caa a22 4500 386327572 CHVBK 20180307111659.0 cr unu---uuuuu 161130e198907 xx s 000 0 eng 10.1017/S0954586700002937 doi S0954586700002937 pii (NATIONALLICENCE)cambridge-10.1017/S0954586700002937 Howard Patricia Lully and the ironic convention [Elektronische Daten] [Patricia Howard] Three hundred years after his death in 1687 Jean-Baptiste Lully's reputation is entering a new phase. Only a minority of opera-goers today have had the opportunity of seeing one of Lully's operas performed in the theatre. French music, always a degree less accessible to a non-French public than the music of its Italian and Austro-German neighbours, remains the last corner of the seventeenth-century repertory to make a popular appeal to twentieth-century audiences. There are indications, however, in the appearance of a new collected edition, in the small output of new recordings, and in the greater volume of scholarly investigation associated with the tercentenary, that the distinctive sound of Lully's music will soon become at least as familiar as that of his contemporaries Purcell and Cavalli. And familiarity will surely engender popularity: the music needs no special pleading. Copyright © Cambridge University Press 1989 Cambridge Opera Journal Cambridge University Press 1/2(1989-07), 139-153 0954-5867 1:2<139 1989 1 OPR https://doi.org/10.1017/S0954586700002937 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0954586700002937 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Howard Patricia NATIONALLICENCE 773 0- Cambridge Opera Journal Cambridge University Press 1/2(1989-07), 139-153 0954-5867 1:2<139 1989 1 OPR CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge