"[61] Even so, the new season began with a performance of Rienzi on 1 September. The sets were designed by Charles-Antoine Cambon and Auguste Alfred Rubé, and the costumes were plentiful and rich. Directeur Théâtre St-Denis. The alterations to Weber's opera were both textual and musical and involved a change in setting from Bohemia during the Thirty Years War to ostensibly Yorkshire during the reign of Charles I, although Sir Walter Scott's novels may also have been an influence, since Scotland is also mentioned. Levin, Alicia (2009). The music was by the Belgian composer François-Auguste Gevaert, the libretto was by Gustave Vaëz, and the production received 43 performances. 3, pp. She may have been mistaken as German and was poorly received. Create lists, bibliographies and reviews: Your request to send this item has been completed. [32], Beginning on 18 February 1860 Gounod's Philémon et Baucis premiered at the theatre. http:\/\/www.worldcat.org\/oclc\/54988002> ; http:\/\/experiment.worldcat.org\/entity\/work\/data\/14347027#Topic\/theater_france_paris_history_19th_century>. Learn more ››. some admirable! Bizet, Georges; Galabert, Edmond, editor (no date). I do not know!—The house was full, no claque! Atelier national de reproduction des th\u00E8ses\" ; Th\u00E9\u00E2tre Antoine (Paris, France)\" ; Theater--France--Paris--History--19th century\" ; Theater--France--Paris--History--20th century\" ; Andr\u00E9 Antoine, fondateur et directeur du Th\u00E9\u00E2tre Antoine, 1897-1906.\" ; Export to EndNote / Reference Manager(non-Latin). The mezzo-soprano, Hélène Brunet-Lafleur, who was to sing the all-important role of Odette, became ill and eventually withdrew. Après un court séjour à l'Odéon durant lequel le théâtre est administré par le comédien Larochelle, Antoine reprend la direction de la salle qu'il rebaptise théâtre Antoine en 1897. All theatres were closed, and the Théâtre Lyrique, along with most theatres in Paris, was converted to an ambulance station. He set himself to work, and spared not roulades, shakes, and ricercate, whereof Weber had no idea, and which, had he heard them, would have driven him mad. Christine Nilsson, who had been highly successful as Violetta, had left the company for the Opéra and was replaced by the Hungarian soprano Aglaja Orgeni. At certain points in the opera as many as 200 extras were on stage at once. "[60], The ticket prices for Rienzi had been raised to offset the extra costs, but the reviews, which were extensive, were mostly critical. You may have already requested this item. He left the company with a personal loss of 80,000 francs. After the company ended operations in 1872 several short-lived companies revived the name, most notably Albert Vizentini's Théâtre National Lyrique (1876–1878), but none were as successful as the original. Perrin was however successful in signing her to a new contract, and the new season opened on 30 September with Cabel in La promise. It was performed under the title La Bohémienne and had originally been prepared in 1862 in the absence of Balfe for a production at the Théâtre des Arts of Rouen. In addition, Perrin was not allowed to present more than 6 acts by any composer who had already had four or more works staged by the Opéra or the Opéra-Comique. However, repertoire, venues, dates of performances and particularly casting are subject to changes. The season opened on 24 October with the company's revival of Halévy's Le val d'Andorre, which was followed by performances of Flotow's Martha, Rossini's Le barbier de Seville, Paer's two-act opéra comique Le maître de chapelle, and Grisar's one-act opéra comique Les bégaiements d'amour. 263 f.; Kenney 1875, pp. Théâtre Antoine (Paris, France) -- History. Please re-enter recipient e-mail address(es). Please choose whether or not you want other users to be able to see on your profile that this library is a favorite of yours. [18], During Perrin's one full season with the company he produced 11 new French operas and only two revivals. The wind kept the fire from the upper part of the building near the river, where costumes, music, administrative papers, and the archives of the company were stored, and these survived. # Andr\u00E9 Antoine, fondateur et directeur du Th\u00E9\u00E2tre Antoine, 1897-1906\n, # Th\u00E9\u00E2tre Antoine (Paris, France)\n, # Theater--France--Paris--History--20th century\n, # Theater--France--Paris--History--19th century\n. Beginning in March 1872 the company's official name was changed to Théâtre-Lyrique-National, but by 7 June 1872 Martinet had to close the company down permanently due to bankruptcy. naudotis profesionalia menininkų atrankos priemone. The E-mail Address(es) you entered is(are) not in a valid format. Quoted and translated by Walsh 1981, pp. [68] According to the correspondent of the Neue Berliner Musikzeitung, La Bohémienne, when compared to Balfe's earlier operas which had been presented in Paris, was by far a more fortunate show, that greatly benefited from its "singable, fresh melodies" and the careful ensemble work of the principal artists. The Emperor and Empress came to see her just before Christmas. Please enter recipient e-mail address(es). [22], This version had also been performed with success at the Opéra-Comique in 1835 and in several provincial theatres. [17], The terms of the company's cahier des charges were also made somewhat more restrictive at this time, calling for 15 acts of new works per season, at least three by composers previously unperformed in Paris. The two theatres, which face each other, are still to be found in the same locations, but with different names: the Cirque Impérial soon became the Théâtre du Châtelet, and that of the Théâtre Lyrique is today known as the Théâtre de la Ville. Le Théâtre Antoine est toujours parvenu, par le biais d’une programmation éclectique, à concilier tradition et modernité. Ph. The Théâtre Lyrique will not be the vassal of its elder brother, on the contrary, every effort will be made to keep up a noble spirit of emulation between the two, which cannot fail to be profitable to the art. [67] Paul de Saint-Victor, writing in Les Modes Parisiennes, remarked that it had captivated the Parisian public and would rejuvenate Balfe's reputation in France.