This book investigates the historical, cultural, and aesthetic motivations that shaped the development of opera and ballet criticism in France between the Revolution and 1848. Authors Mary Ann Smart and Roger Parker, both established scholars in musicology, argue that journalistic criticism from this period should be analyzed as a distinct intellectual practice rather than merely a repository of historical data. By examining the belief systems and professional pressures of nineteenth-century critics, the authors provide a framework for understanding how these writers influenced the reception of major musical and theatrical works.

Experts in musicology and French cultural history identify this work as a significant contribution to the study of nineteenth-century performance reception. Readers frequently note the academic density of the prose, which is tailored for scholars and students of music history and journalism.