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.
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Jean Coralli (1779–1854), Ballet master of the Ballet du Théâtre de l'Académie Royale de Musique from 1831-1850 who was born Jean Coralli Perecini in Paris of Bolognese parents.
Théâtre de l'Athénée, a theatre in Paris which had the name from 1893–1896
It was founded in Paris by the last assistants of Etienne Decroux, Steven Wasson and Corinne Soum, who continue to teach and produce plays with their company, the Theatre de l'Ange Fou.
In 1881, Tárrega played in the Opera Theatre in Lyon and then the Paris Odeon, in the bicentenary of the death of Pedro Calderón de la Barca.
The Académie royale de musique in Paris was then in financial difficulties and its director Jean-Nicolas de Francine was unable to remedy the situation alone.
For the gala re-opening of La Vie de Bohème at the Théâtre de l'Odéon in 1875, Granier appeared in Act I as Musette, singing "La Jeunesse et l'amour" (with words by Meilhac and music by Massenet); likewise a song for Esmeralda "Mon père est oyseau, ma mère est oyselle" was composed by Massenet in 1879 for her appearance in Notre-Dame de Paris.
In it is to be found an annual run-down of the troupes of the Académie royale de musique, of the Comédie-Française, of the Comédie-Italienne, of the Opéra-Comique, of the Foires Saint-Germain et Saint-Laurent and of the Concert Spirituel.
Florestan ascended to the throne in Monaco in 1841, but her spouse was never prepared to assume the role of prince — he had been an actor in the Théâtre de l'Ambigu-Comique — and the real power during his reign lay in the hands of his wife.
He left Spain for Paris, with his wife Philomene ("Filo") Stes, he became involved in stage design; he carried out works such as Voleur d'Images, Sonatina for the Opéra-Comique in 1929, La guerre de Troie n'aura pas lieu for Louis Jouvet's Théâtre de l'Athénée (1935).
:For other theatres with this name, see Odeon
A student of Joseph Isidore Samson at the Conservatoire, he won first prize in declamation before making his debuts at the Théâtre de l'Odéon in 1854 in the play The Barber of Seville by Beaumarchais.
This was followed by Le Satyre de la Villette, with André Barsacq at the Théâtre de l'Atelier, a comedy which ranked him with his literary forebears Jacques Audiberti, Ionesco, Beckett.
The era occurred during the early to mid 19th century primarily at the Théâtre de l'Académie Royale de Musique of the Paris Opera Ballet and Her Majesty's Theatre in London.
This novel has been adapted for theatre in a creation and co-production of both :fr:Théâtre Le Public in Brussels and :fr:Théâtre de l’Ancre in Charleroiin 2005.
The Theatre de l'Ange Fou and the International School of Corporeal Mime (formerly known as the Ecole de Mime Corporel Dramatique) were created in Paris in 1984 by Steven Wasson and Corinne Soum, the last assistants of Etienne Decroux, "the father of Modern Mime" , and relocated to London in 1995.
In the post-war years, the Theatre du Rond-Point was one of the principal venues—along with the Theatre Marigny and the Theatre de l'Odeon—where the Madeleine Renaud-Jean-Louis Barrault Company introduced the world to many of the plays of Jean Giraudoux, Eugène Ionesco, Jean Anouilh, and Samuel Beckett.