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.
Broadway theatre | West End theatre | musical theatre | Royal National Theatre | theatre | Royal Court Theatre | American Ballet Theatre | Musical theatre | National Theatre | Theatre Royal, Drury Lane | Bolshoi Theatre | Abbey Theatre | Haymarket Theatre | Theatre Royal | Play (theatre) | Globe Theatre | Theatre | Mariinsky Theatre | Manhattan Theatre Club | Lyric Theatre | Théâtre du Châtelet | Her Majesty's Theatre | Grand Théâtre de Genève | Théâtre des Champs-Élysées | Theatre 625 | Goodman Theatre | Sydney Theatre Company | Lyceum Theatre, London | Gaiety Theatre, London | Almeida Theatre |
In 1858 Deloffre went to give concerts in Madrid with other artists from the Théâtre-Lyrique and Opéra-Comique following the French victory in the Battle of Solferino.
Le Prisonnier, musique de Domenico Della-Maria, créé le 10 pluviôse an VI, Opéra-Comique (salle Favart) ;
Théâtre de l'Athénée, a theatre in Paris which had the name from 1893–1896
The Duo de l’ouvreuse de l’Opéra Comique et l’employé du Bon Marché (Duet of the usherette from the Opéra-Comique and the employee of the Bon-Marché department store) is a comic vocal work by Emmanuel Chabrier for soprano and tenor, with piano accompaniment.
•
The piece was first published in Le Figaro musical in April 1893, along with the Couplets du capitaine des pompiers (in honour of Colonel Constant, the head of the fire brigade the night of the fire at the Opéra-Comique on 25 May 1887) by André Wormser.
•
The usherette, financially secure thanks to government compensation to victims of the fire at the Salle Favart, is able to marry the shop assistant who sings praises to Aristide Boucicaut, founder of the Parisian department store, for his pension, while the usherette lauds Léon Carvalho, director of the Opéra Comique from 1876–87 and 1891-97.
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.
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
Félix Vieuille (15 October 1872, Saujon – 28 February 1953, Saujon) was a French operatic bass who sang for more than four decades with the Opéra-Comique in Paris during the first half of the twentieth century.
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.
This piece, which was first performed by the Opéra-Comique at the Salle Favart on 23 February, was based on an event which had occurred only one month prior: Louis-Michel le Peletier, marquis de Saint-Fargeau, was assassinated on 20 January for having voted for the execution of Louis XVI, who was executed on the 21st.
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.
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.
•
Orchestral extracts from operas with the Opéra-Comique Orchestra covered Borodin Prince Igor Polovtsian Dances, Debussy L'Enfant Prodigue and Massenet Manon ballet music, as well as music by Bruneau and Wagner.
From her other versatile stage repertoire, she sang Konstanze in Die Entführung aus dem Serail, the Marschallin in the Der Rosenkavalier, Renata in The Fiery Angel by Prokofiev (Opéra-Comique, 1967), and Béatrice in Un sguardo sul ponte by Renzo Rossellini (Bordeaux 1965, possibly the first French performance of that opera).
A short time later, he was appointed directeur des concerts in Orléans, where he directed that city's Opéra Comique theater.
a character (market woman) in La fille de Madame Angot, an opéra comique in three acts by Charles Lecocq
Prominent examples include the great plafond in the Hôtel de Ville, Paris, entitled Paris Convening the World; his paintings in the New Sorbonne, representing Literature, The Sciences, and the Academy of Paris; and the plafond of the Opéra Comique theatre.
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.
It has a French-language libretto based on Louis Anseaume and Pierre-Augustin Lefèvre de Marcouville’s libretto for La fausse aventurière (The False Adventuress), an opéra comique by Jean Louis Laruette.
Offenbach's opéra comique premiered in Bad Ems and had a Paris production but did not enter the repertoire.
The work was in rehearsal in 1763 at the Paris Opéra, probably for a private performance at the court at Choisy.
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.
Bréval also occasionally appeared in productions at the Opéra-Comique in Paris.
She made her stage debut in Nantes in 1899 as Mimì in La bohème, the same role in which she made her debut at the Opéra-Comique.
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).
His roles at the Opéra-Comique included; Figaro, Lescaut, Zurga, Frédéric, Ourrias, Dapertutto, Alfio, Marcello, Scarpia, et al., he took part there in the creation of Emmanuel Bondeville's Madame Bovary, on 1 June 1951.
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.
In 2012, New Opera Singapore began a series of productions that included the second Opera Comique production, ‘In the Classroom’; Gaetano Donizetti’s bel canto opera L'elisir d'amore, and Franz Schubert’s Die Schöne Müllerin.
:For other theatres with this name, see Odeon
In March 1997, Opera Quotannis presented their final production, the original opéra-comique version of Cherubini's Médée, at Alice Tully Hall, Lincoln Center, marking the bicentennial of the work's premiere.
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.
The French version reappeared at a production in Monte Carlo in 1917 but Platée only returned to France at the Aix-en-Provence Festival in 1956 with young tenor Michel Sénéchal as the queen of frogs, a part which Mr Sénéchal took again in the Opéra-Comique in 1977.
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.
After singing Constance in The Abduction from the Seraglio in Cannes under Reynaldo Hahn, and the three heroines (Olympia, Giulietta, Antonia) in Les contes d'Hoffmann in Strasbourg, opposite the great French bass-baritone Vanni Marcoux, she made her Paris debut at the Gaîté-Lyrique in 1943, as Lakmé, and the following year, made her debut at the Opéra-Comique, in the same role.
Its tales of drastic adventures were based on the model of Spanish rogue stories (such as Lazarillo de Tormes 1554), which were fashionable due to the contemporary publication of Scarron's Roman Comique (or Comical Romance, so the English title which established the genre), and savoury with the events Head could claim to have based on his personal experience.
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.
The Opéra-Comique remained at the theatre for almost eight years, and the premieres of Hérold's Ludovic and Le pré aux clercs, Adam's Le chalet and Le postillon de Lonjumeau, Halévy's L'éclair, Auber's L'ambassadrice and Le domino noir, and Donizetti's La fille du régiment were all given there.
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.
From then on, his career steadily progressed, with guest appearances at both the Opéra-Comique and the Palais Garnier in Paris, the Teatro Nacional Sao Carlos in Lisbon, the Liceu in Barcelona, the Teatro Real in Madrid, also appearing in London, Monte Carlo, Zurich, Brussels, etc., where he was particularly appreciated in Verdi roles.