Reviewed by: Ohé! les p'tits agneaux! A Parisian revue de fin d'année for 1857 ed. by Richard Sherr Clair Rowden and William Osmond Ohé! les p'tits agneaux! A Parisian revue de fin d'année for 1857. Edited by Richard Sherr. Middleton, WI: A-R Editions, 2021. (Recent researches in the Music of the Nineteenth and Early Twentieth Centuries, v. 82–83.) [Part I. Introductory materials; Act 1 (clix, 12 p. of plates, 205 p.) ISBN: 9781987206067, $450. Part II. Act 2; Act 3; Critical report; Appendices ( 207– 640 p.) ISBN: 9781987206074, $450.] Richard Sherr is a real trooper! On the musicological battlefield where previously 'lighter,' 'low brow' musicotheatrical genres of the boulevard theaters have been swept aside by a tide of canonical high-art scholars of works performed at the Opéra, Opéra-Comique and the Théâtre-Italien, Richard Sherr digs in and brings up the rear with an imposing two-tome score of no less than a 1857 Parisian revue de fin d'année, a traditionally much blighted satirical genre combining episodic stage action with plenty of music. It is true, I have a vested interest in this repertoire and have done some similar research to Richard Sherr, but it is high time that these works are given a dusting down in the meticulous fashion given here. Thus, for the first time ever, Richard Sherr gives the complete text and music of such an end-of-year revue show—in this case, Ohé ! les p'tits agneaux! by Hippolyte Cogniard and Clairville—providing a glimpse of the theatrical and musical life of Paris that has been overlooked, not to say willingly discarded, by scholars, even though it represents the majority of what Parisian audience heard in the theater in any given year. The typical revue de fin d'année was produced in December and if succesful, could run through to February or early March, and, in a large number of tableaux and scene changes, satirically reviewed all topical issues—social and political—of the year. The last act (the theater act) was reserved for commentary on and often full-blown parody of the successes of that year on Parisian stages. Large numbers of often allegorical characters were played by actors and singers who each played numerous different roles as each scene introduced new characters pertinent to the subject being treated. A hybrid genre between vaudeville, féerie, and parody (or burlesque), the revue de fin d'année interspersed spoken dialogue with songs, sung to 'timbres' or 'airs connus' or contrafacta—well-known popular tunes to which new words were set. Issues of copyright with regard to parody and revue are scarce, even if in this case, the authors of the contemporary show Les petits prodiges, given at Offen bach's theater Les Bouffes-Parisiens, did threaten legal proceedings over the borrowing of a scene which the authors of Ohé! les p'tits agneaux! managed to sidestep by not actually using any of [End Page 651] the original music. Only just over four years earlier, in April 1853, an Imperial commission had precisely tried to avoid such issues by prohibiting the use of music still in copyright in vaudeville and revue theater, yet it was immediately countered by a raft of composers who publically declared permission, in La Presse, for their music to be continued to be used. Such men of the theater knew the value of what became known as the 'scie,' an indefinitely repeated and familiar tune. Indeed, Sherr cites Robert Dreyfus's 1909 definition of a revue de fin d'année, taken from the only book-length study of the genre that exists (still today), which stresses the genre's function of allusion, as a way of jogging memories of a not-too-distant past. This is true of both the text and the music and Sherr is equally attentive to both. The score comprises many commendable features including a thorough introduction and overview of textual and musical sources, contemporary reviews of both the revue, and the societal issues it treated. While the libretto exists in printed form, Sherr did not shy away from the version...
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