French Women Opera Composers and the Aesthetics of Rousseau
Bibliographic Data
| ID | 3137698 |
|---|---|
| Authors | Jacqueline Letzter (corresponding author), Robert Adelson |
| Year | 2000 |
| Volume | 26 |
| Issue | 1 |
| Pages | 69 |
| Publication date | 2000-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Feminist Studies (JOURNAL) |
| Journal identifiers | ISSN: 0046-3663 • E-ISSN: 2153-3873 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/3178593 |
| OpenAlex | W2601868518 |
| Language | EN |
| Citations received | 2 |
| References cited | 2 |
With these words, Julie Candeille (1767-1834), one of the most popular women in French Revolutionary theater, expressed the frustration of a woman prohibited from pursuing her vocation. Having begun her career as a singer at the Opdra, a pianist at the Concert Spirituel (the primary venue for public concerts in lateeighteenth-century Paris), and an actress at the Comidie-Fran<aise, Candeille became an opera composer and librettist in the 1790s when she saw it as a more fulfilling avenue for her creative talents. The intensity of her statement suggests that, like many creative women of her generation, she felt entitled to her ambitions but was denied the means to fulfill them. In this article we
Aesthetics · Art · Art history · Opera · Visual arts · Historical and Literary Studies · Historical Studies and Socio-cultural Analysis · Rousseau and Enlightenment Thought
| Citations per year | 0.08 |
|---|---|
| Citation span | 2000 - 2019 (20) |
| Highly cited | No |