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  1. Home
  2. Books
  3. The Empire at the Opéra
  • Cited by 6
Publisher:
Cambridge University Press
Online publication date:
January 2021
Print publication year:
2021
Online ISBN:
9781108909815
DOI:
https://doi.org/10.1017/9781108909815
Series:
Elements in Musical Theatre
Subjects:
Twentieth-Century and Contemporary Music, Music, Music Performance, Nineteenth-Century Music
Information

Book description

Although nineteenth-century legislation had tried to ensure a precise separation between genre and institution for Parisian music in the theatre, it had inadvertently laid out a field on which the politics of genre could be played out as agents and actors of all types deployed various forms of artistic power. During the Second Empire, from 1854 until 1870, the state took over day-to-day control of the Opéra in ways that were without precedent. Every element of the Opéra's activity was subjugated to the exigency of Empire; the selection or artists, works and more general questions of artistic policy were handed over to politicians. The Opéra effectively became a branch of government. The result was a stagnation of the Opéra's repertory, and beneficiaries were the composers of larger-scale works for competing organisations: the Opéra Comique and the Théâtre Lyrique.

References

References

1

1 Primary Sources

1.1

1.1 Manuscript

  • Paris, Archives Nationales (hereafter F-Pan) AJ13 1053. Letter from Walewski to Murat, 9 May 1862.

  • F-Pan AJ13 180 (VIII). Letter from Fould to Roqueplan, 14 November 1853; letter from Reber to Eugénie de Montijo, undated, but before Christmas 1853; letter from Veuve Spontini to Fould, 29 December 1853.

  • F-Pan AJ13 443 (I). Documents relating to the reinstatement of the Opéra’s directeur-entrepreneur, 22 March 1866; imperial decree appointing Baciocchi as surintendant of the imperial theatres, 8 December 1860.

  • F-Pan AJ13 443 (III). Letter from Fould to Crosnier, 25 June 1856; letter from Baciocchi to Perrin concerning Auguste Mermet’s Roland à Roncevaulx, 14 October 1864; letter from Baciocchi to Royer, 24 January 1862; letter from Doucet to Perrin, 2 December 1864; letter from Fould to Royer, 10 March 1860; letter from Gautier to Martin, 5 March 1862; letter from Nigra to Royer, 1 February 1862; letter from Royer to Ministre d’État Fould, undated but c.May 1858; letter from Walewski to Royer, 1 November 1862; letter from Walewski to Royer, 11 November 1862; letter from Walewski to Royer, 16 March 1861; letter from Walewski to Royer, 3 July 1862; report from Royer to Fould, undated but June 1858.

  • F-Pan AJ13 451 (I). Letter from Fould to Crosnier, 8 December 1854; letter from Fould to Roqueplan, 24 September 1854; letter from Fould to Roqueplan, 27 September 1854; letter from Fould to Royer, 12 May 1858; letter from Fould to Royer, 9 August 1856; letter from Gautier to Perrin, 11 June 1863; letter from Hanoverian legation to Walewski, 6 June 1865; letter from Poniatowska to Fould, undated; report from Royer to Commission concerning Escarlate, 9 October 1859.

  • F-Pan AJ13 483. Letter from Walewski to Royer, 27 September 1862.

  • F-Pan AJ13 501. ‘Note’ relating to Sémiramis, 1 May 1860; Auber, 1857 version of Le cheval de bronze, annotated copy of 1835 libretto, notes on the set design and cast.

  • F-Pan AJ13 502. Dossier of material relating to Le Tannhauser, 1860–1.

  • F-Pan AJ13 527. Dossier of materials relating to Parisian visit of Spanish delegation, 1864.

  • F-Pan AJ13 529. Dossier of materials relating to Parisian visit of Japanese delegation, 1862.

  • F-Pan F21 1053. Dossier of materials relating to Parisian visit of Moroccan delegation, 1866; dossier of materials relating to Parisian visit of Bavarian delegation, 1857; letter from Comte de Morny to members of the Commission, 12 April 1856; letter from Crosnier to Fould, 24 May 1856; letter from Duprez to Walewski, 10 March 1862; letter from Fould to Crosnier, 10 January 1855; letter from Fould to Crosnier, 28 August 1855; letter from Fould to Royer, 28 April 1860; letter from Germain and Metge to the emperor, undated but shortly before 29 April 1862.

  • F-Pan F21 1069. Dossier of material relating to Le Tannhauser, 1860–1; letter from Duprez to Walewski, 12 December 1860; letter from Saint-Georges to Gautier, 26 June 1862; letters from Pierre Germain and Louis Metge to Perrin, 1862.

  • F-Pan F21 1121. Carvalho’s request to the commission to employ Delphine Ugalde, 9 and 20 April 1858.

  • F-Pan F21 957. Letter from Count Adlerberg to Fould, 2 February 1857; letter from Fould to Adlerberg, 28 March 1857; letter from Royer to Fould, 12 March 1857.

  • Paris, Bibliothèque nationale de France (hereafter F-Pn) MS 13158. Reber, Naïm, ou Les maures en Espagne, autograph.

  • F-Pn MS 17123. Reber, Naïm, ou Les maures en Espagne, sketches

  • Paris, Bibliothèque de l’Opéra (hereafter F-Po) A. 596 (1–3). Auber, 1857 version of Le cheval de bronze, manuscript performing score.

  • F-Po A. 600 (1–3). Bellini, 1859 version of I Capuleti e i Montecchi as Roméo et Juliette, Opéra archive score.

  • F-Po DM-39 (1). Payments for gala concert, Opéra, 13 September 1855.

  • F-Po RE-6. Journal de régie de l’Opéra, 1854.

  • F-Po RE-7. Journal de régie de l’Opéra, 1855.

  • F-Po RE-10. Journal de régie de l’Opéra, 1858.

  • F-Po RE-11. Journal de régie de l’Opéra, 1859.

  • F-Po RE-15. Journal de régie de l’Opéra, 1863.

  • F-Po Rés. 13bis. Auber, Magenta: cantate pour ténor solo, chœur d’hommes et orchestre, autograph.

1.2

1.2 Periodicals

  • L’artiste

  • L’univers musical

  • La France musicale

  • La revue des deux mondes

  • La revue et Gazette musicale de Paris

  • Le foyer

  • Le journal des débats

  • Le ménestrel

  • Le messager des théâtres et des arts

  • Le moniteur universel

  • Le pays

  • Les annales du théâtre et de la musique

1.3

1.3 Printed

  • FICH-TONG-KHAN, / OU / L’ORPHELIN DE LA TARTARIE, / PARADE CHINOISE EN UN ACTE, / Par MM. T. Sauvage et G. de Lurieu. / Représentée, pour la première fois, à Paris, sur le théâtre du Palais-royal, le 3 mars 1835.

  • ‘LA BATAILLE DE MAGENTA’ / RACONTÉE PAR UN GRENADIER DE LA GARDE IMPÉRIALE / Prix net: 20 cent. Chez CASSANET, rue des Gravilliers 25.

  • PIERRE / DE MÉDICIS / OPÉRA EN 4 ACTES & 7 TABLEAUX / PAROLES DE MM. / DE SAINT-GEORGES ET ÉMILIEN PACINI / MUSIQUE DU PRINCE / J. PONIATOWSKI / BALLET DE M. PETIPA / REPRÉSENTÉ POUR LA PREMIÈRE FOIS SUR LE THÉATRE DE L’ACADÉMIE / IMPÉRIALE DE MUSIQUE LE 9 MARS 1860 / … / PARIS / Mme Ve JONAS, ÉDITEUR DU THÉATRE IMPÉRIAL DE L’OPÉRA, / RUE MANDAR, 4, ET RUE MONTMARTRE, 77. / … / 1860.

  • ROMÉO ET JULIETTE / OPÉRA EN QUATRE ACTES / Traduction Française de C. de Charlemagne / Musique de / V. BELLINI / Edition augmentée / de la Grande SCÈNE des TOMBEAUX du même Opéra / Musique de / VACCAJ / … / Paris, chez AULAGNIER, éditeur Rue de Provence, 28 / Propriété pour la France et l’Étranger.

  • SAINTE-CLAIRE / (SANTA-CHIARA) / OPÉRA EN TROIS ACTES / Musique de / S.A.R. ERNEST, DUC DE SAXE-COBOURG-GOTHA / PAROLES IMITÉES DE L’ALLEMAND DE Mme BIRCH-PFEIFFER / et appropriées à la scène française / PAR / GUSTAVE OPPELT / Représenté pour la première fois, à Paris, sur le théâtre de l’Académie Impériale / de Musique, le 27 septembre 1855. / … / PARIS / MICHEL LÉVY FRÈRES, LIBRAIRES-ÉDITEURS / RUE VIVIENNE, 2 bis / – / 1855.

  • SÉMIRAMIS / OPÉRA EN QUATRE ACTES / PAROLE / DE M. MÉRY / Musique / DE ROSSINI / – / PARIS / MICHEL LÉVY FRÈRES LIBRAIRES-ÉDITEURS / RUE VIVIENNE, 2 BIS / Mme VEUVE JONAS, LIBRAIRE DE L’OPÉRA / – / 1860.

  • THÉATRE IMPÉRIAL DE L’OPÉRA / ALGER! / Cantate PAROLES DE M. MÉRY / MUSIQUE DE / M. LÉO DELIBES / Exécutée le 15 Août 1865 sur le Théâtre Impérial de l’Opéra / PAR / MME MARIE-SAXE.

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