Abstract
Lyrical activities in the Toulouse area between 1760 and 1810 are closely related to the historical contemporary events which so deeply transformed French society. They also illustrate the aesthetical tendencies of the time. While the French traditions of baroque tragedie lyrique and opera-ballet still appear important, the more realistic, popular and sentimental style of opera-comique progressively develops. Those different musical tastes can be heard in two precise kinds of places: castles' and palaces' private halls vs. urban public theaters of major cities (Toulouse, of course, but also smaller ones, such as Albi and Cahors). In both cases, the ways in which the region appropriates repertoires mostly imported from Paris lead one to reconsider some preconceptions about Parisian musical supremacy in 19th-century France.
Published Version
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