000			01656cam a2200289 4500500
005			20250119121820.0
041			_afre
042			_adc
100	1	0	_aQuéval, Marie-Hélène _eauthor
700	1	0	_a Noûs, Camille _eauthor
245	0	0	_aÉtienne Fay (1768-1845)
260			_c2021.
500			_a20
520			_aHow much did the Revolution change musical traditions? In the context of dechristianization, the closure of chapter houses and choir schools which were the only places to provide poor children with some quality musical training, constrained many church musicians to switch to secular stages (such as opera, comic-opera) as did Étienne Fay (1768-1845), a singer-cum-composer born in Tours, who after a respectable career at the Louvois, Favart and Feydeau theatres, ended up coaching his own company with his wife and children in order to put on productions in France, Belgium and Germany. Despite having collaborated with committed writers such as the radical Jacobin Dubuisson, Fay stayed clear of the conflict, remaining loyal to the reforms of Napoleon. His career path and his work, in Gluck’s footsteps, deserve to be lifted from out of the shadows.
690			_aOpéra-comique
690			_atheatre
690			_aFrench Revolution
690			_aÉtienne Fay
690			_amusic
690			_aOpéra-comique
690			_atheatre
690			_aFrench Revolution
690			_aÉtienne Fay
690			_amusic
786	0		_nDix-huitième siècle | o 53 | 1 | 2021-06-28 | p. 561-578 | 0070-6760
856	4	1	_uhttps://shs.cairn.info/journal-dix-huitieme-siecle-2021-1-page-561?lang=en&redirect-ssocas=7080
999			_c418116 _d418116