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From Hérodias to Hérodiade : Massenet’s Idiosyncratic Take on the Salomé Myth

Phaedra Claeys (UGent)
Author
Organization
Abstract
Massenet’s Hérodiade (1881) is today one of the lesser-known variations of the Salomé myth. Although based on Flaubert’s Hérodias (1877) and written and premiered at the height of the narrative’s popularity, the opera displays some peculiar deviations from both Flaubert’s tale and other, especially fin-de-siècle, renderings of the myth. By situating Hérodiade’s departures from Flaubert’s short story within both the framework of operatic conventions and the broader context of the opera’s genesis, this article highlights Hérodiade’s status as a self-contained rendering, rather than a mere dramatic rewriting of the story—let alone an unfaithful adaptation. In doing so, three main elements that played an essential role in the process of (re)creation are brought to attention: the conventions of grand opera, Massenet’s own aesthetics and interpretation of the tale, and the impact of the socio-political context of France’s Third Republic on the opera’s development.
Keywords
Flaubert, Massenet, Hérodias, Hérodiade, opera, short story

Citation

Please use this url to cite or link to this publication:

Chicago
Claeys, Phaedra. 2019. “From Hérodias to Hérodiade : Massenet’s Idiosyncratic Take on the Salomé Myth.” Adaptation-the Journal of Literature on Screen Studies.
APA
Claeys, Phaedra. (2019). From Hérodias to Hérodiade : Massenet’s Idiosyncratic Take on the Salomé Myth. ADAPTATION-THE JOURNAL OF LITERATURE ON SCREEN STUDIES.
Vancouver
1.
Claeys P. From Hérodias to Hérodiade : Massenet’s Idiosyncratic Take on the Salomé Myth. ADAPTATION-THE JOURNAL OF LITERATURE ON SCREEN STUDIES. Oxford University Press (OUP); 2019;
MLA
Claeys, Phaedra. “From Hérodias to Hérodiade : Massenet’s Idiosyncratic Take on the Salomé Myth.” ADAPTATION-THE JOURNAL OF LITERATURE ON SCREEN STUDIES (2019): n. pag. Print.
@article{8612594,
  abstract     = {Massenet’s Hérodiade (1881) is today one of the lesser-known variations of the Salomé myth. Although based on Flaubert’s Hérodias (1877) and written and premiered at the height of the narrative’s popularity, the opera displays some peculiar deviations from both Flaubert’s tale and other, especially fin-de-siècle, renderings of the myth. By situating Hérodiade’s departures from Flaubert’s short story within both the framework of operatic conventions and the broader context of the opera’s genesis, this article highlights Hérodiade’s status as a self-contained rendering, rather than a mere dramatic rewriting of the story—let alone an unfaithful adaptation. In doing so, three main elements that played an essential role in the process of (re)creation are brought to attention: the conventions of grand opera, Massenet’s own aesthetics and interpretation of the tale, and the impact of the socio-political context of France’s Third Republic on the opera’s development.},
  author       = {Claeys, Phaedra},
  issn         = {1755-0637 },
  journal      = {ADAPTATION-THE JOURNAL OF LITERATURE ON SCREEN STUDIES},
  keywords     = {Flaubert,Massenet,Hérodias,Hérodiade,opera,short story},
  language     = {eng},
  publisher    = {Oxford University Press (OUP)},
  title        = {From Hérodias to Hérodiade : Massenet’s Idiosyncratic Take on the Salomé Myth},
  url          = {http://dx.doi.org/10.1093/adaptation/apz013},
  year         = {2019},
}

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