{"id":3005,"date":"2009-11-10T12:55:10","date_gmt":"2009-11-10T12:55:10","guid":{"rendered":"http:\/\/332"},"modified":"2009-11-10T12:55:10","modified_gmt":"2009-11-10T12:55:10","slug":"robert-adelson","status":"publish","type":"post","link":"https:\/\/siefar.org\/gb\/robert-adelson\/","title":{"rendered":"Robert ADELSON"},"content":{"rendered":"
Conservatoire \u00e0 rayonnement r\u00e9gional,\u00a0<\/strong>Nice, France *\u00a0robertadelson@gmail.com<\/a><\/strong>\u00a0<\/a><\/span><\/div>\n
\u00a0<\/strong><\/span><\/div>\n
Professeur d’Histoire de la musique\u00a0* Musicologie, Organologie, XVIII, XIXe si\u00e8cles<\/strong><\/span><\/div>\n
\u00a0<\/span><\/div>\n
Op\u00e9ra, Compositrices <\/em><\/span><\/div>\n

OUVRAGES<\/strong><\/span><\/span><\/div>\n

– (avec Jacqueline Letzter) \u00c9crire l’op\u00e9ra au f\u00e9minin: cr\u00e9ativit\u00e9 et controverse \u00e0 l’\u00e9poque de la R\u00e9volution fran\u00e7aise<\/em>, traduit par Hjordis Th\u00e9bault, Lyon, Editions Sym\u00e9trie (\u00e0 para\u00eetre).
– (avec Jacqueline Letzter) Women Writing Opera: Creativity and Controversy in the Age of the French Revolution<\/em>, Berkeley, University of California Press, 2001. <\/span><\/p>\n


ARTICLES<\/strong><\/span><\/span><\/div>\n
– (avec Jacqueline Letzter) \u00abIsabelle de Charri\u00e8re and Opera\u00bb, Proceedings of the international symposium on Isabelle de Charri\u00e8re<\/em> (April 2002, sponsored by the Beinecke Library, Yale University ) (\u00e0 para\u00eetre).<\/span><\/div>\n
– \u00abThe Viscountess de Beaumont\u2019s Harp and Music Album (1780)\u00bb, Galpin Society Journal, <\/em>LXII,\u00a0<\/em>2009, p. 159-166 et196-197.\u00a0<\/span><\/div>\n
\n

– (avec Jacqueline Letzter)\u00a0\u00ab\u201cMme d\u2019\u00c9pinay, Mozart, et la Symphonie \u2018Parisienne \u00bb,\u00a0\u00a0in J. Domenech (dir.),\u00a0L\u2019\u0152uvre de Mme d\u2019\u00c9pinay, \u00e9crivain-philosophe des Lumi\u00e8res<\/em>, Paris, L’Harmattan, 2010.<\/span>
– (avec Jacqueline Letzter)\u00a0\u00ab\u2019For a woman when she is young and beautiful\u2019 : The Harp in Eighteenth-Century France\u00bb, \u00a0in A. Kreutziger-Herr &\u00a0K. Losleben (dir.), History\/Herstory. Andere Musikgeschichte(n<\/em>), K\u00f6ln\/Weimar, B\u00f6hlau Verlag, 2008, p. 314-335.<\/span>
– (avec Jacqueline Letzter)\u00a0\u00abMozart fille<\/em>: Lucile Gr\u00e9try (1772-1790) and the forgotten tradition of girl musical prodigies \u00bb,\u00a0in\u00a0Mozart Aujourd\u2019hui,\u00a0<\/em>Louvain, PU de Louvain, 2006, p. 249-261.<\/span>
– (avec Jacqueline Letzter)\u00a0\u00abAu sein de sa famille\u00bb: Lucile Gr\u00e9try, Girl Prodigies, and Operatic Mythologies \u00bb,\u00a0Art & Fact, revue des historiens de l\u2019art, des arch\u00e9ologues, des musicologues et des orientalistes de l\u2019Universit\u00e9 de Li\u00e8ge<\/em>,\u00a024, 2005, p. 6-14.\u00a0
– \u00abMozart’s First Composition Student: Mlle de Guines (1759-95)\u00bb, Mozart-Jahrbuch<\/em>, 2002, p.9-20.<\/span><\/p>\n

– (avec Jacqueline Letzter) \u00abThe Legacy of a One-Woman Show: A Performance History of Julie Candeille’s Catherine ou la belle fermi\u00e8re\u00bb, Nineteenth-Century French Studies<\/em>, 33, 1-2, 2004-2005, p.11-35.
– (avec Jacqueline Letzter) \u00abLa harpe virile : Mme de Genlis et la carri\u00e8re manqu\u00e9e de Casimir Baecker\u00bb, in F. Bessire & M. Reid (dir.), Madame de Genlis. Litt\u00e9rature et \u00e9ducation<\/em>, Mont-Saint-Aignan, PU de Rouen et du Havre, 2008.
– \u00abLa belle Iss\u00e9: Mme Du Ch\u00e2telet musicienne\u00bb, in U. Kolving & O. Courcelle (dir.), Emilie Du Ch\u00e2telet, \u00e9clairages et documents nouveaux<\/em>, Centre International d’Etude du XVIIIe si\u00e8cle, 2008, p.127-134.
– (avec Jacqueline Letzter) \u00abWomen Opera Composers Face the Parisian comit\u00e9s de lecture: Where Institutional Barriers Meet Social Barriers to Performance\u00bb, Studies on Voltaire and the Eighteenth Century<\/em> (Oxford), 2000-5, p.355-69.
– (avec Jacqueline Letzter) \u00abFrench Women Opera Composers and the Esthetics of Rousseau\u00bb, Feminist Studies<\/em>, 26, 1, 2000, p.69-100.
– (avec Jacqueline Letzter) \u00abUn drame d’ambitions d\u00e9\u00e7ues: les op\u00e9ras d’Isabelle de Charri\u00e8re\u00bb, Revue d’histoire du th\u00e9\u00e2tre<\/em>, 195,1997, p.235-54.
– (avec Jacqueline Letzter) \u00abLes op\u00e9ras d’Isabelle de Charri\u00e8re\u00bb, Lettre de Zuylen et du Pontet<\/em> (Utrecht), XXIII,1997, p.17-25.
– (avec Jacqueline Letzter) \u00abReconstructing the Author-Function: Naming the Forgotten Women of Eighteenth-Century Opera\u00bb, Women of Note Quarterly,<\/em> 5, 1997, p.13-27. <\/span><\/p>\n<\/div>\n

\n


NOTICES<\/strong><\/span>
– (avec Jacqueline Letzter) \u00abLucile Gretry<\/a>\u00bb, in Dictionnaire des femmes de l’Ancienne France<\/em>, SIEFAR, 2004.<\/span>
– (avec Julian Rushton, Julie Anne Sadie et Jacqueline Letzter) \u00abCandeille, Julie\u00bb, in The New Grove Dictionary of Music and Musicians <\/em>(2nd edition, Macmillan, 2000), 4, p.928-29<\/span>
– (avec Jacqueline Letzter) \u00abDevismes, Jeanne-Hippolyte\u00bb, in The New Grove Dictionary of Music and Musicians<\/em> (2nd edition, Macmillan, 2000), 7, p.268-69.<\/span> <\/span><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Conservatoire \u00e0 rayonnement r\u00e9gional,\u00a0Nice, France *\u00a0robertadelson@gmail.com\u00a0 \u00a0 Professeur d’Histoire de la musique\u00a0* Musicologie, Organologie, XVIII, XIXe si\u00e8cles \u00a0 Op\u00e9ra, Compositrices OUVRAGES – (avec Jacqueline Letzter) \u00c9crire l’op\u00e9ra au f\u00e9minin: cr\u00e9ativit\u00e9 et controverse \u00e0 l’\u00e9poque de la R\u00e9volution fran\u00e7aise, traduit par Hjordis Th\u00e9bault, Lyon, Editions Sym\u00e9trie (\u00e0 para\u00eetre). – (avec Jacqueline Letzter) Women Writing Opera: Creativity […]<\/p>\n","protected":false},"author":3,"featured_media":1933,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[14,5],"tags":[],"categorie_personnage":[],"class_list":["post-3005","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classe","category-repertoire"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"gb","enabled_languages":["fr","gb"],"languages":{"fr":{"title":true,"content":true,"excerpt":false},"gb":{"title":false,"content":false,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/posts\/3005","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/comments?post=3005"}],"version-history":[{"count":0,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/posts\/3005\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/media\/1933"}],"wp:attachment":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/media?parent=3005"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/categories?post=3005"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/tags?post=3005"},{"taxonomy":"categorie_personnage","embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/categorie_personnage?post=3005"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}