Entrée de ballet
In France in the middle of the 17th century, an entrée de ballet was seen as the appearance of the dancers in a ballet scene or as that scene itself. Entrée was also called the music for this or alone as an interlude.
During the reign of Louis XIV , the ballet de cour made a transition from courtly dancing by couples at a ball to performances in which roles were played, increasingly by professional dancers and musicians. If the ball was about showing oneself, the ballet didn't do it without disguise. In the beginning, a narrative was faithfully implemented (e.g. Ballet de Cassandre ), but with the Ballet à Entrées with Carnevalesque masquerade, the events given by a theme follow one another (e.g. Ballet de l'Impatience ). Usually the composer of the music also determined the steps of an entrance . One of the most extensive performances was the Ballet royal de la Nuit, danced on February 23, 1653, with 45 entrées . On average, they had a ballet royal 30 and a grand ballet 20.
The term entrée was also used in the 18th century in the sense of an act of the Opéra-ballet (ballet opera), e.g. B. Les Indes galantes and other works by Jean-Philippe Rameau .
literature
- Eberhard Heymann: Dictionary on performance practice of baroque music , Verlag Dohr, Cologne 2006, p. 84.
- Wolfgang Ruf (Ed.) I. Verb. M. Annette van Dyck-Hemming: Riemann Musik Lexikon , Vol. 2, 13th, updated new edition, Schott Verlag, Mainz 2012, p. 73.
Individual evidence
- ↑ Philippe Beaussant: Lully ou Le Musicien du Soleil , Gallimard / Théâtre des Champs-Élysées, [Paris] 1992, p. 84.
- ↑ Beaussant 1992: p. 85.
- ↑ Beaussant 1992: p. 275.
- ↑ Beaussant 1992: p. 93.
- ^ Claudie Marcel-Dubois, Renate Albrecht (trans.): Entrée. In: Music in the past and present. Bärenreiter-Verlag 1986 ( Digital Library Volume 60), p. 20391 (cf. MGG Vol. 3, p. 1441).