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Updated: May 17, 2025
Halanzier was director of the Grand Opera, and we went sometimes to his box behind the scenes, which was most amusing. He was most dictatorial, occupied himself with every detail, was consequently an excellent director. I remember seeing him inspect the corps de ballet one night, just before the curtain went up.
M. Vaucorbeil, the successor of Halanzier, visited Verdi at his home and succeeded in persuading him not only to give the performing rights to the national institution, but also to assist in its production. Maurel was the Amonasro of the occasion.
Afterwards it was refused in succession by Halanzier, Vaucorbeil, and Ritt and Gailhard, who decided to take it only after they had heard it sung by that admirable singer Rosine Bloch. But to return to Le Timbre d'Argent. I was again on the street with my score under my arm. About that time Vizentini revived the Théâtre-Lyrique.
The conduct of the conductor and musicians at the production of "Les Vepres Siciliennes" had angered Verdi; and when M. Halanzier, the director of the Academie Nationale, asked for the opera in 1873, his request was refused. Thus it happened that the Theatre Italien secured the right of first performance in Paris.
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