- Desarbres, Nérée. Deux siècles à l’Opéra (1669–1868): Chronique anecdo-
tique, artistique, excentrique, pittoresque et galante. Paris: E. Dentu, 1868.
297p. ML1727.8 .P2 N382.
Principally a collection of brief biographies of performers and administrators,
with a chronology of 684 events, 1671–1868. An appendix identifies 37 busts
in the opera house (Le Peletier). No index. - Lajarte, Théodore Dufaure de. Bibliothèque musicale du Théâtre de l’Opéra.
Paris: Libraire des Bibliophiles, 1878. 2v. Reprint, Hildesheim: Olms, 1969.
ML136 .P2 O6.
A descriptive catalogue of 241 operas, 110 ballets, and 243 other works per-
formed at the Opéra, in date order, 1671–1876. For each opera, mentions
what music (scores, parts) survives; gives cast and other premiere information;
identifies the most celebrated arias and numbers. Includes biographical
sketches and indexes by composer and title. - Fajon, Robert. “Les incertitudes du succès: Étude du répertoire de l’Académie
Royale de Musique des origines à 1750.” In L’opéra au XVIIIe siècle(#2251),
287–344.
A study of changing public taste as reflected in the repertoire of the Opéra
from 1671 to 1750. Since revivals resulted from demand, they are good indica-
tors of preferences. Tables show those revivals (and premieres) by decade and
revivals in chronological order. - Ducrot, Ariane. “Les répresentations de l’Académie Royale de Musique à Paris
au temps de Louis XIV (1671–1715).” Recherches10 (1970): 19–55.
An intensive, scholarly review of a brief period, describing the typical opera
season (days and hours of performances, etc.). Table of premieres at the court
and in Paris, as well as chronology of all works. - Milliot, Sylvette. “Vie de l’orchestre de l’Opéra de Paris au XVIIIe siècle à tra-
vers les documents du temps.” In L’opéra au XVIIIe siècle(#2251), 263–285.
Describes the changing instrumentation of the orchestra between Lully and
Rameau. Explains how musicians were selected and paid and what their duties
were. - Cyr, Mary. “Basses and basse continuein the Orchestra of the Paris Opéra
1700–1764.” Early Music10 (1983): 155–170.
Takes issue with the assumption that the double bass was a typical element in
the continuo accompaniment, suggesting that it was reserved for special effects
like tempest scenes. - Rosow, Lois. “French Opera in Transition: Silvie(1765) by Trial and Berton.”
In Critica musica: Essays in Honor of Paul Brainard,ed. John Knowles, 333–
364 (Amsterdam: Gordon & Breach, 1996; ML60 .B72 C7).
The author “aims to illustrate the atmosphere at the Paris Opéra in the mid–
1760s, by concentrating on a single successful, historically important new
opera, the pastorale-héroique Silvie,by Jean-Claude Trial (1732–71) and
France 429