François Lays - Knowledge

739:. The "premiers sujets" of the Opéra sang as simple "coryphées" in the chorus. The takings were considerable, amounting to the remarkable sum of 14,000 francs. According to Quéruel, however, shortly afterwards a peremptory letter from the administration dated 1 June 1823 informed Lays of its intention to use the takings from the performance to make good the debts it claimed Lays owed it. It is not entirely clear, from Quéruel's account, how the issue was finally resolved. Whatever the case, the financial position of the singer and his family remained extremely precarious. He still kept his teaching post at the École royale de musique et de déclamation, but the salary and pension were clearly not enough for him to cope with his debts and live a comfortable life, and thus, in spite of his ailing health and his now worn-out voice, he was forced to accept engagements, however humiliating, from provincial companies, just to make ends meet. According to Quéruel, posters of the time show he worked as an understudy in a company in 271:, was forced to resign his post and the management of the theatre was assumed by the artists acting as a kind of cooperative. The results were so disastrous that the former director had to be recalled in April 1785, although even then his relationship with the trio of rebel singers did not improve very much. In a report to his superiors, Dauvergne described Lays as the black sheep of the group, Rousseau as a "nice young man", if only he had spent less time in the company of Lays, and Chéron as another "nice young man" (with the mind of a twelve-year-old), but scared of the beating Lays and Rousseau had promised him if he betrayed their alliance. In the end, the three had to bow to pressure from the theatre management, although not before being promoted to "Premiers Sujets" (leading artistes), the highest rank in the company hierarchy. 409:, but he was shouted down and forced to take refuge in the wings. Lays was rowdily summoned back instead. Lainez accompanied his colleague on stage, hoping they would be allowed to sing together, but he was once more driven off by the furious audience, and Lays had to perform solo. No sooner had he managed to get through a couple of verses, however, than he too was driven off by booing, because the audience thought he was unworthy of the words he was singing. The unfortunate Lainez had to retake the stage for a third time to finish the performance. By the end of September, nevertheless, enthusiasm for such post-Revolutionary reprisals had abated and Lays was able to make a triumphant return as the Genius of Fire in 509:. Four years later he resigned to avoid being involved in the quarrel then raging between the managements of the Conservatoire and the Opéra. Quéruel credits Lays with teaching two future stars of the Opéra: Madame Chéron and Mademoiselle Armand. The latter is a possibility; the former had begun her career in 1784 under the name Mademoiselle Dozon, and is thus unlikely to have attended the Conservatoire more than a decade later. Lays did play a part in promoting her early career: he had auditioned her when she was a young unknown in 1782 and had facilitated her studies, entrusting her to the best singing teachers available. 815:

with fig leaves. In 1826, La Rochefoucauld had the opportunity to demonstrate his dislike when Lays, realising that life in Paris was beyond his financial means, decided to leave his post as professor and retire to the provinces to be near his married eldest daughter. According to Quéruel. Lays, probably wanting to end his career of more than 40 years on a high note, sent the minister a petition signed by almost all the stars of the Opéra and backed by Cherubini, asking for another benefit concert, in addition to the one three years earlier, this time in aid of his son who was working as a

692:; in reality, the rehearsals only took place two months later. Lays then applied to the royal administration, insisting he should be granted some of the potential economic benefits provided by law, but, after the new opera's premiere, his demands received a blanket rejection. According to Quéruel, when he protested stridently about this decision, he was forced into unpaid leave from his theatrical activities in late 1818. He subsequently spent about two years of hardship, during which his need to provide a dowry for his eldest daughter Marie-Cécile forced him further into debt. 936:

changed from chest voice to mixed voice it was by a sudden leap from a mighty organ tone to a sort of flute-like voice, which had a ridiculous rather than pleasant effect. Nonetheless, he used to show off this effect, which would make the aficionados of the time swoon with pleasure. Most of his ornamentation was old-fashioned and tasteless; in spite of these faults, the beauty of his voice made almost everyone who heard him into an admirer, and it was scarcely possible for an opera to succeed unless Lays had a role in it.

709:, who was ultimately in charge of the theatre, had discovered he had not previously authorised the leave of absence granted to Lays and, regarding it as null and void, intended to sue him for damages for missing performances at the Opéra. The confrontation lasted for more than a year until, in 1823, the moment came for Lays to leave the Opéra after almost 45 years of outstanding service. The benefit concert, to which artistes were entitled on their retirement, took place on 1 May. The performance ended with 648: 959:

single feat alone. How many singers have had a longer tenure at the Opéra? Has any artist created more roles at the Opéra? What singers besides Lays have learned five new parts in a year? He performed before the days of planes and fast trains, of course, but even making allowances for this lack of temptation to interrupt his activities in Paris to visit foreign opera houses for large fees, modern critics must credit Lays with a singleness of purpose that merits recognition.

680:. Lays had repeatedly supported Cherubini when Napoleon had shown signs of dislike for the composer. Cherubini had now become one of the leading figures in the musical establishment under the Restoration. He immediately intervened on Lays's behalf, but all he could obtain from Ferté was the advice that the singer should go on a tour of the provinces as a way of supplementing his income.Having obtained leave of absence, Lays appeared in 672:(1764–1829), set in the foothills of his native Pyrenees. Lays took one of his favourite stock parts, "a bailiff in his fifties, a lover of good food and beautiful young women, naive and credulous, convinced of his own powers of seduction. The audience, at first amused and then enthralled, gave him a standing ovation which cheered his heart." However, things subsequently took a turn for the worse. In 1817, the restored Intendant of the 520:. The takings from this opera (9,354 livres on the first night alone) helped rescue the disastrous finances of the Théâtre de la République et des Arts (as the Opéra had been renamed). If the quality of his voice was universally admired, his lack of physical elegance, his short and stocky build and the southern accent he never completely managed to lose predisposed Lays to comic rather than dramatic roles, particularly middle-aged 892:, but by the latter half of the 18th century had come to designate all low male voices. According to the brothers Michaud, however, Lays "was not strictly a basse-taille, although he sometimes forced his voice downwards excessively to reach the lower notes, and he was listed among the company's leading basse-tailles", neither was he, contrary to some erroneous contemporary descriptions, a tenor: he was in fact "an admirable 428: 3110:. They ran as follows: "Vive Alexandre/vive ce Roi des Rois!/Sans rien prétendre/Sans nous dicter ses lois,/Ce prince auguste/A ce triple renom/De héros, de juste,/De nous rendre les Bourbons..." (Long live Alexander/Long live this king of kings!/Without demanding anything/Without dictating his laws to us/This august Prince/Has a triple reputation/As a hero, as a righteous man/And for restoring Bourbons to us...). 20: 825:

a century, makes all such talk superfluous. In the interests of the professor, I must add that it is the meagreness of his fortune more than his age which has forced him to ask for his pension. No longer able to live in the capital in the manner to which he is accustomed, his intention is to retire to somewhere in the provinces where he and his family will be able to live more comfortably.

3003:). Quéruel's mistake is probably due to the contents of a letter Lays sent to Cherubini in July 1826 (which is quoted by Quéruel herself on page 156). Aiming to have his pension favourably recalculated, Lays claimed he had discovered two future leading Opéra sopranos, but, obviously, no more than one (if any) could possibly be credited to his teaching at the Conservatoire. 226:; moreover, their pay was only partly fixed and permanent, the rest being linked to how frequently they appeared on stage and the size of their roles. The rebellious Lays soon became embroiled in a heated confrontation with the management, behaving almost like a modern union agitator, with the support of two singers who had joined the company around the same time, the 348:. When a warrant was issued for the arrest of Barère and three of his colleagues from the Committee of Public Safety in March 1795, other associates were implicated in his downfall: Lays was arrested and imprisoned for about four months together with an old friend who had shared his political trajectory – although his role had been far more prominent – the painter 676:, Papillon de la Ferté abolished all additional emoluments granted by Napoleon, leaving the singer to survive on his meagre salary from the school of music and the minimum pay from the Opéra, at the very time when his son, stricken with tuberculosis, required expensive medical treatment and his four daughters needed money for their dowries. Lays turned to 380:, in which his character Oreste sang lines which were a little too suggestive coming from an ex-"Terrorist": "J'ai trahi l'amitié, j'ai trahi la nature/Des plus noirs attentats, j'ai comblé la mesure" ("I have betrayed friendship, betrayed Nature/I have gone to the extreme of blackest deeds"). On the other hand, according to the memoirs of Count 876:, where they joined his married daughter Marie-Cécile. Here he had already witnessed the death of his son Bertrand from consumption and was soon to see his wife stricken with paralysis. In his final years Lays spent his time singing hymns in local churches. He died aged 73 in 1831, leaving his wife and children the paltry sum of 1056 francs. 60:, at whose coronation and second wedding he sang. This association with the Emperor caused him trouble when the Bourbon monarchy was restored and Lays's final years were darkened by disputes over his pension, mounting debts, the death of his only son and his wife's illness. After a career spanning more than four decades, he died in poverty. 253:, then the second most important French-speaking theatre in the world. Lays, however, was arrested on the evening of 20 August 1781, the day before he was due to set off, and spent ten days in prison. He was provisionally released on the 30th because he was indispensable for filling the haute-contre role of Cynire in a revival of Gluck's 2674:, was only able to persuade him to appear in the sixth performance of the opera by informing him he had a warrant for the singer's arrest in his pocket. This was not enough, however, to prevent Lainez from being imprisoned on 25 November after he had again repeatedly refused to assume the hated role of Tarare (Lajarte, p. 358). 577:, Lays was the obvious choice to perform at the wedding ceremony. Meanwhile, his stage activity continued unabated, and in 1807 he was also appointed to serve on the Opéra jury in charge of evaluating new works to be staged. Other members of the jury came and went, but Lays remained in office continuously until 1815. 2882:), where it is stated that the pamphlet was published as an octavo in Paris in the month of Vendemiaire Year III (i.e. in September/October 1794, after the coup of 9 Thermidor Year II), and that through it "the author tries to justify his political behaviour". Surprisingly, Quéruel makes no reference to the pamphlet. 391:, it was indeed in the role of Oreste that Lays sought to return to the stage. However, the implacable hostility of the audience prevented him from singing a single note and, after an hour of fruitless efforts, he eventually had to be replaced by an understudy. His actual reappearance then took place in a revival of 824:

I have the honour to inform you that Monsieur Lays has retired and is asking for his pension. There is no doubt that he has a right to such recompense. There is no need to tell you of the talent of this famous artist, whose career has been long and fruitful. His reputation, which has endured for half

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The year 1798 was a turning point in Lays's private life: Marie Barbé, with whom he had been living for several years, gave birth to a daughter and Lays, to legitimise the child, decided to marry his companion, even though it was against his father's wishes. Old Lay was furious that his eldest child,

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which acted as a substitute for the theatre which had burned down. His enormous popularity with the public, with an encore of the main aria and several curtain-calls, made it practically impossible to send him back to prison, although he was forced to sign a solemn undertaking that he would not leave

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His surname is also written as Laï, Laïs or Laÿs, French orthography of the period being rather unstable. According to Quéruel (p. 21), the stage name originally chosen by the singer, "M. Laÿs" (no doubt pronounced 'la-ìs' and whose diaeresis would eventually be dropped), was intended to avoid puns

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at a notary's and whose legal studies Lays could not afford to maintain. Inevitably the request fell on deaf ears. Lays also asked for his pension to be recalculated, bearing in mind his years teaching at the conservatory. But this led to disputes to which the correspondence between Cherubini and La

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The opera sparkles with charming melodies; the role of Anacreon is the most beautiful, the most complete ever written for Lays, the marvellous sonority of whose voice was deployed so well in the ascending virtuoso passage "Prends, prends emporte mon or, mes trésors pour jamais." The trio "Livre ton

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he was again expelled – this time for good – from the new Chapelle Royale, but in return, in 1816, he was named professor of declamatory singing at the École royale de Musique et de Déclamation, which had replaced the Conservatoire. The salary was indispensable to Lays because his gout meant he was

2547:). The review published by the "Mercure de France" reports that Lays did in fact appear at the premiere and the audience did not appreciate the long arietta he sung: his performance, however, was much praised by the reviewer ("Mercure de France", 30 December 1780, pp. 222–223, accessible online at 935:

In spite of the long-lasting enthusiasm he aroused among the habitués of the Opéra, Lays was not a great singer: one might even say he knew nothing about the fundamentals of the art of singing. His vocalisation was clumsy; he had not learned how to equalise the registers of his voice, and when he

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La Rochefoucauld's reply on the issue of the pension was delayed until January 1827, when he stated that Lays was not entitled to any pension increase with regard to his previous years of teaching, having already received the maximum provided for as a result of his theatrical activity, and having

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as Director General of the Fine Arts. La Rochefoucauld had an aversion to Lays both as an inveterate supporter of the Revolution, and, in particular, for the ironic remarks the singer had made about his morality campaign, which included lengthening ballerinas' skirts and providing ancient statues

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Quéruel relates that Lays was finally reinstated only on 9 January 1821, but this assertion cannot be accurate because the singer's name often appeared on the theatre bills in the meantime, for example the whole period between July 1819 and June 1820. Whatever the case, in response to his renewed

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under the patronage of his old friend Barère. Lays was a passionate believer in the ideals of the Revolution, promoting them among the members of the Opéra company, which had been renamed Théatre des Arts. This was not enough, however, to prevent his arrest in 1792 as a suspected royalist, on the

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The most impressive aspect of Lays's professional life was not in the quality of his voice, but in the number of times that he used it. He created 68 new characters at the Opéra between 1780 and 1818. It would be interesting to determine how many records he broke in the course of performing this

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at the same Brussels Théâtre de la Monnaie to which he had tried to escape forty years earlier. The reviews from the local newspaper, the "Mercure belge", reported by Quéruel tell of a real triumph. On his return to Paris, however, he was greeted with disastrous news. It was now obvious that the

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Auguste-Athanase Chéron (1760–1829). In June 1781, fire destroyed the second hall of the Palais Royal, the home of the theatre, causing performances to be suspended. This left the singers with only their meagre basic salaries, so the three decided to remedy the situation by accepting engagements

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Literally meaning 'a gala dinner', the term refers to the Versailles custom of performing music on the occasions when the royal couple had dinner in public in the antechamber of the Grand Couvert. The custom had been introduced by Marie Antoinette who wished to relieve the boredom of the public

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No response having come from the administration, Quéruel claims that Cherubini made the courageous decision to use his discretionary powers and take personal responsibility for authorising a special performance whose takings would be divided equally between the Académie and Lays. Even if it is

1002:). Lays's contribution to the Opéra repertoire, which lasted over forty years, was astonishing, and the long duration of the singer's career and the good vocal form he maintained to the last suggest that Fétis's adverse judgement on his technical skills should be accepted only with caution. 375:

who was then in his sixties, had been forced to sing the new hymn kneeling on stage to boos, whistles and jeers from the audience, and had never recovered from the experience, eventually taking his own life with poison. Quéruel writes Lays managed to avoid making his return to the stage in

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Lays was immediately enrolled in the company as one of the lower male voices (known in France at the time as basse-tailles) and began a rapid ascent up the Opéra career ladder. He was first introduced to the Parisian public on 10 October 1779, singing the aria "Sous les lois de l'hymen" by

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the year 1799 is stated, but this date is evidently inaccurate given that Napoleon became First Consul only at the end of November. In the main part of her book, however, Quéruel also reports a conversation between the singer and the First Consul, during which the latter, proposing Lays's

2463:. It remained popular throughout the 18th century. In 1778 most of the entrée was set to new music by Candeille to be given as part of a performance of "fragments" (also called "spectacles coupés") which were very common in the latter half of the 18th century, or as an intermezzo to the 2592:

Sources traditionally report only the initial letter (J.) of this singer's name; full details, however, can be found in "Organico dei fratelli a talento della Loggia parigina di Saint-Jean d'Écosse du Contrat Social (1773-89)" (list of the members of this Masonic lodge), reported as an

3180:, Rome, Gremese, 2002, p. 47), after having been one of the Conservatoire's inspectors from its foundation in 1795, and having become an outstanding professor of the new École royale when it had replaced the Conservatoire in 1816. Cherubini's predecessor as head of the institution, 3418:

Quéruel, p. 162. Further evidence of the Lays family's long-lasting economic difficulties, is provided by "La France Musicale", which published the following brief notice in August 1858 (also the basis of the article by Aldino Aldini cited in the bibliography): "His Majesty the

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The number of 68 characters listed by Pitou is incomplete. In fact, the roles Lays created amount to at least 74 (cf next section). Moreover, this obviously does not include the roles Lays did not create directly (including those already mentioned, such as Thésée in Sacchini's

3184:, only had the title of "inspecteur général des études", and the actual direction was exercised by the Menus-Plaisirs du Roi. According to a contemporary Italian source, Cherubini might have retained the post of inspector even within the new institution (article: 401:, in which he sang the far less controversial character of King Theseus. Even then, things did not go smoothly: the audience booed and protested throughout the performance, although this time he was not prevented from completing it. At the end, the leading tenor 211:, Lays's first big success. Between 1780 and 1791, he was a member of two of the main musical institutions at court, the Concerts de la reine (the Queen's concerts) and the King's Grand Couvert, soon becoming a favourite of the royal couple, and in particular of 120:. Lays was now determined to abandon a career in the Church and became increasingly active as a singer, joining the cathedral choir and accepting invitations to perform at local salons. In Toulouse, Lays formed a lifelong friendship with the young lawyer 953:

Spire Pitou draws readers' attention to this last point in his work on the Paris Opéra. Pitou was evidently unaware of Lays's attempted flight to Brussels in 1781 and the troubles of his final years, but his comments appear worthy of note nevertheless:

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instead, an opera in which Lays always assumed the role of Cinna. At the end of the performance, the angry audience forced Lays – still dressed in his Roman toga – to return to the stage and recite some popular verses thanking the tsar for restoring the

2784: 316:, where the Barère clan were politically dominant and where Lays received a hero's welcome. He returned to Paris in mid-July via Toulouse, thus avoiding the hostile Bordeaux. Back in the capital, he delivered a much applauded speech in front of the 3278:

Racine's tragedy had already been given at the Opéra four years earlier, premiering on 8 March 1819, with the host theatre's company (included Lays himself) performing the choral and musical interludes written by Gossec, to which an excerpt from

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provoked such public hostility that he was forced to slip out of the city without even being able to complete his debut performance at the local theatre. Things went much better in his native region, the newly established département of

3123:, pp. 147–159), basing herself primarily on research conducted in the archives of the Opéra and the Conservatoire (to which she summarily refers in footnotes), comes to quite different conclusions, as related in the present article. 3632: 3145:, the former Intendant of the Menus-Plaisirs, guillotined during the Terror, who had protected Lays in the 1780s at the time of his quarrels with Dauvergne, and whose office his son had been granted under the Restoration. 833:

Permit me to bring to your attention the services he has rendered to musical and dramatic art, and the regrettable situation in which he finds himself after such long services as well as having to provide for a large

713:, during which almost all the stars who did not have roles in the opera paid homage to their respected and well-liked colleague by appearing on stage in the chorus. The first part of the concert saw the company of the 2869:, Paris, Presses Universitaires de France, 1983, p. 90. According to Fétis, the pamphlet (said to have become "excessively rare", and thus probably not consulted at first hand) had instead been published in 1793 (an 1010:

The following table contains a list of the roles created by François Lays in the course of his long career. The information is mostly taken from Spire Pitou in his book on the Paris Opéra cited in the bibliography.

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According to Quéruel, the hymn performed on the occasion of the transfer of Voltaire's mortal remains, where " Laÿs's superb voice" rose over Chéron's and Rousseau's responding in chorus, had been set to music by

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of 23 pages), and it is therefore described as a sort of report Lays made on his previous revolutionary activities after his expedition to Gascony. The thesis upheld by Gendron, however, is confirmed by the book

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unclear what right the director of the École royale de musique et de déclamation had to make such a decision, the performance did in fact take place at the Opéra on 20 November 1826. The programme consisted of

688:, where Lays himself was obliged to interrupt them with disastrous effects on his finances: he had been unexpectedly summoned back to Paris on the pretext he was urgently needed for rehearsals of a new opera, 323:

Lays's direct involvement in political life went little further than this, but, contrary to the claims of the brothers Michaud and Fétis, it was enough to cause him unpleasant repercussions when in 1794 the

2792: 904:, who happened to hear him in the 1780s, wrote that "Monsieur Laisse" possessed "a fine baritone voice, with much taste and expression". The majority of modern authors share these opinions. According to 3163:

Quéruel repeatedly writes that Cherubini had recently been named director of both the Conservatoire and the Opéra, but her assertion appears to be entirely without foundation. He had instead been named

116:

for a short while to study philosophy and work as a teacher before returning to Garaison to study theology. In 1778, the canons of the convent gave Lays a grant to study for a doctorate in theology in

553:. Nevertheless, the pair remained on friendly terms and between 1801 and 1802, Lays – who had often performed in Josephine's salons – became chief singer of the Chapel Napoleon had established at the 218:

His early career at the Opéra was quite turbulent. The institution at the time was seething with discontent: the artistes resented the fact their wages were only a third of those of the actors of the

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Fètis and the brothers Michaud briefly allude to Lays's career ending tranquilly, and to a serene old age spent singing for pleasure in provincial churches. On the contrary, Madame Quéruel (Chapter:

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Trial also found it unbearable that he had been dismissed from the political office he had held under the Paris Commune. He remains famous in musical history for giving rise to a new type of French

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was quite mild and the only significant penalty Lays suffered was his dismissal from the former Chapelle Impériale with a resulting loss of income. When Napoleon returned to power for the so-called

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who enjoyed a successful career, was marrying a foreign woman with no property. The couple went on to have four more children, including one son who would unwittingly cause Lays enormous grief.

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Grétry's opera remained highly popular throughout the first quarter of the 19th century: Castil-Blaze reports that Rossini was able to play whole passages from it by heart on the harpsichord (

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And where he is reported to have already managed to go on tour in 1792/93 as part of a delegation from the Paris Opéra led by Gossec, and to have later taken up an engagement in April 1818 (

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Provided this is Joséphine Armand (1787–1859), although still a young girl at the time, and not her better known aunt, Anne-Aimée (1774–1846), who was professionally active at the

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grounds that he had been a leading singer in the Queen's concerts and the Grand Couvert. Only the timely intervention of Barère secured his release after a single night in prison.

561:. As such, three years later, on 2 December 1804, Lays was the lead soloist in the music accompanying Napoleon's coronation as emperor. The ensuing celebrations culminated at the 3356:

Literally meaning a "gutter-jumper" or a "skip-kennel", the 'saute-ruisseau' was the lowest clerical assistant, a sort of errand boy or boy messenger, in French law firms (cf.

3313:). Quéruel postdates this performance by exactly three years, to 1 May 1826, which leads her to misinterpret data and documents referring to the interval between the two dates. 3339:

By that time, Cinti-Damoreau had been singing Italian opera for several years in Paris, London and Brussels. Along with Rossini, she now began to transfer to the Opéra, where

2539:). Fétis writes that the role was specifically composed with Lays in mind, whereas the 1781 libretto ascribes the character to another basse-taille of the company, M. Durand ( 136:. Following the recruitment practice then used by Académie Royale de Musique (the Paris Opéra), the Intendant decided to issue Lays with a royal ordinance (equivalent to a 355:

After his release on 3 July, Lays had to undergo the ritual humiliation the public was imposing on the "Terrorist actors": they were forced to sing the anti-Jacobin hymn

3848: 2879: 620:. According to the brothers Michaud, Alexander was moved to compassion by the sight of the terrified singer and sent one of his aides-de-camp on stage to reassure him. 3216:"La Renommée", 1819, numbers 16/18/39/42/44/58/76/78/83/85/92/95/99/101/108/110/138/141/148/150/159/160/162/164/167/171/174/176/178/185 (accessible for free online at 605:, had originally been given in 1807 to celebrate Napoleon's return to the capital. Not wanting to hurt the French public's feelings, Alexander requested a staging of 3467:, both the C-clef on the fifth line and the F-clef on the third line, had long since fallen into disuse and all basse-taille parts would be notated in the bass clef. 3000: 2755: 63:

Lays was famous for the beauty of his voice. One of the Opéra's most popular artistes, he enjoyed his greatest success singing comic roles, such as Anacreon in

3222:"Le Drapeau Blanc, journal de la politique, de la littérature et des théatres", 1820, numbers 31/33/42/117/124/131/136/150/164 (accessible for free online at 230: 4025: 3594:

Castor et Pollux : tragédie-opéra en cinq actes, représentée pour la première fois sur le théâtre de l'Académie-royale de musique, le mardi 14 juin 1791

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Prison (or the threat of prison) was a fairly common method of bringing the Opéra's intractable artistes to heel. In 1771, for instance, the principal tenor

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elsewhere, even though they were prohibited by law from doing so as salaried artistes of the Académie Royale de Musique. Rousseau alone managed to travel to

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The date 27 March is attested in the biography by Anne Quéruel. On the other hand, Fétis, Pitou and Elizabeth Forbes give the date of his death as 30 March.

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characters, in which, "singing of love and good wine, he proved to be sublime". Anacreon was one such role. Lays played the character again in 1803 in the

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in 1815 (during the Hundred Days), and was later to become the first real director of the École royale de musique et de déclamation in 1822 (Marc Vignal,

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At the fall of Napoleon in 1814, Lays was one of the Emperor's most prominent favourites, so when the allied armies entered Paris under the leadership of

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The role erroneously indicated by Pitou (although with a question mark) is 'Un Spartiate', but the original libretto gives the title role of Pollux (cf.

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shows some changes made to the part of Cynire which are expressly designated "pour Lays" (for Lays): like the rest of the part, they are notated in the

864:. However, the evening's takings of between 6,000 and 7,000 francs were markedly inferior to those Lays's presence on stage would once have guaranteed. 3392:, "Le Figaro, Journal non politique", I, n. 300, 20 November 1826, and n. 303, 23 November 1826, p. 3 (accessible for free online at Gallica – B.N.F.: 2705: 1278: 332:

radically changed the political situation. Lays was branded a "Terrorist actor" alongside other leading performers with a Revolutionary past, such as

908:, for instance, he possessed a "voice, baritonal in quality, but which extended into the tenor range". In fact, his roles were mostly notated in the 727:, performed with incidental music and choruses by Gossec. The leading roles were taken by three star actors: Lays's old friend and political ally, 4010: 4005: 2514: 2548: 3597: 2797: 3831: 2493: 696:

demands for economic support, the administration granted him further leave to perform privately outside Paris. Lays went on a tour of the

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furthermore shared half the takings from an extra benefit performance. Meanwhile, Lays, his wife and unmarried daughters, had retired to

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Les Horaces, Tragédie-Lyrique, en trois actes, mêlée d'intermedes. Représentée devant Leurs Majestés à Fontainebleau, le 2 Novembre 1786

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in 1779. He soon became a leading member of the company, in spite of quarrels with the management. Lays enthusiastically welcomed the

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While there seems to have been no doubt about the great beauty of Lays's voice, which he was able to preserve throughout his career,

3307:

Académie Royale de Musique. Représentation d'Athalie et du Rossignol pour la retraite de Lays.– Rentrée de Lafon au Théâtre-Français

3142: 2634: 590: 260: 2704:. The versatile Lays was probably just covering for his comrade Rousseau during the emergency created by latter's escape abroad. A 483: 486:

in June 1794. So it was unsurprising that his career continued to thrive in the new political climate under the government of the

172:). He made his official debut on the 31st of the same month, playing Théophile in a revival of "Théodore", the second entrée from 3774:

Les Dieux rivaux, ou Les Fêtes de Cythère. Opéra-ballet en un acte, À l'occasion du mariage de S.A.R Monseigneur le Duc de Berry

4020: 3937: 3423:, having heard that the daughter of Lays, of the Opéra, was in a state of the greatest poverty, ordered Monsieur Mocquart, his 3947: 3876: 3537: 2738:"Compte rendu des propos indécents tenus dans la séance de l'Academie Royale de Musique du 1er mars 1786" (Quéruel, p. 37). 2355: 1368: 2935:. However, other sources do not support this information. On the contrary, they are unanimous in attributing to Gossec a 2908:(publiés avec une introduction et des notes par Robert de Crèvecœur), Paris, Plon, 1882, II, p. 257 (accessible online at 132:

circles. On Easter Sunday 1779, Lays was singing the liturgy in the cathedral when he was heard by the Intendant Royal of

3777: 2709: 4000: 3480:, Paris/Lyon, Magasin Cherubini, Méhul, Kreutzer, Rode, Isouard et Boildieu/Garnier, s.d., p. 90 (accessible online at 3104: 2606: 2523: 792:, Lays once more played his favourite character of the bailiff, while the principal female role of Philis was taken by 706: 550: 444:

Over the course of 15 years Lays had built a remarkable reputation as a singer. He had been a star at the court of the

386: 56:. Barère's downfall led to Lays being imprisoned briefly, but he soon won back the public and secured the patronage of 1517: 1400: 811: 3961: 3867: 3710: 317: 299:

It was on Barère's prompting that Lays decided to return to his native Gascony in 1793 as a propagandist for the new

3649: 3759:

The music of this one-act piece was taken from Mozart and Haydn and arranged by Henri-Montan Berton (Mark Everist,

644:

no longer able to appear at the Opéra as regularly as he had done, leading to a drastic reduction in extra income.

108:), where he stayed until he was 17, receiving a solid musical education as a chorister and developing a remarkable 3666: 3995: 3854: 2541:

Le Seigneur bienfaisant, Opéra, composé des actes du Pressoir ou des Fètes de l'Automne, de l'Incendie, et du Bal

905: 2633:

was supremely silly and tasteless, initially refused outright to perform it. However, according to an indignant

3954:

The Paris Opéra. An Encyclopedia of Operas, Ballets, Composers, and Performers – Rococo and Romantic, 1715–1815

966:

The Paris Opéra. An Encyclopedia of Operas, Ballets, Composers, and Performers – Rococo and Romantic, 1715–1815

574: 3223: 3533: 2974:

from 1793 to 1801 (Pitou, pp. 50–51) and thus unlikely to have attended the Conservatoire in the same period.

573:. In 1810, when Napoleon divorced Josephine and entered into a second marriage with the Austrian Archduchess 463: 2138: 598: 3545: 2379: 840: 3906: 3217: 2544: 1064: 3327: 2683:

According to Quéruel, in 1781 Lays was going to take the role that had been created two years before by

3840: 3397: 3310: 1784: 941: 928: 512:

In January 1797, Lays enjoyed one of the biggest successes of his career when he sang the lead role in

125: 3915: 3443:). According to Kelly, however, Lays's greatest praise "was, that he was very unlike a French singer". 2909: 3794: 3678:

A new musical setting of a libretto first set by Salieri in 1786, in which Lays played the same role.

3309:, "Journal des débats politiques et littéraires", 3 May 1823, pp. 1–4 (accessible for free online at 3257: 2697:, where there are no bass-baritone leads, and the role of Cynire had been performed by the principal 2642: 2626: 1170: 1096: 869: 181: 3743: 2285: 1589: 1386: 762:

In late 1825, however, Lays again took to the Opéra stage in a benefit concert for the great singer

669: 657: 453: 173: 72: 3889: 3557:

This role is not mentioned by Pitou, but it is stated by different sources, such as, for instance,

3540:

interspersed with Mozart's arias, duos, trios and choruses retranslated into French (Félix Gaiffe,

3052:

Queruel, pp. 114 ff. The date of the appointment is not very clear in Quéruel's text: in the final

2939:, for voice and brass or for three voices, male choir and band (cf. catalogue of Gossec's works at 2807: 2767:

The presence of Lays, Rousseau and Chéron at a funeral ceremony held in 1785 by the Paris lodge of

2267: 495: 303:. He was accompanied by his future wife, a young unemployed diamond-polisher named Marie Barbé. In 2671: 2102: 728: 602: 562: 333: 3727: 3362: 3031: 2791:(accessed on 6 May 2015), Lays and Rousseau were members of both Les Neuf Sœurs and the lodge of 1046: 999: 856:, in which Lays played his most famous role for the last time; and the four-act pantomime-ballet 732: 449: 235: 169: 104:. His family intended him for a career in the Church at the Sanctuary of Notre-Dame-de-Garaison ( 3181: 3093:

Quéruel, p. 140 ff. The lines were taken, with appropriate changes, from the popular comedy by

1236: 525: 186: 3747: 3698: 2983:

She was born Anne Cameroy (1767 – c. 1862), and married Lays's friend, Auguste-Athanase Chéron.

2374: 1639: 1216: 1102: 714: 506: 329: 219: 3393: 1437: 988: 3919: 3903:

Bibliothèque Musicale du Théatre de l'Opéra. Catalogue Historique, Chronologique, Anecdotique

3723: 3057:

appointment, refers to Paisiello's direction of the Chapel, which only began in January 1802.

2492:, "Revue de Paris", New series, Year 1837, 37th volume, p. 23 (accessible for free online at 2096: 1461: 901: 772: 673: 586: 325: 284: 3570:

Pitou omits to mention this role among Lays's, but refers to it elsewhere in his article on

3214:

See, for instance, the theatre programmes published daily in the following Paris newspapers:

3990: 3985: 3281: 3075:

He had already been a member of the literary jury under the Ancien Régime and the Republic.

2638: 1820: 1531: 861: 793: 360: 313: 152: 129: 1362: 781: 223: 8: 3830:, "The Musical World", XXXVI, 33, 14 August 1858, pp. 518–519 (accessible online at 3661:

Pitou writes that Lays played "Curiace", but he is mistaken (see the original libretto:

3437:

Reminiscences of Michael Kelly, Of the King's Theatre, and Theatre Royal Drury Lane (...)

3326:, "La Lorgnette", II, n. 598, 8 October 1825, pp. 1 and 4 (accessible for free online at 2878:, compiled by Joseph De Filippi (Paris, Tresse/Aubry, 1864, p. 170, accessible online at 2637:, he eventually had to bow to La Borde's threat of making him spend a good fifty days in 1567: 1511: 1321: 1283: 848: 804: 631:, Lays was inevitably reinstated in his post and he enthusiastically participated in the 570: 397: 349: 337: 3968: 3898: 3609:

Despite not being a title role, Mars is the male lead (in fact the only male character).

3558: 3367: 3357: 2647: 1348: 888:

in the Opéra company, a voice type which was initially roughly equivalent to the modern

191: 44:

opera singer. Originally destined for a career in the church, Lays was recruited by the

3739: 3286: 3169: 2932: 2892: 1802: 1766: 1222: 994: 636: 558: 165: 93: 2940: 2246: 1867: 1455: 900:, low, pure, sonorous and flexible, whose range and volume were amazing". Irish tenor 121: 105: 53: 3957: 3943: 3872: 3735: 3706: 3495: 3366:; English translation by Ellen Marriage and Clara Bell accessible for free online at 2754:, "Histoire, économie et société", 2003, 22-2, 177-206, p. 192 (accessible online at 2602: 2519: 2171: 1939: 1646: 1260: 1082: 797: 785: 767: 624: 513: 456:

at some of the grandest ceremonies of the French Revolution: he had performed in the

437: 288: 268: 241: 64: 49: 3484:). Cherubini had used bass clef notation for the part of Astor entrusted to Lays in 3481: 3294: 2768: 2684: 2657: 1120: 705:

singer had been targeted in high places: the Minister of the Maison du Roi, General

664:

In 1816, Lays had the satisfaction of enjoying one final triumph in the comic opera

402: 190:, in 1780 he was given the first new roles of his career: a follower of Morpheus in 3249: 2772: 2693: 2404: 2082: 1497: 1422: 1303: 617: 606: 554: 487: 392: 255: 212: 138: 3094: 2999:, "Histoire, économie et société", 22 February 2003, p. 179 (accessible online at 2971: 844: 593:

ordered the Opéra to mount a performance in honour of the tsar. The opera chosen,

445: 372: 3689: 3440: 2661: 2653: 2408: 2120: 1992: 1666: 1609: 1342: 1242: 766:. The show, held on 8 October, was a double bill: the final Paris performance of 677: 549:

In the same year, Lays politely refused Napoleon's invitation to join him on his

410: 368: 300: 196: 3924:

Biographie universelle, ancienne et moderne. Supplément. Suite de l'histoire ...

3847:(Second edition), Paris, Didot, 1867, V, pp. 235–236 (accessible online at 3343:

was to remain in the repertoire "largely as a showpiece for " (Benjamin Walton,

2802:, whereas Chéron was only a member of the former (sources cited: Louis Amiable, 2457: 3705:, Berkeley (USA)/Londra, University of California Press, 2002, p. 172, nota 6, 2666: 2321: 2189: 1953: 1905: 1491: 808: 763: 415: 364: 344:; and he was forced to try to defend himself by publishing a pamphlet entitled 157: 684:(where performances were interrupted by the death of the leading soprano) and 647: 371:

as the main Republican anthem. Antoine Trial, a colleague of Gaveaux from the

3979: 3862: 2701: 2688: 2622: 889: 740: 697: 681: 341: 3845:

Biographie universelle des musiciens et Bibliographie générale de la musique

2467:

by Italian composers the Académie Royale de Musique was staging at the time.

946:

Biographie universelle des musiciens et Bibliographie générale de la musique

3871:, Grove (Oxford University Press), New York, 1997, II, pp. 1112–1113. 3731: 3420: 2698: 2505: 2485: 2030: 873: 752: 736: 628: 529: 308: 227: 3905:, Paris, Librairie des bibliophiles, 1878, Volume I (accessible online at 3486: 3464: 3192:, Milan, Batelli & Fanfani, 1818, article n. 51; accessible online at 1660: 3776:, Paris, Libraire des Menus-plaisirs du Roi, 1816; a copy is kept at the 3694: 2464: 1603: 784:

and was performed by an almost entirely Italian company led by Pasta and

718: 640: 521: 491: 280: 45: 3939:

François Lay, dit Laÿs: la vie tourmentée d'un Gascon à l'Opéra de Paris

3256:, Brussels, Schott, 1890, pp. 83 and 151; accessible for free online at 2812:

Francs-maçons parisiens du Grand Orient de France (fin du XVIIIe siècle)

1712: 475: 2153: 685: 611: 502:. With such patrons his position over the next two decades was secure. 250: 3289:

was also added. An account of one of the performances can be found in

2788: 1549: 913: 505:

In late 1795, Lays was named Professor of Singing at the newly opened

3926:, Paris, Michaud, 1841, LXIX, pp. 486–488 (accessible online at 2906:

Mémoires sur les règnes de Louis XV et Louis XVI et sur la Révolution

2806:, Paris, Alcan, 1897, pp. 339 and 350, accessible for free online at 2713: 909: 820:

Rochefoucauld bears explicit testimony. In October, the former wrote:

304: 133: 109: 52:

and became involved in politics with the encouragement of his friend

3646:

Persée, tragédie lyrique, remise en 3 actes, Représentée pour la ...

2543:, Paris, aux dépens de l'Académie, 1881, p. 8, accessible online at 3293:, n. 29 (Journal 42), note from 15 March 1819 (available online at 2997:

Le personnel musical de l'Opéra de Paris sous le règne de Louis XVI

2752:

Le personnel musical de l'Opéra de Paris sous le règne de Louis XVI

2011: 893: 800:, soon to become the leading lady in the composer's French operas. 537:

cœur à l'espérance" makes a delightful impression." (Castil-Blaze,

499: 471: 246: 117: 57: 37: 3439:, London, Colburn 1826, I, p. 289, (accessible for free online at 2771:, where they performed a Masonic hymn by Piccinni, is attested by 639:

of the Bourbons was more serious for Lays. At the express wish of

589:, he was understandably worried about his own future. On 2 April, 3532:(a confused rehash) which involved a complete performance of the 3190:

Serie di vite e ritratti de' famosi personaggi degli ultimi tempi

2303:

Gaspare Spontini, Rodolphe Kreutzer, Louis-Luc Loiseau de Persuis

744: 723: 458: 427: 292: 101: 97: 3347:, Cambridge, Cambridge University Press, 2008, p. 238, note 60). 2652:, London, Adamson, 1784, 5th tome, p. 296, accessible online at 19: 3254:

Le Théâtre de la Monnaie, Depuis sa Fondation jusqù'à nos Jours

2870: 829:

A week later, having received no reply, Cherubini tried again:

124:, the future French Revolutionary politician and member of the 3168:

of the Royal Chapel in 1814, had been elected a member of the

748: 180:. Having stepped in as a substitute in the role of Oreste in 41: 3808:

Aladin, ou la Lampe merveilleuse, Opéra Féerie en cinq actes

3806:

This role is not mentioned by Pitou (cf. original libretto,

3793:, Paris, Chez l'auteur, s.d.; accessible for free online at 3772:

This role is not mentioned by Pitou (cf. original libretto,

3644:

A minor role not mentioned by Pitou (cf. original libretto,

3627:

A minor role not mentioned by Pitou (cf. original libretto,

3379:

Both the following quotations are taken from Quéruel, p. 157

986:, both by Gluck, as well as Patrocle in the same composer's 474:'s mortal remains were transferred to the newly established 756: 498:, as well as the man who would become her husband, General 113: 3291:

The Journal of John Waldie Theatre Commentaries, 1799–1830

2779:(London, Adamson, 1789, XVII, p. 402; accessible for free 490:. Lays was protected by the strong man of the new regime, 452:

at Versailles in 1789. Later he had sung several works by

2937:

Hymne sur la translation du corps de Voltaire au Panthéon

2456:

was an entrée added in 1722 by Jean-Joseph Mouret to his

2407:

but running the risk of being interpreted differently by

3789:

This role is not mentioned by Pitou (cf. printed score,

3648:, Paris, de Lormel, 1780; accessible for free online at 3631:, Paris, de Lormel, 1780; accessible for free online at 3618:

Despite not being a title role, Pluton is the male lead.

3478:

Anacréon, ou L'Amour Fugitif, Opéra ballet en deux actes

2804:

Une loge maçonnique d'avant 1789, la loge des Neuf Sœurs

2691:. In fact, Larrivée had not appeared in the premiere of 2411:, probably as 'lè' , the same as the word "laid" (ugly). 565:

on 16 December with Lays and Chéron singing the cantata

3583:

Despite not being a title role, Jason is the male lead.

803:

New political developments did not bode well for Lays.

539:

L' Académie impériale de musique (...) – De 1645 à 1855

359:, which had just been set to music by a tenor from the 264:

Paris without the express permission of his superiors.

3810:, Paris, Roullet, 1822; accessible for free online at 3665:, Paris, Ballard, 1786; accessible for free online at 3629:

Atys, Tragédie Lyrique en trois actes, Représentée ...

3544:, Amiens, Malfère, 1928, p. 129; accessible online at 3345:

Rossini in Restoration Paris: The Sound of Modern Life

2716:

which was customarily used for the haute-contre voice.

780:. Meyerbeer's opera had previously been staged at the 3722:

An oratorio in three parts assembled by Lachnith and

3528:

In fact, he sang the role in 1793 in an interminable

2490:

L'Académie Royale de Musique (3e époque – 6e article)

3176:, Paris, Larousse, 1988; Italian edition consulted: 466:

on 14 July 1790; he had sung the funeral hymns when

346:

Lays, artiste du théatre des Arts, à ses concitoyens

3967:This article contains material translated from the 3511:, Paris, Pacini, s.d., p. 28 (accessible online at 3494:, Paris, Huguet, s.d., p. 45; accessible online at 2777:

Correspondance secrète, politique, & littéraire

884:As mentioned above, Lays's voice was classified as 526:

opera Cherubini dedicated to the ancient Greek poet

422: 142:) obliging him to travel to Paris for an audition. 2660:. So deep was his loathing for the title role of 2597:in Zeffiro Ciuffoletti and Sergio Moravia (eds), 155:to great applause (it had been inserted into the 36:(14 February 1758 – 30 March 1831), was a French 3977: 968:, Westport/London, Greenwood Press, 1985, p. 329 807:, who had come to the throne in 1824, named the 405:returned onto the proscenium to sing, as usual, 2515:The New Grove Dictionary of Music and Musicians 2403:on his original surname, pronounced 'la-ì' in 948:(second edition), Paris, Didot, 1867, V, p. 236 532:– referring to the work by Grétry – commented: 3888:, Paris, Rouveyre, 1880 (accessible online at 3596:, Paris, DeLormel, 1791; accessible online at 2512:, in Stanley Sadie (ed.), John Tyrrell (ed.), 755:, and once more as a simple understudy at the 2876:Essai d'une bibliographie générale du théatre 2625:, believing the role he had been allotted in 2599:La Massoneria. La storia, gli uomini, le idee 920:(1803) by Cherubini, or the role of Cinna in 4026:Academic staff of the Conservatoire de Paris 3490:(1788), to take one example (printed score: 2656:). Things went even worse for his successor 432:Lays, in the role of Aristippe in the opera 3509:La Vestale, Tragédie Lyrique en trois Actes 2670:(1787), that the Opéra's musical director, 1931:Un commissaire de la majorité des sections 879: 367:, and which seemed destined to replace the 307:Bordeaux, his political alignment with the 207:by Candeille; and the bailiff in Floquet's 200:; the male protagonist in the unsuccessful 3956:, Westport/London, Greenwood Press, 1985. 3886:1770–1790. L'Opéra secret au XVIIIe siècle 3693:was taken from Mozart, but some came from 3492:Démophoon, Tragédie Lyrique en Trois Actes 2849: 2847: 2575: 2573: 2571: 448:, before performing at the opening of the 3703:Music Drama at the Paris Odéon, 1824–1828 2518:, 2ª ed., Oxford University Press, 2001, 2299:Les dieux rivaux, ou Les fêtes de Cythère 1851:Toute la Grèce, ou ce qui peut la liberté 916:was preferred, such as the title role of 2535:Fétis, op.cit.; Pitou, p. 493 (article: 700:and also put on several performances of 646: 569:, specially written for the occasion by 494:, and became friends with his mistress, 426: 18: 3791:Les Jeux floreaux, Opéra en trois actes 3687:Most of the music of this reworking of 2844: 2814:, Paris, Bibliothèque nationale, 1966). 2568: 2430: 2428: 2426: 858:Mars et Vénus, ou Les filets de Vulcain 717:transfer to the Opéra for a revival of 541:, Paris, Castil-Blaze, 1855, II, p. 61) 128:. Barère introduced Lays to the city's 4011:19th-century French male opera singers 4006:18th-century French male opera singers 3978: 3178:Dizionario di musica classica italiana 3143:Denis-Pierre-Jean Papillon de la Ferté 2789:Musée virtuel de la musique maçonnique 2635:Mathieu-François Pidansat de Mairobert 1425:e Jean-Baptiste Rochefort (1746–1819) 87: 2793:Saint Jean d'Écosse du Contrat social 931:criticised his skill in managing it: 912:, but there are also cases where the 3174:Dictionnaire de la musique italienne 2714:alto clef (C-clef on the third line) 2423: 274: 267:In 1782, the director of the Opéra, 32:, better known under the stage name 652:Lays in the role of the bailiff in 13: 3427:, to forward her some assistance." 707:Jacques Alexandre Law de Lauriston 249:surreptitiously and appear at the 14: 4037: 3868:The New Grove Dictionary of Opera 2904:Jean-Nicolas Dufort de Cheverny, 743:, a baritone in the choir of the 3778:Bibliothèque Nationale de France 2710:Bibliothèque nationale de France 2369:Aladin, ou la Lampe merveilleuse 1078:Panurge dans l'île des lanternes 1005: 423:The Directory and Napoleonic era 92:Lays was born in the village of 3800: 3783: 3766: 3753: 3716: 3681: 3672: 3655: 3638: 3621: 3612: 3603: 3586: 3577: 3564: 3551: 3518: 3501: 3470: 3457: 3446: 3430: 3412: 3403: 3382: 3373: 3350: 3333: 3316: 3300: 3297:, edited by Frederick Burwick). 3272: 3263: 3242: 3229: 3208: 3199: 3157: 3148: 3135: 3126: 3113: 3100:La partie de chasse de Henri IV 3087: 3078: 3069: 3060: 3046: 3037: 3024: 3015: 3006: 2986: 2977: 2964: 2955: 2946: 2924: 2915: 2898: 2885: 2856: 2835: 2826: 2817: 2761: 2741: 2732: 2719: 2677: 2615: 2586: 2554: 2356:Pamphile Léopold François Aimon 1518:Nicolas-Jean Lefroid de Méreaux 1369:François-André Danican Philidor 812:Sosthènes I de La Rochefoucauld 776:followed by another revival of 382:Jean-Nicolas Dufort de Cheverny 145: 2529: 2499: 2479: 2470: 2446: 2437: 2414: 2396: 731:; the great Racine specialist 580: 178:L'union de l'amour et des arts 1: 4021:People of the Reign of Terror 3186:Luigi Carlo Zenobio Cherubini 2563:Chateau de Versailles website 2390: 2317:Nathalie, ou La famille russe 2211:Louis-Luc Loiseau de Persuis 747:Opera, a reserve baritone in 484:Festival of the Supreme Being 478:in 1791; and he had sung the 112:voice. He was transferred to 2787:). According to the website 2773:Guillaume Imbert de Boudeaux 2139:Louis-Luc Loiseau de Persuis 1835:Le triomphe de la république 287:, after the outbreak of the 82: 7: 4016:People from Hautes-Pyrénées 3572:Ariane dans l'isle de Naxos 1060:Ariane dans l'isle de Naxos 10: 4042: 3942:, Cahors, La Louve, 2010. 3820: 2895:, named "Trial" after him. 2867:La jeunesse sous Thermidor 2601:, Milan, Mondadori, 2004, 2141:and Jean-François Lesueur 2116:Nephtali, ou les Ammonites 1935:La journée du 10 août 1792 557:under the directorship of 126:Committee of Public Safety 71:(1797) and the bailiff in 4001:French operatic baritones 3971:in the Italian Knowledge. 3121:L'idole déchue. 1815–1831 2643:Louis Petit de Bachaumont 2380:François-Antoine Habeneck 1730:Les pommiers et le moulin 1330: 1184:Le casque et les colombes 1171:Jeanne-Hippolyte Devismes 1030: 419:, his debut in the role. 259:in the small hall of the 2823:Quéruel, pp. 57 and 166. 2687:, the company's leading 2305:and Henri-Montan Berton 2268:Louis Alexandre Piccinni 1889:Jean-Baptiste Rochefort 1623:Le Roi Théodore à Venise 1475:L'embarras des richesses 1138:Pierre-Joseph Candeille 880:Artistic characteristics 496:Josephine de Beauharnais 291:in 1789 Lays joined the 3916:Joseph-François Michaud 3697:, and was assembled by 2561:dinner ceremonial (cf. 2537:Le Seigneur bienfaisant 2339:Louis-Sébastien Lebrun 2245:Étienne Nicolas Méhul, 2237:Le chef des vieillards 1919:La rosière républicaine 1897:L'ordonnateur chantant 1839:François-Joseph Gossec 1718:Johann Christoph Vogel 1692:Baron de la Dardinière 1382:Le seigneur bienfaisant 1338:A follower of Morpheus 1150:Anacréon chez Polycrate 1047:Pierre-Joseph Candeille 854:Anacréon chez Polycrate 733:Mademoiselle Duchesnois 702:Anacréon chez Polycrate 528:. A few decades later, 518:Anacréon chez Polycrate 209:Le seigneur bienfaisant 170:Pierre-Joseph Candeille 69:Anacréon chez Polycrate 3996:French operatic tenors 3699:Ludwig Wenzel Lachnith 3388:Theatre programme and 3322:Theatre programme and 2727:Le rebelle – 1779–1788 2375:Angelo Maria Benincori 2286:Louis-Sébastien Lebrun 2251:and Rodolphe Kreutzer 2177:Jean-François Lesueur 1991:Rodolphe Kreutzer and 1959:Étienne Nicolas Méhul 1873:Étienne Nicolas Méhul 1855:Jean-Baptiste Lemoyne 1816:L ' Heureux stratagème 1750:Jean-Baptiste Lemoyne 1734:Jean-Baptiste Lemoyne 1700:Jean-Baptiste Lemoyne 1590:François-Joseph Gossec 1387:Étienne-Joseph Floquet 1103:Johann Christoph Vogel 1065:Jean-Frédéric Edelmann 971: 951: 836: 827: 670:Louis-Sébastien Lebrun 661: 658:Louis-Sébastien Lebrun 543: 480:Hymne à l'Être-suprême 441: 283:and an avid reader of 174:Étienne-Joseph Floquet 26: 3920:Louis-Gabriel Michaud 3841:François-Joseph Fétis 3724:Christian Kalkbrenner 3054:Tableau Chronologique 3030:Accessible online at 2672:Louis-Joseph Francœur 2581:Tableau chronologique 2249:, Henri-Montan Berton 2134:Le triomphe de Trajan 2103:Jean-François Lesueur 2097:Ossian, ou Les bardes 2078:Le pavillon du calife 2066:Louis Emmanuel Jadin 1901:La réunion du 10 août 1785:Étienne Nicolas Méhul 1645:Antonio Sacchini and 1462:Jean-Baptiste Lemoyne 1418:L'inconnue persécutée 956: 942:François-Joseph Fétis 933: 831: 822: 773:Il crociato in Egitto 674:Menus-Plaisirs du Roi 650: 595:Le triomphe de Trajan 534: 464:Fête de la Fédération 430: 357:"Le Réveil du Peuple" 251:Théâtre de la Monnaie 22: 3542:Le Mariage de Figaro 3269:Quéruel, pp. 151–153 3205:Quéruel, pp. 148–151 3182:François-Louis Perne 3084:Quéruel, pp. 133 ff. 3012:Quéruel, pp. 109 ff. 2941:musicologie.org 2014 2729:, pp. 25–49 (passim) 2725:Quèruel, Chapter 2, 2461:Les Festes de Thalie 2223:Le laboureur chinois 1987:Flaminius à Corinthe 1821:Louis Emmanuel Jadin 1532:La caravane du Caire 1401:Iphigénie en Tauride 995:Le Mariage de Figaro 980:Iphigénie en Tauride 924:(1807) by Spontini. 852:; the second act of 794:Laure Cinti-Damoreau 751:, a bass soloist in 378:Iphigénie en Tauride 328:and the downfall of 231:Jean-Joseph Rousseau 187:Iphigénie en Tauride 153:Pierre Montan Berton 3633:ebook-gratis Google 3295:UCLA's eScholarship 3066:Quéruel, pp. 125–29 3043:Quéruel, p. 116 ff. 2952:Quéruel, p. 107 ff. 2921:Quéruel, p. 101 ff. 2841:Quéruel, pp. 83–89. 2832:Quéruel, pp. 66–69. 2476:Jullien, pp. 90–91. 2263:Alcibiade solitaire 2006:Les mystères d'Isis 1863:Valerius Publicola 1627:Giovanni Paisiello 1512:Alexandre aux Indes 1438:Colinette à la cour 1322:Henri-Montan Berton 989:Iphigénie en Aulide 862:Jean Schneitzhöffer 849:Le calife de Bagdad 571:Henri-Montan Berton 551:expedition to Egypt 507:Paris Conservatoire 407:Le Réveil du Peuple 350:Jacques-Louis David 326:coup of 9 Thermidor 88:Youth and education 16:French opera singer 3969:equivalent article 3409:Quéruel, pp. 158-9 3170:Institut de France 3141:He was the son of 3132:Quéruel, pp. 147–8 2995:Youri Carbonnier, 2865:François Gendron, 2810:; Alain Le Bihan, 2750:Youri Carbonnier, 2706:hand-written score 2443:Quéruel, p. 18 ff. 2207:Jérusalem délivrée 1767:Stanislas Champein 1746:Louis IX en Égypte 1223:Giovanni Paisiello 1042:Laure et Pétrarque 662: 637:second Restoration 559:Giovanni Paisiello 500:Napoleon Bonaparte 442: 205:Laure et Pétrarque 166:Jean-Joseph Mouret 94:La Barthe-de-Neste 27: 3948:978-2-916488-37-0 3884:Adolphe Jullien, 3877:978-0-19-522186-2 3368:Project Gutenberg 2388: 2387: 2373:Nicolas Isouard, 2195:Gaspare Spontini 2159:Gaspare Spontini 1940:Rodolphe Kreutzer 1647:Jean-Baptiste Rey 1640:Arvire et Évélina 1573:Antonio Sacchini 1555:Antonio Sacchini 1406:Niccolò Piccinni 1261:Rodolphe Kreutzer 786:Domenico Donzelli 625:first Restoration 438:Rodolphe Kreutzer 289:French Revolution 275:Revolutionary era 269:Antoine Dauvergne 224:Comédie-Italienne 220:Comédie-Française 100:in what was then 96:in the region of 50:French Revolution 4033: 3935: 3914: 3907:Internet Archive 3899:Théodore Lajarte 3897: 3890:Internet Archive 3883: 3855:Elizabeth Forbes 3839: 3815: 3804: 3798: 3795:Internet Archive 3787: 3781: 3770: 3764: 3757: 3751: 3720: 3714: 3685: 3679: 3676: 3670: 3659: 3653: 3650:Gallica - B.N.F. 3642: 3636: 3625: 3619: 3616: 3610: 3607: 3601: 3590: 3584: 3581: 3575: 3568: 3562: 3555: 3549: 3522: 3516: 3505: 3499: 3474: 3468: 3461: 3455: 3450: 3444: 3434: 3428: 3416: 3410: 3407: 3401: 3386: 3380: 3377: 3371: 3358:Honoré de Balzac 3354: 3348: 3337: 3331: 3328:Gallica – B.N.F. 3320: 3314: 3311:Gallica – B.N.F. 3304: 3298: 3276: 3270: 3267: 3261: 3258:Internet Archive 3250:Jacques Isnardon 3246: 3240: 3233: 3227: 3212: 3206: 3203: 3197: 3161: 3155: 3152: 3146: 3139: 3133: 3130: 3124: 3117: 3111: 3108: 3091: 3085: 3082: 3076: 3073: 3067: 3064: 3058: 3050: 3044: 3041: 3035: 3032:Internet Archive 3028: 3022: 3019: 3013: 3010: 3004: 2994: 2990: 2984: 2981: 2975: 2968: 2962: 2959: 2953: 2950: 2944: 2928: 2922: 2919: 2913: 2910:Internet Archive 2902: 2896: 2889: 2883: 2864: 2860: 2854: 2853:Michaud, op.cit. 2851: 2842: 2839: 2833: 2830: 2824: 2821: 2815: 2808:Internet Archive 2801: 2765: 2759: 2749: 2745: 2739: 2736: 2730: 2723: 2717: 2694:Echo et Narcisse 2681: 2675: 2648:Mémoires secrets 2619: 2613: 2611: 2590: 2584: 2577: 2566: 2558: 2552: 2533: 2527: 2503: 2497: 2483: 2477: 2474: 2468: 2450: 2444: 2441: 2435: 2432: 2421: 2418: 2412: 2400: 2351:Les jeux floraux 2083:Nicolas Dalayrac 2031:Peter von Winter 1498:Antonio Sacchini 1433:Bastien/A gipsy 1423:Pasquale Anfossi 1349:Niccolò Piccinni 1304:Gaspare Spontini 1287: 1279:Vincenzo Fiocchi 1200:Delphis et Mopsa 1134:Castor et Pollux 1014: 1013: 984:Echo et Narcisse 969: 949: 906:Elizabeth Forbes 715:Théâtre-Français 690:Les jeux floraux 587:Tsar Alexander I 390: 318:Commune of Paris 256:Echo et Narcisse 239: 213:Marie Antoinette 139:lettre de cachet 4041: 4040: 4036: 4035: 4034: 4032: 4031: 4030: 3976: 3975: 3933: 3912: 3895: 3881: 3859:Lays , François 3837: 3826:Aldino Aldini, 3823: 3818: 3805: 3801: 3788: 3784: 3771: 3767: 3758: 3754: 3721: 3717: 3701:(Mark Everist, 3690:The Magic Flute 3686: 3682: 3677: 3673: 3660: 3656: 3643: 3639: 3626: 3622: 3617: 3613: 3608: 3604: 3591: 3587: 3582: 3578: 3569: 3565: 3556: 3552: 3523: 3519: 3507:Printed score: 3506: 3502: 3476:Printed score: 3475: 3471: 3462: 3458: 3451: 3447: 3435: 3431: 3425:chef de cabinet 3417: 3413: 3408: 3404: 3387: 3383: 3378: 3374: 3363:Colonel Chabert 3355: 3351: 3338: 3334: 3321: 3317: 3305: 3301: 3277: 3273: 3268: 3264: 3247: 3243: 3234: 3230: 3221: 3215: 3213: 3209: 3204: 3200: 3162: 3158: 3154:Quéruel, p. 149 3153: 3149: 3140: 3136: 3131: 3127: 3118: 3114: 3102: 3092: 3088: 3083: 3079: 3074: 3070: 3065: 3061: 3051: 3047: 3042: 3038: 3029: 3025: 3021:Quéruel, p. 112 3020: 3016: 3011: 3007: 2992: 2991: 2987: 2982: 2978: 2969: 2965: 2961:Quéruel, p. 109 2960: 2956: 2951: 2947: 2929: 2925: 2920: 2916: 2903: 2899: 2890: 2886: 2862: 2861: 2857: 2852: 2845: 2840: 2836: 2831: 2827: 2822: 2818: 2795: 2766: 2762: 2747: 2746: 2742: 2737: 2733: 2724: 2720: 2682: 2678: 2631:La Cinquantaine 2620: 2616: 2609: 2591: 2587: 2578: 2569: 2559: 2555: 2534: 2530: 2510:Lays , François 2504: 2500: 2484: 2480: 2475: 2471: 2452:Quéruel, p. 7. 2451: 2447: 2442: 2438: 2433: 2424: 2419: 2415: 2409:French-speakers 2401: 2397: 2393: 2377: 2304: 2250: 2247:Ferdinando Paër 2121:Felice Blangini 1993:Nicolas Isouard 1975:Bernardo Porta 1868:Horatius Coclès 1667:Luigi Cherubini 1610:Antonio Salieri 1317:Roger de Sicile 1281: 1243:Luigi Cherubini 1008: 970: 963: 950: 940: 882: 817:saute-ruisseau' 782:Théâtre italien 678:Luigi Cherubini 660: 635:of thanks. The 583: 450:Estates General 440: 425: 384: 361:Théâtre Feydeau 314:Hautes-Pyrénées 301:Reign of Terror 277: 233: 148: 122:Bertrand Barère 106:Monléon-Magnoac 90: 85: 54:Bertrand Barère 25: 17: 12: 11: 5: 4039: 4029: 4028: 4023: 4018: 4013: 4008: 4003: 3998: 3993: 3988: 3974: 3973: 3964: 3950: 3936:Anne Quéruel, 3931: 3910: 3893: 3879: 3852: 3835: 3822: 3819: 3817: 3816: 3799: 3782: 3765: 3752: 3726:from music by 3715: 3680: 3671: 3654: 3637: 3620: 3611: 3602: 3585: 3576: 3563: 3550: 3530:tripatouillage 3517: 3500: 3469: 3465:baritone clefs 3456: 3445: 3429: 3411: 3402: 3381: 3372: 3349: 3332: 3315: 3299: 3271: 3262: 3241: 3228: 3207: 3198: 3156: 3147: 3134: 3125: 3112: 3086: 3077: 3068: 3059: 3045: 3036: 3023: 3014: 3005: 2985: 2976: 2963: 2954: 2945: 2923: 2914: 2897: 2884: 2855: 2843: 2834: 2825: 2816: 2769:Les Neuf Sœurs 2760: 2740: 2731: 2718: 2685:Henri Larrivée 2676: 2658:Étienne Lainez 2614: 2607:978-8804536468 2585: 2583:, pp. 165–171. 2567: 2553: 2528: 2524:978-0195170672 2498: 2478: 2469: 2445: 2436: 2434:Fétis, op.cit. 2422: 2413: 2394: 2392: 2389: 2386: 2385: 2382: 2371: 2366: 2362: 2361: 2358: 2353: 2348: 2344: 2343: 2340: 2337: 2332: 2328: 2327: 2324: 2322:Antonin Reicha 2319: 2314: 2310: 2309: 2306: 2301: 2296: 2292: 2291: 2288: 2283: 2278: 2274: 2273: 2270: 2265: 2260: 2256: 2255: 2252: 2243: 2238: 2234: 2233: 2230: 2225: 2220: 2216: 2215: 2212: 2209: 2204: 2200: 2199: 2196: 2193: 2190:Fernand Cortez 2186: 2182: 2181: 2178: 2175: 2172:La mort d'Adam 2168: 2164: 2163: 2160: 2157: 2150: 2146: 2145: 2142: 2136: 2131: 2127: 2126: 2123: 2118: 2113: 2109: 2108: 2105: 2100: 2093: 2089: 2088: 2085: 2080: 2075: 2071: 2070: 2067: 2064: 2059: 2055: 2054: 2051: 2046: 2041: 2037: 2036: 2033: 2028: 2023: 2019: 2018: 2015: 2008: 2003: 1999: 1998: 1995: 1989: 1984: 1980: 1979: 1976: 1973: 1968: 1964: 1963: 1960: 1957: 1950: 1946: 1945: 1942: 1937: 1932: 1928: 1927: 1924: 1921: 1916: 1912: 1911: 1908: 1906:Bernardo Porta 1903: 1898: 1894: 1893: 1890: 1887: 1882: 1878: 1877: 1874: 1871: 1864: 1860: 1859: 1856: 1853: 1848: 1844: 1843: 1840: 1837: 1832: 1828: 1827: 1824: 1818: 1813: 1809: 1808: 1805: 1800: 1795: 1791: 1790: 1787: 1782: 1777: 1773: 1772: 1769: 1764: 1759: 1755: 1754: 1751: 1748: 1743: 1739: 1738: 1735: 1732: 1727: 1723: 1722: 1719: 1716: 1709: 1705: 1704: 1701: 1698: 1693: 1689: 1688: 1685: 1682: 1677: 1673: 1672: 1669: 1664: 1657: 1653: 1652: 1649: 1643: 1636: 1632: 1631: 1628: 1625: 1620: 1616: 1615: 1612: 1607: 1600: 1596: 1595: 1592: 1587: 1582: 1578: 1577: 1574: 1571: 1564: 1560: 1559: 1556: 1553: 1546: 1542: 1541: 1538: 1535: 1528: 1524: 1523: 1520: 1515: 1508: 1504: 1503: 1500: 1495: 1488: 1484: 1483: 1480: 1477: 1472: 1468: 1467: 1464: 1459: 1452: 1448: 1447: 1444: 1441: 1434: 1430: 1429: 1426: 1420: 1415: 1411: 1410: 1407: 1404: 1397: 1393: 1392: 1389: 1384: 1379: 1375: 1374: 1371: 1366: 1359: 1355: 1354: 1351: 1346: 1339: 1335: 1334: 1328: 1327: 1324: 1319: 1314: 1310: 1309: 1306: 1301: 1296: 1292: 1291: 1288: 1276: 1271: 1267: 1266: 1263: 1258: 1253: 1249: 1248: 1245: 1240: 1233: 1229: 1228: 1225: 1220: 1213: 1209: 1208: 1205: 1202: 1197: 1193: 1192: 1189: 1186: 1181: 1177: 1176: 1173: 1168: 1163: 1159: 1158: 1155: 1152: 1147: 1143: 1142: 1139: 1136: 1131: 1127: 1126: 1123: 1121:Nicolas Dezède 1118: 1113: 1109: 1108: 1105: 1100: 1097:La toison d'or 1093: 1089: 1088: 1085: 1080: 1075: 1071: 1070: 1067: 1062: 1057: 1053: 1052: 1049: 1044: 1039: 1035: 1034: 1028: 1027: 1024: 1021: 1018: 1007: 1004: 992:and Figaro in 982:and Cynire in 976:Œdipe à Colone 961: 938: 881: 878: 860:with music by 809:ultra-royalist 764:Giuditta Pasta 651: 582: 579: 563:Hôtel de Ville 431: 424: 421: 403:Étienne Lainez 398:Œdipe à Colone 365:Pierre Gaveaux 276: 273: 261:Menus-Plaisirs 202:acte de ballet 158:acte de ballet 147: 144: 89: 86: 84: 81: 23: 15: 9: 6: 4: 3: 2: 4038: 4027: 4024: 4022: 4019: 4017: 4014: 4012: 4009: 4007: 4004: 4002: 3999: 3997: 3994: 3992: 3989: 3987: 3984: 3983: 3981: 3972: 3970: 3965: 3963: 3962:0-313-24394-8 3959: 3955: 3952:Spire Pitou, 3951: 3949: 3945: 3941: 3940: 3932: 3929: 3925: 3921: 3917: 3911: 3908: 3904: 3900: 3894: 3891: 3887: 3880: 3878: 3874: 3870: 3869: 3864: 3863:Stanley Sadie 3860: 3856: 3853: 3850: 3846: 3842: 3836: 3833: 3829: 3825: 3824: 3813: 3812:Gallica – BNF 3809: 3803: 3796: 3792: 3786: 3779: 3775: 3769: 3762: 3761:op.cit. supra 3756: 3749: 3745: 3741: 3737: 3733: 3729: 3725: 3719: 3712: 3711:9780520234451 3708: 3704: 3700: 3696: 3692: 3691: 3684: 3675: 3668: 3667:Gallica – BNF 3664: 3658: 3651: 3647: 3641: 3634: 3630: 3624: 3615: 3606: 3599: 3598:Gallica – BNF 3595: 3589: 3580: 3573: 3567: 3560: 3554: 3547: 3546:Gallica – BNF 3543: 3539: 3535: 3531: 3527: 3521: 3514: 3513:Gallica – BNF 3510: 3504: 3497: 3493: 3489: 3488: 3483: 3479: 3473: 3466: 3460: 3454: 3449: 3442: 3438: 3433: 3426: 3422: 3415: 3406: 3399: 3395: 3391: 3385: 3376: 3369: 3365: 3364: 3359: 3353: 3346: 3342: 3336: 3329: 3325: 3319: 3312: 3308: 3303: 3296: 3292: 3288: 3284: 3283: 3275: 3266: 3259: 3255: 3251: 3245: 3238: 3232: 3225: 3219: 3211: 3202: 3195: 3191: 3187: 3183: 3179: 3175: 3171: 3167: 3160: 3151: 3144: 3138: 3129: 3122: 3116: 3109: 3106: 3101: 3096: 3090: 3081: 3072: 3063: 3055: 3049: 3040: 3033: 3027: 3018: 3009: 3002: 2998: 2989: 2980: 2973: 2972:Opéra-Comique 2967: 2958: 2949: 2942: 2938: 2934: 2933:Étienne Méhul 2927: 2918: 2911: 2907: 2901: 2894: 2888: 2881: 2877: 2872: 2868: 2859: 2850: 2848: 2838: 2829: 2820: 2813: 2809: 2805: 2799: 2794: 2790: 2786: 2782: 2778: 2774: 2770: 2764: 2757: 2753: 2744: 2735: 2728: 2722: 2715: 2711: 2707: 2703: 2702:Joseph Legros 2700: 2696: 2695: 2690: 2689:bass-baritone 2686: 2680: 2673: 2669: 2668: 2663: 2659: 2655: 2651: 2649: 2644: 2640: 2636: 2632: 2629:'s pastorale 2628: 2624: 2623:Joseph Legros 2618: 2608: 2604: 2600: 2596: 2589: 2582: 2576: 2574: 2572: 2564: 2557: 2550: 2546: 2542: 2538: 2532: 2525: 2521: 2517: 2516: 2511: 2507: 2502: 2495: 2491: 2487: 2482: 2473: 2466: 2462: 2459: 2455: 2454:La Provençale 2449: 2440: 2431: 2429: 2427: 2417: 2410: 2406: 2399: 2395: 2383: 2381: 2376: 2372: 2370: 2367: 2364: 2363: 2359: 2357: 2354: 2352: 2349: 2346: 2345: 2341: 2338: 2336: 2333: 2330: 2329: 2325: 2323: 2320: 2318: 2315: 2312: 2311: 2307: 2302: 2300: 2297: 2294: 2293: 2289: 2287: 2284: 2282: 2279: 2276: 2275: 2271: 2269: 2266: 2264: 2261: 2258: 2257: 2253: 2248: 2244: 2242: 2239: 2236: 2235: 2231: 2229: 2226: 2224: 2221: 2218: 2217: 2213: 2210: 2208: 2205: 2202: 2201: 2197: 2194: 2192: 2191: 2187: 2184: 2183: 2179: 2176: 2174: 2173: 2169: 2166: 2165: 2161: 2158: 2156: 2155: 2151: 2148: 2147: 2143: 2140: 2137: 2135: 2132: 2129: 2128: 2124: 2122: 2119: 2117: 2114: 2111: 2110: 2106: 2104: 2101: 2099: 2098: 2094: 2091: 2090: 2086: 2084: 2081: 2079: 2076: 2073: 2072: 2068: 2065: 2063: 2060: 2057: 2056: 2052: 2050: 2047: 2045: 2042: 2039: 2038: 2034: 2032: 2029: 2027: 2024: 2021: 2020: 2016: 2014: 2013: 2009: 2007: 2004: 2001: 2000: 1996: 1994: 1990: 1988: 1985: 1982: 1981: 1977: 1974: 1972: 1969: 1967:Young Horace 1966: 1965: 1961: 1958: 1956: 1955: 1951: 1948: 1947: 1943: 1941: 1938: 1936: 1933: 1930: 1929: 1925: 1923:André Gretry 1922: 1920: 1917: 1914: 1913: 1909: 1907: 1904: 1902: 1899: 1896: 1895: 1891: 1888: 1886: 1885:Toulon soumis 1883: 1880: 1879: 1875: 1872: 1870: 1869: 1865: 1862: 1861: 1857: 1854: 1852: 1849: 1846: 1845: 1841: 1838: 1836: 1833: 1830: 1829: 1825: 1822: 1819: 1817: 1814: 1811: 1810: 1806: 1804: 1803:Honoré Langlé 1801: 1799: 1796: 1793: 1792: 1788: 1786: 1783: 1781: 1778: 1775: 1774: 1770: 1768: 1765: 1763: 1760: 1757: 1756: 1752: 1749: 1747: 1744: 1741: 1740: 1736: 1733: 1731: 1728: 1725: 1724: 1720: 1717: 1715: 1714: 1710: 1707: 1706: 1702: 1699: 1697: 1696:Les prétendus 1694: 1691: 1690: 1686: 1684:André Grétry 1683: 1681: 1678: 1675: 1674: 1670: 1668: 1665: 1663: 1662: 1658: 1655: 1654: 1650: 1648: 1644: 1642: 1641: 1637: 1634: 1633: 1629: 1626: 1624: 1621: 1618: 1617: 1613: 1611: 1608: 1606: 1605: 1601: 1599:Young Horace 1598: 1597: 1593: 1591: 1588: 1586: 1583: 1580: 1579: 1575: 1572: 1570: 1569: 1565: 1562: 1561: 1557: 1554: 1552: 1551: 1547: 1544: 1543: 1539: 1537:André Grétry 1536: 1534: 1533: 1529: 1526: 1525: 1521: 1519: 1516: 1514: 1513: 1509: 1506: 1505: 1501: 1499: 1496: 1494: 1493: 1489: 1486: 1485: 1481: 1479:André Grétry 1478: 1476: 1473: 1470: 1469: 1465: 1463: 1460: 1458: 1457: 1453: 1450: 1449: 1445: 1443:André Grétry 1442: 1440: 1439: 1435: 1432: 1431: 1427: 1424: 1421: 1419: 1416: 1413: 1412: 1408: 1405: 1403: 1402: 1398: 1395: 1394: 1390: 1388: 1385: 1383: 1380: 1377: 1376: 1372: 1370: 1367: 1365: 1364: 1360: 1357: 1356: 1352: 1350: 1347: 1345: 1344: 1340: 1337: 1336: 1333: 1329: 1325: 1323: 1320: 1318: 1315: 1312: 1311: 1307: 1305: 1302: 1300: 1297: 1294: 1293: 1289: 1285: 1280: 1277: 1275: 1272: 1269: 1268: 1264: 1262: 1259: 1257: 1254: 1251: 1250: 1246: 1244: 1241: 1239: 1238: 1234: 1231: 1230: 1226: 1224: 1221: 1219: 1218: 1214: 1211: 1210: 1206: 1204:André Grétry 1203: 1201: 1198: 1195: 1194: 1190: 1188:André Gretry 1187: 1185: 1182: 1179: 1178: 1174: 1172: 1169: 1167: 1164: 1161: 1160: 1156: 1154:André Grétry 1153: 1151: 1148: 1145: 1144: 1140: 1137: 1135: 1132: 1129: 1128: 1124: 1122: 1119: 1117: 1114: 1111: 1110: 1106: 1104: 1101: 1099: 1098: 1094: 1091: 1090: 1086: 1084: 1081: 1079: 1076: 1073: 1072: 1068: 1066: 1063: 1061: 1058: 1055: 1054: 1050: 1048: 1045: 1043: 1040: 1037: 1036: 1033: 1029: 1025: 1022: 1019: 1016: 1015: 1012: 1006:Roles created 1003: 1001: 997: 996: 991: 990: 985: 981: 977: 967: 964:Spire Pitou, 960: 955: 947: 943: 937: 932: 930: 925: 923: 919: 915: 911: 907: 903: 902:Michael Kelly 899: 895: 891: 890:bass-baritone 887: 877: 875: 871: 865: 863: 859: 855: 851: 850: 846: 845:opéra comique 842: 835: 830: 826: 821: 818: 813: 810: 806: 801: 799: 796:, a pupil of 795: 791: 787: 783: 779: 775: 774: 769: 765: 760: 759:opera house. 758: 754: 750: 746: 742: 738: 734: 730: 726: 725: 720: 716: 712: 708: 703: 699: 698:Low Countries 693: 691: 687: 683: 679: 675: 671: 667: 659: 655: 649: 645: 642: 638: 634: 630: 626: 621: 619: 614: 613: 608: 604: 600: 596: 592: 588: 578: 576: 572: 568: 564: 560: 556: 552: 547: 542: 540: 533: 531: 527: 523: 519: 515: 510: 508: 503: 501: 497: 493: 489: 485: 481: 477: 473: 469: 465: 461: 460: 455: 451: 447: 446:Ancien Régime 439: 435: 429: 420: 418: 417: 412: 408: 404: 400: 399: 394: 388: 383: 379: 374: 373:Opéra-Comique 370: 366: 362: 358: 353: 351: 347: 343: 342:Antoine Trial 339: 335: 331: 327: 321: 319: 315: 310: 306: 302: 297: 294: 290: 286: 282: 272: 270: 265: 262: 258: 257: 252: 248: 243: 237: 232: 229: 225: 221: 216: 214: 210: 206: 203: 199: 198: 193: 189: 188: 183: 179: 175: 171: 167: 163: 162:La Provençale 160: 159: 154: 143: 141: 140: 135: 131: 130:Enlightenment 127: 123: 119: 115: 111: 107: 103: 99: 95: 80: 78: 74: 70: 66: 61: 59: 55: 51: 47: 43: 39: 35: 31: 24:François Lays 21: 3966: 3953: 3938: 3928:Google Books 3923: 3902: 3885: 3866: 3858: 3849:Google Books 3844: 3832:Google Books 3827: 3807: 3802: 3790: 3785: 3773: 3768: 3760: 3755: 3742:, Philidor, 3718: 3702: 3688: 3683: 3674: 3662: 3657: 3645: 3640: 3628: 3623: 3614: 3605: 3593: 3588: 3579: 3571: 3566: 3553: 3541: 3538:Beaumarchais 3529: 3525: 3520: 3508: 3503: 3491: 3485: 3477: 3472: 3459: 3452: 3448: 3441:Google Books 3436: 3432: 3424: 3414: 3405: 3389: 3384: 3375: 3361: 3352: 3344: 3341:Le Rossignol 3340: 3335: 3323: 3318: 3306: 3302: 3290: 3282:The Creation 3280: 3274: 3265: 3253: 3244: 3236: 3231: 3224:Google Books 3218:Google Books 3210: 3201: 3194:Google Books 3189: 3185: 3177: 3173: 3166:surintendant 3165: 3159: 3150: 3137: 3128: 3120: 3115: 3098: 3089: 3080: 3071: 3062: 3053: 3048: 3039: 3026: 3017: 3008: 2996: 2988: 2979: 2966: 2957: 2948: 2936: 2926: 2917: 2905: 2900: 2887: 2880:Google Books 2875: 2866: 2858: 2837: 2828: 2819: 2811: 2803: 2785:Google Books 2780: 2776: 2763: 2751: 2743: 2734: 2726: 2721: 2708:kept at the 2699:haute-contre 2692: 2679: 2665: 2654:Google Books 2646: 2639:For-l'Évêque 2630: 2617: 2610:(in Italian) 2598: 2594: 2588: 2580: 2556: 2549:Google Books 2545:Google Books 2540: 2536: 2531: 2513: 2509: 2506:George Grove 2501: 2494:Google Books 2489: 2486:Castil-Blaze 2481: 2472: 2460: 2458:opéra-ballet 2453: 2448: 2439: 2416: 2398: 2368: 2350: 2334: 2316: 2298: 2281:Le rossignol 2280: 2262: 2240: 2227: 2222: 2206: 2188: 2170: 2152: 2133: 2115: 2095: 2077: 2061: 2048: 2043: 2025: 2010: 2005: 1986: 1970: 1952: 1934: 1918: 1900: 1884: 1866: 1850: 1847:Démosthènes 1834: 1815: 1797: 1779: 1761: 1745: 1729: 1711: 1695: 1679: 1676:Aristophane 1659: 1638: 1622: 1602: 1584: 1566: 1548: 1530: 1510: 1490: 1474: 1454: 1436: 1417: 1399: 1381: 1361: 1341: 1331: 1316: 1298: 1273: 1255: 1235: 1215: 1199: 1183: 1165: 1149: 1133: 1115: 1095: 1083:André Grétry 1077: 1059: 1041: 1031: 1009: 993: 987: 983: 979: 978:, Oreste in 975: 972: 965: 957: 952: 945: 934: 926: 921: 917: 897: 886:basse-taille 885: 883: 874:Loire valley 866: 857: 853: 847: 837: 832: 828: 823: 816: 802: 790:Le rossignol 789: 778:Le rossignol 777: 771: 761: 753:Valenciennes 737:Pierre Lafon 722: 711:Le rossignol 710: 701: 694: 689: 666:Le rossignol 665: 663: 654:Le rossignol 653: 632: 629:Hundred Days 622: 610: 594: 584: 575:Marie Louise 566: 548: 544: 538: 535: 530:Castil-Blaze 517: 511: 504: 479: 457: 443: 433: 414: 406: 396: 377: 369:Marseillaise 356: 354: 345: 322: 298: 293:Jacobin Club 279:A long-time 278: 266: 254: 228:haute-contre 217: 208: 204: 201: 195: 185: 177: 161: 156: 149: 146:Early career 137: 91: 77:Le rossignol 76: 68: 62: 33: 30:François Lay 29: 28: 3991:1831 deaths 3986:1758 births 3934:(in French) 3913:(in French) 3896:(in French) 3882:(in French) 3838:(in French) 3398:23 November 3394:20 November 3103: [ 2993:(in French) 2893:comic tenor 2863:(in French) 2796: [ 2748:(in French) 2465:opere buffe 2331:Colibrados 2241:L'Oriflamme 1971:Les Horaces 1881:A criminal 1762:Le portrait 1758:Le Sauvage 1604:Les Horaces 1396:A Scythian 1332:Other roles 1282: [ 721:'s tragedy 641:Louis XVIII 581:Final years 492:Paul Barras 385: [ 330:Robespierre 309:Montagnards 234: [ 46:Paris Opéra 3980:Categories 3390:Bigarrures 2391:References 2277:Le bailli 2154:La vestale 2062:Mahomet II 1983:Chariclès 1949:Flaminius 1798:Corisandre 1507:Gandartès 1378:Le Bailli 1252:Aristippe 1217:Proserpine 1162:Praxitèle 1038:Pétrarque 1032:Lead roles 1017:Character 922:La Vestale 914:tenor clef 898:concordant 686:Strasbourg 612:La vestale 591:Talleyrand 3740:Paisiello 3561:(p. 318). 3524:Michaud, 3487:Démophoon 3324:Macedoine 2579:Quéruel, 2347:Béranger 2130:Licinius 2002:Bochoris 1726:Mathurin 1661:Démophoon 1635:Vellinus 1545:The king 1414:Florival 1358:Proténor 1270:Sophocle 1256:Aristippe 1232:Anacréon 1166:Praxitèle 1146:Anacréon 1112:Alcindor 1023:Composer 910:bass clef 870:Ingrandes 841:Boieldieu 805:Charles X 768:Meyerbeer 567:Trasibule 555:Tuileries 488:Directory 434:Aristippe 281:Freemason 134:Languedoc 110:baritenor 83:Biography 3736:Cimarosa 3574:(p. 49). 3526:op. cit. 3453:op. cit. 3237:op. cit. 2645:et al., 2641:prison ( 2627:La Borde 2595:Appendix 2365:Le cadi 2295:Bacchus 2259:Socrate 2228:pastiche 2185:Telasco 2112:Éliézar 2049:pastiche 2026:Tamerlan 2012:pastiche 1915:Le curé 1812:Lafleur 1794:Lourdis 1776:Atabila 1713:Démophon 1619:Thaddée 1581:Germond 1568:Dardanus 1563:Anténor 1487:Hidraot 1471:Myrtile 1274:Sophocle 1237:Anacréon 1196:Delphis 1116:Alcindor 1074:Panurge 962:— 939:— 918:Anacréon 894:baritone 618:Bourbons 607:Spontini 476:Panthéon 472:Voltaire 468:Mirabeau 393:Sacchini 305:Girondin 285:Rousseau 247:Brussels 240:and the 222:and the 192:Piccinni 118:Toulouse 79:(1816). 58:Napoleon 38:baritone 3865:(ed.), 3821:Sources 3559:Lajarte 3421:Emperor 3239:above). 2662:Salieri 2405:Occitan 2335:Zéloïde 2313:Voldik 2219:Kan-si 2092:Hidala 2074:Rustan 2022:Moctar 1831:Thomas 1708:Narbal 1680:Aspasie 1550:Chimène 1456:Électre 1451:Égiste 1295:Pélage 1212:Pluton 1130:Pollux 1056:Thésée 872:in the 834:family. 798:Rossini 745:Dunkirk 724:Athalie 633:Te Deum 603:Lesueur 599:Persuis 482:at the 470:'s and 462:at the 459:Te Deum 411:Salieri 338:Dugazon 102:Gascony 98:Bigorre 3960: 3946: 3875: 3748:Handel 3744:Gossec 3728:Mozart 3709: 3534:comedy 3001:Persée 2871:octavo 2781:online 2756:Persée 2667:Tarare 2605: 2522: 2203:Roger 2149:Cinna 2058:Morat 2040:David 1954:Adrien 1742:Mozès 1656:Astor 1585:Rosine 1527:Husca 1492:Renaud 1363:Persée 1313:Roger 1299:Pélage 1092:Jason 1020:Opera 1000:Mozart 735:; and 719:Racine 514:Grétry 454:Gossec 416:Tarare 73:Lebrun 65:Grétry 3861:, in 3732:Haydn 3695:Haydn 3496:IMSLP 3482:IMSLP 3287:Haydn 3188:, in 3107:] 3095:Collé 2800:] 2384:1822 2360:1818 2342:1818 2326:1816 2308:1816 2290:1816 2272:1814 2254:1814 2232:1813 2214:1812 2198:1809 2180:1809 2167:Seth 2162:1807 2144:1807 2125:1806 2107:1804 2087:1804 2069:1803 2053:1803 2035:1802 2017:1801 1997:1801 1978:1800 1962:1799 1944:1795 1926:1794 1910:1794 1892:1794 1876:1794 1858:1794 1842:1793 1826:1791 1807:1791 1789:1791 1771:1790 1753:1790 1737:1790 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