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Paris Opera

The Paris Opera (French: Opéra de Paris, IPA: [opeʁa paʁi] ) is the primary opera and ballet company of France. It was founded in 1669 by Louis XIV as the Académie d'Opéra, and shortly thereafter was placed under the leadership of Jean-Baptiste Lully and officially renamed the Académie Royale de Musique, but continued to be known more simply as the Opéra. Classical ballet as it is known today arose within the Paris Opera as the Paris Opera Ballet and has remained an integral and important part of the company. Currently called the Opéra national de Paris, it mainly produces operas at its modern 2,723-seat theatre Opéra Bastille which opened in 1989, and ballets and some classical operas at the older 1,979-seat Palais Garnier which opened in 1875. Small scale and contemporary works are also staged in the 500-seat Amphitheatre under the Opéra Bastille.

Paris Opera
Opéra national de Paris
Logo of the Paris Opera
TypeOpera and ballet company
Location
Websiteoperadeparis.fr

The company's annual budget is in the order of 200 million euros, of which €100M come from the French state and €70M from box office receipts.[1] With this money, the company runs the two houses and supports a large permanent staff, which includes the orchestra of 170, a chorus of 110 and the corps de ballet of 150.[2]

Each year, the Paris Opera presents about 380 performances of opera, ballet and other concerts, to a total audience of about 800,000 people (of whom 17% come from abroad), with an average seat occupancy rate of 94%.[2] In the 2012–2013 season, the Paris Opera presented 18 opera titles (two in a double bill), 13 ballets, 5 symphonic concerts and two vocal recitals, plus 15 other programmes. The company's training bodies are also active, with 7 concerts from the Atelier Lyrique and 4 programmes from the École de Danse.[3]

History edit

The Opera under Louis XIV edit

Pierre Perrin edit

The poet Pierre Perrin began thinking and writing about the possibility of French opera in 1655, more than a decade before the official founding of the Paris Opera as an institution. He believed that the prevailing opinion of the time that the French language was fundamentally unmusical was completely incorrect. Seventeenth-century France offered Perrin essentially two types of organization for realizing his vision: a royal academy or a public theater. In 1666 he proposed to the minister Colbert that "the king decree 'the establishment of an Academy of Poetry and Music' whose goal would be to synthesize the French language and French music into an entirely new lyric form."[4]

Even though Perrin's original concept was of an academy devoted to discussions of French opera, the king's intention was in fact a unique hybrid of royal academy and public theatre, with an emphasis on the latter as an institution for performance.[5] On 28 June 1669, Louis XIV signed the Privilège accordé au Sieur Perrin pour l'établissement d'une Académie d'Opéra en musique, & Vers François (Privilege granted to Sir Perrin for the establishment of an Academy of Opera in music, & French Verse). The wording of the privilège, based in part on Perrin's own writings, gave him the exclusive right for 12 years to found anywhere in France academies of opera dedicated to the performance of opera in French. He was free to select business partners of his choice and to set the price of tickets. No one was to have the right of free entry including members of the royal court, and no one else could set up a similar institution.[6] Although it was to be a public theatre, it retained its status as royal academy in which the authority of the king as the primary stakeholder was decisive. The monopoly, originally intended to protect the enterprise from competition during its formative phase, was renewed for subsequent recipients of the privilege up to the early French Revolution. As Victoria Johnson points out, "the Opera was an organization by nature so luxurious and expensive in its productions that its very survival depended on financial protection and privilege."[7]

Perrin converted the Bouteille tennis court, located on the Rue des Fossés de Nesles (now 42 Rue Mazarine),[8] into a rectangular facility with provisions for stage machinery and scenery changes and a capacity of about 1200 spectators.

Jean-Baptiste Lully edit

 
View of the Salle du Bel-Air

The institution was renamed the Académie Royale de Musique and came to be known in France simply as the Opéra. Within one month Lully had convinced the king to expand the privilege by restricting the French and Italian comedians to using two singers rather than six, and six instrumentalists, rather than twelve. Because of legal difficulties Lully could not use the Salle de la Bouteille, and a new theatre was built by Carlo Vigarani at the Bel-Air tennis court on the Rue de Vaugirard.[9] Later, Lully and his successors bitterly negotiated the concession of the privilege, in whole or in part, from the entrepreneurs in the provinces: in 1684 Pierre Gautier bought the authorisation to open a music academy in Marseille, then the towns of Lyon, Rouen, Lille and Bordeaux followed suit in the following years. During Lully's tenure, the only works performed were his own. The first productions were the pastorale Les fêtes de l'Amour et de Bacchus (November 1672) and his first tragedie lyrique called Cadmus et Hermione (27 April 1673).[9]

 
Vigarani's plan of the Salle du Palais-Royal

After Molière's death in 1673, his troupe merged with the players at the Théâtre du Marais to form the Théâtre Guénégaud (at the same theatre that had been used by the Académie d'Opéra), and no longer needed the theatre built by Richelieu at his residence the Palais-Royal, near the Louvre. (In 1680 the troupe at the Guénégaud merged again with the players from the Hôtel de Bourgogne forming the Comédie-Française.)[10] Richelieu's theatre had been designed by Jacques Le Mercier and had opened in 1641, and unlike the huge theatre at the Tuileries Palace, which could accommodate 6,000 to 8,000 spectators, was of a size consistent with good acoustics. Lully greatly desired a better theatre and persuaded the king to let him use the one at the Palais-Royal free of charge. The Théâtre du Palais-Royal had been altered in 1660 and 1671, but Lully, with 3,000 livres received from the king, had further changes made by Vigarani in 1674.[10]

The first production in the new theatre was Alceste on 19 January 1674. The opera was bitterly attacked by those enraged at the restrictions that Lully had caused to be placed on the French and Italian comedians. To mitigate the damage, Louis XIV arranged for new works to be premiered at the court, usually at the Chateau Vieux of the Château de Saint-Germain-en-Laye. This had the further advantage of subsidizing the cost of rehearsals, as well as most of the machinery, sets, and costumes, which were donated to the Opéra for use in Paris.[11] During Lully's time at the Opéra, performances were given all year, except for three weeks at Easter. Regular performances were on Tuesdays, Fridays, and Sundays. The premieres presented at court were usually during Carnival and were moved to the Palais-Royal after Easter, where the openings were on Thursdays. About two to three new works were mounted each year. In all, thirteen of Lully's tragédie en musique were performed there (see the list of compositions by Jean-Baptiste Lully).[12]

After Lully edit

 
Plan of the Palais-Royal in 1679 showing the location of the Paris Opera's theatre (in blue)

After Lully died (in 1687), the number of new works per year almost doubled, since his successors (Pascal Collasse, Henri Desmarets, André Campra, André Cardinal Destouches, and Marin Marais) had greater difficulty sustaining the interest of the public. Revivals of Lully's works were common. French composers at the Opéra generally wrote music to new librettos, which had to be approved by the directors of the company. The Italian practice of preparing new settings of existing librettos was considered controversial and did not become the norm in Paris until around 1760. One of the most important of the new works during this period was an opéra-ballet by Campra called L'Europe galante presented in 1697.[12]

Ballet edit

In 1661 Louis XIV, who was a dancer himself and one of the great architects of baroque ballet (the art form which would one day evolve into classical ballet), established the Académie Royale de Danse, intended to codify court and character dances and to certify dance teachers by examination.[13] From 1680 until Lully's death, it was under the direction of the great dancing master Pierre Beauchamp, the man who codified the five positions of the feet.[14] When Lully took over the Opéra in 1672, he and Beauchamp made theatrical ballet an important part of the company's productions. The ballet of that time was merely an extension of the opera, having yet to evolve into an independent form of theatrical art. As it became more important, however, the dance component of the company began to be referred to as the Paris Opera Ballet. In 1713 an associated ballet school was opened, today known as the Paris Opera Ballet School.[15] The Académie Royale de Danse remained separate, and with the fall of the monarchy in 1789 it disappeared.[16]

The company's names after the Revolution edit

 
The Théâtre des Arts, principal venue of the Paris Opera from 1794 to 1820
 
The Palais Garnier, view of the scene

With the French Revolution and the founding of the Republic, the company changed names several times, dropping its association with the royal family (see the List of official company names for details), and in 1794, moved into the Théâtre National de la rue de la Loi (capacity 2800)[17] where it took the name Théâtre des Arts.[18] In 1797, it was renamed the Théâtre de la République et des Arts.[18]

Napoleon took control of the company in 1802 and with the declaration of the French Empire in 1804, renamed the company the Académie Impériale de Musique.[19] With the Restoration in 1814, the company was renamed the Académie Royale de Musique. It became part of the Académie des Beaux-Arts in 1816. In 1821, the company moved to the Salle Le Peletier, which had a capacity of 1900 spectators and where it remained until the building was destroyed by fire in 1873.

In the second half of the 19th century, with the ascension of Napoleon III in 1851, the name Académie Impériale de Musique was reinstated and after 1870 with the formation of the Third Republic, was changed to Théâtre National de l'Opéra.[17]

In 1875, the institution occupied a new home, the Palais Garnier.[20] Between 1908 and 1914 Henri Benjamin Rabaud conducted at Palais Garnier. Rabaud also composed several works which first premiered at Opéra-Comique, but were later also performed at Palais Garnier.[21]

In 1939, the Opéra was merged with the Opéra-Comique and the company name became Réunion des Théâtres Lyriques Nationaux. The Opéra-Comique was closed in 1972 with the appointment of Rolf Liebermann as general administrator of the Théâtre National de l'Opéra de Paris (1973–1980), but in 1976, the Opéra-Comique was restored.

In 1990, the Opéra moved its primary venue to the new Opéra-Bastille, becoming the Opéra de Paris, although it continued to mount productions, primarily ballet, at the Palais Garnier; and the Opéra-Comique regained its autonomy. In 1994 the Opéra de Paris became the Opéra National de Paris.[22] Regardless of all the changes in its "official" name, the company and its theatres were commonly referred to as the Opéra.

The current managing director of the Opéra is Alexander Neef, since September 2020.[23] Past principal conductors and music directors of the Opéra have included Myung-whun Chung, James Conlon and Philippe Jordan. In April 2021, the Opéra announced the appointment of Gustavo Dudamel as its next music director, effective 1 August 2021, with an initial contract of 6 seasons.[24] In May 2023, Dudamel announced his resignation music director of the Opéra, effective August 2023.[25]

Gallery edit

List of official company names edit

Date Official name Notes Ref
28 June 1669 Académie d'Opéra[26] Perrin granted license by Louis XIV [9]
13 March 1672 Académie Royale de Musique Lully granted license by Louis XIV [9]
24 June 1791 Opéra Louis XVI flees Paris (21 June) [27]
29 June 1791 Académie de Musique Louis XVI returns to Paris (25 June) [27]
17 September 1791 Académie Royale de Musique Royal family attends opera (20 September) [27]
15 August 1792 Académie de Musique Louis XVI arrested (13 August) [27]
12 August 1793 Opéra Ratification of the Constitution of 1793 [27]
18 October 1793 Opéra National Republican Calendar adopted (24 October) [27]
7 August 1794 Théâtre des Arts Opéra moves to the Salle Montansier [28]
2 February 1797 Théâtre de la République et des Arts [28]
24 August 1802 Théâtre de l'Opéra [28]
29 June 1804 Académie Impériale de Musique Napoleon Bonaparte installs the First French Empire (18 May) [28]
3 April 1814 Académie de Musique [28]
5 April 1814 Académie Royale de Musique First Restoration (April) [28]
21 March 1815 Académie Impériale de Musique Hundred Days of Napoleon (20 March) [28]
9 July 1815 Académie Royale de Musique Second Restoration (8 July) [28]
4 August 1830 Théâtre de l'Opéra Charles X abdicates (2 August) [28][29]
10 August 1830 Académie Royale de Musique July Monarchy [28][29]
26 February 1848 Théâtre de la Nation Second Republic [28][29]
29 March 1848 Opéra-Théâtre de la Nation [28][29]
2 September 1850 Académie Nationale de Musique [28][29]
2 December 1852 Académie Impériale de Musique Second Empire (Napoleon III) [28][29]
1 July 1854 Théâtre Impérial de l'Opéra Supervision assumed by Imperial Household[30] [28][29]
4 September 1870 Théâtre de l'Opéra Third Republic [29]
17 September 1870 Théâtre National de l'Opéra [29][31]
14 January 1939 Réunion des Théâtres Lyriques Nationaux Opéra takes control of Opéra-Comique [28]
7 February 1978 Théâtre National de l'Opéra de Paris [28]
2 April 1990 Opéra de Paris Move to the Opéra Bastille; Opéra-Comique regains autonomy [28]
5 February 1994 Opéra National de Paris [28]

List of venues edit

Theatre Dates used Notes Ref
Salle de la Bouteille 3 March 1671 – 1 April 1672 Located on the Rue Mazarine;[32] eventually demolished. [33][34]
Salle du Bel-Air 10? November 1672 – June 1673 Located on the Rue de Vaugirard; also called Jeu de Paume de Béquet;[35] eventually demolished. [35][36]
Salle du Palais-Royal (1st) 16 June 1673 – 6 April 1763 Built 1641; altered 1660, 1671, and 1674;[37] destroyed by fire 6 April 1763. [38]
Salle des Tuileries 24 January 1764 – 23 January 1770 Remodeled first to a much smaller theatre by Soufflot.[39] [40]
Salle du Palais-Royal (2nd) 26 January 1770 – 8 June 1781 Destroyed by fire 8 June 1781. [41]
Salle des Menus-Plaisirs 14 August – 23 October 1781 Located on the Rue Bergère; former theatre of the Opéra-Comique of the Foire St. Laurent; eventually demolished. [42][43]
Théâtre de la Porte Saint-Martin 27 October 1781 – 7 March 1794 Built in two months by Samson-Nicholas Lenoir at the request of Marie Antoinette. [42]
Théâtre National de la rue de la Loi 26 July 1794 – 13 February 1820 Montansier's 1793 theatre; street name restored to Rue de Richelieu in 1806; theatre demolished 1820; site now Square Louvois.[44] [18]
Salle Favart (1st) 19 April 1820 – 11 May 1821 Theatre of the Opéra-Comique on the Place Boieldieu; destroyed by fire on 13–14 January 1838.[45] [17][46]
Salle Louvois 25 May – 15 June 1821 Built in 1791; the company performed there 3 times: 25 May, and 1 and 15 June. [46]
Salle Le Peletier 16 August 1821 – 28 October 1873 Built on the Rue Le Peletier as temporary quarters; destroyed by fire 28–29 October 1873. [46]
Salle Ventadour 19 January 1874 – 30 December 1874 Shared the theatre with its long-time occupant the Théâtre-Italien until the Palais Garnier was completed. [20][47]
Palais Garnier 5 January 1875 – 29 June 1936 Designed by Charles Garnier; located at the Place de l'Opéra. [20][47]
Théâtre Sarah Bernhardt 1 August 1936 – 20 November 1936 Performed at this theatre while the Palais Garnier was under renovation. [48]
Théâtre des Champs-Élysées 30 November 1936 – 17 February 1937 Performed at this theatre while the Palais Garnier was under renovation. [48]
Palais Garnier 21 February 1937 – present Reopened at the renovated theatre. [48]
Opéra Bastille 13 July 1989 – present Designed by Carlos Ott; the official opening concert was on 13 July 1989 to celebrate the bicentennial of the French Revolution. [22][49]

List of managing directors edit

Start date Name[50] Administration
28 June 1669  Pierre Perrin Royal Household
30 March 1672  Jean-Baptiste Lully
27 June 1687  Jean-Nicolas de Francine
30 December 1688  Jean Nicolas de Francine, Hyacinthe de Gauréault Dumont
7 October 1704  Pierre Guyenet
12 December 1712  Jean Nicolas de Francine, Hyacinthe de Gauréault Dumont
8 February 1728  André-Cardinal Destouches
1 June 1730  Maximilien-Claude Gruer
18 August 1731  Claude Lecomte (Opera director) Lebœuf
30 May 1733  Eugène de Thuret
18 March 1744  Jean-François Berger
3 May 1748  Joseph Guénot de Tréfontaine
25 August 1749  Louis-Basile de Bernage,[51] Marquis d'Argenson, then François Rebel
and François Francœur
City of Paris
1754  Joseph-Nicolas-Pancrace Royer
1755  Bontemps, Levasseur
13 March 1757  François Rebel, François Francœur Royal Household
9 February 1767  Pierre Montan Berton, Jean-Claude Trial
9 November 1769  Pierre Montan Berton, Jean-Claude Trial,
Antoine Dauvergne, Joliveau
City of Paris
18 April 1776  Direction by the Royal Commissioners Royal Commissioners
18 October 1777  Jacques de Vismes
19 February 1779  City of Paris
19 March 1780  Pierre Montan Berton Royal Accountant
27 May 1780  Antoine Dauvergne, François-Joseph Gossec
8 April 1790  City of Paris
8 March 1792  Louis-Joseph Francœur, Jacques Cellerier
(under committee headed by J.-J.Leroux)
Paris Commune (French First Republic)
17 September 1793  Committee of the Commune (with François Lays)
1 May 1797  Committee of the Commune
12 September 1799 Jacques Devisme (formerly Jacques de Vismes du Valgay),
Joseph Bonet de Treyches
13 March 1800  Jacques Devisme
25 December 1800  Joseph Bonet de Treyches
19 December 1801  Jacques Cellerier
26 November 1802  Prefect Étienne Morel de Chefdeville, then
Joseph Bonet de Treyches as Director
Prefects of the Palace
1 November 1807  Louis-Benoit Picard Imperial Superintendents
3 April 1814  Royal Superintendents
18 January 1816  Denis Pierre Jean Papillon de la Ferté
30 March 1817  Alexandre Étienne Choron
30 October 1819  Giovanni-Battista Viotti
1 November 1821  François-Antoine Habeneck
26 November 1824  Raphaël Duplantys
12 July 1827  Émile Timothée Lubbert
2 March 1831  Louis-Désiré Véron Franchised entrepreneurship
with state subvention
15 August 1835  Henri Duponchel
15 November 1839  Henri Duponchel, Édouard Monnais
1 June 1840[52] Henri Duponchel, Édouard Monnais, Léon Pillet
1 June 1841[53] Henri Duponchel, Léon Pillet
October 1841[54] Léon Pillet
1 August 1847[55] Léon Pillet, Henri Duponchel, Nestor Roqueplan
24 November 1847[56] Henri Duponchel, Nestor Roqueplan
21 November 1849  Nestor Roqueplan
1 July 1854  Imperial Household
(Civil List)
11 November 1854  François-Louis Crosnier
1 July 1856  Alphonse Royer
20 December 1862  Émile Perrin
11 April 1866  Franchised entrepreneurship
with state subvention
1 October 1870  State administration
28 October 1870  Society of Artists
with state subvention
9 May 1871  Eugène Garnier
3 July 1871  Émile Perrin
9 July 1871  Hyacinthe Halanzier
1 November 1871  Private entrepreneurship
with state subvention
16 July 1879  Auguste Vaucorbeil
1 December 1884  Eugène Ritt, Pedro Gailhard
1 January 1892  Eugène Bertrand, Édouard Colonne
1 April 1893  Eugène Bertrand, Pedro Gailhard
31 December 1899  Pedro Gailhard
1907  Pedro Gailhard, Pierre Barthélemy Gheusi
1 January 1908  Leimistin Broussan, André Messager
1 January 1915  Jacques Rouché
14 January 1939  State administration:
Réunion des Théâtres
Lyrique Nationaux [fr]
(Opéra and Opéra-Comique
merged under one
administration, RTLN)
1940  Jacques Rouché (RTLN), Philippe Gaubert (Opéra)
1942  Jacques Rouché (RTLN), Marcel Samuel-Rousseau (Opéra)
21 February 1945  René Gadave (interim administrator)
27 June 1945  Maurice Lehmann (RTLN), Reynaldo Hahn (Opéra)
12 May 1946  Georges Hirsch (RTLN), Henri Büsser (Opéra)
17 November 1951  Maurice Lehmann (RTLN), Emmanuelle Bondville (Opéra)
30 September 1955  Jacques Ibert (RTLN), Emmanuelle Bondville (Opéra)
13 April 1956  Georges Hirsch (RTLN), Emmanuelle Bondville (Opéra)
August 1959  A.-M. Julien (RTLN), Emmanuelle Bondville (Opéra)
19 April 1962  Georges Auric (RTLN), Emmanuelle Bondville (Opéra)
September 1968  André Chabaud (interim director)
1 October 1969  René Nicoly
23 May 1971  Jean-Yves Daniel-Lesur (RTLN),
Bernard Lefort (Opéra)
1 January 1972  Rolf Liebermann (Opéra-Comique closed)
7 February 1978  Théâtre National de
l'Opéra de Paris
31 July 1980  Bernard Lefort
September 1982  Interim committee: Paul Puaux [fr] Jean-Pierre Leclerc [fr],
Alain Lombard, Georges-François Hirsch
1 August 1983  Massimo Bogianckino
24 September 1985 
12 February 1986  Jean-Louis Martinoty
13 July 1989  (Opéra Bastille opens)
1 September 1989  Jean-Albert Cartier
(general administrator of the Palais Garnier)
2 April 1990  Pierre Bergé (president) Opéra de Paris
(Opéra-Comique reopens)
15 May 1991  Georges-François Hirsch
(general administrator of the Palais Garnier)
1 September 1992  Brigitte Lefèvre
(general administrator of the Palais Garnier)
5 February 1994  Opéra National de Paris
15 February 1994  Jean-Paul Cluzel (inspector general of finances)
1 August 1995  Hugues Gall
September 2004  Gerard Mortier
1 August 2009  Nicolas Joel
1 August 2014  Stéphane Lissner
1 September 2020  Alexander Neef

Other Parisian opera companies and theatres edit

In the period from 1725 to 1791 there were essentially four public theatres which were permitted in Paris:[39]

In 1762, the Opéra-Comique merged with the Comédie-Italienne.

In 1791, the laws were changed allowing almost anyone to open a public theatre. This led to rapid growth in the number of theatres and companies and complexities in their naming. Theatres might burn down and be rebuilt using the name of an old or new company or patron. Some of the new theatres that appeared during this period include:[57]

After about 1870, the situation was simpler with regard to opera, with primarily the Opéra and the Opéra-Comique in operation. The naming situation became somewhat confusing after the Opéra-Comique's theater (the second Salle Favart) burned on 25 May 1887, since the company began performing in other locations. Companies other than the Opéra producing operas or operettas at various theatres in this period included:[58]

See also edit

References edit

Notes edit

  1. ^ "Bernard Stirn – Président du Conseil d'Administration de l'Opéra de Paris", interview by Édouard Brane with the President of the Board of the Opéra, Bernard Stirn [fr], 8 April 2011 (in French)
  2. ^ a b Company profile, Tous à l'Opéra 2012 press release 3 March 2016 at the Wayback Machine pp. 52, 53 (in French)
  3. ^ Opéra national de Paris website, 2012–2013 season presentation 8 August 2012 at the Wayback Machine (in French)
  4. ^ Johnson (2005) p. 15.
  5. ^ Johnson (2005) p. 22.
  6. ^ Johnson (2005) pp. 98–99.
  7. ^ Johnson (2005) p. 23.
  8. ^ Gourret (1985) p. 17.
  9. ^ a b c d Harris-Warrick, Rebecca. "Paris. 2. 1669–1725" in Sadie (1992) 3: 856.
  10. ^ a b Anthony, James R. (2001). "Paris. III. 1600–1723" in Sadie (2001).
  11. ^ La Gorce, Jérôme de (2001). "Lully. (1) Jean-Baptiste Lully. 1. Life" in Sadie (2001).
  12. ^ a b Harris-Warrick, Rebecca (1992). "Paris. 2. 1669–1725" in Sadie (1992) 3: 856–857.
  13. ^ "Académie Royale de Dance, L'" in Craine and Mackrell (2000), p. 1.
  14. ^ Costonis (1992); Astier (1998b).
  15. ^ "Paris Opera Ballet" in Craine and Mackrell (2000), pp. 360–361; Christout (1998), pp. 87–88.
  16. ^ Astier (1998a).
  17. ^ a b c Charlton, David (1992). "Paris. 4. 1789–1870." in Sadie (1992) 3: 866–867.
  18. ^ a b c Pitou (1983) 1: 38.
  19. ^ "Book Reviews: Napoléon et l'Opéra: La politique sur la scéne, 1810–1815 by David Chaillou." The English Historical Review 122 (496): 486–490 (2007). doi:10.1093/ehr/cem021.
  20. ^ a b c Langham Smith, Richard (1992). "Paris. 5. 1870–1902." in Sadie (1992) 3: 874.
  21. ^ Pitou, Spire (1990). The Paris Opera: An Encyclopedia of Operas, Ballets, Composers, and Performers; Growth and Grandeur, 1815-1914; M-Z. Greenwood Press. ISBN 978-0-313-27783-2.
  22. ^ a b . Archived from the original on 18 July 2011. Retrieved 25 March 2010. at the official website (in French). Retrieved 25 March 2010.
  23. ^ Roslyn Sulcas (18 November 2020). "Running the Paris Opera Was Never Going to Be Easy. But Come On". The New York Times. Retrieved 16 April 2021.
  24. ^ "Appointment of Music Director: Gustavo Dudamel" (Press release). Opéra national de Paris. 16 April 2021. Retrieved 16 April 2021.
  25. ^ Javier C. Hernández (25 May 2023). "Gustavo Dudamel, Star Maestro, to Resign From Paris Opera". The New York Times. Retrieved 25 May 2023.
  26. ^ Name according to some sources: Académie Royale des Opéra --Powell 2000, p. 3.
  27. ^ a b c d e f Pitou (1983) 1: 30–31.
  28. ^ a b c d e f g h i j k l m n o p q r s Fontaine 2003, pp. 22 f.
  29. ^ a b c d e f g h i Levin, 2009, p, 382.
  30. ^ Lacombe, Hervé. "The 'machine' and the state" in Charlton (2003), p. 27.
  31. ^ Fontaine 2003, p. 23, gives the date as 12 July 1871.
  32. ^ Pitou (1983) 1: 7.
  33. ^ Bashford, Christina. "Camembert, Robert" in Sadie (1992) 1: 696–698.
  34. ^ Pitou (1983) 1: 9.
  35. ^ a b Rosow, Lois. "Fêtes de l'Amour et de Bacchus, Les" in Sadie (1992) 2: 173.
  36. ^ Pitou (1983) 1: 11–12.
  37. ^ Harris-Warrick, Rebecca. "Paris. 2. 1669–1725" in Sadie (1992) 3: 857.
  38. ^ Pitou (1983) 1: 13, 26.
  39. ^ a b Harris-Warrick, Rebecca. "Paris. 3. 1725–1789" in Sadie (1992) 3: 860–864.
  40. ^ Pitou (1983) 1: 26; Wild (1989), p. 299.
  41. ^ Pitou (1985) 2: 407; Wild (1989), p. 299.
  42. ^ a b Pitou (1983) 1: 30.
  43. ^ Gourret 1985, pp. 81–84
  44. ^ Dickens, Charles (1883). Dickens's Dictionary of Paris, p. 221. London: Macmillan. Full view at Google Books.
  45. ^ Pitou (1983) 1: 56.
  46. ^ a b c Pitou (1983) 1: 44.
  47. ^ a b Pitou (1983) 1: 60.
  48. ^ a b c Wolff 1962, p. 561.
  49. ^ Pitt, Charles. "Paris. 6. 20th century" in Sadie (1992) 3: 881.
  50. ^ The information in the list of managing directors is from Fontaine 2003, pp. 22–23, and Levin 2009, p. 383, except as noted.
  51. ^ Charlton 2014.
  52. ^ Levin 2009, p. 382, says Pillet joined Duponchel and Monnais as a co-director on 1 June 1840, and Gerhard 1998, p. 35, says Pillet joined Duponchel without mentioning Monnais. Consistent with this date, Guest 2008, p. 326, mentions that in 1840 Pillet, "as Director of the Opera", sent an emissary to London to negotiate a reappearance of the ballerina Marie Taglioni at the Paris Opera.
  53. ^ Fontaine 2003, p. 23, says Duponchel and Pillet became co-directors on 1 June 1841 (without Monnais). On this date Monnais was appointed to a position as Royal Commissioner (Walton 1898, p. 294). Fontaine, perhaps in error, omits the 1 June 1840 co-directorship of Duponchel, Monnais, and Pillet.
  54. ^ Gerhard 1998, p. 35, says Duponchel retired in October 1841. Fontaine 2003, p. 23, gives the year 1843 for the beginning of Pillet's sole directorship, while Levin 2009, p. 383, gives 1 June 1842.
  55. ^ Levin 2009, p. 383 says Duponchel and Roqueplan joined Pillet as directors on 1 August 1847, while Fontaine says Duponchel and Roqueplan took over as co-directors without Pillet on 31 July 1847.
  56. ^ Fulcher 1987, p. 113, says that Duponchel and Roqueplan took over as directors on 24 November 1847, while Fontaine 2003, p. 23, and Levin 2009, p. 383, only give the month November 1847, and Gerhard 1998, p. 35, says Pillet retired in October 1847.
  57. ^ Charlton, David; Johnson, Janet. "Paris. 4. 1789–1870." in Sadie (1992) 3: 870–873.
  58. ^ Charlton, David; Johnson, Janet. "Paris. 4. 1789–1870." in Sadie (1992) 3: 873–874.

Cited sources edit

  • Astier, Régine (1998a). "Académie Royale de Danse" in Cohen 1998, vol. 1, pp. 3–5.
  • Astier, Régine (1998b). "Beauchamps, Pierre" in Cohen 1998, vol. 1, pp. 396–397.
  • Charlton, David, editor (2003). The Cambridge Companion to Grand Opera. Cambridge, UK: Cambridge University Press. ISBN 978-0-521-64118-0
  • Charlton, David (2014). "New Light on the Bouffons in Paris (1752–1754)", Eighteenth-Century Music, vol. 11, no. 1, pp. 31–54.
  • Christout, Marie-Françoise (1998). "Paris Opera Ballet" in Cohen 1998, vol. 5, pp. 86–100.
  • Cohen, Selma Jeanne, editor (1998). International Encyclopedia of Dance. Oxford: Oxford University Press. ISBN 978-0-19-509462-6 (hardcover). ISBN 978-0-19-517369-7 (2004 paperback edition).
  • Costonis, Maureen Needham (1992). "Beauchamps [Beauchamp] Pierre" in Sadie (1992) 1: 364.
  • Craine, Debra; Mackrell, Judith (2000). The Oxford Dictionary of Dance. Oxford: Oxford University Press. ISBN 978-0-19-860106-7.
  • Fauser, Annegret, editor; Everist, Mark, editor (2009). Music, Theater, and Cultural Transfer. Paris, 1830–1914. Chicago: The University of Chicago Press. ISBN 978-0-226-23926-2.
  • Fontaine, Gerard (2003). Visages de marbre et d'airain: La collection de bustes du Palais Garnier. Paris: Monum, Éditions du patrimoine. ISBN 978-2-85822-751-8.
  • Fulcher, Jane (1987). The Nation's Image: French Grand Opera as Politics and Politicized Art. Cambridge: Cambridge University Press. ISBN 9780521327749.
  • Gerhard, Anselm (1998). The Urbanization of Opera: Music theatre in Paris in the Nineteenth Century, translated from French to English by Mary Whittall. Chicago: University of Chicago Press. ISBN 978-0-226-28857-4.
  • Gourret, Jean (1985). Histoire des Salles de l'Opéra de Paris. Paris: Guy Trédaniel. ISBN 978-2-85707-180-8.
  • Guest, Ivor (2008). The Romantic Ballet in Paris. Alton, Hampshire, UK: Dance Books. ISBN 978-1-85273-119-9.
  • Johnson, Victoria (2008). Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime. Chicago: The University of Chicago Press. ISBN 978-0-226-40195-9.
  • Levin, Alicia (2009). "A documentary overview of musical theaters in Paris, 1830–1900" in Fauser 2009, pp. 379–402.
  • Pitou, Spire (1983). The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers. Genesis and Glory, 1671–1715. Westport, Connecticut: Greenwood Press. ISBN 9780313214202.
  • Pitou, Spire (1985). The Paris Opera: An Encyclopedia of Operas, Ballets, Composers, and Performers. Rococo and Romantic, 1715–1815. Westport, Connecticut: Greenwood Press. ISBN 9780313243943.
  • Pitou, Spire (1990). The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers. Growth and Grandeur, 1815–1914. New York: Greenwood Press. ISBN 9780313262180.
  • Powell, John S. (2000). Music and Theatre in France 1600–1680. Oxford: Oxford University Press. ISBN 978-0-19-816599-6.
  • Sadie, Stanley, editor (1992). The New Grove Dictionary of Opera (4 volumes). London: Macmillan. ISBN 978-1-56159-228-9.
  • Sadie, Stanley, editor; John Tyrell; executive editor (2001). The New Grove Dictionary of Music and Musicians, 2nd edition. London: Macmillan. ISBN 978-1-56159-239-5 (hardcover). OCLC 419285866 (eBook).
  • Walton, William (1899). Paris from the Earliest Period to the Present Day, vol. 3. Philadelphia: George Barrie & Son. View at Google Books.
  • Wild, Nicole (1989). Dictionnaire des théâtres parisiens au XIXe siècle: les théâtres et la musique. Paris: Aux Amateurs de livres. ISBN 978-0-8288-2586-3. ISBN 978-2-905053-80-0 (paperback). View formats and editions at WorldCat.
  • Wolff, Stéphane (1962). L'Opéra au Palais Garnier (1875–1962). Paris: Deposé au journal L'Entr'acte OCLC 7068320, 460748195. Paris: Slatkine (1983 reprint) ISBN 978-2-05-000214-2.

Other sources edit

  • Chouquet, Gustave (1873). Histoire de la musique dramatique en France (in French), pp. 309–425. Paris: Didot. View at Google Books.
  • Durey de Noinville, Jacques-Bernard (1753–1757). Histoire du Théâtre de l'opéra en France (2 volumes). Paris: Joseph Barbou. Vols. 1 and 2 at Google Books.
  • Gourret, Jean (1982). Dictionnaire des chanteurs de l'Opéra de Paris. Paris: Albatros. View formats and editions at WorldCat.
  • Gourret, Jean (1987). Dictionnaire des cantatrices de l'Opéra de Paris. Paris: Albatros. ISBN 978-2-7273-0164-6.
  • Lajarte, Théodore (1878). Bibliothèque musicale du Théâtre de l'Opéra, volume 1 [1671–1791]. Paris: Librairie des Bibliophiles. View at Google Books.
  • Lajarte, Théodore de (1878). Bibliothèque musicale du Théâtre de l'Opéra, volume 2 [1793–1876]. Paris: Librairie des Bibliophiles. View at Google Books.
  • Lasalle, Albert de (1875). Les treize salles de lOpéra. Paris: Sartorius. View at Internet Archive. View at Google Books.
  • Nuitter, Charles; Thoinan, Ernest (1886). Les Origines de l'Opéra français (in French). Paris: E. Plon, Nourrit et Cie. Copies 1 and 2 at Google Books.
  • Pougin, Arthur (1881). Les vrais créateurs de l'opéra français, Perrin et Cambert. Paris: Charavay Frères. Copy at Gallica.

External links edit

  • Official website

paris, opera, opéra, national, paris, redirects, here, company, founded, 1847, adolphe, adam, opéra, national, another, opera, company, residing, paris, opéra, comique, french, opéra, paris, opeʁa, paʁi, primary, opera, ballet, company, france, founded, 1669, . Opera national de Paris redirects here For the company founded in 1847 by Adolphe Adam see Opera National For another opera company residing in Paris see Opera Comique The Paris Opera French Opera de Paris IPA opeʁa de paʁi is the primary opera and ballet company of France It was founded in 1669 by Louis XIV as the Academie d Opera and shortly thereafter was placed under the leadership of Jean Baptiste Lully and officially renamed the Academie Royale de Musique but continued to be known more simply as the Opera Classical ballet as it is known today arose within the Paris Opera as the Paris Opera Ballet and has remained an integral and important part of the company Currently called the Opera national de Paris it mainly produces operas at its modern 2 723 seat theatre Opera Bastille which opened in 1989 and ballets and some classical operas at the older 1 979 seat Palais Garnier which opened in 1875 Small scale and contemporary works are also staged in the 500 seat Amphitheatre under the Opera Bastille Paris OperaOpera national de ParisLogo of the Paris OperaPalais GarnierTypeOpera and ballet companyLocationParis FranceWebsiteoperadeparis frThe company s annual budget is in the order of 200 million euros of which 100M come from the French state and 70M from box office receipts 1 With this money the company runs the two houses and supports a large permanent staff which includes the orchestra of 170 a chorus of 110 and the corps de ballet of 150 2 Each year the Paris Opera presents about 380 performances of opera ballet and other concerts to a total audience of about 800 000 people of whom 17 come from abroad with an average seat occupancy rate of 94 2 In the 2012 2013 season the Paris Opera presented 18 opera titles two in a double bill 13 ballets 5 symphonic concerts and two vocal recitals plus 15 other programmes The company s training bodies are also active with 7 concerts from the Atelier Lyrique and 4 programmes from the Ecole de Danse 3 Contents 1 History 1 1 The Opera under Louis XIV 1 1 1 Pierre Perrin 1 1 2 Jean Baptiste Lully 1 1 3 After Lully 1 1 4 Ballet 1 2 The company s names after the Revolution 2 Gallery 3 List of official company names 4 List of venues 5 List of managing directors 6 Other Parisian opera companies and theatres 7 See also 8 References 8 1 Notes 8 2 Cited sources 8 3 Other sources 9 External linksHistory editSee also French opera The Opera under Louis XIV edit Pierre Perrin edit The poet Pierre Perrin began thinking and writing about the possibility of French opera in 1655 more than a decade before the official founding of the Paris Opera as an institution He believed that the prevailing opinion of the time that the French language was fundamentally unmusical was completely incorrect Seventeenth century France offered Perrin essentially two types of organization for realizing his vision a royal academy or a public theater In 1666 he proposed to the minister Colbert that the king decree the establishment of an Academy of Poetry and Music whose goal would be to synthesize the French language and French music into an entirely new lyric form 4 Even though Perrin s original concept was of an academy devoted to discussions of French opera the king s intention was in fact a unique hybrid of royal academy and public theatre with an emphasis on the latter as an institution for performance 5 On 28 June 1669 Louis XIV signed the Privilege accorde au Sieur Perrin pour l etablissement d une Academie d Opera en musique amp Vers Francois Privilege granted to Sir Perrin for the establishment of an Academy of Opera in music amp French Verse The wording of the privilege based in part on Perrin s own writings gave him the exclusive right for 12 years to found anywhere in France academies of opera dedicated to the performance of opera in French He was free to select business partners of his choice and to set the price of tickets No one was to have the right of free entry including members of the royal court and no one else could set up a similar institution 6 Although it was to be a public theatre it retained its status as royal academy in which the authority of the king as the primary stakeholder was decisive The monopoly originally intended to protect the enterprise from competition during its formative phase was renewed for subsequent recipients of the privilege up to the early French Revolution As Victoria Johnson points out the Opera was an organization by nature so luxurious and expensive in its productions that its very survival depended on financial protection and privilege 7 Perrin converted the Bouteille tennis court located on the Rue des Fosses de Nesles now 42 Rue Mazarine 8 into a rectangular facility with provisions for stage machinery and scenery changes and a capacity of about 1200 spectators Jean Baptiste Lully edit nbsp View of the Salle du Bel AirThe institution was renamed the Academie Royale de Musique and came to be known in France simply as the Opera Within one month Lully had convinced the king to expand the privilege by restricting the French and Italian comedians to using two singers rather than six and six instrumentalists rather than twelve Because of legal difficulties Lully could not use the Salle de la Bouteille and a new theatre was built by Carlo Vigarani at the Bel Air tennis court on the Rue de Vaugirard 9 Later Lully and his successors bitterly negotiated the concession of the privilege in whole or in part from the entrepreneurs in the provinces in 1684 Pierre Gautier bought the authorisation to open a music academy in Marseille then the towns of Lyon Rouen Lille and Bordeaux followed suit in the following years During Lully s tenure the only works performed were his own The first productions were the pastorale Les fetes de l Amour et de Bacchus November 1672 and his first tragedie lyrique called Cadmus et Hermione 27 April 1673 9 nbsp Vigarani s plan of the Salle du Palais RoyalAfter Moliere s death in 1673 his troupe merged with the players at the Theatre du Marais to form the Theatre Guenegaud at the same theatre that had been used by the Academie d Opera and no longer needed the theatre built by Richelieu at his residence the Palais Royal near the Louvre In 1680 the troupe at the Guenegaud merged again with the players from the Hotel de Bourgogne forming the Comedie Francaise 10 Richelieu s theatre had been designed by Jacques Le Mercier and had opened in 1641 and unlike the huge theatre at the Tuileries Palace which could accommodate 6 000 to 8 000 spectators was of a size consistent with good acoustics Lully greatly desired a better theatre and persuaded the king to let him use the one at the Palais Royal free of charge The Theatre du Palais Royal had been altered in 1660 and 1671 but Lully with 3 000 livres received from the king had further changes made by Vigarani in 1674 10 The first production in the new theatre was Alceste on 19 January 1674 The opera was bitterly attacked by those enraged at the restrictions that Lully had caused to be placed on the French and Italian comedians To mitigate the damage Louis XIV arranged for new works to be premiered at the court usually at the Chateau Vieux of the Chateau de Saint Germain en Laye This had the further advantage of subsidizing the cost of rehearsals as well as most of the machinery sets and costumes which were donated to the Opera for use in Paris 11 During Lully s time at the Opera performances were given all year except for three weeks at Easter Regular performances were on Tuesdays Fridays and Sundays The premieres presented at court were usually during Carnival and were moved to the Palais Royal after Easter where the openings were on Thursdays About two to three new works were mounted each year In all thirteen of Lully s tragedie en musique were performed there see the list of compositions by Jean Baptiste Lully 12 After Lully edit nbsp Plan of the Palais Royal in 1679 showing the location of the Paris Opera s theatre in blue After Lully died in 1687 the number of new works per year almost doubled since his successors Pascal Collasse Henri Desmarets Andre Campra Andre Cardinal Destouches and Marin Marais had greater difficulty sustaining the interest of the public Revivals of Lully s works were common French composers at the Opera generally wrote music to new librettos which had to be approved by the directors of the company The Italian practice of preparing new settings of existing librettos was considered controversial and did not become the norm in Paris until around 1760 One of the most important of the new works during this period was an opera ballet by Campra called L Europe galante presented in 1697 12 Ballet edit In 1661 Louis XIV who was a dancer himself and one of the great architects of baroque ballet the art form which would one day evolve into classical ballet established the Academie Royale de Danse intended to codify court and character dances and to certify dance teachers by examination 13 From 1680 until Lully s death it was under the direction of the great dancing master Pierre Beauchamp the man who codified the five positions of the feet 14 When Lully took over the Opera in 1672 he and Beauchamp made theatrical ballet an important part of the company s productions The ballet of that time was merely an extension of the opera having yet to evolve into an independent form of theatrical art As it became more important however the dance component of the company began to be referred to as the Paris Opera Ballet In 1713 an associated ballet school was opened today known as the Paris Opera Ballet School 15 The Academie Royale de Danse remained separate and with the fall of the monarchy in 1789 it disappeared 16 The company s names after the Revolution edit nbsp The Theatre des Arts principal venue of the Paris Opera from 1794 to 1820 nbsp The Palais Garnier view of the sceneWith the French Revolution and the founding of the Republic the company changed names several times dropping its association with the royal family see the List of official company names for details and in 1794 moved into the Theatre National de la rue de la Loi capacity 2800 17 where it took the name Theatre des Arts 18 In 1797 it was renamed the Theatre de la Republique et des Arts 18 Napoleon took control of the company in 1802 and with the declaration of the French Empire in 1804 renamed the company the Academie Imperiale de Musique 19 With the Restoration in 1814 the company was renamed the Academie Royale de Musique It became part of the Academie des Beaux Arts in 1816 In 1821 the company moved to the Salle Le Peletier which had a capacity of 1900 spectators and where it remained until the building was destroyed by fire in 1873 In the second half of the 19th century with the ascension of Napoleon III in 1851 the name Academie Imperiale de Musique was reinstated and after 1870 with the formation of the Third Republic was changed to Theatre National de l Opera 17 In 1875 the institution occupied a new home the Palais Garnier 20 Between 1908 and 1914 Henri Benjamin Rabaud conducted at Palais Garnier Rabaud also composed several works which first premiered at Opera Comique but were later also performed at Palais Garnier 21 In 1939 the Opera was merged with the Opera Comique and the company name became Reunion des Theatres Lyriques Nationaux The Opera Comique was closed in 1972 with the appointment of Rolf Liebermann as general administrator of the Theatre National de l Opera de Paris 1973 1980 but in 1976 the Opera Comique was restored In 1990 the Opera moved its primary venue to the new Opera Bastille becoming the Opera de Paris although it continued to mount productions primarily ballet at the Palais Garnier and the Opera Comique regained its autonomy In 1994 the Opera de Paris became the Opera National de Paris 22 Regardless of all the changes in its official name the company and its theatres were commonly referred to as the Opera The current managing director of the Opera is Alexander Neef since September 2020 23 Past principal conductors and music directors of the Opera have included Myung whun Chung James Conlon and Philippe Jordan In April 2021 the Opera announced the appointment of Gustavo Dudamel as its next music director effective 1 August 2021 with an initial contract of 6 seasons 24 In May 2023 Dudamel announced his resignation music director of the Opera effective August 2023 25 Gallery edit nbsp The Palais Garnier at night nbsp The Grand Foyer at the Palais Garnier nbsp The Opera Bastille insideList of official company names editDate Official name Notes Ref28 June 1669 Academie d Opera 26 Perrin granted license by Louis XIV 9 13 March 1672 Academie Royale de Musique Lully granted license by Louis XIV 9 24 June 1791 Opera Louis XVI flees Paris 21 June 27 29 June 1791 Academie de Musique Louis XVI returns to Paris 25 June 27 17 September 1791 Academie Royale de Musique Royal family attends opera 20 September 27 15 August 1792 Academie de Musique Louis XVI arrested 13 August 27 12 August 1793 Opera Ratification of the Constitution of 1793 27 18 October 1793 Opera National Republican Calendar adopted 24 October 27 7 August 1794 Theatre des Arts Opera moves to the Salle Montansier 28 2 February 1797 Theatre de la Republique et des Arts 28 24 August 1802 Theatre de l Opera 28 29 June 1804 Academie Imperiale de Musique Napoleon Bonaparte installs the First French Empire 18 May 28 3 April 1814 Academie de Musique 28 5 April 1814 Academie Royale de Musique First Restoration April 28 21 March 1815 Academie Imperiale de Musique Hundred Days of Napoleon 20 March 28 9 July 1815 Academie Royale de Musique Second Restoration 8 July 28 4 August 1830 Theatre de l Opera Charles X abdicates 2 August 28 29 10 August 1830 Academie Royale de Musique July Monarchy 28 29 26 February 1848 Theatre de la Nation Second Republic 28 29 29 March 1848 Opera Theatre de la Nation 28 29 2 September 1850 Academie Nationale de Musique 28 29 2 December 1852 Academie Imperiale de Musique Second Empire Napoleon III 28 29 1 July 1854 Theatre Imperial de l Opera Supervision assumed by Imperial Household 30 28 29 4 September 1870 Theatre de l Opera Third Republic 29 17 September 1870 Theatre National de l Opera 29 31 14 January 1939 Reunion des Theatres Lyriques Nationaux Opera takes control of Opera Comique 28 7 February 1978 Theatre National de l Opera de Paris 28 2 April 1990 Opera de Paris Move to the Opera Bastille Opera Comique regains autonomy 28 5 February 1994 Opera National de Paris 28 List of venues editTheatre Dates used Notes RefSalle de la Bouteille 3 March 1671 1 April 1672 Located on the Rue Mazarine 32 eventually demolished 33 34 Salle du Bel Air 10 November 1672 June 1673 Located on the Rue de Vaugirard also called Jeu de Paume de Bequet 35 eventually demolished 35 36 Salle du Palais Royal 1st 16 June 1673 6 April 1763 Built 1641 altered 1660 1671 and 1674 37 destroyed by fire 6 April 1763 38 Salle des Tuileries 24 January 1764 23 January 1770 Remodeled first to a much smaller theatre by Soufflot 39 40 Salle du Palais Royal 2nd 26 January 1770 8 June 1781 Destroyed by fire 8 June 1781 41 Salle des Menus Plaisirs 14 August 23 October 1781 Located on the Rue Bergere former theatre of the Opera Comique of the Foire St Laurent eventually demolished 42 43 Theatre de la Porte Saint Martin 27 October 1781 7 March 1794 Built in two months by Samson Nicholas Lenoir at the request of Marie Antoinette 42 Theatre National de la rue de la Loi 26 July 1794 13 February 1820 Montansier s 1793 theatre street name restored to Rue de Richelieu in 1806 theatre demolished 1820 site now Square Louvois 44 18 Salle Favart 1st 19 April 1820 11 May 1821 Theatre of the Opera Comique on the Place Boieldieu destroyed by fire on 13 14 January 1838 45 17 46 Salle Louvois 25 May 15 June 1821 Built in 1791 the company performed there 3 times 25 May and 1 and 15 June 46 Salle Le Peletier 16 August 1821 28 October 1873 Built on the Rue Le Peletier as temporary quarters destroyed by fire 28 29 October 1873 46 Salle Ventadour 19 January 1874 30 December 1874 Shared the theatre with its long time occupant the Theatre Italien until the Palais Garnier was completed 20 47 Palais Garnier 5 January 1875 29 June 1936 Designed by Charles Garnier located at the Place de l Opera 20 47 Theatre Sarah Bernhardt 1 August 1936 20 November 1936 Performed at this theatre while the Palais Garnier was under renovation 48 Theatre des Champs Elysees 30 November 1936 17 February 1937 Performed at this theatre while the Palais Garnier was under renovation 48 Palais Garnier 21 February 1937 present Reopened at the renovated theatre 48 Opera Bastille 13 July 1989 present Designed by Carlos Ott the official opening concert was on 13 July 1989 to celebrate the bicentennial of the French Revolution 22 49 List of managing directors editStart date Name 50 Administration28 June 1669 Pierre Perrin Royal Household30 March 1672 Jean Baptiste Lully27 June 1687 Jean Nicolas de Francine30 December 1688 Jean Nicolas de Francine Hyacinthe de Gaureault Dumont7 October 1704 Pierre Guyenet12 December 1712 Jean Nicolas de Francine Hyacinthe de Gaureault Dumont8 February 1728 Andre Cardinal Destouches1 June 1730 Maximilien Claude Gruer18 August 1731 Claude Lecomte Opera director Lebœuf30 May 1733 Eugene de Thuret18 March 1744 Jean Francois Berger3 May 1748 Joseph Guenot de Trefontaine25 August 1749 Louis Basile de Bernage 51 Marquis d Argenson then Francois Rebeland Francois Francœur City of Paris1754 Joseph Nicolas Pancrace Royer1755 Bontemps Levasseur13 March 1757 Francois Rebel Francois Francœur Royal Household9 February 1767 Pierre Montan Berton Jean Claude Trial9 November 1769 Pierre Montan Berton Jean Claude Trial Antoine Dauvergne Joliveau City of Paris18 April 1776 Direction by the Royal Commissioners Royal Commissioners18 October 1777 Jacques de Vismes19 February 1779 City of Paris19 March 1780 Pierre Montan Berton Royal Accountant27 May 1780 Antoine Dauvergne Francois Joseph Gossec8 April 1790 City of Paris8 March 1792 Louis Joseph Francœur Jacques Cellerier under committee headed by J J Leroux Paris Commune French First Republic 17 September 1793 Committee of the Commune with Francois Lays 1 May 1797 Committee of the Commune12 September 1799 Jacques Devisme formerly Jacques de Vismes du Valgay Joseph Bonet de Treyches13 March 1800 Jacques Devisme25 December 1800 Joseph Bonet de Treyches19 December 1801 Jacques Cellerier26 November 1802 Prefect Etienne Morel de Chefdeville thenJoseph Bonet de Treyches as Director Prefects of the Palace1 November 1807 Louis Benoit Picard Imperial Superintendents3 April 1814 Royal Superintendents18 January 1816 Denis Pierre Jean Papillon de la Ferte30 March 1817 Alexandre Etienne Choron30 October 1819 Giovanni Battista Viotti1 November 1821 Francois Antoine Habeneck26 November 1824 Raphael Duplantys12 July 1827 Emile Timothee Lubbert2 March 1831 Louis Desire Veron Franchised entrepreneurshipwith state subvention15 August 1835 Henri Duponchel15 November 1839 Henri Duponchel Edouard Monnais1 June 1840 52 Henri Duponchel Edouard Monnais Leon Pillet1 June 1841 53 Henri Duponchel Leon PilletOctober 1841 54 Leon Pillet1 August 1847 55 Leon Pillet Henri Duponchel Nestor Roqueplan24 November 1847 56 Henri Duponchel Nestor Roqueplan21 November 1849 Nestor Roqueplan1 July 1854 Imperial Household Civil List 11 November 1854 Francois Louis Crosnier1 July 1856 Alphonse Royer20 December 1862 Emile Perrin11 April 1866 Franchised entrepreneurshipwith state subvention1 October 1870 State administration28 October 1870 Society of Artistswith state subvention9 May 1871 Eugene Garnier3 July 1871 Emile Perrin9 July 1871 Hyacinthe Halanzier1 November 1871 Private entrepreneurshipwith state subvention16 July 1879 Auguste Vaucorbeil1 December 1884 Eugene Ritt Pedro Gailhard1 January 1892 Eugene Bertrand Edouard Colonne1 April 1893 Eugene Bertrand Pedro Gailhard31 December 1899 Pedro Gailhard1907 Pedro Gailhard Pierre Barthelemy Gheusi1 January 1908 Leimistin Broussan Andre Messager1 January 1915 Jacques Rouche14 January 1939 State administration Reunion des TheatresLyrique Nationaux fr Opera and Opera Comique merged under oneadministration RTLN 1940 Jacques Rouche RTLN Philippe Gaubert Opera 1942 Jacques Rouche RTLN Marcel Samuel Rousseau Opera 21 February 1945 Rene Gadave interim administrator 27 June 1945 Maurice Lehmann RTLN Reynaldo Hahn Opera 12 May 1946 Georges Hirsch RTLN Henri Busser Opera 17 November 1951 Maurice Lehmann RTLN Emmanuelle Bondville Opera 30 September 1955 Jacques Ibert RTLN Emmanuelle Bondville Opera 13 April 1956 Georges Hirsch RTLN Emmanuelle Bondville Opera August 1959 A M Julien RTLN Emmanuelle Bondville Opera 19 April 1962 Georges Auric RTLN Emmanuelle Bondville Opera September 1968 Andre Chabaud interim director 1 October 1969 Rene Nicoly23 May 1971 Jean Yves Daniel Lesur RTLN Bernard Lefort Opera 1 January 1972 Rolf Liebermann Opera Comique closed 7 February 1978 Theatre National del Opera de Paris31 July 1980 Bernard LefortSeptember 1982 Interim committee Paul Puaux fr Jean Pierre Leclerc fr Alain Lombard Georges Francois Hirsch1 August 1983 Massimo Bogianckino24 September 1985 12 February 1986 Jean Louis Martinoty13 July 1989 Opera Bastille opens 1 September 1989 Jean Albert Cartier general administrator of the Palais Garnier 2 April 1990 Pierre Berge president Opera de Paris Opera Comique reopens 15 May 1991 Georges Francois Hirsch general administrator of the Palais Garnier 1 September 1992 Brigitte Lefevre general administrator of the Palais Garnier 5 February 1994 Opera National de Paris15 February 1994 Jean Paul Cluzel inspector general of finances 1 August 1995 Hugues GallSeptember 2004 Gerard Mortier1 August 2009 Nicolas Joel1 August 2014 Stephane Lissner1 September 2020 Alexander NeefOther Parisian opera companies and theatres editIn the period from 1725 to 1791 there were essentially four public theatres which were permitted in Paris 39 Opera de Paris Comedie Francaise Comedie Italienne Opera ComiqueIn 1762 the Opera Comique merged with the Comedie Italienne In 1791 the laws were changed allowing almost anyone to open a public theatre This led to rapid growth in the number of theatres and companies and complexities in their naming Theatres might burn down and be rebuilt using the name of an old or new company or patron Some of the new theatres that appeared during this period include 57 Theatre Feydeau Theatre Italien Theatre Lyrique Theatre de l Ambigu Comique Theatre des Bouffes Parisiens Cirque Olympique Theatre de la Gaite Gymnase Dramatique Theatre des Nouveautes Theatre de l Odeon Porte St Martin Theatre de la Renaissance Theatre des Varietes Theatre du Vaudeville After about 1870 the situation was simpler with regard to opera with primarily the Opera and the Opera Comique in operation The naming situation became somewhat confusing after the Opera Comique s theater the second Salle Favart burned on 25 May 1887 since the company began performing in other locations Companies other than the Opera producing operas or operettas at various theatres in this period included 58 Opera Comique at Salle Favart 2 Theatre Lyrique Theatre du Chateau d Eau Salle Favart 3 Opera National Lyrique at Theatre de la Gaite Eden Theatre Lohengrin 1887 Opera Populaire performing at Theatre du Chatelet Theatre de la Gaite and Theatre du Chateau d Eau Theatre du Chateau d Eau Theatre Lyrique performing at Salle de l Athenee Theatre du Chateau d Eau and Theatre de la Renaissance Nouveau Lyrique at Theatre Taitbout Theatre de l Odeon plays with incidental music by e g Bizet Faure Theatre de la Ville Theatre du Chatelet Theatre des Champs ElyseesSee also edit nbsp Opera portal nbsp France portalList of theatres and entertainment venues in Paris Opera Paris Metro Category Opera world premieres at the Paris Opera The Phantom of the OperaReferences editNotes edit Bernard Stirn President du Conseil d Administration de l Opera de Paris interview by Edouard Brane with the President of the Board of the Opera Bernard Stirn fr 8 April 2011 in French a b Company profile Tous a l Opera 2012 press release Archived 3 March 2016 at the Wayback Machine pp 52 53 in French Opera national de Paris website 2012 2013 season presentation Archived 8 August 2012 at the Wayback Machine in French Johnson 2005 p 15 Johnson 2005 p 22 Johnson 2005 pp 98 99 Johnson 2005 p 23 Gourret 1985 p 17 a b c d Harris Warrick Rebecca Paris 2 1669 1725 in Sadie 1992 3 856 a b Anthony James R 2001 Paris III 1600 1723 in Sadie 2001 La Gorce Jerome de 2001 Lully 1 Jean Baptiste Lully 1 Life in Sadie 2001 a b Harris Warrick Rebecca 1992 Paris 2 1669 1725 in Sadie 1992 3 856 857 Academie Royale de Dance L in Craine and Mackrell 2000 p 1 Costonis 1992 Astier 1998b Paris Opera Ballet in Craine and Mackrell 2000 pp 360 361 Christout 1998 pp 87 88 Astier 1998a a b c Charlton David 1992 Paris 4 1789 1870 in Sadie 1992 3 866 867 a b c Pitou 1983 1 38 Book Reviews Napoleon et l Opera La politique sur la scene 1810 1815 by David Chaillou The English Historical Review 122 496 486 490 2007 doi 10 1093 ehr cem021 a b c Langham Smith Richard 1992 Paris 5 1870 1902 in Sadie 1992 3 874 Pitou Spire 1990 The Paris Opera An Encyclopedia of Operas Ballets Composers and Performers Growth and Grandeur 1815 1914 M Z Greenwood Press ISBN 978 0 313 27783 2 a b Opera national de Paris Histoire de l Opera national de Paris Archived from the original on 18 July 2011 Retrieved 25 March 2010 at the official website in French Retrieved 25 March 2010 Roslyn Sulcas 18 November 2020 Running the Paris Opera Was Never Going to Be Easy But Come On The New York Times Retrieved 16 April 2021 Appointment of Music Director Gustavo Dudamel Press release Opera national de Paris 16 April 2021 Retrieved 16 April 2021 Javier C Hernandez 25 May 2023 Gustavo Dudamel Star Maestro to Resign From Paris Opera The New York Times Retrieved 25 May 2023 Name according to some sources Academie Royale des Opera Powell 2000 p 3 a b c d e f Pitou 1983 1 30 31 a b c d e f g h i j k l m n o p q r s Fontaine 2003 pp 22 f a b c d e f g h i Levin 2009 p 382 Lacombe Herve The machine and the state in Charlton 2003 p 27 Fontaine 2003 p 23 gives the date as 12 July 1871 Pitou 1983 1 7 Bashford Christina Camembert Robert in Sadie 1992 1 696 698 Pitou 1983 1 9 a b Rosow Lois Fetes de l Amour et de Bacchus Les in Sadie 1992 2 173 Pitou 1983 1 11 12 Harris Warrick Rebecca Paris 2 1669 1725 in Sadie 1992 3 857 Pitou 1983 1 13 26 a b Harris Warrick Rebecca Paris 3 1725 1789 in Sadie 1992 3 860 864 Pitou 1983 1 26 Wild 1989 p 299 Pitou 1985 2 407 Wild 1989 p 299 a b Pitou 1983 1 30 Gourret 1985 pp 81 84 Dickens Charles 1883 Dickens s Dictionary of Paris p 221 London Macmillan Full view at Google Books Pitou 1983 1 56 a b c Pitou 1983 1 44 a b Pitou 1983 1 60 a b c Wolff 1962 p 561 Pitt Charles Paris 6 20th century in Sadie 1992 3 881 The information in the list of managing directors is from Fontaine 2003 pp 22 23 and Levin 2009 p 383 except as noted Charlton 2014 Levin 2009 p 382 says Pillet joined Duponchel and Monnais as a co director on 1 June 1840 and Gerhard 1998 p 35 says Pillet joined Duponchel without mentioning Monnais Consistent with this date Guest 2008 p 326 mentions that in 1840 Pillet as Director of the Opera sent an emissary to London to negotiate a reappearance of the ballerina Marie Taglioni at the Paris Opera Fontaine 2003 p 23 says Duponchel and Pillet became co directors on 1 June 1841 without Monnais On this date Monnais was appointed to a position as Royal Commissioner Walton 1898 p 294 Fontaine perhaps in error omits the 1 June 1840 co directorship of Duponchel Monnais and Pillet Gerhard 1998 p 35 says Duponchel retired in October 1841 Fontaine 2003 p 23 gives the year 1843 for the beginning of Pillet s sole directorship while Levin 2009 p 383 gives 1 June 1842 Levin 2009 p 383 says Duponchel and Roqueplan joined Pillet as directors on 1 August 1847 while Fontaine says Duponchel and Roqueplan took over as co directors without Pillet on 31 July 1847 Fulcher 1987 p 113 says that Duponchel and Roqueplan took over as directors on 24 November 1847 while Fontaine 2003 p 23 and Levin 2009 p 383 only give the month November 1847 and Gerhard 1998 p 35 says Pillet retired in October 1847 Charlton David Johnson Janet Paris 4 1789 1870 in Sadie 1992 3 870 873 Charlton David Johnson Janet Paris 4 1789 1870 in Sadie 1992 3 873 874 Cited sources edit Astier Regine 1998a Academie Royale de Danse in Cohen 1998 vol 1 pp 3 5 Astier Regine 1998b Beauchamps Pierre in Cohen 1998 vol 1 pp 396 397 Charlton David editor 2003 The Cambridge Companion to Grand Opera Cambridge UK Cambridge University Press ISBN 978 0 521 64118 0 Charlton David 2014 New Light on the Bouffons in Paris 1752 1754 Eighteenth Century Music vol 11 no 1 pp 31 54 Christout Marie Francoise 1998 Paris Opera Ballet in Cohen 1998 vol 5 pp 86 100 Cohen Selma Jeanne editor 1998 International Encyclopedia of Dance Oxford Oxford University Press ISBN 978 0 19 509462 6 hardcover ISBN 978 0 19 517369 7 2004 paperback edition Costonis Maureen Needham 1992 Beauchamps Beauchamp Pierre in Sadie 1992 1 364 Craine Debra Mackrell Judith 2000 The Oxford Dictionary of Dance Oxford Oxford University Press ISBN 978 0 19 860106 7 Fauser Annegret editor Everist Mark editor 2009 Music Theater and Cultural Transfer Paris 1830 1914 Chicago The University of Chicago Press ISBN 978 0 226 23926 2 Fontaine Gerard 2003 Visages de marbre et d airain La collection de bustes du Palais Garnier Paris Monum Editions du patrimoine ISBN 978 2 85822 751 8 Fulcher Jane 1987 The Nation s Image French Grand Opera as Politics and Politicized Art Cambridge Cambridge University Press ISBN 9780521327749 Gerhard Anselm 1998 The Urbanization of Opera Music theatre in Paris in the Nineteenth Century translated from French to English by Mary Whittall Chicago University of Chicago Press ISBN 978 0 226 28857 4 Gourret Jean 1985 Histoire des Salles de l Opera de Paris Paris Guy Tredaniel ISBN 978 2 85707 180 8 Guest Ivor 2008 The Romantic Ballet in Paris Alton Hampshire UK Dance Books ISBN 978 1 85273 119 9 Johnson Victoria 2008 Backstage at the Revolution How the Royal Paris Opera Survived the End of the Old Regime Chicago The University of Chicago Press ISBN 978 0 226 40195 9 Levin Alicia 2009 A documentary overview of musical theaters in Paris 1830 1900 in Fauser 2009 pp 379 402 Pitou Spire 1983 The Paris Opera An Encyclopedia of Operas Ballets Composers and Performers Genesis and Glory 1671 1715 Westport Connecticut Greenwood Press ISBN 9780313214202 Pitou Spire 1985 The Paris Opera An Encyclopedia of Operas Ballets Composers and Performers Rococo and Romantic 1715 1815 Westport Connecticut Greenwood Press ISBN 9780313243943 Pitou Spire 1990 The Paris Opera An Encyclopedia of Operas Ballets Composers and Performers Growth and Grandeur 1815 1914 New York Greenwood Press ISBN 9780313262180 Powell John S 2000 Music and Theatre in France 1600 1680 Oxford Oxford University Press ISBN 978 0 19 816599 6 Sadie Stanley editor 1992 The New Grove Dictionary of Opera 4 volumes London Macmillan ISBN 978 1 56159 228 9 Sadie Stanley editor John Tyrell executive editor 2001 The New Grove Dictionary of Music and Musicians 2nd edition London Macmillan ISBN 978 1 56159 239 5 hardcover OCLC 419285866 eBook Walton William 1899 Paris from the Earliest Period to the Present Day vol 3 Philadelphia George Barrie amp Son View at Google Books Wild Nicole 1989 Dictionnaire des theatres parisiens au XIXe siecle les theatres et la musique Paris Aux Amateurs de livres ISBN 978 0 8288 2586 3 ISBN 978 2 905053 80 0 paperback View formats and editions at WorldCat Wolff Stephane 1962 L Opera au Palais Garnier 1875 1962 Paris Depose au journal L Entr acte OCLC 7068320 460748195 Paris Slatkine 1983 reprint ISBN 978 2 05 000214 2 Other sources edit Chouquet Gustave 1873 Histoire de la musique dramatique en France in French pp 309 425 Paris Didot View at Google Books Durey de Noinville Jacques Bernard 1753 1757 Histoire du Theatre de l opera en France 2 volumes Paris Joseph Barbou Vols 1 and 2 at Google Books Gourret Jean 1982 Dictionnaire des chanteurs de l Opera de Paris Paris Albatros View formats and editions at WorldCat Gourret Jean 1987 Dictionnaire des cantatrices de l Opera de Paris Paris Albatros ISBN 978 2 7273 0164 6 Lajarte Theodore 1878 Bibliotheque musicale du Theatre de l Opera volume 1 1671 1791 Paris Librairie des Bibliophiles View at Google Books Lajarte Theodore de 1878 Bibliotheque musicale du Theatre de l Opera volume 2 1793 1876 Paris Librairie des Bibliophiles View at Google Books Lasalle Albert de 1875 Les treize salles de lOpera Paris Sartorius View at Internet Archive View at Google Books Nuitter Charles Thoinan Ernest 1886 Les Origines de l Opera francais in French Paris E Plon Nourrit et Cie Copies 1 and 2 at Google Books Pougin Arthur 1881 Les vrais createurs de l opera francais Perrin et Cambert Paris Charavay Freres Copy at Gallica External links edit nbsp Wikimedia Commons has media related to Opera de Paris Official website Retrieved from https en wikipedia org w index php title Paris Opera amp oldid 1217118629, wikipedia, wiki, book, books, library,

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