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The Opéra-Comique () is a Paris opera company which was founded around 1714 by some of the popular theatres of the Parisian fairs. In 1762 the company was merged with – and for a time took the name of – its chief rival, the Comédie-Italienne at the Hôtel de Bourgogne. It was also called the Théâtre-Italien up to about 1793, when it again became most commonly known as the Opéra-Comique. Today the company's official name is Théâtre national de l'Opéra-Comique, and its theatre, with a capacity of around 1,248 seats, sometimes referred to as the
Salle Favart The Salle Favart (), officially the Théâtre de l'Opéra-Comique (), is a Paris opera house and theatre, the current home of the Opéra-Comique. It was built from 1893 to 1898 in a neo-Baroque style to the designs of the French architect Louis ...
(the third on this site), is located at Place Boïeldieu in the
2nd arrondissement of Paris The 2nd arrondissement of Paris (''IIe arrondissement'') is one of the 20 arrondissements of the capital city of France. In spoken French, this arrondissement is colloquially referred to as ''deuxième'' (second/the second). It is governed locall ...
, not far from the
Palais Garnier The (, Garnier Palace), also known as (, Garnier Opera), is a historic 1,979-seatBeauvert 1996, p. 102. opera house at the Place de l'Opéra in the 9th arrondissement of Paris, France. It was built for the Paris Opera from 1861 to 1875 at the ...
, one of the theatres of the Paris Opéra. The musicians and others associated with the Opéra-Comique have made important contributions to operatic history and tradition in France and to French opera. Its current mission is to reconnect with its history and discover its unique repertoire to ensure production and dissemination of operas for the wider public. Mainstays of the repertory at the Opéra-Comique during its history have included the following works which have each been performed more than 1,000 times by the company: ''
Cavalleria Rusticana ''Cavalleria rusticana'' (; ) is an opera in one act by Pietro Mascagni to an Italian libretto by Giovanni Targioni-Tozzetti and Guido Menasci, adapted from an 1880 Cavalleria rusticana (short story), short story of the same name and subsequent ...
'', '' Le chalet'', '' La dame blanche'', '' Le domino noir'', ''
La fille du régiment LA most frequently refers to Los Angeles, the second most populous city in the United States of America. La, LA, or L.A. may also refer to: Arts and entertainment Music * La (musical note), or A, the sixth note *"L.A.", a song by Elliott Smi ...
'', '' Lakmé'', '' Manon'', '' Mignon'', '' Les noces de Jeannette'', '' Le pré aux clercs'', ''
Tosca ''Tosca'' is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa. It premiered at the Teatro dell'Opera di Roma, Teatro Costanzi in Rome on 14 January 1900. The work, based on Victorien Sardou's 1 ...
'', ''
La bohème ''La bohème'' ( , ) is an opera in four acts,Puccini called the divisions '':wikt:quadro, quadri'', ''wikt:tableau, tableaux'' or "images", rather than ''atti'' (acts). composed by Giacomo Puccini between 1893 and 1895 to an Italian libretto b ...
'', '' Werther'' and ''
Carmen ''Carmen'' () is an opera in four acts by the French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on the novella of the same title by Prosper Mérimée. The opera was first performed by the O ...
'', the last having been performed more than 2,500 times.Wolff 1953.


Origins

Since the
Middle Ages In the history of Europe, the Middle Ages or medieval period lasted approximately from the 5th to the late 15th centuries, similarly to the post-classical period of global history. It began with the fall of the Western Roman Empire and ...
popular light theatrical entertainments had been a part of the seasonal Parisian fairs, especially the Foire Saint-Germain and the Foire Saint-Laurent. They included farces, tightrope acts, acrobatics, and marionettes, and also included music, such as '' vaudevilles'' and popular songs. The audiences were diverse, from all levels of society, and the presentations were given on makeshift stages. However, with the establishment in 1672 of King Louis XIV's Académie royale de Musique (popularly known as the Opéra) under
Jean-Baptiste Lully Jean-Baptiste Lully ( – 22 March 1687) was a French composer, dancer and instrumentalist of Italian birth, who is considered a master of the French Baroque music style. Best known for his operas, he spent most of his life working in the court o ...
, the use of music by fair troupes was significantly curtailed.Harris-Warrick 1992, pp. 858–860.Pitou 1983, vol. 1, pp. 24–25. When the Italian players at the Hôtel de Bourgogne were banished from Paris in 1697 for performing their comedy ''La fausse prude'' ("The False Prude"), which satirized the King's wife, Madame de Maintenon, the fair theatres were quick to adopt much of the Italians' repertory, which included parodies of operas and tragedies. The fair theatres were soon viewed as competition by the Opéra and the Comédie-Française, and restrictions were again more strictly enforced. The troupes at the Foire Saint-Germain and the Foire Saint-Laurent received warnings from the police in 1699 and 1706. Although in 1708 the fairground entrepreneurs Charles Alard and Maurice were able to purchase from the Opéra's director Pierre Guyenet the right to use singers, dancers, musicians, and sets, this did not last as Guyenet died in 1712, leaving the Opéra with a debt in the neighborhood of 400,000 livres. Alard resorted to giving silent performances with the actors' speeches displayed to the audience on large cue cards. The players next tried including vaudeville airs via audience participation: the musicians would play a popular tune, and the spectators would sing, while the actors remained silent. This was further enhanced when the words began to be displayed to the audience on a large banner.Johnson 2008, p. 162–163.


Foundation and early history

In 1713 and 1714 several of the fair troupes were able to conclude a new series of agreements with the creditors of the deceased Guyenet, who at this point had become the managers of the rather expensive Opéra. For an annual fee the troupes obtained the right to perform light comedies interspersed with songs and dances and to use sets and theatre machines. They were also given the right to use the name "Opéra-Comique". The first work officially given that designation was ''Télémaque'' (a parody of the opera by André Cardinal Destouches), which was first performed by the Théâtre de la Foire Saint-Germain in 1715. The words were by Alain-René Lesage, the music was arranged by Jean-Claude Gillier, and the orchestra consisted of 15 players. Lesage authored many of the early ''opéras comiques'', and composers like Gillier worked primarily as arrangers of existing music.Warrack and West 1996, p. 376
Partial view
at
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.
In 1716 one of the troupes' leaders, Catherine Vanderberg purchased additional rights and began to present more original works by authors, such as Jacques-Philippe d'Orneval, Alexis Piron, and Louis Fuzelier. In these early days the role of librettist for the theatre was more important than that of the composer – and pre-eminent among them for more than forty years was Charles-Simon Favart, who made his first contribution in 1734 and achieved his first important success with ''La chercheuse d'esprit'' in 1741.Harris-Warrick 1992, vol. 3, p. 863. In 1743 the impresario Jean Monnet paid 12,000 livres to the Opéra for the right to run the Opéra-Comique, He renovated the theatre and brought together a group of highly talented creative artists, including, besides Favart, who also worked as a stage director, the comedian Préville, the stage designer
François Boucher François Boucher ( , ; ; 29 September 1703 â€“ 30 May 1770) was a French painter, draughtsman and etcher, who worked in the Rococo style. Boucher is known for his idyllic and voluptuous paintings on classical themes, decorative allegories ...
, and the ballet master Dupré and his pupil
Jean-Georges Noverre Jean-Georges Noverre (29 April 1727 19 October 1810) was a French dancer and ballet master, and is generally considered the creator of ''ballet d'action'', a precursor of the narrative ballets of the 19th century. His birthday is now observed a ...
.
Jean-Philippe Rameau Jean-Philippe Rameau (; ; – ) was a French composer and music theory, music theorist. Regarded as one of the most important French composers and music theorists of the 18th century, he replaced Jean-Baptiste Lully as the dominant composer of ...
may also have been the leader of the orchestra. The company was, however, too successful, and the Opéra refused to renew Monnet's privilege in 1745. After working briefly in Lyon, and mounting unsuccessful productions in Dijon (1746) and London (1749), he was able to repurchase the Opéra-Comique ''privilège'' in December 1751 and remained its director until 1757.Cook 1992, p. 436. During his second period as director, Monnet continued to work with Favart and Noverre, and Boucher designed and built a substantial new theatre for the company of the Foire Saint-Laurent in 1752. The theatre was later installed in a wing of the Hôtel des Menus-Plaisirs on the rue Bergère, where it was used by the Opéra in 1781, and then as the first concert hall of the Paris Conservatory, which was founded on the same site in 1795. The new theatre was especially important, as it enabled the company to perform at times when the fair was not in operation. Monnet's friend Jean-Joseph Vadé wrote the libretto for '' Les troqueurs'', first staged in July 1753 and advertised as a translation of an Italian work. The music was actually original, composed by Antoine Dauvergne, and began a period of new works in a more Italian style in which music played a much more significant role. Composers for the company during this period included Egidio Duni, François-André Danican Philidor and
Pierre-Alexandre Monsigny Pierre-Alexandre Monsigny (; – ) was a French composer and a member of the French Académie des Beaux-Arts (1813). He is considered alongside André Grétry and François-André Danican Philidor to have been the founder of a new musical gen ...
. The dramatist Michel-Jean Sedaine wrote the text of his first opera for the company, ''Le diable à quatre'', in 1756. It premiered at the Fair Saint-Laurent on 19 August with verses for the ''ariettes'' provided by Pierre Baurans and with music parodying a variety of composers including Vincenzo Legrenzio Ciampi, Duni, Baldassare Galuppi, and Giuseppe Scarlatti, and also included music attributed to the French composers Jean-Louis Laurette and Philidor.
Christoph Willibald Gluck Christoph Willibald (Ritter von) Gluck (; ; 2 July 1714 – 15 November 1787) was a composer of Italian and French opera in the early classical period (music), classical period. Born in the Upper Palatinate and raised in Bohemia, both part of th ...
was later to compose his own music for the work. His version was first given in Laxenburg, Austria, on 28 May 1759. Other settings were later composed for the Opéra-Comique by Bernardo Porta (14 February 1790) and Jean-Pierre Solié (30 November 1809).


1762 to 1807

On 3 February 1762 the Opéra-Comique was merged into the Comédie-Italienne and occupied the Hôtel de Bourgogne, gaining in respectability what it lost in independence. The company was renamed to Opéra-Comique by an edict of the king in 1780, although the names Comédie-Italienne and Théâtre Italien were still used frequently by the press and public for many years thereafter. In 1783 the company moved again, into the Salle Favart (architect Jean-François Heurtier; ca. 1,100 seats) on the site where the current theatre stands. Around that time the works of Grétry featured strongly. With the proliferation of opera houses after the Law of 1791 which removed restrictions on the opening of theatres, there was competition with the Théâtre Feydeau, which was resolved in 1801 by merger. By 1807 Napoleon had reduced theatrical freedoms, and the Opéra-Comique was named one of four primary theatres in Paris.


The 19th century

French ''
opéra comique ''Opéra comique'' (; plural: ''opéras comiques'') is a genre of French opera that contains spoken dialogue and arias. It emerged from the popular ''opéras comiques en vaudevilles'' of the Théâtre de la foire, Fair Theatres of St Germain and S ...
'', in the 19th century at least, was not necessarily "comic" either in the classical sense of ending happily or the modern one of being funny; the term covered a much wider category of work. Notable composers in the history of the Opéra-Comique include Auber, Halévy, Berlioz and Bizet. After Rossini's arrival in Paris, new works at the Opéra-Comique took in Italian vocal style and techniques, leading to greater virtuosity, although "the repertory as a whole stood as a bulwark against the italianate invasion of Rossini". In 1840, the Opéra-Comique company settled in the second Salle Favart (architect Louis Charpentier; 1,500 seats), built on the site of the first theatre, destroyed by fire in 1838. The new house was inaugurated with a revival of Hérold's '' Le Pré aux clercs''. During the 1850s and 1860s the
Théâtre Lyrique The Théâtre Lyrique () was one of four opera companies performing in Paris during the middle of the 19th century (the other three being the Paris Opera, Opéra, the Opéra-Comique, and the Théâtre-Italien (1801–1878), Théâtre-Italien). ...
offered competition in the type of repertoire staged, being particularly strong in its policy of new commissions. Performances took place on most evenings of the week except for major festivals. Boxes could be hired for a year at a time, and many subscribers were wealthy. Before 1848 a third of subscribers were of the aristocracy, but after then it became an especially middle class theatre. After 1848
Émile Perrin Émile-César-Victor Perrin was a French painter, mainly known as a theatre director and impresario, born in Rouen on 9 January 1814, died 8 October 1885.Dean W. ''Bizet.'' London, JM Dent & Sons, 1978. His son-in-law was Camille du Locle. Biogr ...
sought to revive the repertoire with more literary and ambitious works. Until 1864 its repertoire was still prescribed, by statute, to have spoken dialogue between musical numbers.Harris-Warrick 1992. The Opéra-Comique staged the first performances of such important French works as Berlioz's '' The Damnation of Faust'' (1846), Thomas' '' Mignon'' (1866), and Bizet's ''
Carmen ''Carmen'' () is an opera in four acts by the French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on the novella of the same title by Prosper Mérimée. The opera was first performed by the O ...
'' (1875). In the latter part of the century the theatre revived works it had made its own, restaged works from the repertoire of the Théâtre Lyrique (which had closed in 1872) and premiered new pieces, such as Offenbach's '' Les Contes d'Hoffmann'' (1881); Delibes' '' Lakmé'' (1883); Massenet's '' Manon'' (1884), ''
Esclarmonde ''Esclarmonde'' () is an opéra () in four acts and eight Tableau vivant, tableaux, with prologue and epilogue, by Jules Massenet, to a French libretto by Alfred Blau and Louis de Gramont, Louis Ferdinand de Gramont. It was first performed at th ...
'' (1889), and '' Werther'' (French premiere in 1893); and Charpentier's '' Louise'' (1900). A fire at the Salle Favart on 25 May 1887 resulted in the death of 84 people by asphyxiation. The building was destroyed and the director
Léon Carvalho Léon Carvalho (18 January 1825 – 29 December 1897) was a French impresario and stage director. Biography Born Léon Carvaille in Port Louis, British Mauritius, he came to France at an early age. He studied at the Paris Conservatory an ...
was forced to resign, although later he was acquitted of blame and resumed the helm at the company from 1891 to 1897. The third Salle Favart (architect Louis Bernier) was officially opened in the presence of President Félix Faure on 7 December 1898.


The 20th century and beyond

As the differences between opéra and opéra comique faded, the two main houses in Paris came more into competition, although the Salle Favart saw the premieres of more innovative works: Debussy's '' Pelléas et Mélisande'' (1902), Dukas' ''
Ariane et Barbe-bleue ''Ariane et Barbe-bleue'' (, ''Ariadne and Bluebeard'') is an opera in three acts by Paul Dukas. The French libretto is adapted (with very few changes) from the symbolist play of the same name by Maurice Maeterlinck, itself loosely based on the ...
'' (1907), Ravel's '' L'heure espagnole'' (1911), and French premieres of works by Puccini and Falla. Between 1900 and 1950, 401 works by 206 different composers were performed at the Opéra-Comique, of which 222 were either world premieres (136) or the first performance in Paris (86). In June 1936 a broadcast of ''Les Contes d'Hoffmann'' was disrupted by the start of a company sit-in demanding the director's resignation. In 1939 financial problems resulted in the Opéra-Comique being merged with the Opéra to become the 'Réunion des Théatres Lyriques Nationaux'. Notable premieres during this period included Poulenc's '' Les Mamelles de Tiresias'' (1947) and '' La Voix humaine'' (1959). However, by the end of the Second World War, the Opéra-Comique's best artists, assets and repertory had been gradually taken from it to enrich the Opéra.Wolff, Stéphane. The Opéra-Comique of Paris. ''
Opera Opera is a form of History of theatre#European theatre, Western theatre in which music is a fundamental component and dramatic roles are taken by Singing, singers. Such a "work" (the literal translation of the Italian word "opera") is typically ...
'', March 1961, Vol 12 No3, p160-165.
The Opéra-Comique discovered some fresh energy in 1950s, restaging '' Roméo et Juliette'', '' Orphée et Eurydice'', '' Le roi malgré lui'' and '' Les noces de Jeannette'' and introducing '' Bluebeard's Castle'', Landowski's ''Les Adieux'' and Dallapiccola's '' Volo di Notte'' to attract new audiences and keep the attention of the arts establishment. At the start of the 1960s Stéphane Wolff, claimed that the theatre could regain its independence: "well-managed, it could again become what it was for so long, the most active and therefore the leading lyric stage in France". However, in 1972 the Opéra-Comique company was closed (although the theatre itself received visiting productions) and its government grant added to that of the Opéra. Although the company of the Opéra-Comique was disbanded (followed 20 years later by the closure of the
opéra comique ''Opéra comique'' (; plural: ''opéras comiques'') is a genre of French opera that contains spoken dialogue and arias. It emerged from the popular ''opéras comiques en vaudevilles'' of the Théâtre de la foire, Fair Theatres of St Germain and S ...
classes at the Paris Conservatoire), de Saint Pulgent, Maryvonne. ''L'Opéra-Comique - Le Gavroche de la Musique (
Découvertes Gallimard (, ; in United Kingdom: ''New Horizons'', in United States: ''Abrams Discoveries'') is an Collection (publishing), editorial collection of Book illustration, illustrated monographic books published by the Éditions Gallimard in Pocket edition, ...
567).'' Gallimard, 2010. Chapitre 5 - Une Renaissance, p78-85.
from 1978 works were staged again at the theatre, both from its traditional repertoire ('' Le médecin malgré lui'' and '' Werther'') as well as more adventurous repertoire: '' La chatte anglaise'' in 1984, Denisov's ''L'Écume des Jours'', as well as productions with international stars, including Jessye Norman as ''
Dido Dido ( ; , ), also known as Elissa ( , ), was the legendary founder and first queen of the Phoenician city-state of Carthage (located in Tunisia), in 814 BC. In most accounts, she was the queen of the Phoenician city-state of Tyre (located ...
'' in 1984. While still battling for survival the theatre hosted one of the major baroque revivals: '' Atys'', with Les Arts Florissants in 1987. The company regained its autonomy and returned, albeit with an inadequate budget, to the Salle Favart in 1990. Although its budget amounted to less than most provincial French opera houses, the first new director of the independent Opéra-Comique, Thierry Fouquet, attempted to run a balanced programme but handed over in 1994 to Pierre Médecin, who was responsible for the centenary season in 1998 with a new production of ''Pelléas et Mélisande''. The loss of private sponsors led to a policy of musical comedy and operetta under Jérôme Savary from 2000. A decree of November 2004 put the theatre on a new basis, stressing the variety of productions it should mount: "de l'opéra baroque à la création contemporaine et le patrimoine de l'Opéra-Comique". It currently mounts 7 or 8 operas or opéra comiques (some of them co-productions), with complementary concerts, recitals and exhibitions, each season. In common with many other opera houses the Opéra-Comique also offers relayed performances to cinemas (around France and in Europe); ''Carmen'' in June 2009 and '' Béatrice et Bénédict'' in March 2010. In 2013 an opera critic was moved to write that of Paris lyric theatres "over the past seven seasons, he Opéra-Comiquehas best succeeded in establishing a particular identity and achieving consistent quality in its productions". In the summer of 2015 the theatre closed for 18 months for major refurbishment including the costume department, the salle Bizet, and the hall Boieldieu. During the closure a webopera and a fan zone at the
UEFA Cup The asterisk ( ), from Late Latin , from Ancient Greek , , "little star", is a Typography, typographical symbol. It is so called because it resembles a conventional image of a star (heraldry), heraldic star. Computer scientists and Mathematici ...
where spectators were invited to sing well-known opéra-comique songs took place.News item 'Pendant les travaux'. '' Diapason'' No 641, December 2015, p12. After the works, the theatre reopened in 2017, with the first stage production since the composer's death of Marais's '' Alcione'' (on 25 April 2017) with
Jordi Savall Jordi Savall i Bernadet (; born 1 August 1941) is a Spanish Conducting, conductor, composer and viol player. He has been one of the major figures in the field of Western early music since the 1970s, largely responsible for popularizing the viol ...
conducting Le Concert des Nations.


Theatres used by the Opéra-Comique company


Notable premieres


Directors

The information in the following list is compiled from Wild, Levin, and Wolff.
1829–1830 Paul-Auguste Ducis
1830, July – 5 August, Jean-François Boursault, Alexandre Huvé de Garel
1830–1831 Alexandre Singier
1831–1832 Émile Lubbert
1832, 14 January – 1 June, Émile Laurent
1832–1834 Paul Dutreich
1834–1845 François-Louis Crosnier, Alphonse Cerfbeer (administrator)
1845–1848 Alexandre Basset
1848–1857
Émile Perrin Émile-César-Victor Perrin was a French painter, mainly known as a theatre director and impresario, born in Rouen on 9 January 1814, died 8 October 1885.Dean W. ''Bizet.'' London, JM Dent & Sons, 1978. His son-in-law was Camille du Locle. Biogr ...

1857–1860 Nestor Roqueplan
1860–1862 Alfred Beaumont
1862, 1 February – 20 December, Émile Perrin
1862–1870 Adolphe de Leuven, Eugène Ritt
1870–1874 Adolphe de Leuven, Camille du Locle
1874-1876 Camille du Locle
1876-1887
Léon Carvalho Léon Carvalho (18 January 1825 – 29 December 1897) was a French impresario and stage director. Biography Born Léon Carvaille in Port Louis, British Mauritius, he came to France at an early age. He studied at the Paris Conservatory an ...

1887, May to December,
Jules Barbier Paul Jules Barbier (; 8 March 182516 January 1901) was a French poet, writer and opera librettist who often wrote in collaboration with Michel Carré.

1888-1891 Louis Paravey
1891-1897 Léon Carvalho
1898-1913
Albert Carré
1914-1918 Pierre-Barthélemy Gheusi, Émile and Vincent Isola
1919-1925 Albert Carré, Émile and Vincent Isola
1925-1931 Louis Masson and Georges Ricou
1931-1932 Louis Masson
1932-1936 Pierre-Barthélemy Gheusi
1936-1939 14 member committee presided by Antoine Mariotte
1939-1940 Henri Busser
1941-1944 Max d'Ollone
1944 Lucien Muratore
1944 (Liberation) 4 member committee: Roger Désormière, Pierre Jamin,
Louis Musy Louis Musy (22 October 1902, in Algeria – 19 October 1981) was a French operatic baritone and stage director principally active at the Paris Opéra-Comique. His teacher was Léon David.Kutsch KJ, Riemens L. ''Großes Sängerlexikon''. Francke, B ...
and Émile Rousseau
1945-1946 Albert Wolff
1946-1948 Henry Malherbe
1948-1951 Emmanuel Bondeville
1952-1953
Louis Beydts Louis Beydts (/bets/) was a French composer, music critic and theatre director, born 29 June 1895 in Bordeaux and died on 15 August 1953 at Caudéran in Gironde. Life and career His father was a wine-merchant who played the flute, while his mother ...

1990-1994 Thierry Fouquet
1994-1999 Pierre Médecin
2000-2007 Jérôme Savary
2007-2015 Jérôme Deschamps
2015-2021 Olivier Mantei.
2021-2026 Louis Langrée


Music directors

1849-1868 Théophile Tilmant
1868-1876 Adolphe Deloffre
1876 Charles Constantin
1876-1877 Charles Lamoureux
1877-1898 Jules Danbé
1898-1904 André Messager
1904-1906 Alexandre Luigini
1906-1908
François Ruhlmann François Ruhlmann (11 January 1868 – 8 June 1948) was a Belgian conductor. Life and career Born in Brussels, Ruhlmann was a pupil of Joseph Dupont (violinist), Joseph Dupont in his native city. As a child he sang in the chorus at the Théât ...

1909 Gustave Doret
1910-1913
François Ruhlmann François Ruhlmann (11 January 1868 – 8 June 1948) was a Belgian conductor. Life and career Born in Brussels, Ruhlmann was a pupil of Joseph Dupont (violinist), Joseph Dupont in his native city. As a child he sang in the chorus at the Théât ...

1914-1919 Paul Vidal
1919-1921 André Messager
1921-1924 Albert Wolff
1924-1925 Désiré-Émile Inghelbrecht
1925-1932 Maurice Frigara
1932-1936 Paul Bastide
1936-1944 Eugène Bigot
1947-1953
André Cluytens Augustin Zulma Alphonse "André" Cluytens (, ; 26 March 19053 June 1967)Baeck E. ''André Cluytens: Itinéraire d’un chef d’orchestre.'' Editions Mardaga, Wavre, 2009. was a Belgian-born French conducting, conductor who was active in the conce ...
Musical Directors taken from Wolff 1953.


See also

Frédéric Blasius


References


Notes


Cited sources

* Charlton, David (1986). ''Grétry and the Growth of Opéra-Comique''. Cambridge: Cambridge University Press. . * Cook, Elisabeth (1992). "Monnet
onet Onet.pl is the largest Polish-language web portal and online news platform. According to Digital News Report, it is the largest online news source in the country, reaching 42% Internet users every week. It is also one of the most-quoted news me ...
Jean" in Sadie 1992, vol. 3, p. 436. * Fauser, Annegret; Everist, Mark, editors (2009). ''Music, Theater, and Cultural Transfer: Paris, 1830–1914''. Chicago: The University of Chicago Press. . * Gourret, Jean (1985). ''Histoire des salles de l'Opéra de Paris'', p. 83. Paris: Guy Trédaniel. . * Harris-Warrick, Rebecca; Charlton, David; Johnson, Janet; Langham Smith, Richard; Pitt, Charles (1992). "Paris" in Sadie 1992, vol. 3, pp. 855–879. * Johnson, Victoria (2008). ''Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime''. Chicago: University of Chicago Press. . * Levin, Alicia (2009). "Appendix: A Documentary Overview of Musical Theaters in Paris, 1830–1900" in Fauser and Everist 2009, pp. 379–402. * Pitou, Spire (1983). ''The Paris Opéra: an encyclopedia of operas, ballets, composers, and performers'' (3 volumes). Westport, Connecticut: Greenwood Press. . * Sadie, Stanley, ed. (1992). ''The new Grove dictionary of opera'' (4 volumes). London: Macmillan. . * Simeone, Nigel (2000). ''Paris – A Musical Gazetteer''. New Haven: Yale University Press. . * Warrack, John; West, Ewan (1992). ''The Oxford Dictionary of Opera''. Oxford: Oxford University Press. . * Warrack, John; West, Ewan (1996). ''The Concise Oxford Dictionary of Opera''. Oxford: Oxford University Press. . * Wild, Nicole (
989 Year 989 ( CMLXXXIX) was a common year starting on Tuesday of the Julian calendar. Events By place Byzantine Empire * Emperor Basil II uses his contingent of 6,000 Varangians to help him defeat Bardas Phokas (the Younger), who suffe ...
. ''Dictionnaire des théâtres parisiens au XIXe siècle: les théâtres et la musique''. Paris: Aux Amateurs de livres. . (paperback)
View formats and editions
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WorldCat WorldCat is a union catalog that itemizes the collections of tens of thousands of institutions (mostly libraries), in many countries, that are current or past members of the OCLC global cooperative. It is operated by OCLC, Inc. Many of the O ...
. * Wild, Nicole (1992). "Guyenet, Pierre" in Sadie 1992, vol. 2, p. 586. * Wild, Nicole; Charlton, David (2005). ''Théâtre de l'Opéra-Comique Paris: répertoire 1762-1972''. Sprimont, Belgium: Editions Mardaga. . * Wolff, Stéphane (1953). ''Un demi-siècle d'Opéra-Comique (1900-1950).'' Paris: André Bonne.


Additional sources


Élart, Joann
(2004). ''Catalogue des fonds musicaux conservés en Haute-Normandie. Tome I : Bibliothèque municipale de Rouen. Volume 1 : Fonds du Théâtre des Arts (XVIIIe et XIXe siècles)'', coll. Patrimoine musical régional (in French). Rouen
PURH
.


External links


Opéra-Comique website

Opéra Comique at Google Cultural Institute
{{DEFAULTSORT:Opera-Comique 1714 establishments in France Opera houses in Paris French opera companies Buildings and structures in the 2nd arrondissement of Paris Opera history Organizations based in Paris