing on recent archival research and new musicological theory, they investigate distinctive qualities in French opera from early opéra comique to early grand opera. ’Media’ is interpreted in terms of both narrative systems and practical theatre resources. One group of essays identifies narrative systems in ’minuet-scenes…

  • Antoine Reicha and the Making of the Nineteenth-Century Composer Fabio Morabito and Louise Bernard de Raymond

    Open AccessD G Charlton, David CharltonARTICLEMusic and Letters2022

    In a longish introduction the editors of this volume distinguish their many aims from those of earlier conference proceedings on Antoine Reicha (notably, Louise Bernard de Raymond, Jean-Pierre Bartoli, and Herbert Schneider (eds.), Antoine Reicha, compositeur et théoricien (Hildesheim, 2015)). The new Antoine Reicha was ‘solicited, curated and edited’ over two years, then refined in a round table at the 2019 annual meeting of the American Musicol…

  • Popular Opera in Eighteenth-Century France: Music and Entertainment before the Revolution

    Open AccessD G Charlton, David CharltonBOOKPopular Opera in Eighteenth-Century…2021

    This is the first book for a century to explore the development of French opera with spoken dialogue from its beginnings. Musical comedy in this form came in different styles and formed a distinct genre of opera, whose history has been obscured by neglect. Its songs were performed in private homes, where operas themselves were also given. The subject-matter was far wider in scope than is normally thought, with news stories and political themes fi…

  • Michel-Jean Sedaine (1719-1797): Theatre, Opera and Art

    David Charlton, Mark LedburyBOOKMichel-Jean Sedaine2019

  • Musical Theater in Eighteenth-Century Parma: Entertainment, Sovereignty, Reform. By Margaret R. Butler

    Open AccessD G Charlton, David CharltonARTICLEMusic and Letters2019

    Margaret Butler has long championed the subject of opera reform in Italy, and her full-scale study of Turin (Operatic Reform at Turin’s Teatro Reggio: Aspects of Production and Stylistic Change in the 1760s (Lucca, 2001)) makes an appearance towards the end of her new book. At Turin, it was Vittorio Cigna-Santi and Ferdinando Bertoni’s Ifigenia in Aulide (1762) that was a ‘tour de force of French-inspired experimentation’ during the 1760s (Operat…

  • French opera repertory 1742–1752

    D G Charlton, David CharltonCHAPTEROpera in the Age of Rousseau2012

  • Opera in the Age of Rousseau: Music, Confrontation, Realism

    Open AccessD G Charlton, David CharltonBOOKOpera in the Age of Rousseau2012Cited by: 3References: 21

    Historians of French politics, art, philosophy and literature have long known the tensions and fascinations of Louis XV's reign, the 1750s in particular. David Charlton's study comprehensively re-examines this period, from Rameau to Gluck and elucidates the long-term issues surrounding opera. Taking Rousseau's Le Devin du Village as one narrative centrepiece, Charlton investigates this opera's origins and influences in the 1740s and goes on to us…

  • Genre and form in French opera

    Open AccessD G Charlton, David CharltonCHAPTERThe Cambridge Companion to…2009

    Introduction Opera in France was a function of the power of the royal court at Versailles, for as long as the court held power. The right to perform a drama sung all the way through, with recitative, was licensed to one single directeur at a time. He, with any business associates, thereby ran the Paris Opéra on behalf of the monarch and to his own material profit. Thus, from 1700 to about 1755, the main strands of French opera remained courtly, w…

  • Grand Designs

    Andrew Thomson, D G Charlton et al.ARTICLEThe Musical Times2004

  • The Cambridge Companion to Grand Opera

    Open AccessD G Charlton, David CharltonBOOKThe Cambridge Companion to Grand…2003

    In this companion, a team of scholars and writers on opera examine those important Romantic operas that embraced the Shakespearean sweep of tragedy, history, love in time of conflict, and the struggle for national self-determination. Rival nations, rival religions, and violent resolutions are common elements, with various social or political groups represented in the form of operatic choruses. The book traces the origins and development of a styl…

  • My father was a poor Parisian musician’: A Memoir (1756) concerning Rameau, Handel's Library and Sallé

    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…

  • Piccinni family (opera)

    Dennis Libby, Julian Rushton et al.CHAPTERThe new Grove dictionary of music…2002

  • France (opera)

    D G Charlton, David Charlton et al.CHAPTERThe new Grove dictionary of music…2002

  • Rehearsal

    John Rosselli, Thomas Bauman et al.CHAPTERThe new Grove dictionary of music…2002

  • Dalayrac [D’Alayrac], Nicolas-Marie (opera)

    David CharltonCHAPTERThe new Grove dictionary of music…2002

  • Paris (opera)

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

  • Grétry, André-Ernest-Modeste (opera)

    M Elizabeth C Bartlet, D G Charlton et al.CHAPTERThe new Grove dictionary of music…2002

  • Foignet, Charles Gabriel (opera)

    David CharltonCHAPTERThe new Grove dictionary of music…2002

  • Gebauer, François René

    David Charlton, Hervé AudéonCHAPTERThe new Grove dictionary of music…2001

  • Kreutzer, Léon Charles François

    David CharltonCHAPTERThe new Grove dictionary of music…2001

  • Paris

    Elisabeth Cook, GORDON A ANDERSON et al.CHAPTERThe new Grove dictionary of music…2001

  • Berton, Pierre-Montan

    David CharltonCHAPTERThe new Grove dictionary of music…2001

  • Piccinni, Louis Alexandre

    Mary Hunter, James L Jackman et al.CHAPTERThe new Grove dictionary of music…2001