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Updated: June 3, 2025
I am now expecting the pianoforte arrangements of my operas, in order to secure my rights, which will be of importance, whether I want my operas to be performed or whether I want to prevent their performance. The management of the Grand Opera has made no move, but M. Carvalho, of the Theatre Lyrique, seems to be lying in wait for me.
In 'L'Enfant Roi' , a 'comédie lyrique' dealing with bourgeois life in modern Paris, which plainly owed a good deal to Charpentier's 'Louise, the composer essayed a lighter style with no very conspicuous success, but his latest work,'Naïs Micoulin' , a Provençal tale of passion, revenge and devotion seems to contain more of the elements of lasting success.
I was well aware how this undertaking would be carried out, from an account I had read a short time before of the performance of Weber's Euryanthe at that very Theatre Lyrique, and of the objectionable elaborations or rather mutilations which had been effected for the purposes of production.
Attempts have been made at different times to found a Théâtre Lyrique Populaire. But up to the present time none has succeeded. The first attempts were made in 1847. M. Carvalho's old Théâtre-Lyrique was never a financial success, though quite distinguished performances of operas were given there, such as Gounod's Faust and Gluck's Orfeo, with Mme.
Carvalho, the manager of the Theatre Lyrique, had predicted that the work would have a magnificent reception by the art world, and lavished on it every stage resource.
The manager of the Theatre Lyrique sought everywhere for a tenor suitable for Tannhauser, and only his inability to find one compelled him to renounce his intention of producing my opera at once. M. de Beaumont, the manager of the Opera Comique, who was on the verge of bankruptcy, hoped to save himself with Tannhauser, with which intention he approached me with the most urgent proposals.
Near by is a café concert. A "Grande Soirée Lyrique" is the entertainment offered us at the Maison Doucieux, as we learn from the rudely-written handbill which hangs at the entrance.
The descendants of Beaumarchais fought for the same concession, and not very long ago it was decided that the translators and arrangers of "Le Nozze di Figaro" for the Théâtre Lyrique must share their receipts with the living representatives of the author of "Le Mariage de Figaro."
But its most piquant transformation is the Comedie lyrique of Poinsinet, acted at Paris in 1765-6 to the lively music of Philidor. The famous Caillot took the part of Squire Western, who, surrounded by piqueurs, and girt with the conventional cor de chasse of the Gallic sportsman, sings the following ariette, diversified with true Fontainebleau terms of venery:
"Faust," a grand opera in five acts, words by Barbier and Carré, founded upon Goethe's tragedy, was first produced at the Théâtre Lyrique, Paris, March 19, 1859, with the following cast of the principal parts: MARGUERITE Mme. MIOLAN-CARVALHO. SIEBEL Mlle. FAIVRE. FAUST M. BARBOT. VALENTIN M. REGNAL. MEPHISTOPHELES M. BALANQUÉ. MARTHA Mme.
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