Scan 77
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
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1of speculators for 2,000,000 francs (£80,000), a disastrous transaction, in keeping with much of the financial history of the Théâtre-Ventadour.
3The following theatrical companies occupied the theatre:
5Apr. 20, 1829–32, Opéra-Comique.
6June 10, 1834–35, Théâtre-Nautique (not musical).
7Jan. 30, 1838, Italian Company with Rubini, Zamboni, Lablache, etc.
8Autumn 1838–41, Théâtre de la Renaissance; director, Anténor Joly.
91841–71, Théâtre des Italiens.
101871–Jan. 11, 1879, several attempts to resuscitate the Italian repertory, e.g. 'Aida' (Apr. 22), Verdi's 'Requiem,' (May 30, 1876), at the Théâtre-Lyrique until 1878.
11Jan. 19, 1874, the Opéra Company after the burning of Salle Le Peletier.
12In 1879 the theatre was sold to a financial company and became the 'Banque d'escompte de Paris.' It is actually an auxiliary branch of the 'Banque de France.'
14THÉÂTRE-ITALIEN. — The foundation of the so-called 'Théâtre-Italien' or 'Théâtre des Italiens' for the permanent performance of the Italian repertory in France can be traced back to 1570, when Italian comedians played in Paris, in the reign of Charles IX. They were followed by others, Gelosi, Comici Confidenti, Fedeli, until 1660, definite establishment of an Italian troupe with 'Scaramouche' (Dominique), who performed with Molière's company at the Palais Royal up to 1673. From then the important dates in its evolution are the following: 1723, the Italian comedians take the name of 'Comédiens du roi' and join the Opéra-Comique, Feb. 3, 1762 (see BOUFFONS); Jan. 21, 1789, the Théâtre de Monsieur opens at the Tuileries; May 31, 1801, the 'Opera Buffa' at the Salle Olympique, Salle Favart, Théâtre-Louvois until 1808 (Théâtre de l'Impératrice); 1808–15, performances at the Odéon of the above company; 1815–41, performances of the 'Théâtre Royal Italien' in different playhouses, Salles Favart, Louvois, Odéon, etc.; Oct. 2, 1841–76, the Italian troupe is located at the Théâtre-Ventadour. From then the Théâtre-Italien loses its permanent character; Italian performances take place in different theatres; 1881, 17 performances by A. Patti; 1883, performances with V. Maurel, etc. In the 20th century, from 1905–1922, Italian seasons have followed one another under different directions (Sonzogno, Gunsbourg, etc.).
16BIBLIOGRAPHY
18OPÉRA-COMIQUE
19Encyclopédie de la musique et dictionnaire du Conservatoire (France, 17e 18e siècles, L. de La Laurencie), with an extensive general bibliography.
20A. POUQIN : L'Opéra-Comique pendant la Révolution de 1788 à 1801. (1891.)
21A. SOUBIES and Ch. MALHERBE : Histoire de l'Opéra-Comique (1892–1893).
22JEAN RAPHAEL : Histoire au jour le jour de l'Opéra-Comique. (1898.)
23MAURICE ALBERT : Les Théâtres de la Foire (1660–1789). (1900.)
24G. CUQUET : Les Créateurs de l'Opéra-Comique. (1914.)
26THÉÂTRE VENTADOUR
27FOUQUE : Histoire du Théâtre-Ventadour (1881). Fuller particulars in former editions of this Dictionary.
29THÉÂTRE LYRIQUE AND ITALIEN
30LASSALLE (DE) : Mémorial du Théâtre-lyrique. (1877.)
32G. SOUBIES : Le Théâtre-lyrique à Paris de 1870 à 1920 (Revue musicale, Mar.-Apr. 1921).
33A. SOUBIES : Le Théâtre-italien. (1913.)
35GENERAL
36L. H. LECOMTE : Histoire des théâtres de Paris (1402–1904). Notice préliminaire. (1905.)
37Almanach Duchesne, 1874–1914. (Soubies). See SOUBIES.
38Almanach des théâtres (1922), ed. by A. Aynard.
40CONCERT SPIRITUEL (1725–91), a great musical institution of France, dating from the reign of Louis XV. The Académie Royale de Musique (the Opera House) being closed on the great religious festivals, it occurred to Anne Danican Philidor (see PHILIDOR, 5) to give concerts on these occasions in place of the prohibited performances. Having obtained the necessary permission, Philidor entered into an agreement with Francine, the impresario of the Opéra, by which he pledged himself to pay 1000 francs a year, and to perform neither French nor opera music. The first Concert Spirituel accordingly took place between 6 and 8 p.m. on Sunday in Passion Week, March 18, 1725. The programme included a suite for violin and a capriccio by Lalande, Corelli's 'Nuit de Noël' (Concerto 8, op. 6), and a 'Confitebor' and 'Cantate Domino' of Lalande, and the concert was most successful. The number of concerts in the year never exceeded twenty-four. They were held in the Salle des Suisses of the Tuileries, on the Feast of the Purification, Feb. 2; Lady Day, March 25; on certain days between Palm Sunday and Low Sunday (first Sunday after Easter); Whitsunday; Corpus Christi Sunday; on Aug. 15, Sept. 8, Nov. 1, 8; Dec. 24, 25 — those being the days on which the Opéra was closed.
42In 1728 Philidor, having previously acquired the right of introducing French and opera music into the programmes, transferred his privilege to Simard, on an annual payment of 3000 francs, and the musical direction of the concerts was confided to Mouret. His followers were: Dec. 25, 1734, Thuret, with Rebel as conductor; 1741, Royer; 1749, Royer and Caperan; 1755–1762, Mondonville; 1762–71, Dauvergne, Joliveau, Caperan; 1771, Dauvergne, Berton; 1773, Gaviniés, Le Duc, Gossec; 1777, Le Gros with Berthaume (1789). Political events gave a fatal blow to the undertaking, and in 1791 the Concert Spirituel ceased to exist.1
44Mouret, Rebel, Dauvergne and Berton are among the best composers and leaders of the orchestra that the Académie Royale can show in the 18th century; Gaviniés, Simon Leduc, Lahoussaye, Guénin and Berthaume, who conducted the concerts during the last eighteen years of their existence, were all violin-players of very great merit.
46Among the celebrated artists who appeared, it will be sufficient to mention the famous brothers Besozzi, whose duets for oboe and bassoon made a furore in 1735; the violinists
481 The Concert Spiritual was revived in 1805, however, by the impresario of the Italian Opera House, and the sacred concerts given during Holy Week at the Opéra, the Conservatoire and elsewhere, are still known by that name.
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