Théâtre Lyrique - Knowledge

1566: 1624: 2113: 1754: 1203: 22: 1821: 1152: 1892: 1020: 306: 1958: 1676: 158: 527: 885: 639: 423: 995:(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 717: 959: 225: 441:. 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." 279:. 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, 1943:

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

1407: 251:, 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 1718:(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 2007:, 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. 197:), 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, 244:, 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...". 1668:, 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 352:. 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. 1873:. 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 598:, 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. 1992:(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. 1888:

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.

1817:(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. 213:, 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 692:. 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 665:, 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 1010:

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

1887:

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

1693:

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;

1219:

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

1942:

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

759:

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

473:

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

3134:

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

2087:

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

83:

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

1906:

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,

1063:

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

673:

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

1983:

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

683:

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

1844:

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

760:

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

1706:

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,

2055:

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,

1698:: 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." 3139:

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

1618:, 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. 1608:, "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 1643:

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

1919:, 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. 954:

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.

3097:

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

2088:

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.

736:, 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 1174:, 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 1064:

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

3549:

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

1923:(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. 592:'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 2883:» 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 1926:

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

405:

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

1652:, 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 1394:, 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 2131:

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'

1978:

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

1136:

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

1560:(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." 1953:

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.

238:, 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 1489:, 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 1546:, 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 1911:, 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 696:, 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 571:

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

1194:. 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. 2764:. "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. 674:

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.

731:

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,

1949:. 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 2050:

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

3135:

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,

2608:

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.

171:

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

1939:(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." 1777:, 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 1190:

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

386:

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

294:, 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 740:, 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 605:

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

1565: 1694:

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

2031:

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.

1984:

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

2015:

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

2302: 1935:, 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 1791:). 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 179:, 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 2034:

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

477:

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

1103:(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 1426:

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

2003:. 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 1623: 1797:.) However, other influences were also heard, including Meyerbeer, Verdi, and Donizetti. It had been advertised that the settings would be designed by Enrico Robecchi, 2322: 621:

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

2112: 1398:, 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. 1240:

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

2736: 1753: 1202: 1077:(15 October 1860; 135 performances) with Marie-Stéphanie Meillet as Rose-de Mai and Jules Monjauze as Stéphan. The most successful new work was 21: 1610: 1540:

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

1834:

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

1809:, 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 1467:(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 382:

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

2097: 3544:

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

3412:

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

336:, 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 460:

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'

1845:

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

895:

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

684:

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

1820: 410:, which had originally been awarded to his brother Edmond in 1851. Unfortunately, Jules Seveste died unexpectedly on 30 June 1854 in 367:, and the production received 43 performances. Later that season on 16 March she created the role of Marie in the three-act opéra comique 3712: 1422:

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

1288:

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

661:" thought he might, with equal good grace, embellish and vary the melodies. He set himself to work, and spared not roulades, shakes, and 2027:(director of Les Fantaisies Parisiennes, formerly on the boulevard des Italiens and since 1 April 1869 at a small basement theatre, the 538:

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

2096:

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

1033:

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

1588:, which was first presented on 5 March 1869 and received 21 performances, and another new work, the three-act opéra comique 1006:

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

3362:

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

2165:

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

2128: 1891: 625:

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

1314:

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

290:

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

873:) role of Orphée. The Théâtre Lyrique's production was a landmark revival in the history of the opera, with the music adapted by 340:, had failed to make much of an impression at the Opéra-Comique in the 1849–1850 season, but she achieved greater success at the 1151: 991:. Delphine Ugalde starred in the title role and her presence probably accounted for its relatively long run of 61 performances. 3717: 2200: 1019: 65: 487:(14 May 1855), which eventually received a total of 124 performances. Marie Cabel starred in the title role, and a new tenor, 3722: 3646: 3628: 3595: 3538: 3502: 3484: 3424: 2127:'s Théâtre National Lyrique (also called the Opéra National Lyrique and the Théâtre Lyrique National) which performed at the 305: 1524:(beginning on 1 February). Christine Nilsson, who had been highly successful as Violetta, had left the company for the 444:

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

3682: 53: 448:. Perrin was however successful in signing her to a new contract, and the new season opened on 30 September with Cabel in 1862: 1554:: "He does not want stars, but one cannot perform the classics, above all, unless with artists of the first order." The 1497:

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

931:(15 January 1858; 142 performances). The most significant premiere under Carvalho, however, was Gounod's opera 796: 503:

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

130:, the opera performed most often by the Théâtre Lyrique, and still one of the most popular operas throughout the world. 1163: 708:

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

568:

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

1957: 1722:

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

3586: 1675: 950:

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

157: 842: 3707: 1071:

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

320:

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

3702: 2166: 1600:), which premiered on 10 May and received only 18 performances. The latter, having been adapted from 1505:, who up to this time had been the chief conductor of the Théâtre Lyrique, left to become the conductor of the 1379: 526: 1870: 1323:(27 April 1867; 90 performances). Of historical interest, if less successful, were Georges Bizet's 814: 1950: 1481:

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

561: 496: 884: 2430: 1614:, thought the baritone Auguste-Alphonse Meillet excellent in the role of Sancho-Pança, but the young bass 1087:(11 April 1861; 59 performances) with Blanche Baretti as Margyane, Jules Monjauze as Sélim, and 852:(18 November 1859; 138 performances). The last had been translated from the original Italian by 1593: 1570: 392: 298:

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

1242: 1175: 805:

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

638: 360: 133:

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

3526: 3448:

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

2246: 2052: 2028: 2020: 1883:). The recitatives and additional arias in the 1862 version were composed by the now largely forgotten 1874: 927: 653:. M. Duprez seems to have considered this masterpiece from the Castil-Blaze point of view; and as the " 341: 240: 77: 3568:

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

2617:

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

1300:

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

3475: 1689:, who attended a general rehearsal, wrote a description in a letter to Edmond Galabert (April 1869): 1556: 3671: 2383: 1331: 1325: 1095:

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

969:

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

114: 108: 100:, but probably is most remembered today for having given the first performance in Paris of Wagner's 2451: 2230: 2024: 1787: 1179: 1056: 951: 938: 737: 689: 73: 2081: 2016: 1770: 1446: 2421: 2293: 2217: 1378:, which was the resident company at that theatre, Carvalho's new enterprise was to be called the 1343: 483: 453: 221:, which was first performed on 2 October 1852 and ultimately presented 126 times by the company. 69: 1482: 1469: 609:. The singers included Pauline Deligne-Lauters in the role of Annette (Agathe in the original), 499:

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

398: 2347: 1798: 1661: 1060: 901: 3571: 3438: 2761: 2639: 2076:. The season opening was scheduled for 2 April, but was delayed again when the leaders of the 1802: 1665: 3508:

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

3239: 3219: 3107: 3090: 2876: 2146: 1852: 1707:

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

1436: 704:(133 performances), but Clapisson soon intervened and invited Madame Carvalho's husband 383: 235: 202: 3606: 3516: 3456: 1182:. Not long before opening at the new theatre in October, the company was officially renamed 946: 515:(7 March 1855; 66 performances). The last had a libretto by Adolphe de Leuven based on 248: 3652:

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

3553: 2104:, but by 7 June 1872 Martinet had to close the company down permanently due to bankruptcy. 1996: 1836: 1782: 1656:, were extensive. The lavish production was stage managed by Augustin Vizentini (father of 1375: 613:

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

585: 516: 422: 210: 2335: 2235: 1319: 1167: 1162:

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

1156: 982: 437:

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

280: 276: 189: 163: 120: 8: 2206: 1932: 1869:

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

1473:, which was first presented on 26 November and did somewhat better with 15 performances. 1311: 1108: 1073: 853: 808:

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

716: 172: 26: 3014:

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

958: 478: 106:, as well as the premieres of operas by French composers, in particular Georges Bizet's 64:

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

3394:

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

2170: 2100:(capacity 760–900). Beginning in March 1872 the company's official name was changed to 1969: 1945: 832: 786: 771:

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

284: 224: 198: 3662: 1423: 137:'s Théâtre National Lyrique (1876–1878), but none were as successful as the original. 3642: 3624: 3591: 3563: 3534: 3498: 3480: 3420: 3402: 2446: 2307: 1857: 1806: 1758: 1669: 1653: 1605: 1275: 888: 848: 809: 753: 452:. Two singers new to the company were also to receive much praise: the mezzo-soprano 379:

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

376: 3490: 1995:

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

1723: 1370:

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

1236: 1222: 899:(1 March 1856; 192 performances), Aimé Maillart's three-act opéra comique 761: 700:(23 performances) and a more successful revival of his three-act opéra comique 548: 457: 407: 272: 247:

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

214: 146: 57: 3388: 2412: 2124: 1657: 1502: 1337: 1112: 733: 688:, the bass Hermann-Léon from the Opéra-Comique, and most significantly the soprano 589: 577: 492: 295: 134: 93: 2352: 2281: 1512:

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

1506: 1216: 1126: 941:

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

728: 721: 705: 565: 438: 299: 180: 49: 2463: 2151: 2068: 2039: 1736:. The concert was repeated. Later another concert included David's symphonic ode 1615: 1597: 1533: 1441: 1419: 1411: 1371: 1290: 1280: 1171: 1166:, the company relocated to a new theatre (capacity 1800) on the east side of the 1048: 962: 789:, and Paul de Chazot (27 February 1857; 100 performances), followed by 782: 749: 741: 642: 610: 508: 372: 337: 3430: 2272: 2137: 1637:

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

1542: 1461:

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

1088: 1044: 978: 906: 827: 434: 427: 364: 344:

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

268: 3581: 2481: 2468: 2400: 2364: 1810: 1581: 1537: 1296: 922: 874: 777: 632: 614: 553: 534:, a room in the gamekeeper's house, as performed at the Théâtre Lyrique in 1855 488: 287:, received a diamond bracelet from the new Empress as a token of appreciation. 914: 507:(24 December 1854; 89 performances); and a one-act opéra comique by 3696: 3466: 2388: 2359: 2077: 1884: 1793: 1686: 1529: 1451: 1360: 1254: 1191: 1121: 1100: 1040: 996: 974: 933: 823: 799:(1 September 1857; 28 performances), and the one-act opéra comique 176: 126: 3634: 3616: 3610: 3575: 3520: 3470: 3460: 3442: 2376: 2340: 2062: 1980: 1962: 1580:

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

1490: 1474: 1302: 1260: 1187: 1078: 1051:

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

869: 840:, a French translation by Prosper Pascal of Mozart's two-act opéra comique 557: 321: 206: 184: 61: 1740:, but this concert also included foreign works: the overture to Rossini's 1728: 1660:, a former violinist with the Théâtre Lyrique). The sets were designed by 1278:

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

1047:

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

359:

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

3552:. Paris: L'Agence internationale des Auteurs, Compositeurs et Écrivains. 2395: 2107: 1601: 1525: 1266: 1092: 857: 801: 685: 445: 349: 333: 332:), which was first performed on 6 October. A new singer, the 26-year-old 309: 45: 3384: 1931:. The deteriorating political situation, which would soon result in the 1486: 3406: 2123:

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

2004: 1742: 1463: 1406: 877:

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

2371: 1347:(26 December 1867; 18 performances). There were also two new one-act 1248: 1139: 1083: 937:(19 March 1859; 306 performances) in which Carvalho's wife 878: 791: 745: 594: 581: 2782:

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

631:(24 February 1855) reported that Madame Lauters had been coached by 3676: 3121: 3119: 1104: 987: 864: 355:

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

1382:. The Théâtre Lyrique's more lavish productions, such as Gounod's 1351:

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

3557: 2455: 1645: 1329:(30 September 1863; 18 performances); Hector Berlioz's 1035: 1025: 573: 267:). The last had a libretto by Jules Edouard Alboize de Pujol and 44:

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

3258:(2–3 January 1870). Translated and quoted by Walsh 1981, p. 265. 3116: 2668:(30 July 1854). Quoted and translated by Walsh 1981, p. 52. 2604:

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

649:

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

145:

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

2476: 1879: 1639: 1335:(4 November 1863; 21 performances); Charles Gounod's 462: 411: 102: 89: 1133:. In spite of its initial success the work was never revived. 1317:

The most successful premiere during this period was Gounod's

1055:

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

97: 85: 41: 37: 2158:(18 April 1877), and Hector Saloman's one-act opéra comique 1769:

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

657:" had taken liberties with this great composer's text, the " 491:, who had previously been an actor at the French Theatre in 3677:

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

2630:

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

2262:

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

1877:(a singer who would later create the title role in Bizet's 861: 345: 2891:

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

1750:

sung by Marie Schroeder. This program was repeated twice.

1252:(24 December 1863; 243 performances); Bellini's 856:

when Gluck had adapted his Vienna version in 1774 for the

669:, applauded 'to the echo;' and it was only on reading the 2316: 1230:), first performed on 8 December 1862; the four-act 881:, who later became a leading soprano at the Paris Opera. 3621:

Second Empire Opera: The Théâtre Lyrique Paris 1851–1870

1246:(11 September 1863; 48 performances); Verdi's 1178:, and that of the Théâtre Lyrique is today known as the 3672:

Photo of original "Théâtre Lyrique" before fire in 1871

3417:

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

2278:

Pierre Pellegrin (26 September 1855 – 20 February 1856)

1264:(9 September 1864; 35 performances); Verdi's 3639:

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

3437:, supplement, vol. 2, pp. 632–633. Paris: Didot. 3209:

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

2108:

Subsequent companies reviving the name Théâtre Lyrique

1258:(14 June 1864; 8 performances); Donizetti's 1186:, but reverted to its previous name after the fall of 846:(11 May 1859; 87 performances); and Gluck's 3294:

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

2323:

Category:Opera world premieres at the Théâtre Lyrique

1294:(21 April 1865; 14 performances); Flotow's 3379:

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

1861:, in a revised and highly adapted French version by 2621:

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

1143:, writing under the pseudonym of Charles Darcours. 1002:Probably at least partly because of the failure of 3495:The Keys to French Opera in the Nineteenth Century 1604:by Jules Barbier and Michel Carré and declined by 1596:(winner of the Prix de Rome in 1835 and father of 552:, that had been translated and adapted in 1824 by 3479:(fourth edition, in German). Munich: K. G. Saur. 3415:Fauser, Annegret; Everist, Mark, editors (2009). 1710:The season ended on 31 May with a performance of 1430:, which was followed by performances of Flotow's 999:barrel organs for the next two or three years." 921:(3 October 1857; 64 performances), and 913:(19 September 1856; 170 performances), 795:in a French translation by Adolphe de Leuven and 3694: 2046:was also under consideration. A three-act opera 1341:(19 March 1864; 41 performances); and 546:). This was a highly altered version of Weber's 283:, whom Saint-Léon had brought with him from the 3188:Walsh 1981, pp. 263 f.; Kenney 1875, pp. 262 f. 3166: 3164: 3149:Quoted and translated by Walsh 1981, pp. 252 f. 3071:), 321 f. (productions), 332 (Ernst Boulanger). 3054:Quoted and translated by Walsh 1981, pp. 248 f. 2173:(January–March 1893; March 1899 – March 1900). 3340: 3338: 3336: 3218:Saint-Victor, Paul de. "Chronique Théâtrale", 2266:Edmond Seveste (1 May 1851 – 28 February 1852) 1011:performances at the theatre began to decline. 678: 466:at the Opéra-Comique (with Cabel as Philine). 259:, and the premiere of a two-act opéra-ballet, 3566:(1867). "Les Théâtres", pp. 803–844. in 2965: 2963: 2714: 2712: 2710: 2640:"Dramatic. St. James's Theatre—Opera Comique" 2299:Charles Benou (1 February 1870 – 1 July 1870) 2257: 1401: 140: 3497:. Berkeley: University of California Press. 3419:. Chicago: The University of Chicago Press. 3161: 3045:Quoted and translated by Walsh 1981, p. 248. 3027:Quoted and translated by Walsh 1981, p. 249. 3005:Quoted and translated by Walsh 1981, p. 247. 2287:Charles Réty (1 April 1860 – 4 October 1862) 2091: 2010: 1520:(beginning on 24 January), and Verdi's 3533:. Newcastle upon Tyne: Cambridge Scholars. 3333: 3196: 3194: 2953: 2951: 2269:Jules Seveste (4 March 1852 – 30 June 1854) 1569:The Théâtre Lyrique during the premiere of 1477:reported that at the second performance of 1197: 1146: 1059:was Rocco. The role of Don Fernando became 711: 152: 2960: 2826: 2824: 2707: 2501: 2499: 2497: 1528:and was replaced by the Hungarian soprano 1516:(beginning 8 January 1869), Mozart's 1014: 836:(8 May 1858; 200 performances); 417: 56:). The company was founded in 1847 as the 2290:Léon Carvalho (7 October 1862 – May 1868) 2144:(15 November 1876), Camille Saint-Saëns' 1813:in the final tableau triggered laughter. 3240:"Correspondenzen. Paris, 8 January 1870" 3191: 2948: 2222:72 boulevard du Temple, Paris, 3rd arr. 2111: 1956: 1890: 1819: 1752: 1674: 1672:(in her operatic debut) as Le Messager. 1622: 1564: 1405: 1201: 1150: 1018: 957: 883: 764:) of only 33% of acts in this category. 715: 637: 525: 421: 304: 223: 156: 72:, the Salle du Théâtre-Lyrique (now the 20: 3641:. Sprimont, Belgium: Editions Mardaga. 2821: 2494: 2019:), Théodore Letellier (formerly of the 1234:, a highly adapted version of Mozart's 944:Beginning on 18 February 1860 Gounod's 905:(19 September 1856; 156 performances), 521:Les ensorcelés, ou Jeannot et Jeannette 3695: 3603:Histoire du Théâtre Lyrique, 1851–1870 2317:List of notable premieres and revivals 1732:, but also Acts I and II of Rossini's 275:with insertions of pieces by Adam and 209:. The latter had just established the 80:, until it ceased operations in 1872. 3435:Biographie universelle des musiciens 1155:The Théâtre Lyrique Impérial on the 3685:. L'Almanacco di Gherardo Casaglia 3570:. Paris: Librairie Internationale. 1865:. It was performed under the title 1863:Jules-Henri Vernoy de Saint-Georges 867:role of Orfeo with the high tenor ( 797:Jules-Henri Vernoy de Saint-Georges 234:The engagement of the famous tenor 13: 3713:Musical groups established in 1847 2887:sans se douter qu'il devait crier 2296:(22 August 1868 – 1 February 1870) 2275:(26 July 1854 – 26 September 1855) 357:Georgette ou Le moulin de Fontenoy 14: 3734: 3656: 3587:The New Grove Dictionary of Opera 3453:A Memoir of Michael William Balfe 3125:Walsh 1981, pp. 251 f., 321, 349. 2918:Walsh 1981, pp. 123 f., 127, 312. 2284:(20 February 1856 – 1 April 1860) 2176: 830:of Mozart's four-act comic opera 818:(23 May 1856; 302 performances); 3433:(1878). "Vizentini (Albert)" in 2987:Walsh 1981, pp. 239, 242, 245 f. 2196:15 November 1847 – 29 March 1848 1550:(31 January 1869) wrote of 1131:La chatte metamorphosée en femme 1091:as Kaloum. The following season 3373: 3356: 3347: 3324: 3315: 3306: 3297: 3288: 3279: 3270: 3261: 3249: 3228: 3212: 3203: 3182: 3173: 3152: 3143: 3128: 3101: 3083: 3074: 3057: 3048: 3039: 3030: 3021: 3008: 2999: 2990: 2981: 2972: 2939: 2930: 2921: 2912: 2903: 2894: 2869: 2860: 2851: 2842: 2833: 2812: 2803: 2794: 2785: 2776: 2767: 2754: 2745: 2730: 2727:Wild and Charlton 2005, p. 391. 2721: 2698: 2689: 2680: 2671: 2658: 2649: 2624: 2611: 2598: 2595:Walsh 1981, pp. 39, 42 f., 303. 2589: 2580: 2577:Walsh 1981, pp. 29–39, 301–303. 2243:11 September 1871 – 6 June 1872 2214:27 September 1851 – 31 May 1862 2098:Salle (or Théâtre) de l'Athénée 1714:. Gustave Bertrand, writing in 1680:Jules Monjauze as Rienzi (1869) 1164:Haussmann's renovation of Paris 1099:, a three-act opéra comique by 3353:Walsh 1981, pp. 163, 210, 227. 2909:Walsh 1981, pp. 118, 120, 123. 2571: 2562: 2553: 2544: 2535: 2526: 2517: 2508: 2471:(revised and expanded version) 1532:. She had been recommended by 1374:. To avoid confusion with the 1: 3718:1847 establishments in France 3683:"Search on 'Théâtre Lyrique'" 3451:Kenney, Charles Lamb (1875). 3179:Quoted by Walsh 1981, p. 259. 2969:Walsh 1981, pp. 215, 316–321. 2866:Quoted by Walsh 1981, p. 118. 2227:30 October 1862 – 25 May 1871 1648:to consult with Wagner about 843:Die Entführung aus dem Serail 781:, in a French translation by 16:Former opera company in Paris 3723:Organizations based in Paris 3623:. New York: Riverrun Press. 3547:Michaelis, Théodore (1877). 3455:. London: Tinsley Brothers. 2996:Walsh 1981, pp. 246 f., 321. 2704:Walsh 1981, pp. 60, 305–307. 2646:(29 July 1854), p. 502. 1825:Cover of the vocal score of 1359:; 36 performances) and 1270:, performed under the title 1209:La flûte enchantée 702:Le sourd ou L'auberge pleine 371:. The music was composed by 7: 3531:Opéra-Comique: A Sourcebook 3513:Mémorial du Théâtre Lyrique 3381:Lettres à un ami, 1865–1872 3344:Langham-Smith 1992, p. 874. 3170:Walsh 1981, p. 258 f., 322. 2809:Walsh 1981, pp. 82 f., 309. 2800:Walsh 1981, pp. 79–81, 309. 2718:Walsh 1981, pp. 57–59, 306. 2632:Les diamants de la couronne 2532:Walsh 1981, pp. 28–29, 301. 2312:(1 July 1870 – 6 June 1872) 1999:'s three-act opéra comique 1493:'s three-act opéra comique 1081:'s three-act opéra comique 1039:in a French translation by 925:'s three-act opéra comique 909:'s three-act opéra comique 812:'s three-act opéra comique 767:The company's success with 679:1855–1856: Pierre Pellegrin 469:The terms of the company's 393:Les diamants de la couronne 25:The Théâtre Lyrique on the 10: 3739: 3681:Casaglia, Gherardo (2005). 3637:; Charlton, David (2005). 3527:Letellier, Robert Ignatius 3244:Neue Berliner Musikzeitung 2848:Letellier 2010, pp. 363 f. 2751:Walsh 1981, pp. 64 f., 68. 2320: 2258:List of managing directors 1913:Neue Berliner Musikzeitung 1761:for Act IV, tableau 2, of 1483:Mme la Vicomte de Grandval 1402:1868–1870: Jules Pasdeloup 822:, a French translation by 257:Le postillon de Longjumeau 241:Le postillon de Longjumeau 144: 141:On the boulevard du Temple 3018:(Walsh, p. 296, note 31). 2936:Walsh 1981, pp. 123, 147. 2857:Walsh 1981, pp. 118, 312. 2818:Walsh 1981, pp. 106, 311. 2677:Walsh 191, pp. 52, 54–55. 2666:Revue et Gazette Musicale 2167:Théâtre de la Renaissance 2092:At the Salle de l'Athénée 2011:1870–1872: Louis Martinet 1990:Revue et Gazette Musicale 1871:Théâtre des Arts of Rouen 1775:Le dernier jour de Pompéï 1763:Le dernier jour de Pompéï 1557:Revue et Gazette Musicale 1454:'s one-act opéra comique 1444:'s two-act opéra comique 1380:Théâtre de la Renaissance 667:tour de force, quand même 560:, for performance at the 124:, and above all Gounod's 3601:Soubies, Albert (1899). 3511:Lasalle, Albert (1877). 3330:Walsh 1981, pp. 273–274. 3285:Walsh 1981, pp. 269–270. 3267:Walsh 1981, pp. 266–267. 3158:Walsh 1981, pp. 257–258. 3036:Walsh 1981, pp. 248–250. 2978:Walsh 1981, pp. 235–238. 2945:Walsh 1981, pp. 149–150. 2830:Walsh 1981, pp. 308–313. 2695:Walsh 1981, pp. 60, 306. 2487: 2452:Christoph Wilibald Gluck 2231:Salle du Théâtre-Lyrique 2102:Théâtre-Lyrique-National 1788:The Last Days of Pompeii 1367:(59 performances). 1207:Press illustrations for 1198:1862–1868: Léon Carvalho 1184:Théâtre Lyrique Impérial 1147:On the Place du Châtelet 1057:Charles-Amable Battaille 952:Charles-Amable Battaille 939:Caroline Miolan-Carvalho 917:' one-act opéra comique 738:Caroline Miolan-Carvalho 712:1856–1860: Léon Carvalho 690:Caroline Miolan-Carvalho 456:, who would later marry 361:François-Auguste Gevaert 265:The Goblin of the Valley 153:1852–1854: Jules Seveste 40:companies performing in 3383:. Paris: Calmann-Lévy. 3276:Walsh 1981, pp. 267 ff. 2927:Walsh 1981, pp. 313 ff. 2550:Walsh 1981, p. 29. 2541:Walsh 1981, pp. 33, 50. 2422:La jolie fille de Perth 2294:Jules Etienne Pasdeloup 1456:Les bégaiements d'amour 1353:Les bégaiements d'amour 1344:La jolie fille de Perth 1015:1860–1862: Charles Réty 454:Pauline Deligne-Lauters 418:1854–1855: Émile Perrin 60:by the French composer 3708:French opera companies 3397:Curtiss, Mina (1958). 3364:L'aumônier du régiment 3321:Walsh 1981, pp. 274 f. 3303:Walsh 1981, pp. 272 f. 2791:Ellis 2009, pp. 54–56. 2559:Walsh 1981, pp. 30–31. 2505:Charlton 1992, p. 871. 2405:Les Troyens à Carthage 2403:(second part only, as 2384:Les Pêcheurs de Perles 2348:Les Dragons de Villars 2160:L'aumônier du régiment 2120: 2118:L'aumônier du régiment 2080:moved into the nearby 1975: 1903: 1831: 1799:Charles-Antoine Cambon 1781:, based on a novel by 1766: 1702:The ticket prices for 1700: 1682: 1662:Charles-Antoine Cambon 1634: 1577: 1495:Le brasseur de Preston 1415: 1357:The Stammerers of Love 1332:Les Troyens à Carthage 1326:Les pêcheurs de perles 1232:Peines d'amour perdues 1213: 1159: 1125:) and a vaudeville by 1097:La chatte merveilleuse 1030: 1029:at the Théâtre Lyrique 988:Gil Blas de Santillane 966: 902:Les dragons de Villars 892: 838:L'enlèvement au sérail 725: 676: 645: 535: 474:or the Opéra-Comique. 431: 375:, the libretto was by 363:, the libretto was by 317: 231: 168: 115:Les Troyens à Carthage 109:Les pêcheurs de perles 29: 3703:Opera houses in Paris 3590:. London: Macmillan. 3221:Les Modes Parisiennes 3080:Grayson 2009, p. 139. 3063:Walsh 1981, pp. 250 ( 2773:Walsh 1981, pp. 70 f. 2568:Walsh 1981, p. 34–37. 2514:Lacombe 2001, p. 245. 2162:(14 September 1877). 2115: 2021:Théâtre de la Monnaie 2017:Délassements-Comiques 1960: 1909:Les Modes Parisiennes 1894: 1875:Célestine Galli-Marié 1853:Michael William Balfe 1823: 1815:Galignani's Messenger 1771:Victorin de Joncières 1756: 1734:Le barbier de Seville 1691: 1678: 1626: 1568: 1447:Le maître de chapelle 1437:Le barbier de Seville 1409: 1243:L'épreuve villageoise 1205: 1154: 1022: 961: 928:Le médecin malgré lui 887: 815:Richard Coeur-de-lion 719: 647: 641: 623:Revue des deux mondes 529: 501:Le muletier de Tolède 425: 342:Théâtre de la Monnaie 308: 261:Le lutin de la vallée 236:Jean-Baptiste Chollet 227: 160: 24: 3605:Paris: Fischbacher. 3515:. Paris: J. Lecuir. 3476:Großes Sängerlexikon 2636:La fille du régiment 2150:(23 February 1877), 2048:Frédéric Barberousse 1997:Friedrich von Flotow 1837:Un ballo in maschera 1783:Edward Bulwer-Lytton 1470:Iphigénie en Tauride 1170:. The architect was 601:Perrin's revival of 584:during the reign of 517:Charles Simon Favart 484:Jaguarita l'Indienne 399:La fille du régiment 211:Second French Empire 3401:. New York: Knopf. 3399:Bizet and His World 3312:Walsh 1981, p. 274. 3200:Walsh 1981, p. 322. 2957:Levin 2009, p. 397. 2900:Walsh 1981, p. 121. 2879:. "La «sérénade de 2207:boulevard du Temple 2129:Théâtre de la Gaîté 1933:Franco-Prussian War 1803:Auguste Alfred Rubé 1746:, and an aria from 1666:Auguste Alfred Rubé 1312:Anne Charton-Demeur 1180:Théâtre de la Ville 1176:Théâtre du Châtelet 973:with a libretto by 854:Pierre-Louis Moline 820:Les noces de Figaro 173:boulevard du Temple 118:, Charles Gounod's 112:, Hector Berlioz's 74:Théâtre de la Ville 27:Boulevard du Temple 3667:at Théâtre Lyrique 3246:(12 January 1870). 2740:(24 February 1855) 2686:Ellis 2009, p. 54. 2655:Walsh 1981, p. 49. 2586:Walsh 1981, p. 39. 2523:Walsh 1981, p. ix. 2247:Salle de l'Athénée 2238:, Paris, 1st arr. 2218:Théâtre Historique 2209:, Paris, 3rd arr. 2171:Porte Saint-Martin 2147:Le timbre d'argent 2121: 2029:Salle de l'Athénée 1976: 1937:La France Musicale 1904: 1832: 1767: 1738:Christophe Colombe 1683: 1635: 1578: 1418:By 22 August 1868 1416: 1286:La flûte enchantée 1214: 1160: 1031: 1004:Philémon et Baucis 967: 947:Philémon et Baucis 893: 833:Le nozze di Figaro 787:Alexandre Beaumont 726: 646: 619:Journal des débats 562:Théâtre de l'Odéon 536: 497:Théâtre de l'Odéon 471:cahier des charges 432: 396:, and Donizetti's 384:St James's Theatre 318: 285:Paris Opera Ballet 249:Eugénie de Montijo 232: 169: 78:Salle de l'Athénée 70:Théâtre Historique 30: 3647:978-2-87009-898-1 3629:978-0-7145-3659-0 3596:978-1-56159-228-9 3584:, editor (1992). 3564:Roqueplan, Nestor 3539:978-1-4438-2140-7 3503:978-0-520-21719-5 3485:978-3-598-11598-1 3425:978-0-226-23926-2 3223:(22 January 1870) 2738:The Musical World 2644:The Musical World 2434:by Charles Gounod 2431:Roméo et Juliette 2416:by Charles Gounod 2255: 2254: 2236:Place du Châtelet 1988:, writing in the 1858:The Bohemian Girl 1807:Philippe Chaperon 1759:Philippe Chaperon 1757:Design sketch by 1726:'s symphonic ode 1670:Marguerite Priola 1536:on the advice of 1388:Roméo et Juliette 1365:Le cousin Babylas 1320:Roméo et Juliette 1276:Christine Nilsson 1168:Place du Châtelet 1157:Place du Châtelet 993:The Musical World 983:Alain-René Lesage 889:Caroline Carvalho 754:Christine Nilsson 629:The Musical World 377:Adolphe de Leuven 281:Marie Guy-Stéphan 277:Arthur Saint-Léon 199:Princess Mathilde 121:Roméo et Juliette 3730: 3688: 3389:Internet Archive 3367: 3360: 3354: 3351: 3345: 3342: 3331: 3328: 3322: 3319: 3313: 3310: 3304: 3301: 3295: 3292: 3286: 3283: 3277: 3274: 3268: 3265: 3259: 3253: 3247: 3232: 3226: 3216: 3210: 3207: 3201: 3198: 3189: 3186: 3180: 3177: 3171: 3168: 3159: 3156: 3150: 3147: 3141: 3132: 3126: 3123: 3114: 3109:Le Guide Musical 3105: 3099: 3087: 3081: 3078: 3072: 3061: 3055: 3052: 3046: 3043: 3037: 3034: 3028: 3025: 3019: 3012: 3006: 3003: 2997: 2994: 2988: 2985: 2979: 2976: 2970: 2967: 2958: 2955: 2946: 2943: 2937: 2934: 2928: 2925: 2919: 2916: 2910: 2907: 2901: 2898: 2892: 2873: 2867: 2864: 2858: 2855: 2849: 2846: 2840: 2837: 2831: 2828: 2819: 2816: 2810: 2807: 2801: 2798: 2792: 2789: 2783: 2780: 2774: 2771: 2765: 2760:Roqueplan 1867, 2758: 2752: 2749: 2743: 2734: 2728: 2725: 2719: 2716: 2705: 2702: 2696: 2693: 2687: 2684: 2678: 2675: 2669: 2662: 2656: 2653: 2647: 2628: 2622: 2615: 2609: 2602: 2596: 2593: 2587: 2584: 2578: 2575: 2569: 2566: 2560: 2557: 2551: 2548: 2542: 2539: 2533: 2530: 2524: 2521: 2515: 2512: 2506: 2503: 2454:(preparation by 2425:by Georges Bizet 2311: 2201:Cirque Olympique 2197: 2181: 2180: 2142:Paul et Virginie 2125:Albert Vizentini 1851:was followed by 1658:Albert Vizentini 1611:Le Guide Musical 1602:Cervantes' novel 1594:Ernest Boulanger 1571:Ernest Boulanger 1503:Adolphe Deloffre 1428:Le val d'Andorre 1113:Charles Perrault 1074:Le val d'Andorre 1023:The last act of 860:, replacing the 775:. The first was 734:Nestor Roqueplan 590:Sir Walter Scott 578:Thirty Years War 493:Saint Petersburg 479:Fromental Halévy 296:Adolphe Deloffre 253:Flore et Zéphire 219:Flore et Zéphire 203:Jérôme Bonaparte 135:Albert Vizentini 66:Cirque Olympique 36:was one of four 3738: 3737: 3733: 3732: 3731: 3729: 3728: 3727: 3693: 3692: 3686: 3659: 3376: 3371: 3370: 3361: 3357: 3352: 3348: 3343: 3334: 3329: 3325: 3320: 3316: 3311: 3307: 3302: 3298: 3293: 3289: 3284: 3280: 3275: 3271: 3266: 3262: 3254: 3250: 3233: 3229: 3217: 3213: 3208: 3204: 3199: 3192: 3187: 3183: 3178: 3174: 3169: 3162: 3157: 3153: 3148: 3144: 3133: 3129: 3124: 3117: 3106: 3102: 3088: 3084: 3079: 3075: 3062: 3058: 3053: 3049: 3044: 3040: 3035: 3031: 3026: 3022: 3013: 3009: 3004: 3000: 2995: 2991: 2986: 2982: 2977: 2973: 2968: 2961: 2956: 2949: 2944: 2940: 2935: 2931: 2926: 2922: 2917: 2913: 2908: 2904: 2899: 2895: 2874: 2870: 2865: 2861: 2856: 2852: 2847: 2843: 2838: 2834: 2829: 2822: 2817: 2813: 2808: 2804: 2799: 2795: 2790: 2786: 2781: 2777: 2772: 2768: 2759: 2755: 2750: 2746: 2735: 2731: 2726: 2722: 2717: 2708: 2703: 2699: 2694: 2690: 2685: 2681: 2676: 2672: 2664:Printed in the 2663: 2659: 2654: 2650: 2629: 2625: 2616: 2612: 2603: 2599: 2594: 2590: 2585: 2581: 2576: 2572: 2567: 2563: 2558: 2554: 2549: 2545: 2540: 2536: 2531: 2527: 2522: 2518: 2513: 2509: 2504: 2495: 2490: 2325: 2319: 2305: 2260: 2195: 2179: 2152:Gaston Salvayre 2110: 2094: 2069:La dame blanche 2040:Vincent Wallace 2013: 1974: 1966: 1902: 1897: 1896:Score cover for 1830: 1681: 1633: 1616:Alfred Giraudet 1598:Nadia Boulanger 1534:Pauline Viardot 1424:Cirque Napoléon 1420:Jules Pasdeloup 1414: 1412:Jules Pasdeloup 1404: 1376:Théâtre-Italien 1372:Salle Ventadour 1349:opéras comiques 1306:, performed as 1284:, performed as 1281:The Magic Flute 1212: 1200: 1172:Gabriel Davioud 1149: 1049:Pauline Viardot 1017: 963:Delphine Ugalde 919:Maître Griffard 911:La reine topaze 897:La fanchonnette 891:as Fanchonnette 783:Charles Nuitter 750:Pauline Viardot 742:Delphine Ugalde 724: 714: 694:La fanchonnette 681: 643:Pauline Lauters 611:Caroline Girard 509:Ferdinand Poise 430: 420: 373:Louis Clapisson 338:Pauline Viardot 292:opéras comiques 230: 229:Chollet in 1840 155: 150: 143: 54:Théâtre-Italien 34:Théâtre Lyrique 17: 12: 11: 5: 3736: 3726: 3725: 3720: 3715: 3710: 3705: 3691: 3690: 3679: 3674: 3669: 3658: 3657:External links 3655: 3654: 3653: 3650: 3632: 3614: 3599: 3582:Sadie, Stanley 3579: 3561: 3545: 3542: 3524: 3509: 3506: 3491:Lacombe, Hervé 3488: 3464: 3449: 3446: 3428: 3413: 3410: 3395: 3392: 3375: 3372: 3369: 3368: 3355: 3346: 3332: 3323: 3314: 3305: 3296: 3287: 3278: 3269: 3260: 3248: 3227: 3211: 3202: 3190: 3181: 3172: 3160: 3151: 3142: 3127: 3115: 3100: 3089:Lasalle 1877, 3082: 3073: 3056: 3047: 3038: 3029: 3020: 3007: 2998: 2989: 2980: 2971: 2959: 2947: 2938: 2929: 2920: 2911: 2902: 2893: 2875:Lasalle 1877, 2868: 2859: 2850: 2841: 2839:Walsh, p. 115. 2832: 2820: 2811: 2802: 2793: 2784: 2775: 2766: 2753: 2744: 2729: 2720: 2706: 2697: 2688: 2679: 2670: 2657: 2648: 2623: 2610: 2597: 2588: 2579: 2570: 2561: 2552: 2543: 2534: 2525: 2516: 2507: 2492: 2491: 2489: 2486: 2485: 2484: 2482:Richard Wagner 2472: 2469:Giuseppe Verdi 2459: 2441: 2440: 2436: 2435: 2426: 2417: 2408: 2401:Hector Berlioz 2391: 2379: 2367: 2365:Charles Gounod 2355: 2343: 2336:Si j'étais roi 2330: 2329: 2318: 2315: 2314: 2313: 2303:Louis Martinet 2300: 2297: 2291: 2288: 2285: 2279: 2276: 2270: 2267: 2259: 2256: 2253: 2252: 2251:17 rue Scribe 2249: 2244: 2240: 2239: 2233: 2228: 2224: 2223: 2220: 2215: 2211: 2210: 2203: 2198: 2192: 2191: 2188: 2185: 2178: 2177:List of venues 2175: 2136:(5 May 1876), 2109: 2106: 2093: 2090: 2082:Hôtel de Ville 2074:Si j'étais roi 2066:, Boieldieu's 2060:, Offenbach's 2053:Siege of Paris 2025:Louis Martinet 2012: 2009: 1961: 1895: 1824: 1811:Mount Vesuvius 1724:Félicien David 1679: 1627: 1582:Ernest Guiraud 1538:Clara Schumann 1410: 1403: 1400: 1237:Così fan tutte 1223:Der Freischütz 1206: 1199: 1196: 1148: 1145: 1016: 1013: 923:Charles Gounod 875:Hector Berlioz 769:Robin des Bois 762:Opéra-National 720: 713: 710: 680: 677: 651:Der Freischütz 633:Gilbert Duprez 615:Hector Berlioz 603:Robin des bois 580:to ostensibly 554:Thomas Sauvage 549:Der Freischütz 540:Robin des bois 532:Robin des bois 489:Jules Monjauze 458:Louis Guéymard 426: 419: 416: 408:Opéra-National 388:Le bijou perdu 330:The Lost Jewel 326:Le bijou perdu 273:Eugène Gautier 228: 215:Eugène Gautier 205:and cousin of 201:, daughter of 195:If I Were King 190:Si j'étais roi 164:Si j'étais roi 154: 151: 147:Opéra-National 142: 139: 58:Opéra-National 15: 9: 6: 4: 3: 2: 3735: 3724: 3721: 3719: 3716: 3714: 3711: 3709: 3706: 3704: 3701: 3700: 3698: 3684: 3680: 3678: 3675: 3673: 3670: 3668: 3666: 3661: 3660: 3651: 3648: 3644: 3640: 3636: 3633: 3630: 3626: 3622: 3618: 3615: 3612: 3608: 3604: 3600: 3597: 3593: 3589: 3588: 3583: 3580: 3577: 3573: 3569: 3565: 3562: 3559: 3555: 3551: 3546: 3543: 3540: 3536: 3532: 3528: 3525: 3522: 3518: 3514: 3510: 3507: 3504: 3500: 3496: 3492: 3489: 3486: 3482: 3478: 3477: 3472: 3468: 3467:Kutsch, K. J. 3465: 3462: 3458: 3454: 3450: 3447: 3444: 3440: 3436: 3432: 3429: 3426: 3422: 3418: 3414: 3411: 3408: 3404: 3400: 3396: 3393: 3390: 3386: 3382: 3378: 3377: 3365: 3359: 3350: 3341: 3339: 3337: 3327: 3318: 3309: 3300: 3291: 3282: 3273: 3264: 3257: 3252: 3245: 3241: 3237: 3236:La Bohémienne 3231: 3224: 3222: 3215: 3206: 3197: 3195: 3185: 3176: 3167: 3165: 3155: 3146: 3138: 3131: 3122: 3120: 3112: 3110: 3104: 3096: 3095:Don Quichotte 3092: 3086: 3077: 3070: 3069:Don Quichotte 3066: 3060: 3051: 3042: 3033: 3024: 3017: 3011: 3002: 2993: 2984: 2975: 2966: 2964: 2954: 2952: 2942: 2933: 2924: 2915: 2906: 2897: 2890: 2886: 2882: 2878: 2872: 2863: 2854: 2845: 2836: 2827: 2825: 2815: 2806: 2797: 2788: 2779: 2770: 2763: 2757: 2748: 2741: 2739: 2733: 2724: 2715: 2713: 2711: 2701: 2692: 2683: 2674: 2667: 2661: 2652: 2645: 2641: 2637: 2633: 2627: 2620: 2614: 2607: 2601: 2592: 2583: 2574: 2565: 2556: 2547: 2538: 2529: 2520: 2511: 2502: 2500: 2498: 2493: 2483: 2479: 2478: 2473: 2470: 2466: 2465: 2460: 2457: 2453: 2449: 2448: 2443: 2442: 2438: 2437: 2433: 2432: 2427: 2424: 2423: 2418: 2415: 2414: 2409: 2406: 2402: 2398: 2397: 2392: 2390: 2389:Georges Bizet 2386: 2385: 2380: 2378: 2374: 2373: 2368: 2366: 2362: 2361: 2356: 2354: 2353:Aimé Maillart 2350: 2349: 2344: 2342: 2338: 2337: 2332: 2331: 2327: 2326: 2324: 2309: 2304: 2301: 2298: 2295: 2292: 2289: 2286: 2283: 2282:Léon Carvalho 2280: 2277: 2274: 2271: 2268: 2265: 2264: 2263: 2250: 2248: 2245: 2242: 2241: 2237: 2234: 2232: 2229: 2226: 2225: 2221: 2219: 2216: 2213: 2212: 2208: 2204: 2202: 2199: 2194: 2193: 2189: 2186: 2183: 2182: 2174: 2172: 2168: 2163: 2161: 2157: 2153: 2149: 2148: 2143: 2139: 2135: 2130: 2126: 2119: 2114: 2105: 2103: 2099: 2089: 2085: 2084:on 28 March. 2083: 2079: 2078:Paris Commune 2075: 2072:, and Adam's 2071: 2070: 2065: 2064: 2059: 2054: 2049: 2045: 2041: 2037: 2032: 2030: 2026: 2022: 2018: 2008: 2006: 2002: 1998: 1993: 1991: 1987: 1982: 1972: 1971: 1964: 1959: 1955: 1952: 1948: 1947: 1940: 1938: 1934: 1930: 1924: 1922: 1918: 1917:La Bohémienne 1914: 1910: 1900: 1899:La bohémienne 1893: 1889: 1886: 1885:Jules Duprato 1882: 1881: 1876: 1872: 1868: 1867:La Bohémienne 1864: 1860: 1859: 1855:'s three-act 1854: 1850: 1849:Le bal masqué 1846: 1843: 1842:Le bal masqué 1839: 1838: 1828: 1827:Le bal masqué 1822: 1818: 1816: 1812: 1808: 1804: 1800: 1796: 1795: 1794:Das Rheingold 1790: 1789: 1784: 1780: 1776: 1772: 1764: 1760: 1755: 1751: 1749: 1748:Le Freischütz 1745: 1744: 1739: 1735: 1731: 1730: 1725: 1721: 1717: 1713: 1708: 1705: 1699: 1697: 1690: 1688: 1687:Georges Bizet 1685:The composer 1677: 1673: 1671: 1667: 1663: 1659: 1655: 1651: 1647: 1642: 1641: 1631: 1625: 1621: 1619: 1617: 1613: 1612: 1607: 1603: 1599: 1595: 1591: 1590:Don Quichotte 1587: 1583: 1576: 1575:Don Quichotte 1572: 1567: 1563: 1561: 1559: 1558: 1553: 1549: 1545: 1544: 1539: 1535: 1531: 1530:Aglaja Orgeni 1527: 1523: 1519: 1515: 1510: 1508: 1507:Opéra-Comique 1504: 1500: 1496: 1492: 1488: 1484: 1480: 1476: 1472: 1471: 1466: 1465: 1459: 1457: 1453: 1449: 1448: 1443: 1439: 1438: 1433: 1429: 1425: 1421: 1413: 1408: 1399: 1397: 1393: 1392:Le Freischütz 1389: 1385: 1381: 1377: 1373: 1368: 1366: 1362: 1361:Henri Caspers 1358: 1354: 1350: 1346: 1345: 1340: 1339: 1334: 1333: 1328: 1327: 1322: 1321: 1315: 1313: 1309: 1305: 1304: 1299: 1298: 1293: 1292: 1287: 1283: 1282: 1277: 1273: 1269: 1268: 1263: 1262: 1257: 1256: 1251: 1250: 1245: 1244: 1239: 1238: 1233: 1229: 1228:Le Freischütz 1225: 1224: 1218: 1217:Léon Carvalho 1210: 1204: 1195: 1193: 1192:Paris Commune 1189: 1185: 1181: 1177: 1173: 1169: 1165: 1158: 1153: 1144: 1142: 1141: 1134: 1132: 1128: 1127:Eugène Scribe 1124: 1123: 1122:Puss in Boots 1118: 1114: 1111:was based on 1110: 1106: 1102: 1101:Albert Grisar 1098: 1094: 1090: 1086: 1085: 1080: 1076: 1075: 1069: 1067: 1062: 1058: 1054: 1050: 1046: 1042: 1041:Jules Barbier 1038: 1037: 1028: 1027: 1021: 1012: 1009: 1005: 1000: 998: 994: 990: 989: 984: 980: 976: 975:Jules Barbier 972: 964: 960: 956: 953: 949: 948: 942: 940: 936: 935: 930: 929: 924: 920: 916: 912: 908: 904: 903: 898: 890: 886: 882: 880: 876: 872: 871: 866: 863: 859: 855: 851: 850: 845: 844: 839: 835: 834: 829: 825: 824:Jules Barbier 821: 817: 816: 811: 806: 804: 803: 798: 794: 793: 788: 784: 780: 779: 774: 770: 765: 763: 757: 755: 751: 747: 743: 739: 735: 730: 729:Léon Carvalho 723: 722:Léon Carvalho 718: 709: 707: 706:Léon Carvalho 703: 699: 695: 691: 687: 675: 672: 668: 664: 660: 656: 652: 644: 640: 636: 634: 630: 626: 624: 620: 616: 612: 608: 607:Le Freischütz 604: 599: 597: 596: 591: 587: 583: 579: 575: 569: 567: 566:Eugène Scribe 563: 559: 555: 551: 550: 545: 541: 533: 528: 524: 522: 518: 514: 513:Les charmeurs 510: 506: 502: 498: 494: 490: 486: 485: 480: 475: 472: 467: 465: 464: 459: 455: 451: 447: 442: 440: 439:Opéra-Comique 436: 429: 424: 415: 413: 409: 403: 401: 400: 395: 394: 389: 385: 380: 378: 374: 370: 366: 362: 358: 353: 351: 347: 343: 339: 335: 331: 327: 323: 315: 311: 307: 303: 301: 300:Opéra-Comique 297: 293: 288: 286: 282: 278: 274: 271:and music by 270: 266: 262: 258: 254: 250: 245: 243: 242: 237: 226: 222: 220: 216: 212: 208: 204: 200: 196: 192: 191: 187:'s three-act 186: 182: 181:opéra comique 178: 177:Jules Seveste 174: 166: 165: 161:A scene from 159: 148: 138: 136: 131: 129: 128: 123: 122: 117: 116: 111: 110: 105: 104: 99: 95: 91: 87: 81: 79: 75: 71: 67: 63: 59: 55: 51: 50:Opéra-Comique 47: 43: 39: 35: 28: 23: 19: 3687:(in Italian) 3664: 3638: 3635:Wild, Nicole 3620: 3617:Walsh, T. J. 3611:Google Books 3602: 3585: 3576:Google Books 3567: 3548: 3530: 3521:Google Books 3512: 3494: 3474: 3471:Riemens, Leo 3461:Google Books 3452: 3443:Google Books 3434: 3431:Fétis, F.-J. 3416: 3398: 3380: 3374:Bibliography 3363: 3358: 3349: 3326: 3317: 3308: 3299: 3290: 3281: 3272: 3263: 3255: 3251: 3243: 3235: 3230: 3220: 3214: 3205: 3184: 3175: 3154: 3145: 3140:demi-heure." 3136: 3130: 3111:(6 May 1869) 3108: 3103: 3094: 3085: 3076: 3068: 3067:), 253 ff. ( 3064: 3059: 3050: 3041: 3032: 3023: 3016:Le Ménestrel 3015: 3010: 3001: 2992: 2983: 2974: 2941: 2932: 2923: 2914: 2905: 2896: 2888: 2884: 2880: 2871: 2862: 2853: 2844: 2835: 2814: 2805: 2796: 2787: 2778: 2769: 2756: 2747: 2737: 2732: 2723: 2700: 2691: 2682: 2673: 2665: 2660: 2651: 2643: 2635: 2631: 2626: 2618: 2613: 2605: 2600: 2591: 2582: 2573: 2564: 2555: 2546: 2537: 2528: 2519: 2510: 2475: 2462: 2445: 2429: 2420: 2411: 2404: 2394: 2382: 2377:Ernest Reyer 2370: 2358: 2346: 2341:Adolphe Adam 2334: 2273:Émile Perrin 2261: 2164: 2159: 2155: 2145: 2141: 2138:Victor Massé 2133: 2122: 2117: 2101: 2095: 2086: 2073: 2067: 2063:Les brigands 2061: 2057: 2047: 2043: 2035: 2033: 2014: 2000: 1994: 1989: 1985: 1981:Rosine Bloch 1977: 1968: 1963:Rosine Bloch 1944: 1941: 1936: 1928: 1925: 1920: 1916: 1912: 1908: 1905: 1898: 1878: 1866: 1856: 1848: 1847: 1841: 1835: 1833: 1826: 1814: 1792: 1786: 1778: 1774: 1768: 1762: 1747: 1741: 1737: 1733: 1727: 1719: 1716:Le Ménestrel 1715: 1711: 1709: 1703: 1701: 1695: 1692: 1684: 1649: 1638: 1636: 1629: 1620: 1609: 1589: 1585: 1579: 1574: 1562: 1555: 1551: 1548:Le Ménestrel 1547: 1543:Le Ménestrel 1541: 1521: 1517: 1513: 1511: 1498: 1494: 1491:Adolphe Adam 1478: 1475:Ernest Reyer 1468: 1462: 1460: 1455: 1445: 1435: 1434:, Rossini's 1431: 1427: 1417: 1395: 1391: 1390:and Weber's 1387: 1383: 1369: 1364: 1356: 1352: 1348: 1342: 1336: 1330: 1324: 1318: 1316: 1307: 1303:Don Giovanni 1301: 1295: 1289: 1285: 1279: 1271: 1265: 1261:Don Pasquale 1259: 1253: 1247: 1241: 1235: 1231: 1227: 1226:(now called 1221: 1215: 1208: 1188:Napoleon III 1183: 1161: 1138: 1135: 1130: 1120: 1116: 1096: 1089:Émile Wartel 1082: 1079:Ernest Reyer 1072: 1070: 1065: 1061:Charles VIII 1052: 1045:Michel Carré 1034: 1032: 1024: 1007: 1003: 1001: 992: 986: 979:Michel Carré 970: 968: 945: 943: 932: 926: 918: 910: 907:Victor Massé 900: 896: 894: 870:haute-contre 868: 847: 841: 837: 831: 828:Michel Carré 819: 813: 810:André Grétry 807: 800: 790: 776: 772: 768: 766: 758: 727: 701: 697: 693: 682: 670: 666: 662: 658: 654: 650: 648: 628: 627: 622: 618: 606: 602: 600: 593: 570: 558:Castil-Blaze 547: 543: 539: 537: 531: 520: 512: 504: 500: 482: 476: 470: 468: 461: 449: 443: 435:Émile Perrin 433: 428:Émile Perrin 414:near Paris. 404: 397: 391: 387: 381: 368: 365:Gustave Vaëz 356: 354: 329: 325: 322:Adolphe Adam 319: 313: 291: 289: 269:Michel Carré 264: 260: 256: 252: 246: 239: 233: 218: 207:Napoleon III 194: 188: 185:Adolphe Adam 170: 162: 132: 125: 119: 113: 107: 101: 82: 62:Adolphe Adam 33: 31: 18: 3665:Les Troyens 2396:Les Troyens 2306: [ 2116:Poster for 1907:writing in 1773:' four-act 1654:Carl Eckert 1499:Le brasseur 1267:La traviata 1093:Marie Cabel 965:as Gil Blas 915:Léo Delibes 858:Paris Opera 802:Abou Hassan 671:feuilletons 588:, although 576:during the 495:and at the 350:Strassbourg 334:Marie Cabel 310:Marie Cabel 76:), and the 3697:Categories 3234:Review of 2619:La promise 2321:See also: 2005:Marie Roze 1970:Charles VI 1946:Charles VI 1743:Semiramide 1117:Chat botté 659:professore 544:Robin Hood 450:La promise 390:, Auber's 369:La promise 314:La promise 84:operas by 52:, and the 3256:La Presse 3098:magique." 3065:En prison 2606:Georgette 2372:La Statue 2328:Premieres 2190:Location 2169:near the 2058:L'esclave 2036:L'ésclave 1965:as Odette 1921:La Presse 1729:Le désert 1628:Act 3 of 1606:Offenbach 1586:En prison 1514:Rigoletto 1479:Iphigénie 1249:Rigoletto 1140:Le Figaro 1084:La statue 985:'s novel 981:based on 879:Marie Sax 792:Euryanthe 746:Marie Sax 663:ricercate 595:Euryanthe 586:Charles I 582:Yorkshire 530:Act 2 of 3619:(1981). 3529:(2010). 3493:(2001). 3473:(2003). 2881:Gil-Blas 2439:Revivals 2413:Mireille 2156:Le bravo 2044:Maritana 1552:Don Juan 1522:Violetta 1518:Don Juan 1487:Panthéon 1338:Mireille 1308:Don Juan 1272:Violetta 1109:d'Ennery 1105:Dumanoir 971:Gil Blas 865:castrato 698:Falstaff 505:À Clichy 3558:Gallica 2464:Macbeth 2456:Berlioz 2187:Theatre 2134:Dimitri 2023:), and 2001:L'ombre 1646:Lucerne 1584:called 1485:at the 1464:L'irato 1310:, with 1291:Macbeth 1129:called 1036:Fidelio 1026:Fidelio 997:Barbary 655:maestro 617:in the 574:Bohemia 511:called 481:called 324:called 217:called 3645: 3627: 3594: 3537: 3501: 3483: 3423: 3407:600093 3405: 3137:vivant 3093:. "Le 2762:p. 829 2638:, see 2477:Rienzi 2474:1869: 2461:1865: 2444:1859: 2428:1867: 2419:1867: 2410:1864: 2393:1863: 2381:1863: 2369:1861: 2357:1859: 2345:1856: 2333:1852: 2038:, and 1973:(1869) 1929:Rienzi 1901:(1869) 1880:Carmen 1829:(1869) 1779:Rienzi 1765:(1869) 1720:Rienzi 1712:Rienzi 1704:Rienzi 1650:Rienzi 1640:Rienzi 1632:(1869) 1630:Rienzi 1452:Grisar 1450:, and 1432:Martha 1297:Martha 1211:(1865) 1066:Orphée 849:Orphée 778:Obéron 752:, and 463:Mignon 412:Meudon 316:(1853) 167:(1854) 103:Rienzi 96:, and 90:Mozart 68:, the 48:, the 3091:p. 87 2877:p. 52 2642:, in 2488:Notes 2447:Orfée 2360:Faust 2310:] 2184:Dates 1951:Odéon 1696:alive 1526:Opéra 1396:Faust 1384:Faust 1274:with 1255:Norma 1008:Faust 934:Faust 773:Robin 686:Opéra 446:Opéra 346:Lyons 127:Faust 98:Verdi 94:Weber 86:Gluck 46:Opéra 42:Paris 38:opera 3643:ISBN 3625:ISBN 3607:View 3592:ISBN 3572:View 3554:View 3550:1877 3535:ISBN 3517:View 3499:ISBN 3481:ISBN 3469:and 3457:View 3439:View 3421:ISBN 3403:OCLC 3385:View 2889:ter! 2885:bis! 2634:and 1986:fils 1805:and 1664:and 1442:Paer 1386:and 1107:and 1043:and 977:and 862:alto 826:and 556:and 348:and 32:The 3663:On 3609:at 3574:at 3556:at 3519:at 3459:at 3441:at 3387:at 2480:by 2467:by 2450:by 2399:by 2387:by 2375:by 2363:by 2351:by 2339:by 2205:66 2154:'s 2140:'s 2042:'s 1967:in 1840:as 1592:by 1573:'s 1115:'s 519:'s 312:in 3699:: 3335:^ 3238:, 3193:^ 3163:^ 3118:^ 2962:^ 2950:^ 2823:^ 2709:^ 2496:^ 2308:fr 1915:, 1801:, 1509:. 1501:, 1458:. 1440:, 1363:' 1068:. 1053:né 785:, 756:. 748:, 744:, 635:: 564:. 523:. 402:. 302:. 255:, 183:, 175:. 92:, 88:, 3689:. 3649:. 3631:. 3613:. 3598:. 3578:. 3560:. 3541:. 3523:. 3505:. 3487:. 3463:. 3445:. 3427:. 3409:. 3391:. 3366:. 3242:, 3225:. 3113:. 2742:. 2458:) 2407:) 1785:( 1355:( 1119:( 542:( 328:( 263:( 193:( 149:.

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index