gained membership in the orchestra, the performance forces, conducting prac-
tice, and the increased use of the chorus after 1762. In the orchestra, clarinets,
horns, and trumpets made their appearance in the 1770s, trombones in the
1790s.- Krakovitch, Odile. “L’Opéra-Comique et la censure.” In Die “Opéra-
comique”(#93), 211–234.
Different theaters had varying degrees of censorial attention in the early 19th
century. The Opéra-Comique was treated indulgently in matters of morals but
more strictly in matters of politics and religion. Censorship followed the prin-
ciple that theater is a mode of public education. Censors’ reports of 1807–
1867 are examined to exhibit their norms and concerns.
Paris: Théâtre Italien
The querelle de bouffonsdid not settle the matter of style in Paris, and both Italian
and French forms continued to be performed. But the Opéra remained essentially
French, so other venues became associated with the Italian manner. The first Théâtre
Italien, traceable to the 17th-century Comédie Italien, became—after many adven-
tures—part of the Opéra-Comique formed in 1801. A second company of the same
name opened in 1801, with Napoleon’s support, occupying the Salle Olympique. The
company came to rival the Opéra and Opéra-Comique; Rossini was its director from
1824 to 1826 (although his own works premiered at the Opéra). Important premieres
included Bellini’s I puritani(1835) and Donizetti’s Don Pasquale(1843).
- Gossett, Philip. “Music at the Théâtre-Italien.” In Music in Paris(#2269),
327–364.
This theater was the point of entry into Paris for Italian composers. The works
of Bellini, Donizetti, and Mercadante were staged there, with alterations in
most cases. Italians dominated in Paris but were influenced to rethink their
standard procedures. - Brenner, Clarence Dietz. The Théâtre-Italien: Its Repertory, 1716–1793.
Berkeley: U. of California Press, 1961. vii, 531p. PB13 .C3.
A presentation of material found in the registres(see #2320).
2324.Le nouveau Théâtre Italien, ou recueil général des comédies... 2nd ed. Paris:
Briasson, 1753. 10v. PQ1231 .I5 N6.
An account of the period 1716–1752, describing in rich detail 648 works per-
formed. - Origny, Antoine Jean-Baptiste Abraham d’. Annales du théâtre italien depuis
son origine jusqu’à ce jour. Paris: Veuve Duchesne, 1788. 3v. PN2636 .P3185.
An elaborate chronology of performances to 1788, including comédies,bal-
lets, and parodies; with accounts of the theater and anecdotes about the actors. - Desboulmiers, Jean Auguste Julien. Histoire anecdotique et raisonée du
Théâtre Italien, depuis son rétablissement en France, jusqu’à l’année 1769.
Paris: Lacombe, 1769. 7v. PN2633 .D4.
Not seen.
434 Opera