325:
398:
167:
388:"I do not remember what terms we agreed on; I know only that it turned out badly for him . The takings of the four concerts, for which we had engaged five hundred performers, were inevitably insufficient to cover all the cost of such huge forces. Once again the place was quite unsuitable for music. This time the sound reverberated so slowly in that heart-breaking rotunda that compositions of any complexity gave rise to the most horrid confusions of harmony. Only one piece was really effective and that was the Dies irae from my Requiem. Its breadth of tempo and harmonic movement made it seem less incongruous than any of the others in those booming cathedral-like spaces. It scored such a success that we had to include it in the programme of every concert.
49:
33:
154:. The theatre was spacious and held as many as 4,000 to 6,000 spectators. To the north was a rectangular building which included the stables. The interior was decorated in a Moorish style, and the roof was supported by light iron columns. The ceiling was decorated with compartments enclosing equestrian figures, and a chandelier with 130 gas jets hung over the center of the performance ring, which was surrounded by sixteen rows of seats. The
961:
380:
Although the first two concerts at the Cirque were well attended, the numbers quickly declined and the series closed after the fourth concert. The location, not a popular spot in the wintertime, was probably partly to blame, as were the acoustics of the hall, which was too reverberant. In addition,
748:
describes an evening at the Cirque national in 1883: "Par la découpure géométrique de l'entrée, le cirque apparaissait sous la clarté de ses lustres, le fouillis de ses têtes, les caresses des toilettes claires, des cravates blanches, des éventails rouges, les scintillements de quelque parure
141:
In 1836 Louis Dejean, the owner of the Cirque
Olympique on the boulevard du Temple, obtained an additional license for a summer tent-circus at the Carré Marigny on the Champs-Élysées. This was replaced in 1841 by a polygonal stone edifice with 16 sides. A pedimented porch on the east side was
129:, which had opened in 1827, or with the company's later winter theatre, the Cirque Napoléon (on the rue des Filles Calvaires), also built for Louis Dejean and opened in 1852. The latter theatre dropped the name Cirque Napoléon in 1870 and became primarily known as the
372:
had cried out "It's by
Berlioz! It's by Berlioz!". Berlioz denied that he had written any of the music, and only suggested an improvement to its ending.) The concert also included the first performance of Berlioz's orchestration of Meyer's
186:. The contract stipulated that Berlioz would hire and rehearse the orchestra and chorus, select the music, and conduct the performances. Berlioz engaged 350 players and singers for the concerts and held sectional rehearsals at the
405:
The Cirque d'Été typically had relatively inexpensive ticket prices. In 1846, 1852, and 1862, spectators were paying 1 franc for the upper level seating and 2 francs for the lower. The theatre reached its apogee during the
1024:
324:
182:
during the summer of 1844, engaged the composer for a series of six grand concerts to be presented at the Cirque that winter on Sunday afternoons, a day when no competing ones would be given at the
1034:
410:
under the name Cirque de l'Impératrice (1853–1870), after which it became known as the Cirque d'Été or the Cirque des Champs-Élysées. Its big attraction for a long time was the
381:
the ticket prices of 5 francs for the upper level and 10 francs for the lower were significantly higher than the 1 and 2 francs typically charged for an equestrian show.
397:
166:
174:
The director of the theatre, a man by the name of
Gallois, soon installed heating, and, being aware of the great success of the monster concert presented by
432:(Winter Circus) in 1870. The Cirque d'Été was only open in the summer from 1 May to 30 October, and the Cirque d'Hiver ran from 1 November to 30 April.
749:
envoyant des éclairs parfois, comme si, çà et là, dans cette foule, fut tombé quelque goutte de diamant..." (cited by Andrée Jacob and Jean-Marc Léri,
975:
48:
122:
935:
920:
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32:
317:
in 1841). Apparently Glinka was quite pleased with the music he heard by
Berlioz: he soon departed on a trip to Spain planning to compose
1029:
1019:
428:
Hittorf also designed a similar theatre, the Cirque Napoléon on the rue des Filles
Calvaires which opened in 1852 and was renamed
194:
303:
361:
289:
439:
783:
Guide to France, Belgium, Holland, the
Valleys of the Rhine and Moselle, the South-west of Germany and the North of Italy
422:
435:
The Cirque d'Été's success continued into the 1880s. Many
Parisians visited on Saturdays, and it was considered chic.
1014:
949:
Some of the information in this article was translated from the corresponding article in the French
Knowledge (
610:
Holoman 1989, p. 316, says the theatre had a capacity of 6,000 spectators; Lock 1860, p. 99, says it was 4,000.
179:
158:
was "raked so sharply that those who wished might admire the costumes of fashionable women from head to toe."
151:
147:
414:
467:
McCormick 1993, p. 31, says the theatre was built in 1841; Lock 1860, p. 99, says it was built in 1843.
407:
356:
283:
95:
121:
The cirque on the Champs-Élysées should not be confused with the same company's winter theatre, the
443:
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183:
126:
275:, who was in Paris at the time and attended the concerts, which included excerpts from his opera
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Berlioz conducting a grand concert at the Cirque
Olympiqe on the Champs-Élysées (January 1845)
130:
901:
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84:
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87:. The cirque was later also used for other purposes, including grand concerts conducted by
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203:
155:
146:, and panels on the other sides sported ornamental bas-relief horses' heads designed by
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745:
418:
272:
175:
88:
75:. It was used as the summer home of the Théâtre Franconi, the equestrian troupe of the
1008:
351:
143:
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The new theatre was located on the north-east side of the present Rond-Point of the
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307:(which Berlioz had inserted as part of the ballet in his edition of Weber's opera
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17:
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442:. It was demolished after 1900 (most likely in 1902) and gave its name to the
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68:
990:
977:
898:
Dictionnaire topographique et historique de l'ancien Paris (avant l'annexion)
233:. The latter two excerpts were played at the conclusion of all the concerts.
770:(first published in a different format in 1969). New York: Alfred A. Knopf.
67:(Summer Circus), a former Parisian equestrian theatre (and a type of indoor
593:
The grand-daughter of Dejean, Alice (Berlin 1852 - Paris 1901) would marry
133:(Winter Circus). The theatre on the Champs-Élysées was demolished in 1902.
368:
in 1836. (At the premiere the aria had made such a good impression that
254:, Op. 22 (subtitled "War-song of the Turks"), and Berlioz's overture to
960:
240:, in keeping with the decoration of the hall. The program included
227:), and the "Dies irae" and "Tuba mirum" from his requiem mass, the
411:
396:
323:
165:
118:), a name which it retained until the fall of the empire in 1870.
79:, the license for which had been sold in 1836 to Louis Dejean by
301:, Berlioz's orchestration of Carl Maria von Weber's piano piece
766:
Berlioz, Hector; Cairns, David, editor and translator (2002).
297:
singing the role of Friar
Laurence. The concert also included
267:
The third concert on 16 March was organized around the theme
798:
Berlioz. Volume Two. Servitude and greatness 1832–1869
1025:
Buildings and structures in the 8th arrondissement of Paris
250:, the Austrian "lion-pianist" Léopold de Meyer playing his
193:
The first concert on 19 January 1845 included Beethoven's
800:. Berkeley, California: University of California Press.
142:
surmounted with a bronze equestrian statue designed by
264:"electrified the audience, and was furiously encored."
885:. Cambridge, Massachusetts: Harvard University Press.
213:, as well as works by Berlioz, including the overture
928:
Chronology and Time in À la Recherche du temps perdu
201:as the piano soloist, excerpts from Gluck's operas
785:. London: Sampson Low, Marston, Low & Searle.
190:. Fortunately, Gallois underwrote all the costs.
71:), was built in 1841 to designs by the architect
1035:Buildings and structures demolished in the 1900s
711:
709:
649:Holoman 1989, pp. 618; Cairns 1999, pp. 239–240.
236:The second concert on 16 February had the theme
558:
556:
491:
489:
487:
485:
332:The fourth program on 6 April was billed as a
287:. The finale from Berlioz's dramatic symphony
913:Popular Theatres of Nineteenth Century France
475:
473:
8:
868:Galignani's Illustrated Paris Guide for 1884
627:
625:
384:Berlioz was later to write in his memoirs:
271:. There was music by the Russian composer
517:
515:
513:
511:
509:
350:, and Quasimodo's aria with chorus from
328:Handbill for the concert on 6 April 1845
751:Vie et histoire du VIIIe arrondissement
576:
574:
572:
460:
336:and included the overture from Weber's
753:, Paris, Éditions Hervas, 1991, p. 33)
542:
540:
223:(the original version of the overture
39:The Cirque d'Été on the Champs-Élysées
401:Poster for "La femme Mélinite" (1887)
340:, excerpts from Berlioz's symphonies
7:
854:Galignani's New Paris Guide for 1862
840:Galignani's New Paris Guide for 1852
55:An 1869 map (theatre marked in blue)
108:Cirque Olympique des Champs-Élysées
364:, who had created the role at the
25:
313:prepared for a production at the
959:
438:Public interest waned after the
47:
31:
676:Holoman 1989, pp. 317–318, 618.
83:, the grandson of its founder,
440:exposition universelle de 1889
425:also made their debuts there.
102:, it also became known as the
1:
768:The memoirs of Hector Berlioz
703:Berlioz; Cairns 2002, p. 386.
951:version 14 août 2010 à 20:38
601:Paris, Fayard, 1999, p. 167.
281:and a ballet from his opera
826:Galignani's New Paris Guide
812:Galignani's New Paris Guide
362:Jean-Étienne-Auguste Massol
1051:
1030:Theatres completed in 1841
521:Holoman 1989, pp. 315–319.
926:Steel, Gareth H. (1979).
881:Holoman, D. Kern (1989).
321:in the style of Berlioz.
110:. In 1853 it was renamed
104:Cirque des Champs-Élysées
1020:Former theatres in Paris
911:McCormick, John (1993).
597:in 1873. Delage, Roger.
915:. New York: Routledge.
896:Lock, Frédéric (1860).
304:Invitation to the Dance
299:L'invitation à la valse
180:Festival de l'Industrie
137:Construction and design
112:Cirque de l'Impératrice
796:Cairns, David (1999).
479:McCormick 1993, p. 31.
402:
390:
329:
319:fantaisies pittoresque
260:. Apparently, Meyer's
230:Grande Messe des morts
171:
98:. At first called the
781:Black, C. B. (1874).
742:Noris, mœurs du jours
694:Holoman 1989, p. 318.
667:Holoman 1989, p. 178.
640:Holomon 1989, p. 316.
619:Holoman 1989, p. 315.
400:
386:
327:
169:
156:stadium-style seating
114:(in honor of the new
870:. Paris: Galignani.
856:, Paris: Galignani.
842:. Paris: Galignani.
828:. Paris: Galignani.
814:. Paris: Galignani.
685:Cairns 1999, p. 308.
658:Cairns 1999, p. 122.
631:Cairns 1999, p. 306.
415:Jean-Baptiste Auriol
408:Second French Empire
284:Russlan and Ludmilla
987: /
900:. Paris: Hachette.
423:Émilienne d'Alençon
278:A Life for the Tsar
184:Paris Conservatoire
127:Boulevard du Temple
991:48.8692°N 2.3119°E
599:Emmanuel Chabrier.
499:; Galignani 1852,
403:
360:sung by the tenor
330:
216:Le carnaval romain
195:"Emperor" Concerto
172:
1015:Circuses in Paris
936:978-2-600-03568-2
921:978-0-415-08854-1
891:978-0-674-06778-3
806:978-0-520-22200-7
776:978-0-375-41391-9
595:Emmanuel Chabrier
348:Roméo et Juliette
290:Roméo et Juliette
244:'s symphonic ode
16:(Redirected from
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930:. Geneva: Droz.
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715:Galignani 1862,
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530:Galignani 1827,
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495:Galignani 1846,
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375:Marche marocaine
343:Harold en Italie
257:Les francs-juges
252:Marche marocaine
238:séance orientale
162:Berlioz concerts
123:Cirque Olympique
85:Antonio Franconi
81:Adolphe Franconi
77:Cirque Olympique
73:Jacques Hittorff
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370:Alexandre Dumas
221:La tour de Nice
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116:Empress Eugénie
100:Cirque National
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430:Cirque d'Hiver
419:La Belle Otero
394:
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334:séance Berlioz
310:Der Freischütz
293:had a Russian
273:Mikhail Glinka
242:Félicien David
178:at the nearby
176:Hector Berlioz
163:
160:
138:
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131:Cirque d'Hiver
96:Champs-Élysées
89:Hector Berlioz
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740:In his novel
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444:rue du Cirque
441:
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420:
417:(1808–1881).
416:
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409:
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393:Later history
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352:Louise Bertin
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876:Google Books
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862:Google Books
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848:Google Books
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834:Google Books
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820:Google Books
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791:Google Books
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741:
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728:Black 1874,
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580:Steel 1979,
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357:La Esmeralda
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269:séance russe
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65:Cirque d'Été
64:
62:
994: /
546:Lock 1860,
366:Paris Opera
315:Paris Opera
225:Le corsaire
1009:Categories
979:48°52′09″N
450:References
338:Freischütz
188:Salle Herz
69:hippodrome
982:2°18′43″E
354:'s opera
247:Le désert
106:and the
940:Preview
883:Berlioz
761:Sources
204:Alceste
144:Pradier
125:on the
934:
919:
889:
804:
774:
717:p. 471
582:p. 115
564:p. 235
532:p. 657
501:p. 495
497:p. 439
262:Marche
210:Orphée
730:p. 78
548:p. 99
455:Notes
412:clown
197:with
152:Bosio
148:Duret
932:ISBN
917:ISBN
902:View
887:ISBN
872:View
858:View
844:View
830:View
816:View
802:ISBN
787:View
772:ISBN
421:and
346:and
295:bass
207:and
150:and
63:The
942:at
904:at
874:at
860:at
846:at
832:at
818:at
789:at
1011::
953:).
938:.
744:,
708:^
624:^
571:^
555:^
539:^
508:^
484:^
472:^
446:.
377:.
219:,
91:.
946:.
923:.
908:.
893:.
878:.
864:.
850:.
836:.
822:.
808:.
793:.
778:.
719:.
584:.
566:.
550:.
534:.
503:.
20:)
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