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35 - Music, Drama, Dance and Performing Arts
Keele University
Combattants, reines et collaborateurs: religion, politique et images de la France
Honegger’s Jeanne d’Arc au bûcher and Milhaud’s Esther de Carpentras were premiered on the eve of World War II. The chapter examines the reception of Jeanne d’Arc before and during WWII, showing how Joan of Arc’s symbolic status enabled the work to appeal equally to the Front Populaire, fascists and audiences in free and occupied zones. Milhaud’s opera placed the Old Testament Queen Esther in Provence; however, its message of religious tolerance and unity was barely noticed. Drawing on unpublished correspondence and writings, the chapter considers how Honegger, Claudel and Milhaud addressed music’s ability to respond to political crisis.