Description

Against the backdrop of a Europe-wide transfer of productions, communication and mediation by opera houses, Adolphe Adam relied on a network of different parties (the performers Marie and Paul Taglioni, Giacomo Meyerbeer, columnists in Paris and Berlin) to widen the scope of his creative activities. His opera-ballet Die Hamadryaden (Berlin, 1840), composed while travelling back from a stay in Russia, sheds light on the transnational economy of music in a time of liberalism.