Rossini et la "Restauration" de la grandeur musicale dans la France des années 1820

Defence date: 5 June 2013Examining Board: Professor Antonella Romano, EUI (Directeur de thèse) Professor Esteban Buch, EHESS Professor Danièle Pistone, Université Paris Sorbonne-Paris IV Professor Lucy Riall, EUI Professor Sophie-Anne Leterrier, Université d'ArtoisPDF of thesis uploaded from the Library digital archive of EUI PhD thesesThis thesis investigates the changing conditions in the European art market after the Congress of Vienna (1815). It focuses mainly on the socio-professional development of the Italian composer Gioachino Rossini and analyses his first visit to Paris in 1823 from a social, cultural and political point of view. It redefines the issue of grandeur in the context of urban renewal (Paris as a capital city) and a political regime in search of legitimacy (the Restoration period). Rossini's first visit to Paris is examined in reference to his life experiences as well as the changing geopolitical face of Europe at the time. First, a micro-analysis of his stay in Paris explores the construction of this symbolic event and makes a prosopography of the various institutional, political and artistic actors involved. Second, this thesis examines the reasons for Rossini's occupation of the French cultural arena. France's cultural policies are highlighted by concentrating on the French Restoration government's strategies in bringing Rossini to Paris. This thesis also examines the other side of the coin, namely how market logic was established in theatrical productions and amongst authors and institutions, and how this marked the progressive dismantling of the privilege system in Parisian theatres. To do so, the thesis analyses the play: Rossini à Paris ou le grand dîner, the Scribe's libretto of which describes a banquet given in Rossini's honor during his stay in Paris. Third, the debates connected to Rossini's visit reveals how musical "traditions" are radicalized around a national paradigm. Crossing varied and original sources (correspondences, scores, play librettos, newspapers, institutional sources), this thesis contributes significantly to the study of the relationship between the artist, the power and their representations