He has frequently been confused by later writers with his contemporary Henri Duponchel, at one time director of the Paris Opera, who also studied architecture and has often erroneously been referred to under Charles-Edmond Duponchel's name.
At the end of these studies he was offered a position with the Paris Opera Orchestra but turned it down because he would have had to give up his United States citizenship, and he returned to Cincinnati.
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During his employment by Louis XIV as director of the Académie Royale de Music he worked with Pierre Beauchamp, Molière, Philippe Quinault and Mademoiselle De Lafontaine, (the first professional female dancer and Premiere danseuse of the Paris Opera Ballet) to develop ballet as an art form equal to that of the accompanying music.
Kent Nagano, conductor; Alan Held, Angela Denoke, Christopher Ventris, Hannah Esther Minutillo, Charles Workman; orchestra and chorus of the Opera National de Paris; Bel Air Classiques, (2007).
The fourth program on 6 April was billed as a séance Berlioz and included the overture from Weber's Freischütz, excerpts from Berlioz's symphonies Harold en Italie and Roméo et Juliette, and Quasimodo's aria with chorus from Louise Bertin's opera La Esmeralda sung by the tenor Jean-Étienne-Auguste Massol, who had created the role at the Paris Opera in 1836.
During the course of the next three decades she appeared at the Academy of Music in New York, at the Paris Opera, at La Scala in Milan, at the Rome Opera, at La Fenice in Venice, at the Royal Opera House, Covent Garden, in London and at the Théâtre de la Monnaie in Brussels.
Throughout his 30 year dancing career he performed as a guest artist in 34 countries and with more than 60 companies including such well known ones as American Ballet Theatre, the Royal Ballet, Stuttgart Ballet, the Paris Opera, the Royal Danish Ballet, La Scala of Milan, the Vienna State Opera Ballet, the Australian Ballet, the National Ballet of Canada, and Boston Ballet.
He was the son of a violinist who played at the Opéra of Paris, and about 1801 he became a flutist and oboist at the Théâtre Feydeau and Théâtre de l'Opéra Comique to 1821.
Georges Coulon was officially the son of the actress Augustine-Antoinette Finot-Léonard and Antoine Coulon, choreographer and ballet director at the Paris Opera and Her Majesty's Theatre in London.
Charpentier's brother Victor (also born Dieuze, on 23 July 1867) was a cellist in the orchestra of the Paris Opera and later a conductor of popular symphony concerts in Paris.
After his return from Rome he was entrusted with many important commissions for decorative paintings, such as the frescoes in the church of St Nicholas at Nantes; the three panels of Apollo, Orpheus and Amphion at the Paris Opera house; and twelve paintings for the great hall of the council of state in the Palais Royal.
The work was in rehearsal in 1763 at the Paris Opéra, probably for a private performance at the court at Choisy.
During his time at the excise office Lenormand started publishing in technology journals and filed patents for a paddle boat, a clock (successfully installed at the Paris Opera) and a public lighting system.
Paris audiences had already seen Mosè in Egitto — both in a performance by the Paris Opéra at the Théâtre de l'Académie Royale de Musique and at the Théâtre des Italiens — before Rossini revised it again, this time markedly, for the Paris Opéra.
Oronthée (or Orontée) is a French-language opera by the composer Paolo Lorenzani, first performed by the singers and musicians of the Académie Royale de Musique (the Paris Opera) at Chantilly on 23 August 1688 as part of the celebrations the Prince of Condé gave for the Dauphin.
Sédille made his mark as a private architect executing residential commissions during an age that celebrated heroic, civic works such as the Paris Opéra (1860–1875) by Charles Garnier or the Palais de Justice (Paris, 1857–68) by Joseph-Louis Duc and Honoré Daumet.
He studied at Lille before moving to Paris, where he worked singing basse-taille in the chorus of the Opéra and the Concert Spirituel between 1767 and 1781, except for a brief period (1771—1773) he spent in Moulins.
Prina's extensive list of performance credits also include appearances at the Barbican Centre, the Bavarian State Opera, the Glyndebourne Festival Opera, La Fenice, the Liceu, Opera Australia, the Paris Opera, the Salzburg Festival, the San Francisco Opera, the Teatro Comunale Alighieri, the Teatro di San Carlo, the Teatro Real, and the Vienna State Opera among others.
There is a three-story interior courtyard, supposedly inspired by the Paris Opera, featuring an imposing marble double staircase leading to colonnaded balconies on the upper stories.
The theatre later underwent three substantial transformations: the first in 1763, when it was greatly reduced in size for the Paris Opera (to a capacity of 400 to 500 spectators) by the architects Jacques Soufflot and Jacques Gabriel; the second in 1792, when it was transformed into the hall of the National Convention; and the third in 1808, when Napoleon had a new theatre built to the designs of the architects Percier and Fontaine.
Queen of the Night in Mozart's Magic Flute production by Bob Wilson, Paris Opera, L'Opera Comique, Le Theatre du Chatelet, Le Theatre des Champs Elysees, Théâtre Nanterre-Amandiers and Parisian Bastille Opera, the Houston Grand Opera in Texas
To many music lovers, however, Pretre's name will forever be associated with the 1959 world premiere of Joseph Jongen's Symphonie Concertante for Organ and Orchestra, Opus 81, with Virgil Fox and the Paris Opera Orchestra.
Gustave Cloëz (born Quincy, 1890, died Paris, 1970) was a French conductor who was particularly active at the Paris Opéra-Comique in the mid-20th century, and made a significant number of recordings, often accompanying major singers of the time.
She had been appearing with the Paris 'Opera' Ballet; from 1839 to 1845, extending her audience base, Grahn danced in several cities, including London, St. Petersburg, and Milan.
At the end of his life Makhno lived in Paris and worked as a carpenter and stage-hand at the Paris Opera, at film-studios, and at the Renault factory.
Her place of prominence at the Paris Opera was influenced by her relationship with the director, Léon Pillet.
She remained at the Paris Opera for three years and then went to Nice.