to 1850; biographies of scenographers; 489 backnotes; bibliography of about
150 items; name index.- Kahane, Martine. Les artistes et l’Opéra de Paris; dessins de costumes, 1920–
- Paris: Herscher/Bibliothèque-Musée de l’Opéra, 1987. ISBN 2-7335-
0148-8. ML1727.8 .P2 B5.
Not seen. - Rosow, Lois. “From Destouches to Berton: Editorial Responsibility at the
Paris Opéra.” JAMS40 (1987): 285–309.
A perspective on the 18th century, when “music editing was an important
activity at the Paris Opéra,” because each revival entailed revisions of the score
as tastes changed and operatic styles evolved. Rosow analyzes editing practice
and its administrative place in the Opéra. - Urfalino, Philippe. Quatre voix pour un opéra: Une histoire de l’Opéra
Bastille... Paris: Métailié, 1990. 310p. ML1727.8 .P2 Q3.
A documented story of the new structure, with a chronology from 1981,
description of the inauguration on 13 July 1989, the architectural competition
(757 applied; Carlos Ott was chosen), and the new role of the Palais Garnier
(for ballet). Myung-Whum Chung was appointed music director on 26 May - Backnotes, bibliography of about 150 items, no index.
- Charlet, Gérard. L’Opéra Bastille. Paris: Éditions du Moniteur, 1990.
Unpaged. ISBN 2-281-19039-0. ML1727.8 .P2 C47.
A picture book, with 71 excellent photographs and commentary. No index.
See also Liebermann (#313).
Paris: Théâtre National de l’Opéra-Comique
Established in 1715, this is the second great opera company of Paris. The initial orga-
nization grew out of the Théâtre de la Foire (see #2242ff.). In 1801 it was reorganized,
incorporating two other companies. Like the Opéra, it has had many homes; its pre-
sent theater is the Salle Favart, rebuilt after a fire in 1887 and reopened in 1898 on
Place Boieldieu. Although the early repertoire favored varieties of opera buffa, it
became a venue for serious as well as comic genres. Among its important premieres
were Carmen(1875) and Lakmé(1883). The government closed the entity in 1972,
then reopened it in 1976; it is no longer a principal venue of professional performance
but is being used as an opera studio.
- Bartlet, M. Elizabeth. “Archival Sources for the Opéra-Comique and Its re-
gistresat the Bibliothèque de l’Opéra.” 19thCM7 (1983): 119–129.
Describes documents including regulations that controlled the theaters,
finances, internal management, rehearsal schedules, contracts, payment
receipts, and letters. Prompters’ manuscript libretti are of special value. Pub-
lished inventories of the theater’s own library are noted. The registresrecorded
daily rehearsals and the singers involved.
432 Opera