For most scholars of music, few genres have seemed so fastened to one institution as grand opéra. It was within the stone walls of the Paris Opéra on the rue Lepeletier that most of these works first met their audience, and within its auditorium that these works remain, to an unusual extent, locked in our minds, individual operas ever-associated with the aesthetic and technical demands of the institution. This fate is somewhat inevitable, to be sure, both because the Opéra exerted supreme control over grand opéra in the nineteenth century and because our discipline has long been obsessed with the origins of things. And while the last few decades have seen a decisive turn to receptionrather than production-based histories, these nonetheless have tended to be focused on the moment at which works were first unveiled before an audience. There are exceptions, of course, to this concern with the true premiere. Opera is after all a cultural product, often conceived with circulation in mind, and a marker of its success was – and remains – the extent to which it reached audiences far removed from the location of its premiere. Some of our core historical resources are a testament to this fact – the Verdian production book (or disposizione scenica), for instance, can be considered a calculated effort on the part of its publishers to ensure that however distant the author was from the performance of an opera, he seemed to have sanctioned its rendition; that the production unfolded under his indomitable shadow.

中文翻译：

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介绍

对于大多数音乐学者来说，几乎没有哪一种流派能够像大歌剧院那样固定在一个机构上。这些作品大部分是在勒佩莱蒂街上的巴黎歌剧院的石墙内首次遇见观众的，而在礼堂内，这些作品在不同寻常的程度上仍被我们牢牢锁住，与之相关的个人歌剧该机构的美学和技术要求。可以肯定的是，这种命运在某种程度上是不可避免的，这既是因为歌剧院在19世纪对大歌剧施加了最高控制权，又是因为我们的学科长期以来一直迷恋事物的起源。尽管在过去的几十年中，决定性的转向接收者而非基于生产的历史，但这些趋势往往集中在观众首次展示作品的那一刻。真正的首映式当然也有例外。毕竟，歌剧是一种文化产品，通常考虑到流通性，其成功的标志是-而且仍然是-它到达观众的程度与首映地点相去甚远。我们的一些核心历史资源证明了这一事实–例如，可以考虑将Verdian生产书籍（或Disposizione Scenica）视为出版商的一项有计划的工作，以确保作者无论与作品的表现有多远。一部歌剧，他似乎已经批准了它的表演；生产在他坚强的阴影下展开。它取得成功的一个标志是-而且仍然是-它到达观众的程度与首映地点相去甚远。我们的一些核心历史资源证明了这一事实–例如，可以考虑将Verdian生产书籍（或Disposizione Scenica）视为出版商的一项有计划的工作，以确保作者无论与作品的表现有多远。一部歌剧，他似乎已经批准了它的表演；生产在他坚强的阴影下展开。它取得成功的一个标志是-而且仍然是-它到达观众的程度与首映地点相去甚远。我们的一些核心历史资源证明了这一事实–例如，可以考虑将Verdian生产书籍（或Disposizione Scenica）视为出版商的一项有计划的工作，以确保作者无论与作品的表现有多远。一部歌剧，他似乎已经批准了它的表演；生产在他坚强的阴影下展开。可以认为发行人是有计划的努力，以确保无论作者与歌剧表演有多么遥远，他似乎都认可了该歌剧的表演；生产在他坚强的阴影下展开。可以认为发行人是有计划的努力，以确保无论作者与歌剧表演有多么遥远，他似乎都认可了该歌剧的表演；生产在他坚强的阴影下展开。