I do not have the space here to inquire into the political aspects of this history. But a substantial old repertoire maintained itself at the Opéra-Comique - a dozen works written between 17 chiefly by Pierre-Alexandre Monsigny, André-Ernest-Modeste Grétry, and Nicholas-Marie Dalayrac. The repertoire in both theaters went in similar directions in general: in the late 1820s through the 1840s a large number of old works were replaced by new ones, which remained in performance for most of the century. No other country experienced such wide-ranging leadership in developing operatic canon.Ģ In this paper we will trace how canonic repertories evolved at the Opéra and the Opéra-Comique between 18.

And, in its brief tenure between 18, the Théâtre-Lyrique developed an imaginative canonic repertory which remained a model after its time. A repertoire in grand opera evolved at the Académie royale de musique from 1828 which came to dominate European theaters for the rest of the century. The Opéra-Comique maintained an old repertoire throughout most of the 19 th century and a parallel canon evolved at the Théâtre-Italien.

The disputes about his music and that of Jean-Philippe Rameau and Christoph Willibald Gluck laid the foundations for aesthetic discussions about opera as canon in Europe as a whole.

For a hundred years the continuing performance of operas by Jean-Baptiste Lully had only limited parallels in Europe. 1 French opera was a leader in the formation of performing canons in the opera world during the eighteenth and nineteenth centuries.

Rare oedipe paris opera together