L’Opéra-comique sous l’Empire: un spectacle apolitique? Le cas des “Deux journées” de Bouilly et Cherubini
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21 septembre 2020
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Marie-Cécile Schang-Norbelly, « L’Opéra-comique sous l’Empire: un spectacle apolitique? Le cas des “Deux journées” de Bouilly et Cherubini », Studi Francesi, ID : 10.4000/studifrancesi.31186
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During the First Empire, opéra-comique is often regarded as a non-political genre. Its function is mainly seen as purely entertaining, as confirmed by the great success of Louis-Benoît Picard comic plays. In their common work Les Deux journées, Cherubini and Bouilly do not seem to respect entirely this dramatic and musical pattern, since they tend to use several aesthetic features of serious opera. Even though the play does not deal directly with contemporary politics, Les Deux journées can hardly be considered as “apolitical”. By using dramatic devices typical of opéra-comique, such as the transposition of the characters in the idealized world of the shepherd Sémos, the play approaches universal social problems like the use of power and authority and the relationships between different social categories which go far beyond the socio-political hic et nunc.