Electricity was installed in the hall and on the stage between 18. The hall was inaugurated on 5 January 1875 with an act from La Juive by Halévy and excerpts from Meyerbeer’s Huguenots. But it is in fact a shining example of the unity of artistic creativity.
This building was said to best symbolise the “self-satisfaction” of the Second Empire. The Palais Garnier was built between 18 at the orders of NapoIeon III. This entire period was intense and full of creativity, but then the quality declined, energy was wasted on intrigues, and many singers moved on to other halls. It moved again pending completion of the Palais Garnier in 1874, which was part of Haussmann’s urban-development plans. The Opera set up quarters in the Salle Favart, which had been abandoned by the Opéra-Comique. Wagner was even asked to revise Tannhauser to suit the trend.Īfter the fire in the Palais Royal theatre in 1763, the Opera spent time in a great many auditoriums in Paris, including the Montansier hall, at the site of the present Louvois Square, which the bishop of Paris ordered destroyed after the Duc de Berry was assassinated.
This was the fashion, grand opera accompanied by ballet (Donizetti, Verdi, with Jerusalem, The Sicilian Vespers, Don Carlos). After Rameau’s death, artists came from Germany and Italy: Gluck, Piccinni, Sacchini, Salieri, then Spontini, Cherubini, Rossini, and finally Meyerbeer, all contributing to create the face of French-style opera. He was followed by Campra, Rameau and Destouches who gradually modified the genre. He remained there for fifteen years, setting the rules of French opera, inspired by Roman opera. Lully then purchased the privilege in 1672 and banished from its stage any work that was not his. It was inaugurated with Pomone by Perrin and Cambert. The Salle du Jeu de Paume was leased for five years starting in 1670 and outfitted as a theatre. The singer Monier set off for Languedoc to recruit the finest voices. The Marquis de Sourdéac became the director and Beauchamps the ballet master. Louis XIV assigned exclusive operation to Abbey Perrin and composer Robert Cambert in 1669, in order to give “opera academies or music performances in the French language the same standing as those of Italy”. The Opéra de Paris, or Paris Opera, has had several names, including “Royal Academy of Music and Dance” at its birth and later “Imperial Academy”, and its activities have been held in at least fifteen different auditoriums.
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