Musical Offerings ⦁ 2025 ⦁ Volume 16 ⦁ Number 1 41 and nearly always by inflamed passions and an atmosphere of violence and terror.”100 This genre of opera became known as “rescue opera” which was also called comédie héroique.101 A famous comédie héroique of Cherubini’s, titled Lodoiska, premiered on July 18, 1791 at the Theatre Feydeau.102 Lodoiska, explained by Sarah Hibberd, “justified (even enacted) the ideology of the initial phase of the French Revolution as it was still unfolding.”103 Hibberd further states that “this visual echo of the storming of the Bastille, the defining moment of the French Revolution, acquired added significance from the fact that its anniversary has been celebrated just four days before the premiere — and it was being re-enacted throughout France.”104 Cherubini’s opera ends with a “spectacular scene of destruction effected by an army of Tartars, who have only a generalized connection with the relevant tyrant.”105 Cherubini’s opera, Lodoiska, is only one of the many operas which presented or represented ideologies from the French Revolution. In addition to opera as a popular form of music in French society, singing practices and the composition of songs have expanded since 1789.106 This singing took place at parks, cafès, theaters, and other ordinary places around France.107 An example of the ordinary occurrence of public singing is quoted in Mason’s book: “five thirty in the evening at the café de Lattre… a group of good citizens gathered together and began to sing patriotic hymns. This seemed to bring enormous pleasure to all the spectators who, with a unanimous voice, began to shout Long live the Republic! Long live liberty! Down with the monarchy!”108 The French were known to sing in times of mourning and in times of celebration.109 100 Dean, 82. 101 Dean, 82–83. 102 Hibberd, 293. 103 Hibberd, 293. 104 Hibberd, 293. 105 Boyd, 179 106 Mason, 105. 107 Mason, 107. 108 Mason, 107. 109 Mason, 107–108.
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