He decorated such important civic buildings as the Sorbonne and the Opera Comique, and also produced advertising work.
It opened in 1870 and was demolished in 1902, to make way for the construction of the Aldwych and Kingsway.
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Amelia al ballo is still periodically performed, with productions in the 2008/2009 seasons in Vichy, Buenos Aires, and São Paulo, as well as a 2010 double bill with Menotti's The Telephone in Tours, using the 2006 co-production by Lausanne Opera and the Opéra Comique.
The libretto was by Christian Felix Weiße (1726–1804) based on the ballad opera The Devil to Pay, or The Wives Metamorphos'd by Charles Coffey (1731), and an opéra comique text by Michel-Jean Sedaine using the same material.
His work includes three opéra comique: Le Lauréat (1906) — libretto by Félix-Gabriel Marchand — Le Rajah (1910) and Le Fétiche (1912).
Le peintre amoureux de son modèle (The Painter in Love with his Model) is an opéra comique in two acts by the composer Egidio Duni with a libretto by Louis Anseaume.
After studies in Paris with her mother, her first professional engagement was in 1879 at Étretat; she made her debut at the Opéra Comique on 19 April 1880 as Marie in La fille du régiment.
Extensive sections of the marketplace scene in Act I are danced to various passages from Rossini's opera comique Le Comte Ory (1828), whilst the round dance in the same scene is taken from Paulli's music for Bournonville's ballet, The White Rose.
He was the lead continuo player for Les Arts Florissants from 1979, the date of the founding of the ensemble, till the famous 1987 production of Lully's Atys at the Opéra Comique.
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) ;
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.