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Sonia Rollet

The multiple stakes in the musical criticism: Gaetano Donizetti’s reception in France (1830s-1850)

Le Temps des médias n°22, Printemps 2014, p. 35-48.

DrapeauFrancais

"Providence of parisian theaters" from 1835 till 1843, Gaetano Donizetti is nevertheless an (-unpopular composer of the French press, in his lifetime and during all XIXth century. It blames him in particular its prolific production. Most of the time manhandled even slandered, he succeeds never theless in being made some allies. But, more pragmatic than strategist, he is not generally possible that to undergo the attacks a victim of which he is. The contempt of the criticism is also translated by the indifference which welcomes the announcement of its disappearance. However, in the years which follow, we notice a truce which, to be shortlived, is not less significant there. The denigrators take back very fast their rights and the end of the century sees Donizetti decreased by composer’s rank in that of the improviser. His example calls back how much the sentence of the press can influence the career and the offspring of a musician. It also illustrates the narrow links between the musical newspapers and the partitions publishers. Finally, he confirms the decisive role of the relational networks, in France or somewhere else.

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