Théâtre Lyrique - Knowledge

1577: 1635: 2124: 1765: 1214: 33: 1832: 1163: 1903: 1031: 317: 1969: 1687: 169: 538: 896: 650: 434: 1006:(14 April 1860) wrote that Ugalde "fills the role of the hero to the great delight of the public, for whatever charm may now and then be found wanting in her voice she supplies by her animated acting nothing is equal to the song she sings before the door of the inn where the villagers are feasting, accompanying herself with a mandoline. He is expressing the hunger he feels, and when they will not listen to him he changes his tone to diabolical menaces. The air was rapturously encored." Albert Lasalle tells us that "the 'Serenade of Gil Blas' was used on all the 728: 970: 236: 452:. This arrangement created some anxieties within the company regarding potential conflicts of interest between itself and its chief rival. An announcement was made in an attempt to allay these concerns: "Each of the two establishments will have a separate company and special repertory. The Théâtre Lyrique will not be the vassal of its elder brother, on the contrary, every effort will be made to keep up a noble spirit of emulation between the two, which cannot fail to be profitable to the art." 290:. Saint-Léon, a "very indifferent" composer, was primarily a dancer and choreographer, but also played violin. For the premiere Saint-Léon had composed and played a violin solo called "Une matinée à la Campagne" ("A morning in the country") in which he imitated all the sounds of a barnyard. It proved to be the most popular piece of the evening, and if he played it for the royal couple, it was probably well received – their musical tastes ran to polkas and waltzes. One of the ballerinas, 1954:

for four months. Pasdeloup allowed them to have the company's scenery and costumes free of charge. They were also able to use the theatre rent free and obtained a reduction in the charges for the lighting and operational costs (not that the owner, the Municipality of Paris, had much choice in the matter). They needed a new production as soon as possible and were able to obtain from Émile Perrin, now the director of the Opéra, the rights to Halévy's five-act grand opera

1418: 262:, and the wedding took place a week later amid the usual festivities. Princess Mathilde may have reported favorably to her relatives of her visit to the Théâtre Lyrique: the Emperor and his new bride attended a performance there on the night of 28 February. The boulevard du Temple was specially lit up and decorated for the occasion, and Seveste received the couple at the foot of the staircase leading up to the auditorium. The program included 1729:(11 July 1869), commented: "M. Wagner confirmed in a letter that M. Pasdeloup had only taken the direction of the Théâtre Lyrique to perform his six operas. We hope that M. Pasdeloup will repudiate this bragging. If the Théâtre Lyrique is subventioned it is primarily to assist the French school and M. Pasdeloup must never forget that. One Wagner opera will suffice for our enlightenment." Even so, the new season began with a performance of 2018:, who was almost twenty years younger. Early in April Cabel contracted bronchitis, and by 17 April 1870 the production had to be abandoned. (The work transferred to the Opéra-Comique, where it opened successfully on 7 July 1870, with a cast including Jules Monjauze, Marie Roze, and Marguerite Priola in the role Cabel was to have sung. It remained in the repertory there until 1890.) The Théâtre Lyrique's season finally ended on 31 May. 208:), which received an especially lavish production. Dual casts were employed so the piece could be performed on successive evenings. Adam's opera was given 66 times before the end of the year, and eventually received a total of 166 performances by the company, the last being in 1863. The 60th performance in December was an especially gala affair, attended by a noted patron of the arts, 255:, a part which he had created to great acclaim in 1836. The critic Gustave Hécquet wrote that "Chollet has lost nothing of his talent from the old days. He still has his figure, his comic gestures, his delivery (clear and energetic)... You can imagine how he was received in the role in which he always triumphed. It was like a family gathering, a return of the prodigal son...". 1679:, and the costumes were plentiful and rich. The chorus was enlarged to 120 voices, and many of the principal artists of the company had agreed to sing in it for this production. At certain points in the opera as many as 200 extras were on stage at once. The cast included Jules Monjauze as Rienzi, Anna Sternberg as Irène, Juliette Borghèse as Adriano, and 363:. At the Lyrique she began attracting the carriage trade, and boxes had to be reserved four or five days in advance. The first 15 performances of the new opera yielded more than 60,000 francs. The Emperor and Empress came to see her just before Christmas. The opera received 40 performances before the end of that year, and a total of 132 by the company. 1884:. The locale was changed from Edinburgh to Hungary, and the opera had been expanded to four acts with additional music, including recitatives in place of spoken dialogue and new music for La Reine Mab (The Queen of the Gypsies). In Rouen this had become the principal role, overshadowing Sarah (Arline), probably because La Reine Mab was performed by 609:, although Perrin appears to have omitted this. Weber had objected to the many changes, but Castil-Blaze replied that Weber was being ungrateful, as the alterations would guarantee the opera's success in France. Adding "financial insult to artistic injury", the adaptors, not the composer, were the ones to receive the performance fees. 2003:(10 April 1870), congratulated the artists for having succeeded in getting it staged and then proceeded to list all the cuts that had been made, which included the ballet in Act II and the finale of Act III among others, adding up to almost 140 pages of the orchestral score, and still thought some portions were too long. 1899:

consisted of a prologue and four acts. The recitatives and new music for the 1869 version were probably composed by Balfe himself, who arrived in Paris in March and was present during the preparation period, even though he appears to have been seriously ill with bronchitis and bedridden during most of that time.

1828:(30 September 1869) wrote: "The two or three squibs spit forth by the convulsed volcano are conducive to mirth alone. ... We can assure M. Pasdeloup that no country theatre in Italy would have ventured to put off the public with such a wretched apology for an eruption." This opera was only performed 13 times. 224:, having himself crowned emperor on 2 December. For a boulevard theatre which typically charged a maximum of five or six francs for its most expensive seats, this was indeed an increase in status. Seveste was also fortunate with his second new offering that season, a "trifling" one-act opéra comique by 703:. Miolan-Carvalho was to become the most important singer in the company. Although Pellegrin's appointment with the Théâtre Lyrique was ratified on 29 September 1855, he was having little success and shortly after signing Miolan-Carvalho, in the midst of preparations for a new premiere, Clapisson's 676:, whereof Weber had no idea, and which, had he heard them, would have driven him mad. Madame Lauters thought she could not go wrong in following the advice of so great a master of the art vocal as M. Duprez, and accordingly she repeated, note for note, what he had taught her. The public delighted at a 1021:

was a magnificent production, but M. Carvalho had spent 150,000 francs on it, that is to say 120,000 francs too much." He resigned as director of the company on 1 April. Charles Réty, who had joined the company in March 1856 as secretary-general, took his place, and the quality of

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and have probably been lost. First performed on 23 April 1862, it was given 13 times, an unusually large number for a provincial production. De Saint-Georges, who had helped to stage the opera in Rouen, also worked on the Paris version, which was modified further to restore the role of Sarah and now

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They began at eight o'clock.—They finished at two.—Eighty instrumentalists in the orchestra, thirty on the stage, a hundred thirty choristers, a hundred fifty walk-ons.—Work badly constructed. A single role: that of Rienzi, remarkably played by Monjauze. An uproar, of which nothing can give an idea;

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was reappointed director of the company on 7 October 1862. As before Carvalho kept the company solvent by reviving established operas, including both French and foreign works translated into French. Revivals at the theatre on the Place du Châtelet included a new, more faithful translation of Weber's

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Finding a new director was going to take some time, so the artists banded together and attempted to manage the company themselves. They sought additional funds from the Minister of Fine Arts, and did receive a slight increase of 10,000 francs in the existing subvention, now a total of 60,000 francs

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Most of Léon Carvalho's productions were to be substantial works of 3 acts or more, as opposed to the large number of one-act opéras comiques which had previously predominated. His presentations were more carefully prepared and lavishly produced, and one production (or an alternating pair) was kept

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were also made somewhat more restrictive at this time, calling for 15 acts of new works per season, at least three by composers previously unperformed in Paris. In addition, Perrin was not allowed to present more than 6 acts by any composer who had already had four or more works staged by the Opéra

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Bizet and Galabert, p. 72: "On a commencé à huit heures.—On a terminé à deux heures.—Quatre-vingt musiciens à l'orchestre, trente sur la scène, cent trente choristes, cent cinquante figurants.—Pièce mal faite. Un seul rôle: celui de Rienzi, remarquablement tenu par Monjauze. Un tapage dont rien ne

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During the Commune several concerts were presented in the theatre by the Fédération Artistiques, but on 25 May 1871 a fire started as a result of the fighting between the government forces and those of the Commune, and destroyed most of the building including the auditorium and the stage. The wind

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The diverse repertoire of the company "cracked the strict organization of the Parisian operatic world by breaking away from the principle that institution and genre were of one substance." The company was generally most successful with revivals of foreign works translated into French, particularly

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The Théâtre Lyrique's production was first performed on 30 December 1869, and the cast included Palmyre Wertheimber as La Reine Mab, Hélène Brunet-Lafleur as Sarah, and Jules Monjauze as Stenio de Stoltberg. Balfe wrote in his diary that it was "a great and genuine success". Paul de Saint-Victor,

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of France. The production was first presented on 5 May, and unfortunately Viardot did not repeat the success she had with Orphée. The part was too high for her, and inexplicably the spoken dialogue gave her difficulty, making the audience uncomfortable. Guardi was not much better. It closed

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of the principal journalists that Madame Lauters woke from her dream of contented happiness. Like a sensible woman she profited by advice, though the cup was bitter and the dose strong. I have heard her again, and was delighted to find she had discarded M. Duprez and returned to Weber. A greater

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from the Opéra as her replacement. Marie Schroeder, who was cast as Queen Isabelle, also became ill and had to be replaced with Joséphine Daram. The opening, which had been announced for 16 March, had to be postponed, since Bloch came down with influenza. The opera was finally performed on

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Perrin may have been somewhat disappointed with his results at the theatre. In any case, he resigned his post and Pierre Pellegrin took his place. Marie Cabel was under contract directly with Perrin, so the company's star soprano transferred before the end of the year to the Opéra-Comique where

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in a French translation by the reliable Edouard Duprez. Marie-Stéphanie Meillet was reengaged for the important role of Amelia. Juliette Borghèse sang Ulrique, and Richard (Riccardo) was sung by a tenor by the name of Massy. The production opened on 17 November 1869 to ecstatic reviews and was

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on stage until it was no longer making money. If successful, fewer productions were mounted in a given year, if not, new production activity could become almost feverish. He put a greater emphasis on public domain works, significantly exceeding the 1851 rule (which had been established for the

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had been raised to offset the extra costs, but the reviews, which were extensive, were mostly critical. By 13 May the prices had to be lowered, and the work had been cut so much that it was reduced to little more than unending dialogue between Rienzi and the people of Rome. Nevertheless,

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was underway. All theatres were closed, and the Théâtre Lyrique, along with most theatres in Paris, was converted to an ambulance station. After the armistice on 28 January 1871, Martinet resumed planning for the Théâtre Lyrique's now delayed season. Rehearsals were begun for four operas,

1709:: a breathtaking, Olympian grandeur! inspiration, without measure, without order, but of genius! will it be a success? I do not know!—The house was full, no claque! Some prodigious effects! some disastrous effects! some cries of enthusiasm! then doleful silence for half-an-hour." 3150:

prodigieusement: une grandeur, un souffle olympiens! du génie, sans mesure, sans ordre, mais du génie! sera-ce un succès? Je l'ignore!–La salle était pleine, pas de claque! Des effets prodigieux! des effets désastreux! des cris d'enthousiasme! puis des silences mornes d'une

1629:, although having the proper physique, not quite up to the role of the Don vocally – his voice began to fail by the end of the second act. Ruelle also felt that the lack of important female roles and a tenor produced a certain monotony in the timbres of the musical numbers. 1619:, "was received benevolently but without favor. The piece was lacking in interest or movement; it presented nothing but a series of scenes badly stitched one to the other, and which passed before the eyes of the spectator like magic lantern slides." Jules Ruelle, writing in 1654:

on 6 April 1869. Pasdeloup was a well known advocate of Wagner's music and had performed it often at his popular concerts at the Cirque Napoléon, even though it was sometimes greeted with hostility by both his orchestra and many in his audiences. He had travelled to

1930:, when compared to Balfe's earlier operas which had been presented in Paris, was by far a more fortunate show, that greatly benefited from its "singable, fresh melodies" and the careful ensemble work of the principal artists. Some however found Balfe's 1843 opera dated. 965:

as Jupiter, this production was less successful: "it merely fizzled out after 13 indifferent performances." It was, however, revived more successfully in a two-act version at the Opéra-Comique in 1876. The revised version was kept in that company's repertory up to 1943.

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du Théâtre-Lyrique fut accueilli avec bienveillance, sinon avec faveur. La pièce était dénuée d'intérêt et de mouvement; elle ne présentait qu'une série de scènes mal cousues les unes aux autres, et qui passaient devant l'oeil du spectateur comme des verres de lanterne

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kept the fire from the upper part of the building near the river, where costumes, music, administrative papers, and the archives of the company were stored, and these survived. The theatre was not rebuilt until 1874 and was never again used by the Théâtre Lyrique.

747:, was later to say: "I admit my weakness for this indomitable and inventive director, who has done more for the spreading of great music than all the other lyric theatres in Paris put together." Carvalho was greatly aided in his success by the presence of his wife 1185:, and he also designed a larger, but similarly styled theatre, the Cirque Impérial, on the west side of the square. The two theatres, which face each other, are still to be found in the same locations, but with different names: the Cirque Impérial soon became the 1075:

after only eleven performances with the claim that Viardot and Battaille had other engagements, but poor ticket sales were undoubtedly the deciding factor. Réty finished the season by introducing some insubstantial new works and giving further performances of

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Opinions et jugements de la presse parisienne sur l'Aumonier du régiment, opéra-comique en un acte; paroles de MM. de Leuven et de Saint-Georges, musique de M. Hector Salomon, représenté pour la première fois sur le théâtre national lyrique, le 14 septembre

1934:(2–3 January 1870) wrote: "Our generation neither knows nor applauds the Maestro Balfe." Despite the warm reception on the opening night and the generally positive reviews, the production was only moderately successful, receiving a total of 29 performances. 603:'s novels may also have been an influence, since Scotland is also mentioned. The famous Wolf's Glen scene was located at the crossroads of Saint Dunstan. Among the alterations to the music was the addition of a duet ("Hin nimm die Seele mein!") from Weber's 2894:» a usé tous les cylindres d'orgues de Barbarie pendant deux ou trois ans. Au théâtre, Mme Ugalde (rôle de Gil Blas) était obligée de la répéter trois fois; après la seconde audition, le public du boulevard du Temple, médiocre latiniste, demandait encore 1937:

By this time Pasdeloup had already decided that he was ready to leave. Having offered his resignation some weeks earlier, he officially retired as director on 31 January 1870. He did not go quietly, however, for on his last night he conducted Wagner's

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The wheels of the bureaucracy had finally caught up with reality at the Théâtre Lyrique on 21 May 1854, when the Minister of the Interior announced that Jules Seveste was now indeed the legitimate holder of the ten-year license, formerly for the

1663:, and Wagner agreed to many of Pasdeloup's suggested alterations for adapting the work to a French audience. The libretto was translated by Charles Nuitter and Jules Guillaume, and the rehearsals, which at Wagner's suggestion were superintended by 1405:, were to be presented at the more distinguished Ventadour, while the company's simpler productions and operas by young composers were to be presented at the theatre on the Place du Châtelet. Performances at the new venue began on 16 March with 2142:

on the rue Papin. Vizentini, who had been principal solo violin with the original Théâtre Lyrique from 1863 to 1867, operated his company from 5 May 1876 to 2 January 1878. During this time he presented the premieres of Victorin de Joncières'

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There were of course difficulties getting the production ready. The mezzo-soprano, Hélène Brunet-Lafleur, who was to sing the all-important role of Odette, became ill and eventually withdrew. Perrin again stepped into the breach and provided

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During Réty's directorship receipts at the theatre had consistently fallen, so that by 4 October 1862 he finally gave up and resigned with debts of 773,000 francs. Later in his career (1870–1895) he would become the music critic of

1571:(31 January 1869) agreed: "Unfortunately he does not work on the same principles as M Carvalho, the production is therefore diminished as, consequently, is the success, in spite of all the care given elsewhere to the orchestral part." 1964:

generously provided a replacement free of charge.) With the political situation as it was, the nationalistic sentiments of the opera, with its cries of "Guerre aux tyrans!" ("War on the tyrants!"), provided some hope for success.

249:, who had recently returned from London and at 54 was rather far along in his career, received much favorable coverage in the press. His debut with the company was on 3 November in the role of Chapelou in a revival of Adam's 1500:, and, in the afternoon the concert at the Cirque ." Pasdeloup had also retained his post as conductor of the Orphéonistes and seems to have had too little time available for running the Théâtre Lyrique. His next new revival was 1557:, complained that the audience was "as unjust as they were brutal" and found that "Mlle Orgeni is an artist of merit." None of these productions were filling the house, despite significantly lower ticket prices. Henri Moreno of 1922:, remarked that it had captivated the Parisian public and would rejuvenate Balfe's reputation in France. He found the orchestration "light and brilliant", the music "clear and alive". According to the correspondent of the 707:, he was forced to file a petition for bankruptcy. The artists attempted to take on the management of the company and on 18 January 1856 mounted a double-bill consisting of the premiere of Adam's one-act opéra comique 582:

This version had also been performed with success at the Opéra-Comique in 1835 and in several provincial theatres. The alterations to Weber's opera were both textual and musical and involved a change in setting from

1205:. The theatre was eventually rebuilt on the same site in the same style and reopened in 1874 as the Théâtre des Nations and later became the Théâtre Sarah Bernhardt, but was never again used by the Théâtre Lyrique. 2775:. "J'avoue ma faiblesse pour ce directeur indomptable et fécond qui a plus fait pour la propagation de la grande musique que toutes les autres scènes lyriques de Paris ensemble." Translated in Curtiss 1958, p. 193. 685:

improvement, a more decided change for the better, I could hardly have imagined; nor could there be a greater treat than to hear Weber's exquisite melodies uttered by the rich and musical voice of Madame Lauters.

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had had little or no experience as a theatre director when he took on the position at the Théâtre Lyrique, yet he proved to be the most successful in the company's history. His counterpart at the Opéra-Comique,

1960:. Perrin was also to provide them with the sets that had been used for the original 1843 production at the Opéra, even though it had not been heard there since 1850. (Only one salon scene was damaged, and the 2061:

by the Portuguese composer Miguel Angelo Pereira was auditioned on 30 July, but his was to be the last opera performance in the theatre. France had declared war on Germany on 16 July, and by 19 September the

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peut donner une idée; un mélange de motifs italiens; bizarre et mauvais style; musique de décadence plutôt que de l'avenir.—Des morceaux détestables! des morceaux admirables! au total; une œuvre étonnante,

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as 28 November 1853; Kutsch and Riemens 2003, p. 675, give the date as 28 April 1853 (probably an error); and Jean Hargot "Gevaert, François-Auguste" in Sadie 1992, vol. 2, p. 398, as 27 November 1853.

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The Théâtre Lyrique was created from the Opéra-National at the end of the latter's 1851–1852 season by a simple change of name. It continued to perform at the same venue, the Théâtre Historique on the

1950:(23 January 1870) that "he leaves with his head high and his hands clean. Everyone has been paid except one. Discouraged and ruined after two years of incessant fatigue and dogged efforts, it is he." 1788:, which premiered on 21 September 1869. Marie Schroeder sang the lead soprano role of Ione. It did not go unnoticed that the libretto, by Charles Nuitter and Louis-Alexandre Beaumont, was, like 1201:

in 1870. The company continued performing in the theatre, sometimes referred to as the Salle du Théâtre-Lyrique, until 25 May 1871, when it was destroyed by a fire caused by the fighting during the

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in London. Jules Seveste decided to stay in France to prepare for the fall season. In London Cabel was the star, attracting full-houses even in the midst of the summer heat and performing in Adam's

305:, all by French composers, but none of these proved to be quite as successful. Over the summer additional chorus members were auditioned and engaged, and the first violinist and assistant conductor 751:, who became the leading soprano and the company's greatest box office attraction, but Léon Carvalho also engaged other important singers who were already, or would become, major stars, including 616:

opened on 24 January 1855 and was performed 59 times that season and a total of 128 times by the company up to 1863, when it was replaced with a more faithful translation of the original called

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a mixture of Italian themes; peculiar and bad style; music of decline rather than of the future. Some numbers detestable! some admirable! on the whole; an astonishing work, prodigiously

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on the rue Scribe). The artists favored Carvalho, but Martinet eventually was awarded the post, which was announced on 28 May, and he officially became the new director on 1 July 1870.

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5 April 1870, but apparently patriotism did not provide the needed boost, and the production's reception was tepid at best with a total of 22 representations. Henri Lavoix

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Among the candidates being considered as a replacement for Pasdeloup were Léon Carvalho, a Monsieur Roux (who had directed several provincial companies), Léon Sari (formerly of the

2313: 1946:, had made his cause increasingly difficult, and the receipts were a meagre 2,000 francs. He left the company with a personal loss of 80,000 francs. Marie Escudier had written in 1802:). It was also duly noted that Wagner had strongly influenced Joncières' music. (Joncières was a Wagner enthusiast and travelled to Munich to see one of the first performances of 190:, the new director who had taken over after the death of his brother Edmond, opened the season on 4 September 1852 with the premiere of a particularly noteworthy new French 2045:

Martinet immediately began to organize the next season, first traveling to Germany to recruit singers. He planned to open the fall season with the premiere of Edmond Membrée's

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During Perrin's one full season with the company he produced 11 new French operas and only two revivals. The most successful of the premieres was a three-act opéra comique by

1114:(18 March 1862; 72 performances) with Cabel as Féline, Caroline Vadé as the Princess, Jules Monjauze as Urbain, and Émile Wartel as the Ogre of the Forest. The libretto by 1437:

with little experience as a theatre director, began with some already established productions. The season opened on 24 October with the company's revival of Halévy's

2014:. Marie Cabel, who at this point was rather far along in her career, was finding her part too high, and may have been having some difficulty coping with the presence of 1634: 1808:.) However, other influences were also heard, including Meyerbeer, Verdi, and Donizetti. It had been advertised that the settings would be designed by Enrico Robecchi, 2333: 632:

thought the sets and the men's chorus were good, but the woodwinds in the orchestra made so many egregious errors that the audience began murmuring. Paul Scudo in the

2123: 1409:, but by 7 May 1868 Carvalho was bankrupt, the new venture ceased to operate, and he was eventually forced to resign as director of the Théâtre Lyrique. 1251:

that starred Constance-Caroline Faure-Lefebvre and Marie Cabel and was first performed on 31 March 1863, but only received 18 performances; Grétry's two-act

2747: 1764: 1213: 1088:(15 October 1860; 135 performances) with Marie-Stéphanie Meillet as Rose-de Mai and Jules Monjauze as Stéphan. The most successful new work was 32: 1621: 1551:

and had a strong foreign accent. She may have been mistaken as German and was poorly received. Gustave Bertrand, writing in the 7 February issue of

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In an attempt to recover from so many poorly received productions, Pasdeloup's next new production was a revival of another Verdi opera, this time

1820:, but by the time of the premiere it was evident that much of the scenery and costumes had been reused from previous productions. The eruption of 1478:(1801), which opened on 16 November 1868. It was such an abysmal failure that it received only one performance. Next was a new revival of Gluck's 393:

After the season had ended, Lafont organized a troupe consisting of some of the singers in the company and presented a two-month summer season at

2108: 3555:

Levin, Alicia (2009). "Appendix: A Documentary Overview of Musical Theaters in Paris, 1830–1900" in Fauser and Everist 2009, pp. 379–402.

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Ellis, Katherine (2009). "Systems Failure in Operatic Paris: The Acid Test of the Théâtre-Lyrique" in Fauser and Everist 2009, pp. 49–71.

347:, created the lead soprano role of Toinon and became one of the star attractions of the company. Cabel, who had been discovered as a child by 471:

and have a successful career at the Opéra; and the tenor Léon Achard, who would later create the role of Wilhelm Meister in Ambroise Thomas'

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performed a total of 65 times, notwithstanding that the opera was also being performed that same season in Italian at the Théâtre-Italien.

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This period was also distinguished by many successful productions of new French works, including Louis Clapisson's three-act opéra comique

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Perrin was still the manager. However, Pellegrin did manage to attract some new singers, including a Mlle Pouilley who had appeared at the

1831: 421:, which had originally been awarded to his brother Edmond in 1851. Unfortunately, Jules Seveste died unexpectedly on 30 June 1854 in 378:, and the production received 43 performances. Later that season on 16 March she created the role of Marie in the three-act opéra comique 3723: 1433:

had been selected and confirmed as the new director of the Théâtre Lyrique. Pasdeloup, a successful conductor of popular concerts at the

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with Christine Nilsson as the Queen of the Night and Delphine Ugalde as Papagena (23 February 1865; 172 performances); Verdi's

672:" thought he might, with equal good grace, embellish and vary the melodies. He set himself to work, and spared not roulades, shakes, and 2038:(director of Les Fantaisies Parisiennes, formerly on the boulevard des Italiens and since 1 April 1869 at a small basement theatre, the 549:

After beginning the season with a series of six less-than-successful premieres, Perrin revived a much-needed money-maker, the three-act

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Louis Martinet, briefly reopened the Théâtre Lyrique on 11 September 1871 at his smaller basement theatre at 17 rue Scribe, called the

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When Charles Réty (1826–1895) took over from Léon Carvalho in April 1860, a new revival was already in rehearsal. This was Beethoven's

1599:, which was first presented on 5 March 1869 and received 21 performances, and another new work, the three-act opéra comique 1017:

and partly because of his many extravagant productions, Carvalho had run into significant financial difficulty. As one critic wrote: "

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Fétis 1878; Langham-Smith 1992, p. 873; premiere dates from composer articles in Sadie 1992, except see Michaelis 1877 for Salomon's

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Other companies reviving the name Théâtre Lyrique performed at the Théâtre du Château-d'Eau (13 October 1888 – 5 March 1889) and the

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agreed, saying that the orchestra was "at its wits ends", while adding that the singers were all subpar except for Deligne-Lauters.

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as Donna Anna, Christine Nilsson as Donna Elvire, and Caroline Miolan-Carvalho as Zerline (8 May 1866; 71 performances).

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Besides the previously mentioned productions, Seveste's first season included nine other premieres and two additional revivals of

884:) role of Orphée. The Théâtre Lyrique's production was a landmark revival in the history of the opera, with the music adapted by 351:, had failed to make much of an impression at the Opéra-Comique in the 1849–1850 season, but she achieved greater success at the 1162: 1002:. Delphine Ugalde starred in the title role and her presence probably accounted for its relatively long run of 61 performances. 3728: 2211: 1030: 76: 498:(14 May 1855), which eventually received a total of 124 performances. Marie Cabel starred in the title role, and a new tenor, 3733: 3657: 3639: 3606: 3549: 3513: 3495: 3435: 2138:'s Théâtre National Lyrique (also called the Opéra National Lyrique and the Théâtre Lyrique National) which performed at the 316: 1535:(beginning on 1 February). Christine Nilsson, who had been highly successful as Violetta, had left the company for the 455:

Marie Cabel, having been under contract to Jules Seveste, was now free to leave, and there were reports she might go to the

3693: 64: 17: 459:. Perrin was however successful in signing her to a new contract, and the new season opened on 30 September with Cabel in 1873: 1565:: "He does not want stars, but one cannot perform the classics, above all, unless with artists of the first order." The 1508:

on 23 December. The latter proved to be more popular, receiving 60 performances. Not long after the opening of

942:(15 January 1858; 142 performances). The most significant premiere under Carvalho, however, was Gounod's opera 807: 514:

with Marie Cabel in the leading soprano role of Elvire (14 December 1854; 54 performances); Adam's one-act opéra comique

141:, the opera performed most often by the Théâtre Lyrique, and still one of the most popular operas throughout the world. 1174: 719:

to take Pellegrin's place. Carvalho agreed, and on 20 February 1856 he was officially appointed the new director.

579:

had also been brought in to make some revisions early in the run, but he preferred to keep his contribution anonymous.

1968: 1733:

on 1 September. Pasdeloup did provide some French music: on 12 September there was a concert which included

3597: 1686: 961:

premiered at the theatre. Despite a strong cast, with Caroline Carvalho as Baucis, Marie Sax as the Bacchante, and

168: 853: 3718: 1082:

For the 1860–1861 season Réty's most successful new production was a revival of Halévy's three-act opéra comique

331:

Seveste's 1853–1854 season continued to introduce many new French works, including a three-act opéra comique by

3713: 2177: 1611:), which premiered on 10 May and received only 18 performances. The latter, having been adapted from 1516:, who up to this time had been the chief conductor of the Théâtre Lyrique, left to become the conductor of the 1390: 537: 1881: 1334:(27 April 1867; 90 performances). Of historical interest, if less successful, were Georges Bizet's 825: 1961: 1492:

on 29 November Pasdeloup arrived at the theatre after having "directed in the morning the beautiful Mass of

572: 507: 895: 2441: 1625:, thought the baritone Auguste-Alphonse Meillet excellent in the role of Sancho-Pança, but the young bass 1098:(11 April 1861; 59 performances) with Blanche Baretti as Margyane, Jules Monjauze as Sélim, and 863:(18 November 1859; 138 performances). The last had been translated from the original Italian by 1604: 1581: 403: 309:

was promoted to principal conductor. Deloffre would remain in that post until 1868, when he moved to the

1253: 1186: 816:

in a French translation by Charles Nuitter and Louis-Alexandre Beaumont (11 May 1859; 21 performances).

649: 371: 144:

After the company ended operations in 1872 several short-lived companies revived the name, most notably

3537: 3459:

Grayson, David (2009). "Finding a Stage for French Opera" in Fauser and Everist 2009, pp. 127–154.

2257: 2063: 2039: 2031: 1894:). The recitatives and additional arias in the 1862 version were composed by the now largely forgotten 1885: 938: 664:. M. Duprez seems to have considered this masterpiece from the Castil-Blaze point of view; and as the " 352: 251: 88: 3579:

Paris Guide par les principaux écrivains et artistes de la France. Premiere partie: La Science – L'Art

2628:

Walsh 1981, p. 304, and Kutsch and Riemens 2003, p. 675, give the date of the premiere of Clapisson's

1311:

with Christine Nilsson as Lady Henriette (18 December 1865; 163 performances); and Mozart's

3486: 1700:, who attended a general rehearsal, wrote a description in a letter to Edmond Galabert (April 1869): 1567: 3682: 2394: 1342: 1336: 1106:

returned to the Théâtre Lyrique from the Opéra-Comique and was the star of the even more successful

980:

Gounod's opera was followed on 24 March by the premiere of Théophile Semet's five-act opéra comique

125: 119: 111:, but probably is most remembered today for having given the first performance in Paris of Wagner's 2462: 2241: 2035: 1798: 1190: 1067: 962: 949: 748: 700: 84: 2092: 2027: 1781: 1457: 2432: 2304: 2228: 1389:, which was the resident company at that theatre, Carvalho's new enterprise was to be called the 1354: 494: 464: 232:, which was first performed on 2 October 1852 and ultimately presented 126 times by the company. 80: 1493: 1480: 620:. The singers included Pauline Deligne-Lauters in the role of Annette (Agathe in the original), 510:

in Paris, sang Maurice. Other notable premieres included Adolphe Adam's three-act opéra comique

409: 2358: 1809: 1672: 1071: 912: 3582: 3449: 2772: 2650: 2087:. The season opening was scheduled for 2 April, but was delayed again when the leaders of the 1813: 1676: 3519:

Langham-Smith, Richard (1992). "Paris. 5. 1870–1902" in Sadie 1992, vpl. 3, pp. 873–879.

3250: 3230: 3118: 3101: 2887: 2157: 1863: 1718:

Pasdeloup was persistent, and the production was to receive a total of 38 performances.

1447: 715:(133 performances), but Clapisson soon intervened and invited Madame Carvalho's husband 394: 246: 213: 3617: 3527: 3467: 1193:. Not long before opening at the new theatre in October, the company was officially renamed 957: 526:(7 March 1855; 66 performances). The last had a libretto by Adolphe de Leuven based on 259: 3663:

Wright, Lesley A. (1992). "Clapisson, (Antonin ) Louis" in Sadie 1992, vol. 1, p. 875.

3564: 2115:, but by 7 June 1872 Martinet had to close the company down permanently due to bankruptcy. 2007: 1847: 1793: 1667:, were extensive. The lavish production was stage managed by Augustin Vizentini (father of 1386: 624:

as Nancy (Ännchen), Rousseau de Lagrave as Tony (Max), and Marcel Junca as Robin (Samiel).

596: 527: 433: 221: 2346: 2246: 1330: 1178: 1173:

In 1862, as a result of the destruction of the theatres on the boulevard du Temple during

1167: 993: 448:

became the new director on 26 July 1854, while also retaining his post as director of the

291: 287: 200: 174: 131: 8: 2217: 1943: 1880:

and had originally been prepared in 1862 in the absence of Balfe for a production at the

1484:, which was first presented on 26 November and did somewhat better with 15 performances. 1322: 1119: 1084: 864: 819:

Other successful revivals under Carvalho's leadership at the Théâtre Historique included

727: 183: 37: 3025:

Walsh 1981, pp. 247, 321. Deloffre's departure was reported on 27 December 1868 by

969: 489: 117:, as well as the premieres of operas by French composers, in particular Georges Bizet's 75:

and renamed Théâtre Lyrique in 1852. It used four different theatres in succession, the

3405:

Charlton, David (1992). "Paris, §4. 1789–1870" in Sadie 1992, vol. 3, pp. 865–873.

2181: 2111:(capacity 760–900). Beginning in March 1872 the company's official name was changed to 1980: 1956: 843: 797: 782:

prompted Carvalho to mount three additional Weber operas, although none did as well as

295: 235: 209: 3673: 1434: 148:'s Théâtre National Lyrique (1876–1878), but none were as successful as the original. 3653: 3635: 3602: 3574: 3545: 3509: 3491: 3431: 3413: 2457: 2318: 1868: 1817: 1769: 1680: 1664: 1616: 1286: 899: 859: 820: 764: 463:. Two singers new to the company were also to receive much praise: the mezzo-soprano 390:

and Léon-Lévy Brunswick, and it was given a total 60 times that season and the next.

387: 3501: 2006:

The next planned production, already in rehearsal since the middle of February, was

1734: 1381:

In 1868 Carvalho launched a new venture, an extension of the Théâtre Lyrique at the

1247: 1233: 910:(1 March 1856; 192 performances), Aimé Maillart's three-act opéra comique 772: 711:(23 performances) and a more successful revival of his three-act opéra comique 559: 468: 418: 283: 258:

On 22 January 1853 it was formally announced that Napoleon III would marry Countess

225: 157: 68: 3399: 2423: 2135: 1668: 1513: 1348: 1123: 744: 699:, the bass Hermann-Léon from the Opéra-Comique, and most significantly the soprano 600: 588: 503: 306: 145: 104: 2363: 2292: 1523:

The new year brought further performances of the company's productions of Verdi's

1517: 1227: 1137: 952:

sang the role of Marguerite. She later became internationally famous in the part.

739: 732: 716: 576: 449: 310: 191: 60: 2474: 2162: 2079: 2050: 1747:. The concert was repeated. Later another concert included David's symphonic ode 1626: 1608: 1544: 1452: 1430: 1422: 1382: 1301: 1291: 1182: 1177:, the company relocated to a new theatre (capacity 1800) on the east side of the 1059: 973: 800:, and Paul de Chazot (27 February 1857; 100 performances), followed by 793: 760: 752: 653: 621: 519: 383: 348: 3441: 2283: 2148: 1648:

The most important new production, however, was the French premiere of Wagner's

1553: 1472:

Pasdeloup's first new production was a revival of Méhul's one-act opéra comique

1099: 1055: 989: 917: 838: 445: 438: 375: 355:

in Brussels from 1850 to 1853 and in guest appearances in France at theatres in

279: 3592: 2492: 2479: 2411: 2375: 1821: 1592: 1548: 1307: 933: 885: 788: 643: 625: 564: 545:, a room in the gamekeeper's house, as performed at the Théâtre Lyrique in 1855 499: 298:, received a diamond bracelet from the new Empress as a token of appreciation. 925: 518:(24 December 1854; 89 performances); and a one-act opéra comique by 3707: 3477: 2399: 2370: 2088: 1895: 1804: 1697: 1540: 1462: 1371: 1265: 1202: 1132: 1111: 1051: 1007: 985: 944: 834: 810:(1 September 1857; 28 performances), and the one-act opéra comique 187: 137: 3645: 3627: 3621: 3586: 3531: 3481: 3471: 3453: 2387: 2351: 2073: 1991: 1973: 1591:

These revivals were followed by some premieres: a one-act opéra comique by

1501: 1485: 1313: 1271: 1198: 1089: 1062:

was Isabelle, Duchesse d'Aragon (Leonore in the original version), Guardi (

880: 851:, a French translation by Prosper Pascal of Mozart's two-act opéra comique 568: 332: 217: 195: 72: 1751:, but this concert also included foreign works: the overture to Rossini's 1739: 1671:, a former violinist with the Théâtre Lyrique). The sets were designed by 1289:

in the title role (27 October 1864; 102 performances); Mozart's

1058:

with the location of the story changed to Milan in the 15th century.

370:

at the Lyrique on 28 November 1853. The music was by the Belgian composer

3563:. Paris: L'Agence internationale des Auteurs, Compositeurs et Écrivains. 2406: 2118: 1612: 1536: 1277: 1103: 868: 812: 696: 456: 360: 344: 343:), which was first performed on 6 October. A new singer, the 26-year-old 320: 56: 3395: 1942:. The deteriorating political situation, which would soon result in the 1497: 3417: 2134:

The most notable of the successors to the original Théâtre Lyrique was

2015: 1753: 1474: 1417: 888:

for the mezzo-soprano Pauline Viardot as Orphée. Eurydice was sung by

2382: 1358:(26 December 1867; 18 performances). There were also two new one-act 1259: 1150: 1094: 948:(19 March 1859; 306 performances) in which Carvalho's wife 889: 802: 756: 605: 592: 2793:

Walsh 1981, p. 89 (Ugalde), p. 111 (Sax, Viardot), p. 182 (Nilsson).

642:(24 February 1855) reported that Madame Lauters had been coached by 3687: 3132: 3130: 1115: 998: 875: 366:

Cabel also created the role of Corbin in the one-act opéra comique

1393:. The Théâtre Lyrique's more lavish productions, such as Gounod's 1362:

which premiered together on 8 December 1864: Albert Grisar's

3568: 2466: 1656: 1340:(30 September 1863; 18 performances); Hector Berlioz's 1046: 1036: 584: 278:). The last had a libretto by Jules Edouard Alboize de Pujol and 55:

during the middle of the 19th century (the other three being the

3269:(2–3 January 1870). Translated and quoted by Walsh 1981, p. 265. 3127: 2679:(30 July 1854). Quoted and translated by Walsh 1981, p. 52. 2615:

Walsh 1981, p. 304, gives the date of the premiere of Gevaert's

660:

Never could singer be under more unfit master for an opera like

156:

For the history of the company before the 1852–1853 season, see

2487: 1890: 1650: 1346:(4 November 1863; 21 performances); Charles Gounod's 473: 422: 113: 100: 1144:. In spite of its initial success the work was never revived. 1328:

The most successful premiere during this period was Gounod's

1066:

Hector Gruyer) sang the role of Jean Galéas (Florestan), and

108: 96: 52: 48: 2169:(18 April 1877), and Hector Saloman's one-act opéra comique 1780:

Still, the first new work of the season was a French opera,

668:" had taken liberties with this great composer's text, the " 502:, who had previously been an actor at the French Theatre in 3688:

Review on "Second Empire Opera" book in The Music Quarterly

2641:

Walsh 1981, p. 48; for a review of Cabel's performances in

2273:

The information in this list is from Walsh and from Levin.

1888:(a singer who would later create the title role in Bizet's 872: 356: 2902:

Le terme, en effet, n'est pas plus en usage que la chose."

1761:

sung by Marie Schroeder. This program was repeated twice.

1263:(24 December 1863; 243 performances); Bellini's 867:

when Gluck had adapted his Vienna version in 1774 for the

680:, applauded 'to the echo;' and it was only on reading the 2327: 1241:), first performed on 8 December 1862; the four-act 892:, who later became a leading soprano at the Paris Opera. 3632:

Second Empire Opera: The Théâtre Lyrique Paris 1851–1870

1257:(11 September 1863; 48 performances); Verdi's 1189:, and that of the Théâtre Lyrique is today known as the 3683:

Photo of original "Théâtre Lyrique" before fire in 1871

3428:

Music, Theater, and Cultural Transfer: Paris, 1830–1914

2289:

Pierre Pellegrin (26 September 1855 – 20 February 1856)

1275:(9 September 1864; 35 performances); Verdi's 3650:

Théâtre de l'Opéra-Comique Paris: répertoire 1762–1972

3448:, supplement, vol. 2, pp. 632–633. Paris: Didot. 3220:

Entry in Balfe's diary, quoted by Kenney 1875, p. 262.

2119:

Subsequent companies reviving the name Théâtre Lyrique

1269:(14 June 1864; 8 performances); Donizetti's 1197:, but reverted to its previous name after the fall of 857:(11 May 1859; 87 performances); and Gluck's 3305:

Walsh 1981, pp. 270–271; Letellier 2010, pp. 325–328.

2334:

Category:Opera world premieres at the Théâtre Lyrique

1305:(21 April 1865; 14 performances); Flotow's 3390:

Bizet, Georges; Galabert, Edmond, editor (no date).

1872:, in a revised and highly adapted French version by 2632:

as 16 March 1854; Wright 1992, p. 875, as 17 March.

1154:, writing under the pseudonym of Charles Darcours. 1013:Probably at least partly because of the failure of 3506:The Keys to French Opera in the Nineteenth Century 1615:by Jules Barbier and Michel Carré and declined by 1607:(winner of the Prix de Rome in 1835 and father of 563:, that had been translated and adapted in 1824 by 3490:(fourth edition, in German). Munich: K. G. Saur. 3426:Fauser, Annegret; Everist, Mark, editors (2009). 1721:The season ended on 31 May with a performance of 1441:, which was followed by performances of Flotow's 1010:barrel organs for the next two or three years." 932:(3 October 1857; 64 performances), and 924:(19 September 1856; 170 performances), 806:in a French translation by Adolphe de Leuven and 3705: 2057:was also under consideration. A three-act opera 1352:(19 March 1864; 41 performances); and 557:). This was a highly altered version of Weber's 294:, whom Saint-Léon had brought with him from the 3199:Walsh 1981, pp. 263 f.; Kenney 1875, pp. 262 f. 3177: 3175: 3160:Quoted and translated by Walsh 1981, pp. 252 f. 3082:), 321 f. (productions), 332 (Ernst Boulanger). 3065:Quoted and translated by Walsh 1981, pp. 248 f. 2184:(January–March 1893; March 1899 – March 1900). 3351: 3349: 3347: 3229:Saint-Victor, Paul de. "Chronique Théâtrale", 2277:Edmond Seveste (1 May 1851 – 28 February 1852) 1022:performances at the theatre began to decline. 689: 477:at the Opéra-Comique (with Cabel as Philine). 270:, and the premiere of a two-act opéra-ballet, 3577:(1867). "Les Théâtres", pp. 803–844. in 2976: 2974: 2725: 2723: 2721: 2651:"Dramatic. St. James's Theatre—Opera Comique" 2310:Charles Benou (1 February 1870 – 1 July 1870) 2268: 1412: 151: 3508:. Berkeley: University of California Press. 3430:. Chicago: The University of Chicago Press. 3172: 3056:Quoted and translated by Walsh 1981, p. 248. 3038:Quoted and translated by Walsh 1981, p. 249. 3016:Quoted and translated by Walsh 1981, p. 247. 2298:Charles Réty (1 April 1860 – 4 October 1862) 2102: 2021: 1531:(beginning on 24 January), and Verdi's 3544:. Newcastle upon Tyne: Cambridge Scholars. 3344: 3207: 3205: 2964: 2962: 2280:Jules Seveste (4 March 1852 – 30 June 1854) 1580:The Théâtre Lyrique during the premiere of 1488:reported that at the second performance of 1208: 1157: 1070:was Rocco. The role of Don Fernando became 722: 163: 2971: 2837: 2835: 2718: 2512: 2510: 2508: 1539:and was replaced by the Hungarian soprano 1527:(beginning 8 January 1869), Mozart's 1025: 847:(8 May 1858; 200 performances); 428: 67:). The company was founded in 1847 as the 2301:Léon Carvalho (7 October 1862 – May 1868) 2155:(15 November 1876), Camille Saint-Saëns' 1824:in the final tableau triggered laughter. 3251:"Correspondenzen. Paris, 8 January 1870" 3202: 2959: 2233:72 boulevard du Temple, Paris, 3rd arr. 2122: 1967: 1901: 1830: 1763: 1685: 1683:(in her operatic debut) as Le Messager. 1633: 1575: 1416: 1212: 1161: 1029: 968: 894: 775:) of only 33% of acts in this category. 726: 648: 536: 432: 315: 234: 167: 83:, the Salle du Théâtre-Lyrique (now the 31: 3652:. Sprimont, Belgium: Editions Mardaga. 2832: 2505: 2030:), Théodore Letellier (formerly of the 1245:, a highly adapted version of Mozart's 955:Beginning on 18 February 1860 Gounod's 916:(19 September 1856; 156 performances), 532:Les ensorcelés, ou Jeannot et Jeannette 14: 3706: 3614:Histoire du Théâtre Lyrique, 1851–1870 2328:List of notable premieres and revivals 1743:, but also Acts I and II of Rossini's 286:with insertions of pieces by Adam and 220:. The latter had just established the 91:, until it ceased operations in 1872. 3446:Biographie universelle des musiciens 1166:The Théâtre Lyrique Impérial on the 3696:. L'Almanacco di Gherardo Casaglia 3581:. Paris: Librairie Internationale. 1876:. It was performed under the title 1874:Jules-Henri Vernoy de Saint-Georges 878:role of Orfeo with the high tenor ( 808:Jules-Henri Vernoy de Saint-Georges 245:The engagement of the famous tenor 24: 3724:Musical groups established in 1847 2898:sans se douter qu'il devait crier 2307:(22 August 1868 – 1 February 1870) 2286:(26 July 1854 – 26 September 1855) 368:Georgette ou Le moulin de Fontenoy 25: 3745: 3667: 3598:The New Grove Dictionary of Opera 3464:A Memoir of Michael William Balfe 3136:Walsh 1981, pp. 251 f., 321, 349. 2929:Walsh 1981, pp. 123 f., 127, 312. 2295:(20 February 1856 – 1 April 1860) 2187: 841:of Mozart's four-act comic opera 829:(23 May 1856; 302 performances); 3444:(1878). "Vizentini (Albert)" in 2998:Walsh 1981, pp. 239, 242, 245 f. 2207:15 November 1847 – 29 March 1848 1561:(31 January 1869) wrote of 1142:La chatte metamorphosée en femme 1102:as Kaloum. The following season 3384: 3367: 3358: 3335: 3326: 3317: 3308: 3299: 3290: 3281: 3272: 3260: 3239: 3223: 3214: 3193: 3184: 3163: 3154: 3139: 3112: 3094: 3085: 3068: 3059: 3050: 3041: 3032: 3019: 3010: 3001: 2992: 2983: 2950: 2941: 2932: 2923: 2914: 2905: 2880: 2871: 2862: 2853: 2844: 2823: 2814: 2805: 2796: 2787: 2778: 2765: 2756: 2741: 2738:Wild and Charlton 2005, p. 391. 2732: 2709: 2700: 2691: 2682: 2669: 2660: 2635: 2622: 2609: 2606:Walsh 1981, pp. 39, 42 f., 303. 2600: 2591: 2588:Walsh 1981, pp. 29–39, 301–303. 2254:11 September 1871 – 6 June 1872 2225:27 September 1851 – 31 May 1862 2109:Salle (or Théâtre) de l'Athénée 1725:. Gustave Bertrand, writing in 1691:Jules Monjauze as Rienzi (1869) 1175:Haussmann's renovation of Paris 1110:, a three-act opéra comique by 3364:Walsh 1981, pp. 163, 210, 227. 2920:Walsh 1981, pp. 118, 120, 123. 2582: 2573: 2564: 2555: 2546: 2537: 2528: 2519: 2482:(revised and expanded version) 1543:. She had been recommended by 1385:. To avoid confusion with the 13: 1: 3729:1847 establishments in France 3694:"Search on 'Théâtre Lyrique'" 3462:Kenney, Charles Lamb (1875). 3190:Quoted by Walsh 1981, p. 259. 2980:Walsh 1981, pp. 215, 316–321. 2877:Quoted by Walsh 1981, p. 118. 2238:30 October 1862 – 25 May 1871 1659:to consult with Wagner about 854:Die Entführung aus dem Serail 792:, in a French translation by 27:Former opera company in Paris 3734:Organizations based in Paris 3634:. New York: Riverrun Press. 3558:Michaelis, Théodore (1877). 3466:. London: Tinsley Brothers. 3007:Walsh 1981, pp. 246 f., 321. 2715:Walsh 1981, pp. 60, 305–307. 2657:(29 July 1854), p. 502. 1836:Cover of the vocal score of 1370:; 36 performances) and 1281:, performed under the title 1220:La flûte enchantée 713:Le sourd ou L'auberge pleine 382:. The music was composed by 7: 3542:Opéra-Comique: A Sourcebook 3524:Mémorial du Théâtre Lyrique 3392:Lettres à un ami, 1865–1872 3355:Langham-Smith 1992, p. 874. 3181:Walsh 1981, p. 258 f., 322. 2820:Walsh 1981, pp. 82 f., 309. 2811:Walsh 1981, pp. 79–81, 309. 2729:Walsh 1981, pp. 57–59, 306. 2643:Les diamants de la couronne 2543:Walsh 1981, pp. 28–29, 301. 2323:(1 July 1870 – 6 June 1872) 2010:'s three-act opéra comique 1504:'s three-act opéra comique 1092:'s three-act opéra comique 1050:in a French translation by 936:'s three-act opéra comique 920:'s three-act opéra comique 823:'s three-act opéra comique 778:The company's success with 690:1855–1856: Pierre Pellegrin 480:The terms of the company's 404:Les diamants de la couronne 36:The Théâtre Lyrique on the 10: 3750: 3692:Casaglia, Gherardo (2005). 3648:; Charlton, David (2005). 3538:Letellier, Robert Ignatius 3255:Neue Berliner Musikzeitung 2859:Letellier 2010, pp. 363 f. 2762:Walsh 1981, pp. 64 f., 68. 2331: 2269:List of managing directors 1924:Neue Berliner Musikzeitung 1772:for Act IV, tableau 2, of 1494:Mme la Vicomte de Grandval 1413:1868–1870: Jules Pasdeloup 833:, a French translation by 268:Le postillon de Longjumeau 252:Le postillon de Longjumeau 155: 152:On the boulevard du Temple 3029:(Walsh, p. 296, note 31). 2947:Walsh 1981, pp. 123, 147. 2868:Walsh 1981, pp. 118, 312. 2829:Walsh 1981, pp. 106, 311. 2688:Walsh 191, pp. 52, 54–55. 2677:Revue et Gazette Musicale 2178:Théâtre de la Renaissance 2103:At the Salle de l'Athénée 2022:1870–1872: Louis Martinet 2001:Revue et Gazette Musicale 1882:Théâtre des Arts of Rouen 1786:Le dernier jour de Pompéï 1774:Le dernier jour de Pompéï 1568:Revue et Gazette Musicale 1465:'s one-act opéra comique 1455:'s two-act opéra comique 1391:Théâtre de la Renaissance 678:tour de force, quand même 571:, for performance at the 135:, and above all Gounod's 3612:Soubies, Albert (1899). 3522:Lasalle, Albert (1877). 3341:Walsh 1981, pp. 273–274. 3296:Walsh 1981, pp. 269–270. 3278:Walsh 1981, pp. 266–267. 3169:Walsh 1981, pp. 257–258. 3047:Walsh 1981, pp. 248–250. 2989:Walsh 1981, pp. 235–238. 2956:Walsh 1981, pp. 149–150. 2841:Walsh 1981, pp. 308–313. 2706:Walsh 1981, pp. 60, 306. 2498: 2463:Christoph Wilibald Gluck 2242:Salle du Théâtre-Lyrique 2113:Théâtre-Lyrique-National 1799:The Last Days of Pompeii 1378:(59 performances). 1218:Press illustrations for 1209:1862–1868: Léon Carvalho 1195:Théâtre Lyrique Impérial 1158:On the Place du Châtelet 1068:Charles-Amable Battaille 963:Charles-Amable Battaille 950:Caroline Miolan-Carvalho 928:' one-act opéra comique 749:Caroline Miolan-Carvalho 723:1856–1860: Léon Carvalho 701:Caroline Miolan-Carvalho 467:, who would later marry 372:François-Auguste Gevaert 276:The Goblin of the Valley 164:1852–1854: Jules Seveste 51:companies performing in 3394:. Paris: Calmann-Lévy. 3287:Walsh 1981, pp. 267 ff. 2938:Walsh 1981, pp. 313 ff. 2561:Walsh 1981, p. 29. 2552:Walsh 1981, pp. 33, 50. 2433:La jolie fille de Perth 2305:Jules Etienne Pasdeloup 1467:Les bégaiements d'amour 1364:Les bégaiements d'amour 1355:La jolie fille de Perth 1026:1860–1862: Charles Réty 465:Pauline Deligne-Lauters 429:1854–1855: Émile Perrin 71:by the French composer 3719:French opera companies 3408:Curtiss, Mina (1958). 3375:L'aumônier du régiment 3332:Walsh 1981, pp. 274 f. 3314:Walsh 1981, pp. 272 f. 2802:Ellis 2009, pp. 54–56. 2570:Walsh 1981, pp. 30–31. 2516:Charlton 1992, p. 871. 2416:Les Troyens à Carthage 2414:(second part only, as 2395:Les Pêcheurs de Perles 2359:Les Dragons de Villars 2171:L'aumônier du régiment 2131: 2129:L'aumônier du régiment 2091:moved into the nearby 1986: 1914: 1842: 1810:Charles-Antoine Cambon 1792:, based on a novel by 1777: 1713:The ticket prices for 1711: 1693: 1673:Charles-Antoine Cambon 1645: 1588: 1506:Le brasseur de Preston 1426: 1368:The Stammerers of Love 1343:Les Troyens à Carthage 1337:Les pêcheurs de perles 1243:Peines d'amour perdues 1224: 1170: 1136:) and a vaudeville by 1108:La chatte merveilleuse 1041: 1040:at the Théâtre Lyrique 999:Gil Blas de Santillane 977: 913:Les dragons de Villars 903: 849:L'enlèvement au sérail 736: 687: 656: 546: 485:or the Opéra-Comique. 442: 386:, the libretto was by 374:, the libretto was by 328: 242: 179: 126:Les Troyens à Carthage 120:Les pêcheurs de perles 40: 3714:Opera houses in Paris 3601:. London: Macmillan. 3232:Les Modes Parisiennes 3091:Grayson 2009, p. 139. 3074:Walsh 1981, pp. 250 ( 2784:Walsh 1981, pp. 70 f. 2579:Walsh 1981, p. 34–37. 2525:Lacombe 2001, p. 245. 2173:(14 September 1877). 2126: 2032:Théâtre de la Monnaie 2028:Délassements-Comiques 1971: 1920:Les Modes Parisiennes 1905: 1886:Célestine Galli-Marié 1864:Michael William Balfe 1834: 1826:Galignani's Messenger 1782:Victorin de Joncières 1767: 1745:Le barbier de Seville 1702: 1689: 1637: 1579: 1458:Le maître de chapelle 1448:Le barbier de Seville 1420: 1254:L'épreuve villageoise 1216: 1165: 1033: 972: 939:Le médecin malgré lui 898: 826:Richard Coeur-de-lion 730: 658: 652: 634:Revue des deux mondes 540: 512:Le muletier de Tolède 436: 353:Théâtre de la Monnaie 319: 272:Le lutin de la vallée 247:Jean-Baptiste Chollet 238: 171: 35: 3616:Paris: Fischbacher. 3526:. Paris: J. Lecuir. 3487:Großes Sängerlexikon 2647:La fille du régiment 2161:(23 February 1877), 2059:Frédéric Barberousse 2008:Friedrich von Flotow 1848:Un ballo in maschera 1794:Edward Bulwer-Lytton 1481:Iphigénie en Tauride 1181:. The architect was 612:Perrin's revival of 595:during the reign of 528:Charles Simon Favart 495:Jaguarita l'Indienne 410:La fille du régiment 222:Second French Empire 3412:. New York: Knopf. 3410:Bizet and His World 3323:Walsh 1981, p. 274. 3211:Walsh 1981, p. 322. 2968:Levin 2009, p. 397. 2911:Walsh 1981, p. 121. 2890:. "La «sérénade de 2218:boulevard du Temple 2140:Théâtre de la Gaîté 1944:Franco-Prussian War 1814:Auguste Alfred Rubé 1757:, and an aria from 1677:Auguste Alfred Rubé 1323:Anne Charton-Demeur 1191:Théâtre de la Ville 1187:Théâtre du Châtelet 984:with a libretto by 865:Pierre-Louis Moline 831:Les noces de Figaro 184:boulevard du Temple 129:, Charles Gounod's 123:, Hector Berlioz's 85:Théâtre de la Ville 38:Boulevard du Temple 3678:at Théâtre Lyrique 3257:(12 January 1870). 2751:(24 February 1855) 2697:Ellis 2009, p. 54. 2666:Walsh 1981, p. 49. 2597:Walsh 1981, p. 39. 2534:Walsh 1981, p. ix. 2258:Salle de l'Athénée 2249:, Paris, 1st arr. 2229:Théâtre Historique 2220:, Paris, 3rd arr. 2182:Porte Saint-Martin 2158:Le timbre d'argent 2132: 2040:Salle de l'Athénée 1987: 1948:La France Musicale 1915: 1843: 1778: 1749:Christophe Colombe 1694: 1646: 1589: 1429:By 22 August 1868 1427: 1297:La flûte enchantée 1225: 1171: 1042: 1015:Philémon et Baucis 978: 958:Philémon et Baucis 904: 844:Le nozze di Figaro 798:Alexandre Beaumont 737: 657: 630:Journal des débats 573:Théâtre de l'Odéon 547: 508:Théâtre de l'Odéon 482:cahier des charges 443: 407:, and Donizetti's 395:St James's Theatre 329: 296:Paris Opera Ballet 260:Eugénie de Montijo 243: 180: 89:Salle de l'Athénée 81:Théâtre Historique 41: 3658:978-2-87009-898-1 3640:978-0-7145-3659-0 3607:978-1-56159-228-9 3595:, editor (1992). 3575:Roqueplan, Nestor 3550:978-1-4438-2140-7 3514:978-0-520-21719-5 3496:978-3-598-11598-1 3436:978-0-226-23926-2 3234:(22 January 1870) 2749:The Musical World 2655:The Musical World 2445:by Charles Gounod 2442:Roméo et Juliette 2427:by Charles Gounod 2266: 2265: 2247:Place du Châtelet 1999:, writing in the 1869:The Bohemian Girl 1818:Philippe Chaperon 1770:Philippe Chaperon 1768:Design sketch by 1737:'s symphonic ode 1681:Marguerite Priola 1547:on the advice of 1399:Roméo et Juliette 1376:Le cousin Babylas 1331:Roméo et Juliette 1287:Christine Nilsson 1179:Place du Châtelet 1168:Place du Châtelet 1004:The Musical World 994:Alain-René Lesage 900:Caroline Carvalho 765:Christine Nilsson 640:The Musical World 388:Adolphe de Leuven 292:Marie Guy-Stéphan 288:Arthur Saint-Léon 210:Princess Mathilde 132:Roméo et Juliette 16:(Redirected from 3741: 3699: 3400:Internet Archive 3378: 3371: 3365: 3362: 3356: 3353: 3342: 3339: 3333: 3330: 3324: 3321: 3315: 3312: 3306: 3303: 3297: 3294: 3288: 3285: 3279: 3276: 3270: 3264: 3258: 3243: 3237: 3227: 3221: 3218: 3212: 3209: 3200: 3197: 3191: 3188: 3182: 3179: 3170: 3167: 3161: 3158: 3152: 3143: 3137: 3134: 3125: 3120:Le Guide Musical 3116: 3110: 3098: 3092: 3089: 3083: 3072: 3066: 3063: 3057: 3054: 3048: 3045: 3039: 3036: 3030: 3023: 3017: 3014: 3008: 3005: 2999: 2996: 2990: 2987: 2981: 2978: 2969: 2966: 2957: 2954: 2948: 2945: 2939: 2936: 2930: 2927: 2921: 2918: 2912: 2909: 2903: 2884: 2878: 2875: 2869: 2866: 2860: 2857: 2851: 2848: 2842: 2839: 2830: 2827: 2821: 2818: 2812: 2809: 2803: 2800: 2794: 2791: 2785: 2782: 2776: 2771:Roqueplan 1867, 2769: 2763: 2760: 2754: 2745: 2739: 2736: 2730: 2727: 2716: 2713: 2707: 2704: 2698: 2695: 2689: 2686: 2680: 2673: 2667: 2664: 2658: 2639: 2633: 2626: 2620: 2613: 2607: 2604: 2598: 2595: 2589: 2586: 2580: 2577: 2571: 2568: 2562: 2559: 2553: 2550: 2544: 2541: 2535: 2532: 2526: 2523: 2517: 2514: 2465:(preparation by 2436:by Georges Bizet 2322: 2212:Cirque Olympique 2208: 2192: 2191: 2153:Paul et Virginie 2136:Albert Vizentini 1862:was followed by 1669:Albert Vizentini 1622:Le Guide Musical 1613:Cervantes' novel 1605:Ernest Boulanger 1582:Ernest Boulanger 1514:Adolphe Deloffre 1439:Le val d'Andorre 1124:Charles Perrault 1085:Le val d'Andorre 1034:The last act of 871:, replacing the 786:. The first was 745:Nestor Roqueplan 601:Sir Walter Scott 589:Thirty Years War 504:Saint Petersburg 490:Fromental Halévy 307:Adolphe Deloffre 264:Flore et Zéphire 230:Flore et Zéphire 214:Jérôme Bonaparte 146:Albert Vizentini 77:Cirque Olympique 47:was one of four 21: 3749: 3748: 3744: 3743: 3742: 3740: 3739: 3738: 3704: 3703: 3697: 3670: 3387: 3382: 3381: 3372: 3368: 3363: 3359: 3354: 3345: 3340: 3336: 3331: 3327: 3322: 3318: 3313: 3309: 3304: 3300: 3295: 3291: 3286: 3282: 3277: 3273: 3265: 3261: 3244: 3240: 3228: 3224: 3219: 3215: 3210: 3203: 3198: 3194: 3189: 3185: 3180: 3173: 3168: 3164: 3159: 3155: 3144: 3140: 3135: 3128: 3117: 3113: 3099: 3095: 3090: 3086: 3073: 3069: 3064: 3060: 3055: 3051: 3046: 3042: 3037: 3033: 3024: 3020: 3015: 3011: 3006: 3002: 2997: 2993: 2988: 2984: 2979: 2972: 2967: 2960: 2955: 2951: 2946: 2942: 2937: 2933: 2928: 2924: 2919: 2915: 2910: 2906: 2885: 2881: 2876: 2872: 2867: 2863: 2858: 2854: 2849: 2845: 2840: 2833: 2828: 2824: 2819: 2815: 2810: 2806: 2801: 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Viardot 753:Delphine Ugalde 735: 725: 705:La fanchonnette 692: 654:Pauline Lauters 622:Caroline Girard 520:Ferdinand Poise 441: 431: 384:Louis Clapisson 349:Pauline Viardot 303:opéras comiques 241: 240:Chollet in 1840 166: 161: 154: 65:Théâtre-Italien 45:Théâtre Lyrique 28: 23: 22: 18:Théâtre-Lyrique 15: 12: 11: 5: 3747: 3737: 3736: 3731: 3726: 3721: 3716: 3702: 3701: 3690: 3685: 3680: 3669: 3668:External links 3666: 3665: 3664: 3661: 3643: 3625: 3610: 3593:Sadie, Stanley 3590: 3572: 3556: 3553: 3535: 3520: 3517: 3502:Lacombe, Hervé 3499: 3475: 3460: 3457: 3439: 3424: 3421: 3406: 3403: 3386: 3383: 3380: 3379: 3366: 3357: 3343: 3334: 3325: 3316: 3307: 3298: 3289: 3280: 3271: 3259: 3238: 3222: 3213: 3201: 3192: 3183: 3171: 3162: 3153: 3138: 3126: 3111: 3100:Lasalle 1877, 3093: 3084: 3067: 3058: 3049: 3040: 3031: 3018: 3009: 3000: 2991: 2982: 2970: 2958: 2949: 2940: 2931: 2922: 2913: 2904: 2886:Lasalle 1877, 2879: 2870: 2861: 2852: 2850:Walsh, p. 115. 2843: 2831: 2822: 2813: 2804: 2795: 2786: 2777: 2764: 2755: 2740: 2731: 2717: 2708: 2699: 2690: 2681: 2668: 2659: 2634: 2621: 2608: 2599: 2590: 2581: 2572: 2563: 2554: 2545: 2536: 2527: 2518: 2503: 2502: 2500: 2497: 2496: 2495: 2493:Richard Wagner 2483: 2480:Giuseppe Verdi 2470: 2452: 2451: 2447: 2446: 2437: 2428: 2419: 2412:Hector Berlioz 2402: 2390: 2378: 2376:Charles Gounod 2366: 2354: 2347:Si j'étais roi 2341: 2340: 2329: 2326: 2325: 2324: 2314:Louis Martinet 2311: 2308: 2302: 2299: 2296: 2290: 2287: 2281: 2278: 2270: 2267: 2264: 2263: 2262:17 rue Scribe 2260: 2255: 2251: 2250: 2244: 2239: 2235: 2234: 2231: 2226: 2222: 2221: 2214: 2209: 2203: 2202: 2199: 2196: 2189: 2188:List of venues 2186: 2147:(5 May 1876), 2120: 2117: 2104: 2101: 2093:Hôtel de Ville 2085:Si j'étais roi 2077:, Boieldieu's 2071:, Offenbach's 2064:Siege of Paris 2036:Louis Martinet 2023: 2020: 1972: 1906: 1835: 1822:Mount Vesuvius 1735:Félicien David 1690: 1638: 1593:Ernest Guiraud 1549:Clara Schumann 1421: 1414: 1411: 1248:Così fan tutte 1234:Der Freischütz 1217: 1210: 1207: 1159: 1156: 1027: 1024: 934:Charles Gounod 886:Hector Berlioz 780:Robin des Bois 773:Opéra-National 731: 724: 721: 691: 688: 662:Der Freischütz 644:Gilbert Duprez 626:Hector Berlioz 614:Robin des bois 591:to ostensibly 565:Thomas Sauvage 560:Der Freischütz 551:Robin des bois 543:Robin des bois 500:Jules Monjauze 469:Louis Guéymard 437: 430: 427: 419:Opéra-National 399:Le bijou perdu 341:The Lost Jewel 337:Le bijou perdu 284:Eugène Gautier 239: 226:Eugène Gautier 216:and cousin of 212:, daughter of 206:If I Were King 201:Si j'étais roi 175:Si j'étais roi 165: 162: 158:Opéra-National 153: 150: 69:Opéra-National 26: 9: 6: 4: 3: 2: 3746: 3735: 3732: 3730: 3727: 3725: 3722: 3720: 3717: 3715: 3712: 3711: 3709: 3695: 3691: 3689: 3686: 3684: 3681: 3679: 3677: 3672: 3671: 3662: 3659: 3655: 3651: 3647: 3644: 3641: 3637: 3633: 3629: 3626: 3623: 3619: 3615: 3611: 3608: 3604: 3600: 3599: 3594: 3591: 3588: 3584: 3580: 3576: 3573: 3570: 3566: 3562: 3557: 3554: 3551: 3547: 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J. 3476: 3473: 3469: 3465: 3461: 3458: 3455: 3451: 3447: 3443: 3440: 3437: 3433: 3429: 3425: 3422: 3419: 3415: 3411: 3407: 3404: 3401: 3397: 3393: 3389: 3388: 3376: 3370: 3361: 3352: 3350: 3348: 3338: 3329: 3320: 3311: 3302: 3293: 3284: 3275: 3268: 3263: 3256: 3252: 3248: 3247:La Bohémienne 3242: 3235: 3233: 3226: 3217: 3208: 3206: 3196: 3187: 3178: 3176: 3166: 3157: 3149: 3142: 3133: 3131: 3123: 3121: 3115: 3107: 3106:Don Quichotte 3103: 3097: 3088: 3081: 3080:Don Quichotte 3077: 3071: 3062: 3053: 3044: 3035: 3028: 3022: 3013: 3004: 2995: 2986: 2977: 2975: 2965: 2963: 2953: 2944: 2935: 2926: 2917: 2908: 2901: 2897: 2893: 2889: 2883: 2874: 2865: 2856: 2847: 2838: 2836: 2826: 2817: 2808: 2799: 2790: 2781: 2774: 2768: 2759: 2752: 2750: 2744: 2735: 2726: 2724: 2722: 2712: 2703: 2694: 2685: 2678: 2672: 2663: 2656: 2652: 2648: 2644: 2638: 2631: 2625: 2618: 2612: 2603: 2594: 2585: 2576: 2567: 2558: 2549: 2540: 2531: 2522: 2513: 2511: 2509: 2504: 2494: 2490: 2489: 2484: 2481: 2477: 2476: 2471: 2468: 2464: 2460: 2459: 2454: 2453: 2449: 2448: 2444: 2443: 2438: 2435: 2434: 2429: 2426: 2425: 2420: 2417: 2413: 2409: 2408: 2403: 2401: 2400:Georges Bizet 2397: 2396: 2391: 2389: 2385: 2384: 2379: 2377: 2373: 2372: 2367: 2365: 2364:Aimé Maillart 2361: 2360: 2355: 2353: 2349: 2348: 2343: 2342: 2338: 2337: 2335: 2320: 2315: 2312: 2309: 2306: 2303: 2300: 2297: 2294: 2293:Léon Carvalho 2291: 2288: 2285: 2282: 2279: 2276: 2275: 2274: 2261: 2259: 2256: 2253: 2252: 2248: 2245: 2243: 2240: 2237: 2236: 2232: 2230: 2227: 2224: 2223: 2219: 2215: 2213: 2210: 2205: 2204: 2200: 2197: 2194: 2193: 2185: 2183: 2179: 2174: 2172: 2168: 2164: 2160: 2159: 2154: 2150: 2146: 2141: 2137: 2130: 2125: 2116: 2114: 2110: 2100: 2096: 2095:on 28 March. 2094: 2090: 2089:Paris Commune 2086: 2083:, and Adam's 2082: 2081: 2076: 2075: 2070: 2065: 2060: 2056: 2052: 2048: 2043: 2041: 2037: 2033: 2029: 2019: 2017: 2013: 2009: 2004: 2002: 1998: 1993: 1983: 1982: 1975: 1970: 1966: 1963: 1959: 1958: 1951: 1949: 1945: 1941: 1935: 1933: 1929: 1928:La Bohémienne 1925: 1921: 1911: 1910:La bohémienne 1904: 1900: 1897: 1896:Jules Duprato 1893: 1892: 1887: 1883: 1879: 1878:La Bohémienne 1875: 1871: 1870: 1866:'s three-act 1865: 1861: 1860:Le bal masqué 1857: 1854: 1853:Le bal masqué 1850: 1849: 1839: 1838:Le bal masqué 1833: 1829: 1827: 1823: 1819: 1815: 1811: 1807: 1806: 1805:Das Rheingold 1801: 1800: 1795: 1791: 1787: 1783: 1775: 1771: 1766: 1762: 1760: 1759:Le Freischütz 1756: 1755: 1750: 1746: 1742: 1741: 1736: 1732: 1728: 1724: 1719: 1716: 1710: 1708: 1701: 1699: 1698:Georges Bizet 1696:The composer 1688: 1684: 1682: 1678: 1674: 1670: 1666: 1662: 1658: 1653: 1652: 1642: 1636: 1632: 1630: 1628: 1624: 1623: 1618: 1614: 1610: 1606: 1602: 1601:Don Quichotte 1598: 1594: 1587: 1586:Don Quichotte 1583: 1578: 1574: 1572: 1570: 1569: 1564: 1560: 1556: 1555: 1550: 1546: 1542: 1541:Aglaja Orgeni 1538: 1534: 1530: 1526: 1521: 1519: 1518:Opéra-Comique 1515: 1511: 1507: 1503: 1499: 1495: 1491: 1487: 1483: 1482: 1477: 1476: 1470: 1468: 1464: 1460: 1459: 1454: 1450: 1449: 1444: 1440: 1436: 1432: 1424: 1419: 1410: 1408: 1404: 1403:Le Freischütz 1400: 1396: 1392: 1388: 1384: 1379: 1377: 1373: 1372:Henri Caspers 1369: 1365: 1361: 1357: 1356: 1351: 1350: 1345: 1344: 1339: 1338: 1333: 1332: 1326: 1324: 1320: 1316: 1315: 1310: 1309: 1304: 1303: 1298: 1294: 1293: 1288: 1284: 1280: 1279: 1274: 1273: 1268: 1267: 1262: 1261: 1256: 1255: 1250: 1249: 1244: 1240: 1239:Le Freischütz 1236: 1235: 1229: 1228:Léon Carvalho 1221: 1215: 1206: 1204: 1203:Paris Commune 1200: 1196: 1192: 1188: 1184: 1180: 1176: 1169: 1164: 1155: 1153: 1152: 1145: 1143: 1139: 1138:Eugène Scribe 1135: 1134: 1133:Puss in Boots 1129: 1125: 1122:was based on 1121: 1117: 1113: 1112:Albert Grisar 1109: 1105: 1101: 1097: 1096: 1091: 1087: 1086: 1080: 1078: 1073: 1069: 1065: 1061: 1057: 1053: 1052:Jules Barbier 1049: 1048: 1039: 1038: 1032: 1023: 1020: 1016: 1011: 1009: 1005: 1001: 1000: 995: 991: 987: 986:Jules Barbier 983: 975: 971: 967: 964: 960: 959: 953: 951: 947: 946: 941: 940: 935: 931: 927: 923: 919: 915: 914: 909: 901: 897: 893: 891: 887: 883: 882: 877: 874: 870: 866: 862: 861: 856: 855: 850: 846: 845: 840: 836: 835:Jules Barbier 832: 828: 827: 822: 817: 815: 814: 809: 805: 804: 799: 795: 791: 790: 785: 781: 776: 774: 768: 766: 762: 758: 754: 750: 746: 741: 740:Léon Carvalho 734: 733:Léon Carvalho 729: 720: 718: 717:Léon Carvalho 714: 710: 706: 702: 698: 686: 683: 679: 675: 671: 667: 663: 655: 651: 647: 645: 641: 637: 635: 631: 627: 623: 619: 618:Le Freischütz 615: 610: 608: 607: 602: 598: 594: 590: 586: 580: 578: 577:Eugène Scribe 574: 570: 566: 562: 561: 556: 552: 544: 539: 535: 533: 529: 525: 524:Les charmeurs 521: 517: 513: 509: 505: 501: 497: 496: 491: 486: 483: 478: 476: 475: 470: 466: 462: 458: 453: 451: 450:Opéra-Comique 447: 440: 435: 426: 424: 420: 414: 412: 411: 406: 405: 400: 396: 391: 389: 385: 381: 377: 373: 369: 364: 362: 358: 354: 350: 346: 342: 338: 334: 326: 322: 318: 314: 312: 311:Opéra-Comique 308: 304: 299: 297: 293: 289: 285: 282:and music by 281: 277: 273: 269: 265: 261: 256: 254: 253: 248: 237: 233: 231: 227: 223: 219: 215: 211: 207: 203: 202: 198:'s three-act 197: 193: 192:opéra comique 189: 188:Jules Seveste 185: 177: 176: 172:A scene from 170: 159: 149: 147: 142: 140: 139: 134: 133: 128: 127: 122: 121: 116: 115: 110: 106: 102: 98: 92: 90: 86: 82: 78: 74: 70: 66: 62: 61:Opéra-Comique 58: 54: 50: 46: 39: 34: 30: 19: 3698:(in Italian) 3675: 3649: 3646:Wild, Nicole 3631: 3628:Walsh, T. J. 3622:Google Books 3613: 3596: 3587:Google Books 3578: 3559: 3541: 3532:Google Books 3523: 3505: 3485: 3482:Riemens, Leo 3472:Google Books 3463: 3454:Google Books 3445: 3442:Fétis, F.-J. 3427: 3409: 3391: 3385:Bibliography 3374: 3369: 3360: 3337: 3328: 3319: 3310: 3301: 3292: 3283: 3274: 3266: 3262: 3254: 3246: 3241: 3231: 3225: 3216: 3195: 3186: 3165: 3156: 3151:demi-heure." 3147: 3141: 3122:(6 May 1869) 3119: 3114: 3105: 3096: 3087: 3079: 3078:), 253 ff. ( 3075: 3070: 3061: 3052: 3043: 3034: 3027:Le Ménestrel 3026: 3021: 3012: 3003: 2994: 2985: 2952: 2943: 2934: 2925: 2916: 2907: 2899: 2895: 2891: 2882: 2873: 2864: 2855: 2846: 2825: 2816: 2807: 2798: 2789: 2780: 2767: 2758: 2748: 2743: 2734: 2711: 2702: 2693: 2684: 2676: 2671: 2662: 2654: 2646: 2642: 2637: 2629: 2624: 2616: 2611: 2602: 2593: 2584: 2575: 2566: 2557: 2548: 2539: 2530: 2521: 2486: 2473: 2456: 2440: 2431: 2422: 2415: 2405: 2393: 2388:Ernest Reyer 2381: 2369: 2357: 2352:Adolphe Adam 2345: 2284:Émile Perrin 2272: 2175: 2170: 2166: 2156: 2152: 2149:Victor Massé 2144: 2133: 2128: 2112: 2106: 2097: 2084: 2078: 2074:Les brigands 2072: 2068: 2058: 2054: 2046: 2044: 2025: 2011: 2005: 2000: 1996: 1992:Rosine Bloch 1988: 1979: 1974:Rosine Bloch 1955: 1952: 1947: 1939: 1936: 1931: 1927: 1923: 1919: 1916: 1909: 1889: 1877: 1867: 1859: 1858: 1852: 1846: 1844: 1837: 1825: 1803: 1797: 1789: 1785: 1779: 1773: 1758: 1752: 1748: 1744: 1738: 1730: 1727:Le Ménestrel 1726: 1722: 1720: 1714: 1712: 1706: 1703: 1695: 1660: 1649: 1647: 1640: 1631: 1620: 1600: 1596: 1590: 1585: 1573: 1566: 1562: 1559:Le Ménestrel 1558: 1554:Le Ménestrel 1552: 1532: 1528: 1524: 1522: 1509: 1505: 1502:Adolphe Adam 1489: 1486:Ernest Reyer 1479: 1473: 1471: 1466: 1456: 1446: 1445:, Rossini's 1442: 1438: 1428: 1406: 1402: 1401:and Weber's 1398: 1394: 1380: 1375: 1367: 1363: 1359: 1353: 1347: 1341: 1335: 1329: 1327: 1318: 1314:Don Giovanni 1312: 1306: 1300: 1296: 1290: 1282: 1276: 1272:Don Pasquale 1270: 1264: 1258: 1252: 1246: 1242: 1238: 1237:(now called 1232: 1226: 1219: 1199:Napoleon III 1194: 1172: 1149: 1146: 1141: 1131: 1127: 1107: 1100:Émile Wartel 1093: 1090:Ernest Reyer 1083: 1081: 1076: 1072:Charles VIII 1063: 1056:Michel Carré 1045: 1043: 1035: 1018: 1014: 1012: 1003: 997: 990:Michel Carré 981: 979: 956: 954: 943: 937: 929: 921: 918:Victor Massé 911: 907: 905: 881:haute-contre 879: 858: 852: 848: 842: 839:Michel Carré 830: 824: 821:André Grétry 818: 811: 801: 787: 783: 779: 777: 769: 738: 712: 708: 704: 693: 681: 677: 673: 669: 665: 661: 659: 639: 638: 633: 629: 617: 613: 611: 604: 581: 569:Castil-Blaze 558: 554: 550: 548: 542: 531: 523: 515: 511: 493: 487: 481: 479: 472: 460: 454: 446:Émile Perrin 444: 439:Émile Perrin 425:near Paris. 415: 408: 402: 398: 392: 379: 376:Gustave Vaëz 367: 365: 340: 336: 333:Adolphe Adam 330: 324: 302: 300: 280:Michel Carré 275: 271: 267: 263: 257: 250: 244: 229: 218:Napoleon III 205: 199: 196:Adolphe Adam 181: 173: 143: 136: 130: 124: 118: 112: 93: 73:Adolphe Adam 44: 42: 29: 3676:Les Troyens 2407:Les Troyens 2317: [ 2127:Poster for 1918:writing in 1784:' four-act 1665:Carl Eckert 1510:Le brasseur 1278:La traviata 1104:Marie Cabel 976:as Gil Blas 926:Léo Delibes 869:Paris Opera 813:Abou Hassan 682:feuilletons 599:, although 587:during the 506:and at the 361:Strassbourg 345:Marie Cabel 321:Marie Cabel 87:), and the 3708:Categories 3245:Review of 2630:La promise 2332:See also: 2016:Marie Roze 1981:Charles VI 1957:Charles VI 1754:Semiramide 1128:Chat botté 670:professore 555:Robin Hood 461:La promise 401:, Auber's 380:La promise 325:La promise 95:operas by 63:, and the 3267:La Presse 3109:magique." 3076:En prison 2617:Georgette 2383:La Statue 2339:Premieres 2201:Location 2180:near the 2069:L'esclave 2047:L'ésclave 1976:as Odette 1932:La Presse 1740:Le désert 1639:Act 3 of 1617:Offenbach 1597:En prison 1525:Rigoletto 1490:Iphigénie 1260:Rigoletto 1151:Le Figaro 1095:La statue 996:'s novel 992:based on 890:Marie Sax 803:Euryanthe 757:Marie Sax 674:ricercate 606:Euryanthe 597:Charles I 593:Yorkshire 541:Act 2 of 3630:(1981). 3540:(2010). 3504:(2001). 3484:(2003). 2892:Gil-Blas 2450:Revivals 2424:Mireille 2167:Le bravo 2055:Maritana 1563:Don Juan 1533:Violetta 1529:Don Juan 1498:Panthéon 1349:Mireille 1319:Don Juan 1283:Violetta 1120:d'Ennery 1116:Dumanoir 982:Gil Blas 876:castrato 709:Falstaff 516:À Clichy 3569:Gallica 2475:Macbeth 2467:Berlioz 2198:Theatre 2145:Dimitri 2034:), and 2012:L'ombre 1657:Lucerne 1595:called 1496:at the 1475:L'irato 1321:, with 1302:Macbeth 1140:called 1047:Fidelio 1037:Fidelio 1008:Barbary 666:maestro 628:in the 585:Bohemia 522:called 492:called 335:called 228:called 3656: 3638: 3605: 3548: 3512: 3494: 3434: 3418:600093 3416: 3148:vivant 3104:. "Le 2773:p. 829 2649:, see 2488:Rienzi 2485:1869: 2472:1865: 2455:1859: 2439:1867: 2430:1867: 2421:1864: 2404:1863: 2392:1863: 2380:1861: 2368:1859: 2356:1856: 2344:1852: 2049:, and 1984:(1869) 1940:Rienzi 1912:(1869) 1891:Carmen 1840:(1869) 1790:Rienzi 1776:(1869) 1731:Rienzi 1723:Rienzi 1715:Rienzi 1661:Rienzi 1651:Rienzi 1643:(1869) 1641:Rienzi 1463:Grisar 1461:, and 1443:Martha 1308:Martha 1222:(1865) 1077:Orphée 860:Orphée 789:Obéron 763:, and 474:Mignon 423:Meudon 327:(1853) 178:(1854) 114:Rienzi 107:, and 101:Mozart 79:, the 59:, the 3102:p. 87 2888:p. 52 2653:, in 2499:Notes 2458:Orfée 2371:Faust 2321:] 2195:Dates 1962:Odéon 1707:alive 1537:Opéra 1407:Faust 1395:Faust 1285:with 1266:Norma 1019:Faust 945:Faust 784:Robin 697:Opéra 457:Opéra 357:Lyons 138:Faust 109:Verdi 105:Weber 97:Gluck 57:Opéra 53:Paris 49:opera 3654:ISBN 3636:ISBN 3618:View 3603:ISBN 3583:View 3565:View 3561:1877 3546:ISBN 3528:View 3510:ISBN 3492:ISBN 3480:and 3468:View 3450:View 3432:ISBN 3414:OCLC 3396:View 2900:ter! 2896:bis! 2645:and 1997:fils 1816:and 1675:and 1453:Paer 1397:and 1118:and 1054:and 988:and 873:alto 837:and 567:and 359:and 43:The 3674:On 3620:at 3585:at 3567:at 3530:at 3470:at 3452:at 3398:at 2491:by 2478:by 2461:by 2410:by 2398:by 2386:by 2374:by 2362:by 2350:by 2216:66 2165:'s 2151:'s 2053:'s 1978:in 1851:as 1603:by 1584:'s 1126:'s 530:'s 323:in 3710:: 3346:^ 3249:, 3204:^ 3174:^ 3129:^ 2973:^ 2961:^ 2834:^ 2720:^ 2507:^ 2319:fr 1926:, 1812:, 1520:. 1512:, 1469:. 1451:, 1374:' 1079:. 1064:né 796:, 767:. 759:, 755:, 646:: 575:. 534:. 413:. 313:. 266:, 194:, 186:. 103:, 99:, 3700:. 3660:. 3642:. 3624:. 3609:. 3589:. 3571:. 3552:. 3534:. 3516:. 3498:. 3474:. 3456:. 3438:. 3420:. 3402:. 3377:. 3253:, 3236:. 3124:. 2753:. 2469:) 2418:) 1796:( 1366:( 1130:( 553:( 339:( 274:( 204:( 160:. 20:)

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