739:. The "premiers sujets" of the Opéra sang as simple "coryphées" in the chorus. The takings were considerable, amounting to the remarkable sum of 14,000 francs. According to Quéruel, however, shortly afterwards a peremptory letter from the administration dated 1 June 1823 informed Lays of its intention to use the takings from the performance to make good the debts it claimed Lays owed it. It is not entirely clear, from Quéruel's account, how the issue was finally resolved. Whatever the case, the financial position of the singer and his family remained extremely precarious. He still kept his teaching post at the École royale de musique et de déclamation, but the salary and pension were clearly not enough for him to cope with his debts and live a comfortable life, and thus, in spite of his ailing health and his now worn-out voice, he was forced to accept engagements, however humiliating, from provincial companies, just to make ends meet. According to Quéruel, posters of the time show he worked as an understudy in a company in
271:, was forced to resign his post and the management of the theatre was assumed by the artists acting as a kind of cooperative. The results were so disastrous that the former director had to be recalled in April 1785, although even then his relationship with the trio of rebel singers did not improve very much. In a report to his superiors, Dauvergne described Lays as the black sheep of the group, Rousseau as a "nice young man", if only he had spent less time in the company of Lays, and Chéron as another "nice young man" (with the mind of a twelve-year-old), but scared of the beating Lays and Rousseau had promised him if he betrayed their alliance. In the end, the three had to bow to pressure from the theatre management, although not before being promoted to "Premiers Sujets" (leading artistes), the highest rank in the company hierarchy.
409:, but he was shouted down and forced to take refuge in the wings. Lays was rowdily summoned back instead. Lainez accompanied his colleague on stage, hoping they would be allowed to sing together, but he was once more driven off by the furious audience, and Lays had to perform solo. No sooner had he managed to get through a couple of verses, however, than he too was driven off by booing, because the audience thought he was unworthy of the words he was singing. The unfortunate Lainez had to retake the stage for a third time to finish the performance. By the end of September, nevertheless, enthusiasm for such post-Revolutionary reprisals had abated and Lays was able to make a triumphant return as the Genius of Fire in
509:. Four years later he resigned to avoid being involved in the quarrel then raging between the managements of the Conservatoire and the Opéra. Quéruel credits Lays with teaching two future stars of the Opéra: Madame Chéron and Mademoiselle Armand. The latter is a possibility; the former had begun her career in 1784 under the name Mademoiselle Dozon, and is thus unlikely to have attended the Conservatoire more than a decade later. Lays did play a part in promoting her early career: he had auditioned her when she was a young unknown in 1782 and had facilitated her studies, entrusting her to the best singing teachers available.
815:
with fig leaves. In 1826, La
Rochefoucauld had the opportunity to demonstrate his dislike when Lays, realising that life in Paris was beyond his financial means, decided to leave his post as professor and retire to the provinces to be near his married eldest daughter. According to Quéruel. Lays, probably wanting to end his career of more than 40 years on a high note, sent the minister a petition signed by almost all the stars of the Opéra and backed by Cherubini, asking for another benefit concert, in addition to the one three years earlier, this time in aid of his son who was working as a
692:; in reality, the rehearsals only took place two months later. Lays then applied to the royal administration, insisting he should be granted some of the potential economic benefits provided by law, but, after the new opera's premiere, his demands received a blanket rejection. According to Quéruel, when he protested stridently about this decision, he was forced into unpaid leave from his theatrical activities in late 1818. He subsequently spent about two years of hardship, during which his need to provide a dowry for his eldest daughter Marie-Cécile forced him further into debt.
936:
changed from chest voice to mixed voice it was by a sudden leap from a mighty organ tone to a sort of flute-like voice, which had a ridiculous rather than pleasant effect. Nonetheless, he used to show off this effect, which would make the aficionados of the time swoon with pleasure. Most of his ornamentation was old-fashioned and tasteless; in spite of these faults, the beauty of his voice made almost everyone who heard him into an admirer, and it was scarcely possible for an opera to succeed unless Lays had a role in it.
709:, who was ultimately in charge of the theatre, had discovered he had not previously authorised the leave of absence granted to Lays and, regarding it as null and void, intended to sue him for damages for missing performances at the Opéra. The confrontation lasted for more than a year until, in 1823, the moment came for Lays to leave the Opéra after almost 45 years of outstanding service. The benefit concert, to which artistes were entitled on their retirement, took place on 1 May. The performance ended with
959:
single feat alone. How many singers have had a longer tenure at the Opéra? Has any artist created more roles at the Opéra? What singers besides Lays have learned five new parts in a year? He performed before the days of planes and fast trains, of course, but even making allowances for this lack of temptation to interrupt his activities in Paris to visit foreign opera houses for large fees, modern critics must credit Lays with a singleness of purpose that merits recognition.
648:
680:. Lays had repeatedly supported Cherubini when Napoleon had shown signs of dislike for the composer. Cherubini had now become one of the leading figures in the musical establishment under the Restoration. He immediately intervened on Lays's behalf, but all he could obtain from Ferté was the advice that the singer should go on a tour of the provinces as a way of supplementing his income.Having obtained leave of absence, Lays appeared in
672:(1764–1829), set in the foothills of his native Pyrenees. Lays took one of his favourite stock parts, "a bailiff in his fifties, a lover of good food and beautiful young women, naive and credulous, convinced of his own powers of seduction. The audience, at first amused and then enthralled, gave him a standing ovation which cheered his heart." However, things subsequently took a turn for the worse. In 1817, the restored Intendant of the
520:. The takings from this opera (9,354 livres on the first night alone) helped rescue the disastrous finances of the Théâtre de la République et des Arts (as the Opéra had been renamed). If the quality of his voice was universally admired, his lack of physical elegance, his short and stocky build and the southern accent he never completely managed to lose predisposed Lays to comic rather than dramatic roles, particularly middle-aged
892:, but by the latter half of the 18th century had come to designate all low male voices. According to the brothers Michaud, however, Lays "was not strictly a basse-taille, although he sometimes forced his voice downwards excessively to reach the lower notes, and he was listed among the company's leading basse-tailles", neither was he, contrary to some erroneous contemporary descriptions, a tenor: he was in fact "an admirable
3110:. They ran as follows: "Vive Alexandre/vive ce Roi des Rois!/Sans rien prétendre/Sans nous dicter ses lois,/Ce prince auguste/A ce triple renom/De héros, de juste,/De nous rendre les Bourbons..." (Long live Alexander/Long live this king of kings!/Without demanding anything/Without dictating his laws to us/This august Prince/Has a triple reputation/As a hero, as a righteous man/And for restoring Bourbons to us...).
825:
a century, makes all such talk superfluous. In the interests of the professor, I must add that it is the meagreness of his fortune more than his age which has forced him to ask for his pension. No longer able to live in the capital in the manner to which he is accustomed, his intention is to retire to somewhere in the provinces where he and his family will be able to live more comfortably.
428:
3003:). Quéruel's mistake is probably due to the contents of a letter Lays sent to Cherubini in July 1826 (which is quoted by Quéruel herself on page 156). Aiming to have his pension favourably recalculated, Lays claimed he had discovered two future leading Opéra sopranos, but, obviously, no more than one (if any) could possibly be credited to his teaching at the Conservatoire.
226:; moreover, their pay was only partly fixed and permanent, the rest being linked to how frequently they appeared on stage and the size of their roles. The rebellious Lays soon became embroiled in a heated confrontation with the management, behaving almost like a modern union agitator, with the support of two singers who had joined the company around the same time, the
20:
348:. When a warrant was issued for the arrest of Barère and three of his colleagues from the Committee of Public Safety in March 1795, other associates were implicated in his downfall: Lays was arrested and imprisoned for about four months together with an old friend who had shared his political trajectory – although his role had been far more prominent – the painter
676:, Papillon de la Ferté abolished all additional emoluments granted by Napoleon, leaving the singer to survive on his meagre salary from the school of music and the minimum pay from the Opéra, at the very time when his son, stricken with tuberculosis, required expensive medical treatment and his four daughters needed money for their dowries. Lays turned to
380:, in which his character Oreste sang lines which were a little too suggestive coming from an ex-"Terrorist": "J'ai trahi l'amitié, j'ai trahi la nature/Des plus noirs attentats, j'ai comblé la mesure" ("I have betrayed friendship, betrayed Nature/I have gone to the extreme of blackest deeds"). On the other hand, according to the memoirs of Count
876:, where they joined his married daughter Marie-Cécile. Here he had already witnessed the death of his son Bertrand from consumption and was soon to see his wife stricken with paralysis. In his final years Lays spent his time singing hymns in local churches. He died aged 73 in 1831, leaving his wife and children the paltry sum of 1056 francs.
60:, at whose coronation and second wedding he sang. This association with the Emperor caused him trouble when the Bourbon monarchy was restored and Lays's final years were darkened by disputes over his pension, mounting debts, the death of his only son and his wife's illness. After a career spanning more than four decades, he died in poverty.
253:, then the second most important French-speaking theatre in the world. Lays, however, was arrested on the evening of 20 August 1781, the day before he was due to set off, and spent ten days in prison. He was provisionally released on the 30th because he was indispensable for filling the haute-contre role of Cynire in a revival of Gluck's
2674:, was only able to persuade him to appear in the sixth performance of the opera by informing him he had a warrant for the singer's arrest in his pocket. This was not enough, however, to prevent Lainez from being imprisoned on 25 November after he had again repeatedly refused to assume the hated role of Tarare (Lajarte, p. 358).
577:, Lays was the obvious choice to perform at the wedding ceremony. Meanwhile, his stage activity continued unabated, and in 1807 he was also appointed to serve on the Opéra jury in charge of evaluating new works to be staged. Other members of the jury came and went, but Lays remained in office continuously until 1815.
2882:), where it is stated that the pamphlet was published as an octavo in Paris in the month of Vendemiaire Year III (i.e. in September/October 1794, after the coup of 9 Thermidor Year II), and that through it "the author tries to justify his political behaviour". Surprisingly, Quéruel makes no reference to the pamphlet.
391:, it was indeed in the role of Oreste that Lays sought to return to the stage. However, the implacable hostility of the audience prevented him from singing a single note and, after an hour of fruitless efforts, he eventually had to be replaced by an understudy. His actual reappearance then took place in a revival of
824:
I have the honour to inform you that
Monsieur Lays has retired and is asking for his pension. There is no doubt that he has a right to such recompense. There is no need to tell you of the talent of this famous artist, whose career has been long and fruitful. His reputation, which has endured for half
545:
The year 1798 was a turning point in Lays's private life: Marie Barbé, with whom he had been living for several years, gave birth to a daughter and Lays, to legitimise the child, decided to marry his companion, even though it was against his father's wishes. Old Lay was furious that his eldest child,
263:
which acted as a substitute for the theatre which had burned down. His enormous popularity with the public, with an encore of the main aria and several curtain-calls, made it practically impossible to send him back to prison, although he was forced to sign a solemn undertaking that he would not leave
2402:
His surname is also written as Laï, Laïs or Laÿs, French orthography of the period being rather unstable. According to Quéruel (p. 21), the stage name originally chosen by the singer, "M. Laÿs" (no doubt pronounced 'la-ìs' and whose diaeresis would eventually be dropped), was intended to avoid puns
819:
at a notary's and whose legal studies Lays could not afford to maintain. Inevitably the request fell on deaf ears. Lays also asked for his pension to be recalculated, bearing in mind his years teaching at the conservatory. But this led to disputes to which the correspondence between
Cherubini and La
536:
The opera sparkles with charming melodies; the role of
Anacreon is the most beautiful, the most complete ever written for Lays, the marvellous sonority of whose voice was deployed so well in the ascending virtuoso passage "Prends, prends emporte mon or, mes trésors pour jamais." The trio "Livre ton
643:
he was again expelled – this time for good – from the new
Chapelle Royale, but in return, in 1816, he was named professor of declamatory singing at the École royale de Musique et de Déclamation, which had replaced the Conservatoire. The salary was indispensable to Lays because his gout meant he was
2547:). The review published by the "Mercure de France" reports that Lays did in fact appear at the premiere and the audience did not appreciate the long arietta he sung: his performance, however, was much praised by the reviewer ("Mercure de France", 30 December 1780, pp. 222–223, accessible online at
935:
In spite of the long-lasting enthusiasm he aroused among the habitués of the Opéra, Lays was not a great singer: one might even say he knew nothing about the fundamentals of the art of singing. His vocalisation was clumsy; he had not learned how to equalise the registers of his voice, and when he
867:
La
Rochefoucauld's reply on the issue of the pension was delayed until January 1827, when he stated that Lays was not entitled to any pension increase with regard to his previous years of teaching, having already received the maximum provided for as a result of his theatrical activity, and having
814:
as
Director General of the Fine Arts. La Rochefoucauld had an aversion to Lays both as an inveterate supporter of the Revolution, and, in particular, for the ironic remarks the singer had made about his morality campaign, which included lengthening ballerinas' skirts and providing ancient statues
695:
Quéruel relates that Lays was finally reinstated only on 9 January 1821, but this assertion cannot be accurate because the singer's name often appeared on the theatre bills in the meantime, for example the whole period between July 1819 and June 1820. Whatever the case, in response to his renewed
295:
under the patronage of his old friend Barère. Lays was a passionate believer in the ideals of the
Revolution, promoting them among the members of the Opéra company, which had been renamed Théatre des Arts. This was not enough, however, to prevent his arrest in 1792 as a suspected royalist, on the
958:
The most impressive aspect of Lays's professional life was not in the quality of his voice, but in the number of times that he used it. He created 68 new characters at the Opéra between 1780 and 1818. It would be interesting to determine how many records he broke in the course of performing this
704:
at the same
Brussels Théâtre de la Monnaie to which he had tried to escape forty years earlier. The reviews from the local newspaper, the "Mercure belge", reported by Quéruel tell of a real triumph. On his return to Paris, however, he was greeted with disastrous news. It was now obvious that the
244:
Auguste-Athanase Chéron (1760–1829). In June 1781, fire destroyed the second hall of the Palais Royal, the home of the theatre, causing performances to be suspended. This left the singers with only their meagre basic salaries, so the three decided to remedy the situation by accepting engagements
2560:
Literally meaning 'a gala dinner', the term refers to the
Versailles custom of performing music on the occasions when the royal couple had dinner in public in the antechamber of the Grand Couvert. The custom had been introduced by Marie Antoinette who wished to relieve the boredom of the public
838:
No response having come from the administration, Quéruel claims that Cherubini made the courageous decision to use his discretionary powers and take personal responsibility for authorising a special performance whose takings would be divided equally between the Académie and Lays. Even if it is
1002:). Lays's contribution to the Opéra repertoire, which lasted over forty years, was astonishing, and the long duration of the singer's career and the good vocal form he maintained to the last suggest that Fétis's adverse judgement on his technical skills should be accepted only with caution.
375:
who was then in his sixties, had been forced to sing the new hymn kneeling on stage to boos, whistles and jeers from the audience, and had never recovered from the experience, eventually taking his own life with poison. Quéruel writes Lays managed to avoid making his return to the stage in
150:
Lays was immediately enrolled in the company as one of the lower male voices (known in France at the time as basse-tailles) and began a rapid ascent up the Opéra career ladder. He was first introduced to the Parisian public on 10 October 1779, singing the aria "Sous les lois de l'hymen" by
3056:
the year 1799 is stated, but this date is evidently inaccurate given that Napoleon became First Consul only at the end of November. In the main part of her book, however, Quéruel also reports a conversation between the singer and the First Consul, during which the latter, proposing Lays's
2463:. It remained popular throughout the 18th century. In 1778 most of the entrée was set to new music by Candeille to be given as part of a performance of "fragments" (also called "spectacles coupés") which were very common in the latter half of the 18th century, or as an intermezzo to the
2592:
Sources traditionally report only the initial letter (J.) of this singer's name; full details, however, can be found in "Organico dei fratelli a talento della Loggia parigina di Saint-Jean d'Écosse du Contrat Social (1773-89)" (list of the members of this Masonic lodge), reported as an
3180:, Rome, Gremese, 2002, p. 47), after having been one of the Conservatoire's inspectors from its foundation in 1795, and having become an outstanding professor of the new École royale when it had replaced the Conservatoire in 1816. Cherubini's predecessor as head of the institution,
3418:
Quéruel, p. 162. Further evidence of the Lays family's long-lasting economic difficulties, is provided by "La France Musicale", which published the following brief notice in August 1858 (also the basis of the article by Aldino Aldini cited in the bibliography): "His Majesty the
973:
The number of 68 characters listed by Pitou is incomplete. In fact, the roles Lays created amount to at least 74 (cf next section). Moreover, this obviously does not include the roles Lays did not create directly (including those already mentioned, such as Thésée in Sacchini's
3184:, only had the title of "inspecteur général des études", and the actual direction was exercised by the Menus-Plaisirs du Roi. According to a contemporary Italian source, Cherubini might have retained the post of inspector even within the new institution (article:
401:, in which he sang the far less controversial character of King Theseus. Even then, things did not go smoothly: the audience booed and protested throughout the performance, although this time he was not prevented from completing it. At the end, the leading tenor
211:, Lays's first big success. Between 1780 and 1791, he was a member of two of the main musical institutions at court, the Concerts de la reine (the Queen's concerts) and the King's Grand Couvert, soon becoming a favourite of the royal couple, and in particular of
120:. Lays was now determined to abandon a career in the Church and became increasingly active as a singer, joining the cathedral choir and accepting invitations to perform at local salons. In Toulouse, Lays formed a lifelong friendship with the young lawyer
953:
Spire Pitou draws readers' attention to this last point in his work on the Paris Opéra. Pitou was evidently unaware of Lays's attempted flight to Brussels in 1781 and the troubles of his final years, but his comments appear worthy of note nevertheless:
615:
instead, an opera in which Lays always assumed the role of Cinna. At the end of the performance, the angry audience forced Lays – still dressed in his Roman toga – to return to the stage and recite some popular verses thanking the tsar for restoring the
2784:
316:, where the Barère clan were politically dominant and where Lays received a hero's welcome. He returned to Paris in mid-July via Toulouse, thus avoiding the hostile Bordeaux. Back in the capital, he delivered a much applauded speech in front of the
3278:
Racine's tragedy had already been given at the Opéra four years earlier, premiering on 8 March 1819, with the host theatre's company (included Lays himself) performing the choral and musical interludes written by Gossec, to which an excerpt from
311:
provoked such public hostility that he was forced to slip out of the city without even being able to complete his debut performance at the local theatre. Things went much better in his native region, the newly established département of
3123:, pp. 147–159), basing herself primarily on research conducted in the archives of the Opéra and the Conservatoire (to which she summarily refers in footnotes), comes to quite different conclusions, as related in the present article.
3632:
3145:, the former Intendant of the Menus-Plaisirs, guillotined during the Terror, who had protected Lays in the 1780s at the time of his quarrels with Dauvergne, and whose office his son had been granted under the Restoration.
833:
Permit me to bring to your attention the services he has rendered to musical and dramatic art, and the regrettable situation in which he finds himself after such long services as well as having to provide for a large
713:, during which almost all the stars who did not have roles in the opera paid homage to their respected and well-liked colleague by appearing on stage in the chorus. The first part of the concert saw the company of the
2869:, Paris, Presses Universitaires de France, 1983, p. 90. According to Fétis, the pamphlet (said to have become "excessively rare", and thus probably not consulted at first hand) had instead been published in 1793 (an
1010:
The following table contains a list of the roles created by François Lays in the course of his long career. The information is mostly taken from Spire Pitou in his book on the Paris Opéra cited in the bibliography.
2930:
According to Quéruel, the hymn performed on the occasion of the transfer of Voltaire's mortal remains, where " Laÿs's superb voice" rose over Chéron's and Rousseau's responding in chorus, had been set to music by
2873:
of 23 pages), and it is therefore described as a sort of report Lays made on his previous revolutionary activities after his expedition to Gascony. The thesis upheld by Gendron, however, is confirmed by the book
839:
unclear what right the director of the École royale de musique et de déclamation had to make such a decision, the performance did in fact take place at the Opéra on 20 November 1826. The programme consisted of
688:, where Lays himself was obliged to interrupt them with disastrous effects on his finances: he had been unexpectedly summoned back to Paris on the pretext he was urgently needed for rehearsals of a new opera,
323:
Lays's direct involvement in political life went little further than this, but, contrary to the claims of the brothers Michaud and Fétis, it was enough to cause him unpleasant repercussions when in 1794 the
904:, who happened to hear him in the 1780s, wrote that "Monsieur Laisse" possessed "a fine baritone voice, with much taste and expression". The majority of modern authors share these opinions. According to
3163:
Quéruel repeatedly writes that Cherubini had recently been named director of both the Conservatoire and the Opéra, but her assertion appears to be entirely without foundation. He had instead been named
116:
for a short while to study philosophy and work as a teacher before returning to Garaison to study theology. In 1778, the canons of the convent gave Lays a grant to study for a doctorate in theology in
553:. Nevertheless, the pair remained on friendly terms and between 1801 and 1802, Lays – who had often performed in Josephine's salons – became chief singer of the Chapel Napoleon had established at the
218:
His early career at the Opéra was quite turbulent. The institution at the time was seething with discontent: the artistes resented the fact their wages were only a third of those of the actors of the
3119:
Fètis and the brothers Michaud briefly allude to Lays's career ending tranquilly, and to a serene old age spent singing for pleasure in provincial churches. On the contrary, Madame Quéruel (Chapter:
2891:
Trial also found it unbearable that he had been dismissed from the political office he had held under the Paris Commune. He remains famous in musical history for giving rise to a new type of French
627:
was quite mild and the only significant penalty Lays suffered was his dismissal from the former Chapelle Impériale with a resulting loss of income. When Napoleon returned to power for the so-called
546:
who enjoyed a successful career, was marrying a foreign woman with no property. The couple went on to have four more children, including one son who would unwittingly cause Lays enormous grief.
3235:
Grétry's opera remained highly popular throughout the first quarter of the 19th century: Castil-Blaze reports that Rossini was able to play whole passages from it by heart on the harpsichord (
3248:
And where he is reported to have already managed to go on tour in 1792/93 as part of a delegation from the Paris Opéra led by Gossec, and to have later taken up an engagement in April 1818 (
3811:
2970:
Provided this is Joséphine Armand (1787–1859), although still a young girl at the time, and not her better known aunt, Anne-Aimée (1774–1846), who was professionally active at the
296:
grounds that he had been a leading singer in the Queen's concerts and the Grand Couvert. Only the timely intervention of Barère secured his release after a single night in prison.
561:. As such, three years later, on 2 December 1804, Lays was the lead soloist in the music accompanying Napoleon's coronation as emperor. The ensuing celebrations culminated at the
4025:
3356:
Literally meaning a "gutter-jumper" or a "skip-kennel", the 'saute-ruisseau' was the lowest clerical assistant, a sort of errand boy or boy messenger, in French law firms (cf.
3313:). Quéruel postdates this performance by exactly three years, to 1 May 1826, which leads her to misinterpret data and documents referring to the interval between the two dates.
3339:
By that time, Cinti-Damoreau had been singing Italian opera for several years in Paris, London and Brussels. Along with Rossini, she now began to transfer to the Opéra, where
2539:). Fétis writes that the role was specifically composed with Lays in mind, whereas the 1781 libretto ascribes the character to another basse-taille of the company, M. Durand (
136:. Following the recruitment practice then used by Académie Royale de Musique (the Paris Opéra), the Intendant decided to issue Lays with a royal ordinance (equivalent to a
355:
After his release on 3 July, Lays had to undergo the ritual humiliation the public was imposing on the "Terrorist actors": they were forced to sing the anti-Jacobin hymn
3848:
2879:
620:. According to the brothers Michaud, Alexander was moved to compassion by the sight of the terrified singer and sent one of his aides-de-camp on stage to reassure him.
3216:"La Renommée", 1819, numbers 16/18/39/42/44/58/76/78/83/85/92/95/99/101/108/110/138/141/148/150/159/160/162/164/167/171/174/176/178/185 (accessible for free online at
605:, had originally been given in 1807 to celebrate Napoleon's return to the capital. Not wanting to hurt the French public's feelings, Alexander requested a staging of
3467:, both the C-clef on the fifth line and the F-clef on the third line, had long since fallen into disuse and all basse-taille parts would be notated in the bass clef.
4010:
4005:
2514:
3000:
2755:
63:
Lays was famous for the beauty of his voice. One of the Opéra's most popular artistes, he enjoyed his greatest success singing comic roles, such as Anacreon in
3222:"Le Drapeau Blanc, journal de la politique, de la littérature et des théatres", 1820, numbers 31/33/42/117/124/131/136/150/164 (accessible for free online at
3594:
Castor et Pollux : tragédie-opéra en cinq actes, représentée pour la première fois sur le théâtre de l'Académie-royale de musique, le mardi 14 juin 1791
3512:
2621:
Prison (or the threat of prison) was a fairly common method of bringing the Opéra's intractable artistes to heel. In 1771, for instance, the principal tenor
467:
245:
elsewhere, even though they were prohibited by law from doing so as salaried artistes of the Académie Royale de Musique. Rousseau alone managed to travel to
2420:
The date 27 March is attested in the biography by Anne Quéruel. On the other hand, Fétis, Pitou and Elizabeth Forbes give the date of his death as 30 March.
3193:
524:
characters, in which, "singing of love and good wine, he proved to be sublime". Anacreon was one such role. Lays played the character again in 1803 in the
3172:
in 1815 (during the Hundred Days), and was later to become the first real director of the École royale de musique et de déclamation in 1822 (Marc Vignal,
585:
At the fall of Napoleon in 1814, Lays was one of the Emperor's most prominent favourites, so when the allied armies entered Paris under the leadership of
3592:
The role erroneously indicated by Pitou (although with a question mark) is 'Un Spartiate', but the original libretto gives the title role of Pollux (cf.
4015:
3927:
2712:
shows some changes made to the part of Cynire which are expressly designated "pour Lays" (for Lays): like the rest of the part, they are notated in the
864:. However, the evening's takings of between 6,000 and 7,000 francs were markedly inferior to those Lays's presence on stage would once have guaranteed.
3392:, "Le Figaro, Journal non politique", I, n. 300, 20 November 1826, and n. 303, 23 November 1826, p. 3 (accessible for free online at Gallica – B.N.F.:
2705:
3142:
2634:
590:
332:
radically changed the political situation. Lays was branded a "Terrorist actor" alongside other leading performers with a Revolutionary past, such as
908:, for instance, he possessed a "voice, baritonal in quality, but which extended into the tenor range". In fact, his roles were mostly notated in the
727:, performed with incidental music and choruses by Gossec. The leading roles were taken by three star actors: Lays's old friend and political ally,
2548:
4020:
3597:
2797:
3947:
3876:
3831:
3537:
2355:
1368:
2493:
696:
demands for economic support, the administration granted him further leave to perform privately outside Paris. Lays went on a tour of the
868:
furthermore shared half the takings from an extra benefit performance. Meanwhile, Lays, his wife and unmarried daughters, had retired to
3777:
3663:
Les Horaces, Tragédie-Lyrique, en trois actes, mêlée d'intermedes. Représentée devant Leurs Majestés à Fontainebleau, le 2 Novembre 1786
2709:
4000:
2606:
2523:
1517:
1400:
811:
706:
550:
48:
in 1779. He soon became a leading member of the company, in spite of quarrels with the management. Lays enthusiastically welcomed the
2562:
927:
While there seems to have been no doubt about the great beauty of Lays's voice, which he was able to preserve throughout his career,
3961:
3867:
3710:
3307:
Académie Royale de Musique. Représentation d'Athalie et du Rossignol pour la retraite de Lays.– Rentrée de Lafon au Théâtre-Français
317:
2704:. The versatile Lays was probably just covering for his comrade Rousseau during the emergency created by latter's escape abroad. A
486:
in June 1794. So it was unsurprising that his career continued to thrive in the new political climate under the government of the
172:). He made his official debut on the 31st of the same month, playing Théophile in a revival of "Théodore", the second entrée from
3774:
Les Dieux rivaux, ou Les Fêtes de Cythère. Opéra-ballet en un acte, À l'occasion du mariage de S.A.R Monseigneur le Duc de Berry
3995:
3937:
3854:
3423:, having heard that the daughter of Lays, of the Opéra, was in a state of the greatest poverty, ordered Monsieur Mocquart, his
2792:
905:
574:
463:
2738:"Compte rendu des propos indécents tenus dans la séance de l'Academie Royale de Musique du 1er mars 1786" (Quéruel, p. 37).
3533:
2935:. However, other sources do not support this information. On the contrary, they are unanimous in attributing to Gossec a
2908:(publiés avec une introduction et des notes par Robert de Crèvecœur), Paris, Plon, 1882, II, p. 257 (accessible online at
132:
circles. On Easter Sunday 1779, Lays was singing the liturgy in the cathedral when he was heard by the Intendant Royal of
2379:
2138:
840:
598:
3480:, Paris/Lyon, Magasin Cherubini, Méhul, Kreutzer, Rode, Isouard et Boildieu/Garnier, s.d., p. 90 (accessible online at
3104:
1064:
792:, Lays once more played his favourite character of the bailiff, while the principal female role of Philis was taken by
444:
Over the course of 15 years Lays had built a remarkable reputation as a singer. He had been a star at the court of the
386:
56:. Barère's downfall led to Lays being imprisoned briefly, but he soon won back the public and secured the patronage of
3840:
3099:
1784:
941:
928:
381:
299:
It was on Barère's prompting that Lays decided to return to his native Gascony in 1793 as a propagandist for the new
3649:
3915:
3759:
The music of this one-act piece was taken from Mozart and Haydn and arranged by Henri-Montan Berton (Mark Everist,
644:
no longer able to appear at the Opéra as regularly as he had done, leading to a drastic reduction in extra income.
125:
108:), where he stayed until he was 17, receiving a solid musical education as a chorister and developing a remarkable
3666:
3743:
2642:
2626:
2541:
Le Seigneur bienfaisant, Opéra, composé des actes du Pressoir ou des Fètes de l'Automne, de l'Incendie, et du Bal
2285:
1589:
1386:
1170:
1096:
869:
669:
657:
483:
453:
181:
173:
72:
2633:
was supremely silly and tasteless, initially refused outright to perform it. However, according to an indignant
3954:
The Paris Opéra. An Encyclopedia of Operas, Ballets, Composers, and Performers – Rococo and Romantic, 1715–1815
2267:
966:
The Paris Opéra. An Encyclopedia of Operas, Ballets, Composers, and Performers – Rococo and Romantic, 1715–1815
495:
3223:
2671:
2102:
728:
602:
562:
333:
2974:
from 1793 to 1801 (Pitou, pp. 50–51) and thus unlikely to have attended the Conservatoire in the same period.
573:. In 1810, when Napoleon divorced Josephine and entered into a second marriage with the Austrian Archduchess
3727:
3362:
3181:
1639:
1236:
1046:
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219:
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169:
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1437:
1216:
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988:
506:
329:
230:
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2544:
3919:
3723:
3327:
2683:
According to Quéruel, in 1781 Lays was going to take the role that had been created two years before by
2096:
1461:
901:
772:
673:
586:
325:
284:
260:
3397:
3310:
2638:
512:
In January 1797, Lays enjoyed one of the biggest successes of his career when he sang the lead role in
360:
313:
3443:). According to Kelly, however, Lays's greatest praise "was, that he was very unlike a French singer".
2909:
1278:
3990:
3985:
3794:
3678:
A new musical setting of a libretto first set by Salieri in 1786, in which Lays played the same role.
3309:, "Journal des débats politiques et littéraires", 3 May 1823, pp. 1–4 (accessible for free online at
3281:
3257:
2697:, where there are no bass-baritone leads, and the role of Cynire had been performed by the principal
1820:
1531:
1362:
861:
793:
781:
397:
223:
152:
129:
762:
In late 1825, however, Lays again took to the Opéra stage in a benefit concert for the great singer
3898:
3889:
3558:
3557:
This role is not mentioned by Pitou, but it is stated by different sources, such as, for instance,
3540:
interspersed with Mozart's arias, duos, trios and choruses retranslated into French (Félix Gaiffe,
3357:
3052:
Queruel, pp. 114 ff. The date of the appointment is not very clear in Quéruel's text: in the final
2939:, for voice and brass or for three voices, male choir and band (cf. catalogue of Gossec's works at
2807:
2767:
The presence of Lays, Rousseau and Chéron at a funeral ceremony held in 1785 by the Paris lodge of
2647:
1567:
1511:
1348:
1321:
848:
804:
570:
349:
337:
303:. He was accompanied by his future wife, a young unemployed diamond-polisher named Marie Barbé. In
191:
2932:
1802:
3739:
3286:
3169:
3031:
2791:(accessed on 6 May 2015), Lays and Rousseau were members of both Les Neuf Sœurs and the lodge of
1766:
1222:
994:
856:, in which Lays played his most famous role for the last time; and the four-act pantomime-ballet
636:
558:
235:
165:
104:. His family intended him for a career in the Church at the Sanctuary of Notre-Dame-de-Garaison (
93:
3093:
Quéruel, p. 140 ff. The lines were taken, with appropriate changes, from the popular comedy by
2246:
1867:
1455:
1082:
513:
121:
105:
64:
53:
2983:
She was born Anne Cameroy (1767 – c. 1862), and married Lays's friend, Auguste-Athanase Chéron.
3957:
3943:
3872:
3735:
3706:
3393:
2768:
2684:
2657:
2602:
2519:
2171:
1939:
1646:
1260:
1120:
797:
785:
767:
647:
624:
437:
402:
288:
268:
241:
49:
3903:
Bibliothèque Musicale du Théatre de l'Opéra. Catalogue Historique, Chronologique, Anecdotique
3057:
appointment, refers to Paisiello's direction of the Chapel, which only began in January 1802.
2492:, "Revue de Paris", New series, Year 1837, 37th volume, p. 23 (accessible for free online at
3570:
Pitou omits to mention this role among Lays's, but refers to it elsewhere in his article on
3249:
3214:
See, for instance, the theatre programmes published daily in the following Paris newspapers:
3094:
2971:
2772:
2693:
2404:
2082:
1497:
1422:
1303:
844:
617:
606:
554:
487:
445:
392:
372:
255:
212:
138:
3075:
He had already been a member of the literary jury under the Ancien Régime and the Republic.
3689:
2661:
2408:
2120:
1992:
1666:
1609:
1342:
1242:
677:
410:
368:
300:
196:
3830:, "The Musical World", XXXVI, 33, 14 August 1858, pp. 518–519 (accessible online at
3661:
Pitou writes that Lays played "Curiace", but he is mistaken (see the original libretto:
3437:
Reminiscences of Michael Kelly, Of the King's Theatre, and Theatre Royal Drury Lane (...)
3326:, "La Lorgnette", II, n. 598, 8 October 1825, pp. 1 and 4 (accessible for free online at
2878:, compiled by Joseph De Filippi (Paris, Tresse/Aubry, 1864, p. 170, accessible online at
2637:, he eventually had to bow to La Borde's threat of making him spend a good fifty days in
2457:
1283:
631:, Lays was inevitably reinstated in his post and he enthusiastically participated in the
3968:
3609:
Despite not being a title role, Mars is the male lead (in fact the only male character).
3367:
888:
in the Opéra company, a voice type which was initially roughly equivalent to the modern
44:
opera singer. Originally destined for a career in the church, Lays was recruited by the
2666:
2321:
2189:
1953:
1905:
1491:
808:
763:
415:
364:
157:
2940:
900:, low, pure, sonorous and flexible, whose range and volume were amazing". Irish tenor
3979:
3862:
3495:
3366:; English translation by Ellen Marriage and Clara Bell accessible for free online at
2754:, "Histoire, économie et société", 2003, 22-2, 177-206, p. 192 (accessible online at
2701:
2688:
2622:
889:
740:
697:
681:
456:
at some of the grandest ceremonies of the French Revolution: he had performed in the
341:
3484:). Cherubini had used bass clef notation for the part of Astor entrusted to Lays in
3481:
3294:
705:
singer had been targeted in high places: the Minister of the Maison du Roi, General
664:
In 1816, Lays had the satisfaction of enjoying one final triumph in the comic opera
190:, in 1780 he was given the first new roles of his career: a follower of Morpheus in
3731:
3420:
2698:
2505:
2485:
2030:
873:
752:
736:
628:
529:
308:
227:
3486:
2999:, "Histoire, économie et société", 22 February 2003, p. 179 (accessible online at
1660:
593:
ordered the Opéra to mount a performance in honour of the tsar. The opera chosen,
3440:
2653:
766:. The show, held on 8 October, was a double bill: the final Paris performance of
549:
In the same year, Lays politely refused Napoleon's invitation to join him on his
3924:
Biographie universelle, ancienne et moderne. Supplément. Suite de l'histoire ...
3847:(Second edition), Paris, Didot, 1867, V, pp. 235–236 (accessible online at
3694:
3343:
was to remain in the repertoire "largely as a showpiece for " (Benjamin Walton,
2802:, whereas Chéron was only a member of the former (sources cited: Louis Amiable,
2464:
1712:
1603:
718:
640:
521:
491:
475:
280:
45:
3705:, Berkeley (USA)/Londra, University of California Press, 2002, p. 172, nota 6,
344:; and he was forced to try to defend himself by publishing a pamphlet entitled
2153:
1549:
685:
684:(where performances were interrupted by the death of the leading soprano) and
611:
371:
as the main Republican anthem. Antoine Trial, a colleague of Gaveaux from the
250:
3845:
Biographie universelle des musiciens et Bibliographie générale de la musique
2467:
by Italian composers the Académie Royale de Musique was staging at the time.
946:
Biographie universelle des musiciens et Bibliographie générale de la musique
427:
304:
133:
109:
3871:, Grove (Oxford University Press), New York, 1997, II, pp. 1112–1113.
19:
3905:, Paris, Librairie des bibliophiles, 1878, Volume I (accessible online at
3192:, Milan, Batelli & Fanfani, 1818, article n. 51; accessible online at
3776:, Paris, Libraire des Menus-plaisirs du Roi, 1816; a copy is kept at the
2011:
893:
784:
and was performed by an almost entirely Italian company led by Pasta and
499:
471:
246:
117:
57:
37:
3939:
François Lay, dit Laÿs: la vie tourmentée d'un Gascon à l'Opéra de Paris
3256:, Brussels, Schott, 1890, pp. 83 and 151; accessible for free online at
2812:
Francs-maçons parisiens du Grand Orient de France (fin du XVIIIe siècle)
744:
723:
502:. With such patrons his position over the next two decades was secure.
458:
292:
101:
97:
3289:
was also added. An account of one of the performances can be found in
2788:
505:
In late 1795, Lays was named Professor of Singing at the newly opened
3926:, Paris, Michaud, 1841, LXIX, pp. 486–488 (accessible online at
2906:
Mémoires sur les règnes de Louis XV et Louis XVI et sur la Révolution
2870:
2806:, Paris, Alcan, 1897, pp. 339 and 350, accessible for free online at
820:
Rochefoucauld bears explicit testimony. In October, the former wrote:
52:
and became involved in politics with the encouragement of his friend
3646:
Persée, tragédie lyrique, remise en 3 actes, Représentée pour la ...
2543:, Paris, aux dépens de l'Académie, 1881, p. 8, accessible online at
3293:, n. 29 (Journal 42), note from 15 March 1819 (available online at
2997:
Le personnel musical de l'Opéra de Paris sous le règne de Louis XVI
2752:
Le personnel musical de l'Opéra de Paris sous le règne de Louis XVI
800:, soon to become the leading lady in the composer's French operas.
537:
cœur à l'espérance" makes a delightful impression." (Castil-Blaze,
3439:, London, Colburn 1826, I, p. 289, (accessible for free online at
2892:
2771:, where they performed a Masonic hymn by Piccinni, is attested by
748:
646:
639:
of the Bourbons was more serious for Lays. At the express wish of
589:, he was understandably worried about his own future. On 2 April,
426:
41:
18:
3532:(a confused rehash) which involved a complete performance of the
3190:
Serie di vite e ritratti de' famosi personaggi degli ultimi tempi
2303:
Gaspare Spontini, Rodolphe Kreutzer, Louis-Luc Loiseau de Persuis
3464:
3347:, Cambridge, Cambridge University Press, 2008, p. 238, note 60).
2713:
2652:, London, Adamson, 1784, 5th tome, p. 296, accessible online at
913:
909:
756:
113:
3254:
Le Théâtre de la Monnaie, Depuis sa Fondation jusqù'à nos Jours
829:
A week later, having received no reply, Cherubini tried again:
124:, the future French Revolutionary politician and member of the
3168:
of the Royal Chapel in 1814, had been elected a member of the
180:. Having stepped in as a substitute in the role of Oreste in
3808:
Aladin, ou la Lampe merveilleuse, Opéra Féerie en cinq actes
3806:
This role is not mentioned by Pitou (cf. original libretto,
3793:, Paris, Chez l'auteur, s.d.; accessible for free online at
3772:
This role is not mentioned by Pitou (cf. original libretto,
3644:
A minor role not mentioned by Pitou (cf. original libretto,
3627:
A minor role not mentioned by Pitou (cf. original libretto,
3379:
Both the following quotations are taken from Quéruel, p. 157
986:, both by Gluck, as well as Patrocle in the same composer's
474:'s mortal remains were transferred to the newly established
498:, as well as the man who would become her husband, General
3291:
The Journal of John Waldie Theatre Commentaries, 1799–1830
2779:(London, Adamson, 1789, XVII, p. 402; accessible for free
490:. Lays was protected by the strong man of the new regime,
452:
at Versailles in 1789. Later he had sung several works by
2937:
Hymne sur la translation du corps de Voltaire au Panthéon
2456:
was an entrée added in 1722 by Jean-Joseph Mouret to his
2407:
but running the risk of being interpreted differently by
3789:
This role is not mentioned by Pitou (cf. printed score,
3648:, Paris, de Lormel, 1780; accessible for free online at
3631:, Paris, de Lormel, 1780; accessible for free online at
3618:
Despite not being a title role, Pluton is the male lead.
3478:
Anacréon, ou L'Amour Fugitif, Opéra ballet en deux actes
2804:
Une loge maçonnique d'avant 1789, la loge des Neuf Sœurs
2691:. In fact, Larrivée had not appeared in the premiere of
2411:, probably as 'lè' , the same as the word "laid" (ugly).
565:
on 16 December with Lays and Chéron singing the cantata
3583:
Despite not being a title role, Jason is the male lead.
803:
New political developments did not bode well for Lays.
539:
L' Académie impériale de musique (...) – De 1645 à 1855
359:, which had just been set to music by a tenor from the
264:
Paris without the express permission of his superiors.
3810:, Paris, Roullet, 1822; accessible for free online at
3665:, Paris, Ballard, 1786; accessible for free online at
3629:
Atys, Tragédie Lyrique en trois actes, Représentée ...
3544:, Amiens, Malfère, 1928, p. 129; accessible online at
3345:
Rossini in Restoration Paris: The Sound of Modern Life
2716:
which was customarily used for the haute-contre voice.
780:. Meyerbeer's opera had previously been staged at the
3722:
An oratorio in three parts assembled by Lachnith and
3528:
In fact, he sang the role in 1793 in an interminable
2490:
L'Académie Royale de Musique (3e époque – 6e article)
3176:, Paris, Larousse, 1988; Italian edition consulted:
466:
on 14 July 1790; he had sung the funeral hymns when
346:
Lays, artiste du théatre des Arts, à ses concitoyens
3967:This article contains material translated from the
3511:, Paris, Pacini, s.d., p. 28 (accessible online at
3494:, Paris, Huguet, s.d., p. 45; accessible online at
2777:
Correspondance secrète, politique, & littéraire
884:As mentioned above, Lays's voice was classified as
526:
opera Cherubini dedicated to the ancient Greek poet
142:) obliging him to travel to Paris for an audition.
2660:. So deep was his loathing for the title role of
2597:in Zeffiro Ciuffoletti and Sergio Moravia (eds),
155:to great applause (it had been inserted into the
36:(14 February 1758 – 30 March 1831), was a French
968:, Westport/London, Greenwood Press, 1985, p. 329
807:, who had come to the throne in 1824, named the
405:returned onto the proscenium to sing, as usual,
2515:The New Grove Dictionary of Music and Musicians
2403:on his original surname, pronounced 'la-ì' in
956:
948:(second edition), Paris, Didot, 1867, V, p. 236
933:
532:– referring to the work by Grétry – commented:
3888:, Paris, Rouveyre, 1880 (accessible online at
3596:, Paris, DeLormel, 1791; accessible online at
2512:, in Stanley Sadie (ed.), John Tyrrell (ed.),
755:, and once more as a simple understudy at the
2876:Essai d'une bibliographie générale du théatre
2625:, believing the role he had been allotted in
2599:La Massoneria. La storia, gli uomini, le idee
920:(1803) by Cherubini, or the role of Cinna in
8:
4026:Academic staff of the Conservatoire de Paris
3490:(1788), to take one example (printed score:
2656:). Things went even worse for his successor
432:Lays, in the role of Aristippe in the opera
3509:La Vestale, Tragédie Lyrique en trois Actes
2670:(1787), that the Opéra's musical director,
1931:Un commissaire de la majorité des sections
367:, and which seemed destined to replace the
307:Bordeaux, his political alignment with the
207:by Candeille; and the bailiff in Floquet's
200:; the male protagonist in the unsuccessful
3956:, Westport/London, Greenwood Press, 1985.
3886:1770–1790. L'Opéra secret au XVIIIe siècle
3693:was taken from Mozart, but some came from
3492:Démophoon, Tragédie Lyrique en Trois Actes
2849:
2847:
2575:
2573:
2571:
448:, before performing at the opening of the
3703:Music Drama at the Paris Odéon, 1824–1828
2518:, 2ª ed., Oxford University Press, 2001,
2299:Les dieux rivaux, ou Les fêtes de Cythère
1851:Toute la Grèce, ou ce qui peut la liberté
916:was preferred, such as the title role of
2535:Fétis, op.cit.; Pitou, p. 493 (article:
1013:
700:and also put on several performances of
569:, specially written for the occasion by
494:, and became friends with his mistress,
3791:Les Jeux floreaux, Opéra en trois actes
3687:Most of the music of this reworking of
2814:, Paris, Bibliothèque nationale, 1966).
2430:
2428:
2426:
2395:
858:Mars et Vénus, ou Les filets de Vulcain
717:transfer to the Opéra for a revival of
541:, Paris, Castil-Blaze, 1855, II, p. 61)
128:. Barère introduced Lays to the city's
4011:19th-century French male opera singers
4006:18th-century French male opera singers
3178:Dizionario di musica classica italiana
3143:Denis-Pierre-Jean Papillon de la Ferté
2789:Musée virtuel de la musique maçonnique
2635:Mathieu-François Pidansat de Mairobert
1425:e Jean-Baptiste Rochefort (1746–1819)
2793:Saint Jean d'Écosse du Contrat social
931:criticised his skill in managing it:
912:, but there are also cases where the
7:
3174:Dictionnaire de la musique italienne
2714:alto clef (C-clef on the third line)
267:In 1782, the director of the Opéra,
32:, better known under the stage name
652:Lays in the role of the bailiff in
3427:, to forward her some assistance."
707:Jacques Alexandre Law de Lauriston
249:surreptitiously and appear at the
14:
3868:The New Grove Dictionary of Opera
2904:Jean-Nicolas Dufort de Cheverny,
743:, a baritone in the choir of the
3778:Bibliothèque Nationale de France
2710:Bibliothèque nationale de France
2369:Aladin, ou la Lampe merveilleuse
1078:Panurge dans l'île des lanternes
423:The Directory and Napoleonic era
92:Lays was born in the village of
3971:in the Italian Knowledge (XXG).
3297:, edited by Frederick Burwick).
3100:La partie de chasse de Henri IV
2356:Pamphile Léopold François Aimon
1518:Nicolas-Jean Lefroid de Méreaux
1369:François-André Danican Philidor
812:Sosthènes I de La Rochefoucauld
776:followed by another revival of
382:Jean-Nicolas Dufort de Cheverny
731:; the great Racine specialist
178:L'union de l'amour et des arts
1:
4021:People of the Reign of Terror
3186:Luigi Carlo Zenobio Cherubini
2563:Chateau de Versailles website
2317:Nathalie, ou La famille russe
2211:Louis-Luc Loiseau de Persuis
747:Opera, a reserve baritone in
484:Festival of the Supreme Being
478:in 1791; and he had sung the
112:voice. He was transferred to
2787:). According to the website
2773:Guillaume Imbert de Boudeaux
2139:Louis-Luc Loiseau de Persuis
1835:Le triomphe de la république
287:, after the outbreak of the
4016:People from Hautes-Pyrénées
3572:Ariane dans l'isle de Naxos
1060:Ariane dans l'isle de Naxos
4042:
3942:, Cahors, La Louve, 2010.
2895:, named "Trial" after him.
2867:La jeunesse sous Thermidor
2601:, Milan, Mondadori, 2004,
2141:and Jean-François Lesueur
2116:Nephtali, ou les Ammonites
1935:La journée du 10 août 1792
557:under the directorship of
126:Committee of Public Safety
71:(1797) and the bailiff in
4001:French operatic baritones
3121:L'idole déchue. 1815–1831
2643:Louis Petit de Bachaumont
2380:François-Antoine Habeneck
1730:Les pommiers et le moulin
1330:
1184:Le casque et les colombes
1171:Jeanne-Hippolyte Devismes
1030:
419:, his debut in the role.
259:in the small hall of the
2823:Quéruel, pp. 57 and 166.
2687:, the company's leading
2305:and Henri-Montan Berton
2268:Louis Alexandre Piccinni
1889:Jean-Baptiste Rochefort
1623:Le Roi Théodore à Venise
1475:L'embarras des richesses
1138:Pierre-Joseph Candeille
880:Artistic characteristics
496:Josephine de Beauharnais
291:in 1789 Lays joined the
3916:Joseph-François Michaud
3697:, and was assembled by
2561:dinner ceremonial (cf.
2537:Le Seigneur bienfaisant
2339:Louis-Sébastien Lebrun
2245:Étienne Nicolas Méhul,
2237:Le chef des vieillards
1919:La rosière républicaine
1897:L'ordonnateur chantant
1839:François-Joseph Gossec
1718:Johann Christoph Vogel
1692:Baron de la Dardinière
1382:Le seigneur bienfaisant
1338:A follower of Morpheus
1150:Anacréon chez Polycrate
1047:Pierre-Joseph Candeille
854:Anacréon chez Polycrate
733:Mademoiselle Duchesnois
702:Anacréon chez Polycrate
528:. A few decades later,
518:Anacréon chez Polycrate
209:Le seigneur bienfaisant
170:Pierre-Joseph Candeille
69:Anacréon chez Polycrate
3996:French operatic tenors
3699:Ludwig Wenzel Lachnith
3388:Theatre programme and
3322:Theatre programme and
2727:Le rebelle – 1779–1788
2375:Angelo Maria Benincori
2286:Louis-Sébastien Lebrun
2251:and Rodolphe Kreutzer
2177:Jean-François Lesueur
1991:Rodolphe Kreutzer and
1959:Étienne Nicolas Méhul
1873:Étienne Nicolas Méhul
1855:Jean-Baptiste Lemoyne
1816:L ' Heureux stratagème
1750:Jean-Baptiste Lemoyne
1734:Jean-Baptiste Lemoyne
1700:Jean-Baptiste Lemoyne
1590:François-Joseph Gossec
1387:Étienne-Joseph Floquet
1103:Johann Christoph Vogel
1065:Jean-Frédéric Edelmann
971:
951:
836:
827:
670:Louis-Sébastien Lebrun
661:
658:Louis-Sébastien Lebrun
543:
480:Hymne à l'Être-suprême
441:
283:and an avid reader of
174:Étienne-Joseph Floquet
26:
3920:Louis-Gabriel Michaud
3841:François-Joseph Fétis
3724:Christian Kalkbrenner
3054:Tableau Chronologique
3030:Accessible online at
2672:Louis-Joseph Francœur
2581:Tableau chronologique
2249:, Henri-Montan Berton
2134:Le triomphe de Trajan
2103:Jean-François Lesueur
2097:Ossian, ou Les bardes
2078:Le pavillon du calife
2066:Louis Emmanuel Jadin
1901:La réunion du 10 août
1785:Étienne Nicolas Méhul
1645:Antonio Sacchini and
1462:Jean-Baptiste Lemoyne
1418:L'inconnue persécutée
942:François-Joseph Fétis
831:
822:
773:Il crociato in Egitto
674:Menus-Plaisirs du Roi
650:
595:Le triomphe de Trajan
534:
464:Fête de la Fédération
430:
357:"Le Réveil du Peuple"
251:Théâtre de la Monnaie
22:
3542:Le Mariage de Figaro
3269:Quéruel, pp. 151–153
3205:Quéruel, pp. 148–151
3182:François-Louis Perne
3084:Quéruel, pp. 133 ff.
3012:Quéruel, pp. 109 ff.
2941:musicologie.org 2014
2729:, pp. 25–49 (passim)
2725:Quèruel, Chapter 2,
2461:Les Festes de Thalie
2223:Le laboureur chinois
1987:Flaminius à Corinthe
1821:Louis Emmanuel Jadin
1532:La caravane du Caire
1401:Iphigénie en Tauride
995:Le Mariage de Figaro
980:Iphigénie en Tauride
924:(1807) by Spontini.
852:; the second act of
794:Laure Cinti-Damoreau
751:, a bass soloist in
378:Iphigénie en Tauride
328:and the downfall of
231:Jean-Joseph Rousseau
187:Iphigénie en Tauride
153:Pierre Montan Berton
3633:ebook-gratis Google
3295:UCLA's eScholarship
3066:Quéruel, pp. 125–29
3043:Quéruel, p. 116 ff.
2952:Quéruel, p. 107 ff.
2921:Quéruel, p. 101 ff.
2841:Quéruel, pp. 83–89.
2832:Quéruel, pp. 66–69.
2476:Jullien, pp. 90–91.
2263:Alcibiade solitaire
2006:Les mystères d'Isis
1863:Valerius Publicola
1627:Giovanni Paisiello
1512:Alexandre aux Indes
1438:Colinette à la cour
1322:Henri-Montan Berton
989:Iphigénie en Aulide
862:Jean Schneitzhöffer
849:Le calife de Bagdad
571:Henri-Montan Berton
551:expedition to Egypt
507:Paris Conservatoire
407:Le Réveil du Peuple
350:Jacques-Louis David
326:coup of 9 Thermidor
88:Youth and education
16:French opera singer
3969:equivalent article
3409:Quéruel, pp. 158-9
3170:Institut de France
3141:He was the son of
3132:Quéruel, pp. 147–8
2995:Youri Carbonnier,
2865:François Gendron,
2810:; Alain Le Bihan,
2750:Youri Carbonnier,
2706:hand-written score
2443:Quéruel, p. 18 ff.
2207:Jérusalem délivrée
1767:Stanislas Champein
1746:Louis IX en Égypte
1223:Giovanni Paisiello
1042:Laure et Pétrarque
662:
637:second Restoration
559:Giovanni Paisiello
500:Napoleon Bonaparte
442:
205:Laure et Pétrarque
166:Jean-Joseph Mouret
94:La Barthe-de-Neste
27:
3948:978-2-916488-37-0
3884:Adolphe Jullien,
3877:978-0-19-522186-2
3368:Project Gutenberg
2388:
2387:
2373:Nicolas Isouard,
2195:Gaspare Spontini
2159:Gaspare Spontini
1940:Rodolphe Kreutzer
1647:Jean-Baptiste Rey
1640:Arvire et Évélina
1573:Antonio Sacchini
1555:Antonio Sacchini
1406:Niccolò Piccinni
1261:Rodolphe Kreutzer
786:Domenico Donzelli
625:first Restoration
438:Rodolphe Kreutzer
289:French Revolution
275:Revolutionary era
269:Antoine Dauvergne
224:Comédie-Italienne
220:Comédie-Française
100:in what was then
96:in the region of
50:French Revolution
4033:
3935:
3914:
3907:Internet Archive
3899:Théodore Lajarte
3897:
3890:Internet Archive
3883:
3855:Elizabeth Forbes
3839:
3815:
3804:
3798:
3795:Internet Archive
3787:
3781:
3770:
3764:
3757:
3751:
3720:
3714:
3685:
3679:
3676:
3670:
3659:
3653:
3650:Gallica - B.N.F.
3642:
3636:
3625:
3619:
3616:
3610:
3607:
3601:
3590:
3584:
3581:
3575:
3568:
3562:
3555:
3549:
3522:
3516:
3505:
3499:
3474:
3468:
3461:
3455:
3450:
3444:
3434:
3428:
3416:
3410:
3407:
3401:
3386:
3380:
3377:
3371:
3358:Honoré de Balzac
3354:
3348:
3337:
3331:
3328:Gallica – B.N.F.
3320:
3314:
3311:Gallica – B.N.F.
3304:
3298:
3276:
3270:
3267:
3261:
3258:Internet Archive
3250:Jacques Isnardon
3246:
3240:
3233:
3227:
3212:
3206:
3203:
3197:
3161:
3155:
3152:
3146:
3139:
3133:
3130:
3124:
3117:
3111:
3108:
3091:
3085:
3082:
3076:
3073:
3067:
3064:
3058:
3050:
3044:
3041:
3035:
3032:Internet Archive
3028:
3022:
3019:
3013:
3010:
3004:
2994:
2990:
2984:
2981:
2975:
2968:
2962:
2959:
2953:
2950:
2944:
2928:
2922:
2919:
2913:
2910:Internet Archive
2902:
2896:
2889:
2883:
2864:
2860:
2854:
2853:Michaud, op.cit.
2851:
2842:
2839:
2833:
2830:
2824:
2821:
2815:
2808:Internet Archive
2801:
2765:
2759:
2749:
2745:
2739:
2736:
2730:
2723:
2717:
2694:Echo et Narcisse
2681:
2675:
2648:Mémoires secrets
2619:
2613:
2611:
2590:
2584:
2577:
2566:
2558:
2552:
2533:
2527:
2503:
2497:
2483:
2477:
2474:
2468:
2450:
2444:
2441:
2435:
2432:
2421:
2418:
2412:
2400:
2351:Les jeux floraux
2083:Nicolas Dalayrac
2031:Peter von Winter
1498:Antonio Sacchini
1433:Bastien/A gipsy
1423:Pasquale Anfossi
1349:Niccolò Piccinni
1304:Gaspare Spontini
1287:
1279:Vincenzo Fiocchi
1200:Delphis et Mopsa
1134:Castor et Pollux
1014:
984:Echo et Narcisse
969:
949:
906:Elizabeth Forbes
715:Théâtre-Français
690:Les jeux floraux
587:Tsar Alexander I
390:
318:Commune of Paris
256:Echo et Narcisse
239:
213:Marie Antoinette
139:lettre de cachet
4041:
4040:
4036:
4035:
4034:
4032:
4031:
4030:
3976:
3975:
3933:
3912:
3895:
3881:
3859:Lays , François
3837:
3826:Aldino Aldini,
3823:
3818:
3805:
3801:
3788:
3784:
3771:
3767:
3758:
3754:
3721:
3717:
3701:(Mark Everist,
3690:The Magic Flute
3686:
3682:
3677:
3673:
3660:
3656:
3643:
3639:
3626:
3622:
3617:
3613:
3608:
3604:
3591:
3587:
3582:
3578:
3569:
3565:
3556:
3552:
3523:
3519:
3507:Printed score:
3506:
3502:
3476:Printed score:
3475:
3471:
3462:
3458:
3451:
3447:
3435:
3431:
3425:chef de cabinet
3417:
3413:
3408:
3404:
3387:
3383:
3378:
3374:
3363:Colonel Chabert
3355:
3351:
3338:
3334:
3321:
3317:
3305:
3301:
3277:
3273:
3268:
3264:
3247:
3243:
3234:
3230:
3221:
3215:
3213:
3209:
3204:
3200:
3162:
3158:
3154:Quéruel, p. 149
3153:
3149:
3140:
3136:
3131:
3127:
3118:
3114:
3102:
3092:
3088:
3083:
3079:
3074:
3070:
3065:
3061:
3051:
3047:
3042:
3038:
3029:
3025:
3021:Quéruel, p. 112
3020:
3016:
3011:
3007:
2992:
2991:
2987:
2982:
2978:
2969:
2965:
2961:Quéruel, p. 109
2960:
2956:
2951:
2947:
2929:
2925:
2920:
2916:
2903:
2899:
2890:
2886:
2862:
2861:
2857:
2852:
2845:
2840:
2836:
2831:
2827:
2822:
2818:
2795:
2766:
2762:
2747:
2746:
2742:
2737:
2733:
2724:
2720:
2682:
2678:
2631:La Cinquantaine
2620:
2616:
2609:
2591:
2587:
2578:
2569:
2559:
2555:
2534:
2530:
2510:Lays , François
2504:
2500:
2484:
2480:
2475:
2471:
2452:Quéruel, p. 7.
2451:
2447:
2442:
2438:
2433:
2424:
2419:
2415:
2409:French-speakers
2401:
2397:
2393:
2377:
2304:
2250:
2247:Ferdinando Paër
2121:Felice Blangini
1993:Nicolas Isouard
1975:Bernardo Porta
1868:Horatius Coclès
1667:Luigi Cherubini
1610:Antonio Salieri
1317:Roger de Sicile
1281:
1243:Luigi Cherubini
1008:
970:
963:
950:
940:
882:
817:saute-ruisseau'
782:Théâtre italien
678:Luigi Cherubini
660:
635:of thanks. The
583:
450:Estates General
440:
425:
384:
361:Théâtre Feydeau
314:Hautes-Pyrénées
301:Reign of Terror
277:
233:
148:
122:Bertrand Barère
106:Monléon-Magnoac
90:
85:
54:Bertrand Barère
25:
17:
12:
11:
5:
4039:
4037:
4029:
4028:
4023:
4018:
4013:
4008:
4003:
3998:
3993:
3988:
3978:
3977:
3974:
3973:
3964:
3950:
3936:Anne Quéruel,
3931:
3910:
3893:
3879:
3852:
3835:
3822:
3819:
3817:
3816:
3799:
3782:
3765:
3752:
3726:from music by
3715:
3680:
3671:
3654:
3637:
3620:
3611:
3602:
3585:
3576:
3563:
3550:
3530:tripatouillage
3517:
3500:
3469:
3465:baritone clefs
3456:
3445:
3429:
3411:
3402:
3381:
3372:
3349:
3332:
3315:
3299:
3271:
3262:
3241:
3228:
3207:
3198:
3156:
3147:
3134:
3125:
3112:
3086:
3077:
3068:
3059:
3045:
3036:
3023:
3014:
3005:
2985:
2976:
2963:
2954:
2945:
2923:
2914:
2897:
2884:
2855:
2843:
2834:
2825:
2816:
2769:Les Neuf Sœurs
2760:
2740:
2731:
2718:
2685:Henri Larrivée
2676:
2658:Étienne Lainez
2614:
2607:978-8804536468
2585:
2583:, pp. 165–171.
2567:
2553:
2528:
2524:978-0195170672
2498:
2478:
2469:
2445:
2436:
2434:Fétis, op.cit.
2422:
2413:
2394:
2392:
2389:
2386:
2385:
2382:
2371:
2366:
2362:
2361:
2358:
2353:
2348:
2344:
2343:
2340:
2337:
2332:
2328:
2327:
2324:
2322:Antonin Reicha
2319:
2314:
2310:
2309:
2306:
2301:
2296:
2292:
2291:
2288:
2283:
2278:
2274:
2273:
2270:
2265:
2260:
2256:
2255:
2252:
2243:
2238:
2234:
2233:
2230:
2225:
2220:
2216:
2215:
2212:
2209:
2204:
2200:
2199:
2196:
2193:
2190:Fernand Cortez
2186:
2182:
2181:
2178:
2175:
2172:La mort d'Adam
2168:
2164:
2163:
2160:
2157:
2150:
2146:
2145:
2142:
2136:
2131:
2127:
2126:
2123:
2118:
2113:
2109:
2108:
2105:
2100:
2093:
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2070:
2067:
2064:
2059:
2055:
2054:
2051:
2046:
2041:
2037:
2036:
2033:
2028:
2023:
2019:
2018:
2015:
2008:
2003:
1999:
1998:
1995:
1989:
1984:
1980:
1979:
1976:
1973:
1968:
1964:
1963:
1960:
1957:
1950:
1946:
1945:
1942:
1937:
1932:
1928:
1927:
1924:
1921:
1916:
1912:
1911:
1908:
1906:Bernardo Porta
1903:
1898:
1894:
1893:
1890:
1887:
1882:
1878:
1877:
1874:
1871:
1864:
1860:
1859:
1856:
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1848:
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1837:
1832:
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1657:
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1631:
1628:
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1620:
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1600:
1596:
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1571:
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1528:
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1508:
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1500:
1495:
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1480:
1477:
1472:
1468:
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1459:
1452:
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1444:
1441:
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1415:
1411:
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1407:
1404:
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1374:
1371:
1366:
1359:
1355:
1354:
1351:
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1328:
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1324:
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1310:
1309:
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1248:
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1233:
1229:
1228:
1225:
1220:
1213:
1209:
1208:
1205:
1202:
1197:
1193:
1192:
1189:
1186:
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1177:
1176:
1173:
1168:
1163:
1159:
1158:
1155:
1152:
1147:
1143:
1142:
1139:
1136:
1131:
1127:
1126:
1123:
1121:Nicolas Dezède
1118:
1113:
1109:
1108:
1105:
1100:
1097:La toison d'or
1093:
1089:
1088:
1085:
1080:
1075:
1071:
1070:
1067:
1062:
1057:
1053:
1052:
1049:
1044:
1039:
1035:
1034:
1028:
1027:
1024:
1021:
1018:
1007:
1004:
992:and Figaro in
982:and Cynire in
976:Œdipe à Colone
961:
938:
881:
878:
860:with music by
809:ultra-royalist
764:Giuditta Pasta
651:
582:
579:
563:Hôtel de Ville
431:
424:
421:
403:Étienne Lainez
398:Œdipe à Colone
365:Pierre Gaveaux
276:
273:
261:Menus-Plaisirs
202:acte de ballet
158:acte de ballet
147:
144:
89:
86:
84:
81:
23:
15:
13:
10:
9:
6:
4:
3:
2:
4038:
4027:
4024:
4022:
4019:
4017:
4014:
4012:
4009:
4007:
4004:
4002:
3999:
3997:
3994:
3992:
3989:
3987:
3984:
3983:
3981:
3972:
3970:
3965:
3963:
3962:0-313-24394-8
3959:
3955:
3952:Spire Pitou,
3951:
3949:
3945:
3941:
3940:
3932:
3929:
3925:
3921:
3917:
3911:
3908:
3904:
3900:
3894:
3891:
3887:
3880:
3878:
3874:
3870:
3869:
3864:
3863:Stanley Sadie
3860:
3856:
3853:
3850:
3846:
3842:
3836:
3833:
3829:
3825:
3824:
3820:
3813:
3812:Gallica – BNF
3809:
3803:
3800:
3796:
3792:
3786:
3783:
3779:
3775:
3769:
3766:
3762:
3761:op.cit. supra
3756:
3753:
3749:
3745:
3741:
3737:
3733:
3729:
3725:
3719:
3716:
3712:
3711:9780520234451
3708:
3704:
3700:
3696:
3692:
3691:
3684:
3681:
3675:
3672:
3668:
3667:Gallica – BNF
3664:
3658:
3655:
3651:
3647:
3641:
3638:
3634:
3630:
3624:
3621:
3615:
3612:
3606:
3603:
3599:
3598:Gallica – BNF
3595:
3589:
3586:
3580:
3577:
3573:
3567:
3564:
3560:
3554:
3551:
3547:
3546:Gallica – BNF
3543:
3539:
3535:
3531:
3527:
3521:
3518:
3514:
3513:Gallica – BNF
3510:
3504:
3501:
3497:
3493:
3489:
3488:
3483:
3479:
3473:
3470:
3466:
3460:
3457:
3454:
3449:
3446:
3442:
3438:
3433:
3430:
3426:
3422:
3415:
3412:
3406:
3403:
3399:
3395:
3391:
3385:
3382:
3376:
3373:
3369:
3365:
3364:
3359:
3353:
3350:
3346:
3342:
3336:
3333:
3329:
3325:
3319:
3316:
3312:
3308:
3303:
3300:
3296:
3292:
3288:
3284:
3283:
3275:
3272:
3266:
3263:
3259:
3255:
3251:
3245:
3242:
3238:
3232:
3229:
3225:
3219:
3211:
3208:
3202:
3199:
3195:
3191:
3187:
3183:
3179:
3175:
3171:
3167:
3160:
3157:
3151:
3148:
3144:
3138:
3135:
3129:
3126:
3122:
3116:
3113:
3109:
3106:
3101:
3096:
3090:
3087:
3081:
3078:
3072:
3069:
3063:
3060:
3055:
3049:
3046:
3040:
3037:
3033:
3027:
3024:
3018:
3015:
3009:
3006:
3002:
2998:
2989:
2986:
2980:
2977:
2973:
2972:Opéra-Comique
2967:
2964:
2958:
2955:
2949:
2946:
2942:
2938:
2934:
2933:Étienne Méhul
2927:
2924:
2918:
2915:
2911:
2907:
2901:
2898:
2894:
2888:
2885:
2881:
2877:
2872:
2868:
2859:
2856:
2850:
2848:
2844:
2838:
2835:
2829:
2826:
2820:
2817:
2813:
2809:
2805:
2799:
2794:
2790:
2786:
2782:
2778:
2774:
2770:
2764:
2761:
2757:
2753:
2744:
2741:
2735:
2732:
2728:
2722:
2719:
2715:
2711:
2707:
2703:
2702:Joseph Legros
2700:
2696:
2695:
2690:
2689:bass-baritone
2686:
2680:
2677:
2673:
2669:
2668:
2663:
2659:
2655:
2651:
2649:
2644:
2640:
2636:
2632:
2629:'s pastorale
2628:
2624:
2623:Joseph Legros
2618:
2615:
2608:
2604:
2600:
2596:
2589:
2586:
2582:
2576:
2574:
2572:
2568:
2564:
2557:
2554:
2550:
2546:
2542:
2538:
2532:
2529:
2525:
2521:
2517:
2516:
2511:
2507:
2502:
2499:
2495:
2491:
2487:
2482:
2479:
2473:
2470:
2466:
2462:
2459:
2455:
2454:La Provençale
2449:
2446:
2440:
2437:
2431:
2429:
2427:
2423:
2417:
2414:
2410:
2406:
2399:
2396:
2390:
2383:
2381:
2376:
2372:
2370:
2367:
2364:
2363:
2359:
2357:
2354:
2352:
2349:
2346:
2345:
2341:
2338:
2336:
2333:
2330:
2329:
2325:
2323:
2320:
2318:
2315:
2312:
2311:
2307:
2302:
2300:
2297:
2294:
2293:
2289:
2287:
2284:
2282:
2279:
2276:
2275:
2271:
2269:
2266:
2264:
2261:
2258:
2257:
2253:
2248:
2244:
2242:
2239:
2236:
2235:
2231:
2229:
2226:
2224:
2221:
2218:
2217:
2213:
2210:
2208:
2205:
2202:
2201:
2197:
2194:
2192:
2191:
2187:
2184:
2183:
2179:
2176:
2174:
2173:
2169:
2166:
2165:
2161:
2158:
2156:
2155:
2151:
2148:
2147:
2143:
2140:
2137:
2135:
2132:
2129:
2128:
2124:
2122:
2119:
2117:
2114:
2111:
2110:
2106:
2104:
2101:
2099:
2098:
2094:
2091:
2090:
2086:
2084:
2081:
2079:
2076:
2073:
2072:
2068:
2065:
2063:
2060:
2057:
2056:
2052:
2050:
2047:
2045:
2042:
2039:
2038:
2034:
2032:
2029:
2027:
2024:
2021:
2020:
2016:
2014:
2013:
2009:
2007:
2004:
2001:
2000:
1996:
1994:
1990:
1988:
1985:
1982:
1981:
1977:
1974:
1972:
1969:
1967:Young Horace
1966:
1965:
1961:
1958:
1956:
1955:
1951:
1948:
1947:
1943:
1941:
1938:
1936:
1933:
1930:
1929:
1925:
1923:André Gretry
1922:
1920:
1917:
1914:
1913:
1909:
1907:
1904:
1902:
1899:
1896:
1895:
1891:
1888:
1886:
1885:Toulon soumis
1883:
1880:
1879:
1875:
1872:
1870:
1869:
1865:
1862:
1861:
1857:
1854:
1852:
1849:
1846:
1845:
1841:
1838:
1836:
1833:
1830:
1829:
1825:
1822:
1819:
1817:
1814:
1811:
1810:
1806:
1804:
1803:Honoré Langlé
1801:
1799:
1796:
1793:
1792:
1788:
1786:
1783:
1781:
1778:
1775:
1774:
1770:
1768:
1765:
1763:
1760:
1757:
1756:
1752:
1749:
1747:
1744:
1741:
1740:
1736:
1733:
1731:
1728:
1725:
1724:
1720:
1717:
1715:
1714:
1710:
1707:
1706:
1702:
1699:
1697:
1696:Les prétendus
1694:
1691:
1690:
1686:
1684:André Grétry
1683:
1681:
1678:
1675:
1674:
1670:
1668:
1665:
1663:
1662:
1658:
1655:
1654:
1650:
1648:
1644:
1642:
1641:
1637:
1634:
1633:
1629:
1626:
1624:
1621:
1618:
1617:
1613:
1611:
1608:
1606:
1605:
1601:
1599:Young Horace
1598:
1597:
1593:
1591:
1588:
1586:
1583:
1580:
1579:
1575:
1572:
1570:
1569:
1565:
1562:
1561:
1557:
1554:
1552:
1551:
1547:
1544:
1543:
1539:
1537:André Grétry
1536:
1534:
1533:
1529:
1526:
1525:
1521:
1519:
1516:
1514:
1513:
1509:
1506:
1505:
1501:
1499:
1496:
1494:
1493:
1489:
1486:
1485:
1481:
1479:André Grétry
1478:
1476:
1473:
1470:
1469:
1465:
1463:
1460:
1458:
1457:
1453:
1450:
1449:
1445:
1443:André Grétry
1442:
1440:
1439:
1435:
1432:
1431:
1427:
1424:
1421:
1419:
1416:
1413:
1412:
1408:
1405:
1403:
1402:
1398:
1395:
1394:
1390:
1388:
1385:
1383:
1380:
1377:
1376:
1372:
1370:
1367:
1365:
1364:
1360:
1357:
1356:
1352:
1350:
1347:
1345:
1344:
1340:
1337:
1336:
1333:
1329:
1325:
1323:
1320:
1318:
1315:
1312:
1311:
1307:
1305:
1302:
1300:
1297:
1294:
1293:
1289:
1285:
1280:
1277:
1275:
1272:
1269:
1268:
1264:
1262:
1259:
1257:
1254:
1251:
1250:
1246:
1244:
1241:
1239:
1238:
1234:
1231:
1230:
1226:
1224:
1221:
1219:
1218:
1214:
1211:
1210:
1206:
1204:André Grétry
1203:
1201:
1198:
1195:
1194:
1190:
1188:André Gretry
1187:
1185:
1182:
1179:
1178:
1174:
1172:
1169:
1167:
1164:
1161:
1160:
1156:
1154:André Grétry
1153:
1151:
1148:
1145:
1144:
1140:
1137:
1135:
1132:
1129:
1128:
1124:
1122:
1119:
1117:
1114:
1111:
1110:
1106:
1104:
1101:
1099:
1098:
1094:
1091:
1090:
1086:
1084:
1081:
1079:
1076:
1073:
1072:
1068:
1066:
1063:
1061:
1058:
1055:
1054:
1050:
1048:
1045:
1043:
1040:
1037:
1036:
1033:
1029:
1025:
1022:
1019:
1016:
1015:
1012:
1006:Roles created
1005:
1003:
1001:
997:
996:
991:
990:
985:
981:
977:
967:
964:Spire Pitou,
960:
955:
947:
943:
937:
932:
930:
925:
923:
919:
915:
911:
907:
903:
902:Michael Kelly
899:
895:
891:
890:bass-baritone
887:
879:
877:
875:
871:
865:
863:
859:
855:
851:
850:
846:
845:opéra comique
842:
835:
830:
826:
821:
818:
813:
810:
806:
801:
799:
796:, a pupil of
795:
791:
787:
783:
779:
775:
774:
769:
765:
760:
759:opera house.
758:
754:
750:
746:
742:
738:
734:
730:
726:
725:
720:
716:
712:
708:
703:
699:
698:Low Countries
693:
691:
687:
683:
679:
675:
671:
667:
659:
655:
649:
645:
642:
638:
634:
630:
626:
621:
619:
614:
613:
608:
604:
600:
596:
592:
588:
580:
578:
576:
572:
568:
564:
560:
556:
552:
547:
542:
540:
533:
531:
527:
523:
519:
515:
510:
508:
503:
501:
497:
493:
489:
485:
481:
477:
473:
469:
465:
461:
460:
455:
451:
447:
446:Ancien Régime
439:
435:
429:
422:
420:
418:
417:
412:
408:
404:
400:
399:
394:
388:
383:
379:
374:
373:Opéra-Comique
370:
366:
362:
358:
353:
351:
347:
343:
342:Antoine Trial
339:
335:
331:
327:
321:
319:
315:
310:
306:
302:
297:
294:
290:
286:
282:
274:
272:
270:
265:
262:
258:
257:
252:
248:
243:
237:
232:
229:
225:
221:
216:
214:
210:
206:
203:
199:
198:
193:
189:
188:
183:
179:
175:
171:
167:
163:
162:La Provençale
160:
159:
154:
145:
143:
141:
140:
135:
131:
130:Enlightenment
127:
123:
119:
115:
111:
107:
103:
99:
95:
87:
82:
80:
78:
74:
70:
66:
61:
59:
55:
51:
47:
43:
39:
35:
31:
24:François Lays
21:
3966:
3953:
3938:
3928:Google Books
3923:
3902:
3885:
3866:
3858:
3849:Google Books
3844:
3832:Google Books
3827:
3807:
3802:
3790:
3785:
3773:
3768:
3760:
3755:
3742:, Philidor,
3718:
3702:
3688:
3683:
3674:
3662:
3657:
3645:
3640:
3628:
3623:
3614:
3605:
3593:
3588:
3579:
3571:
3566:
3553:
3541:
3538:Beaumarchais
3529:
3525:
3520:
3508:
3503:
3491:
3485:
3477:
3472:
3459:
3452:
3448:
3441:Google Books
3436:
3432:
3424:
3414:
3405:
3389:
3384:
3375:
3361:
3352:
3344:
3341:Le Rossignol
3340:
3335:
3323:
3318:
3306:
3302:
3290:
3282:The Creation
3280:
3274:
3265:
3253:
3244:
3236:
3231:
3224:Google Books
3218:Google Books
3210:
3201:
3194:Google Books
3189:
3185:
3177:
3173:
3166:surintendant
3165:
3159:
3150:
3137:
3128:
3120:
3115:
3098:
3089:
3080:
3071:
3062:
3053:
3048:
3039:
3026:
3017:
3008:
2996:
2988:
2979:
2966:
2957:
2948:
2936:
2926:
2917:
2905:
2900:
2887:
2880:Google Books
2875:
2866:
2858:
2837:
2828:
2819:
2811:
2803:
2785:Google Books
2780:
2776:
2763:
2751:
2743:
2734:
2726:
2721:
2708:kept at the
2699:haute-contre
2692:
2679:
2665:
2654:Google Books
2646:
2639:For-l'Évêque
2630:
2617:
2610:(in Italian)
2598:
2594:
2588:
2580:
2556:
2549:Google Books
2545:Google Books
2540:
2536:
2531:
2513:
2509:
2506:George Grove
2501:
2494:Google Books
2489:
2486:Castil-Blaze
2481:
2472:
2460:
2458:opéra-ballet
2453:
2448:
2439:
2416:
2398:
2368:
2350:
2334:
2316:
2298:
2281:Le rossignol
2280:
2262:
2240:
2227:
2222:
2206:
2188:
2170:
2152:
2133:
2115:
2095:
2077:
2061:
2048:
2043:
2025:
2010:
2005:
1986:
1970:
1952:
1934:
1918:
1900:
1884:
1866:
1850:
1847:Démosthènes
1834:
1815:
1797:
1779:
1761:
1745:
1729:
1711:
1695:
1679:
1676:Aristophane
1659:
1638:
1622:
1602:
1584:
1566:
1548:
1530:
1510:
1490:
1474:
1454:
1436:
1417:
1399:
1381:
1361:
1341:
1331:
1316:
1298:
1273:
1255:
1235:
1215:
1199:
1183:
1165:
1149:
1133:
1115:
1095:
1083:André Grétry
1077:
1059:
1041:
1031:
1009:
993:
987:
983:
979:
978:, Oreste in
975:
972:
965:
957:
952:
945:
934:
926:
921:
917:
897:
886:basse-taille
885:
883:
874:Loire valley
866:
857:
853:
847:
837:
832:
828:
823:
816:
802:
790:Le rossignol
789:
778:Le rossignol
777:
771:
761:
753:Valenciennes
737:Pierre Lafon
722:
711:Le rossignol
710:
701:
694:
689:
666:Le rossignol
665:
663:
654:Le rossignol
653:
632:
629:Hundred Days
622:
610:
594:
584:
575:Marie Louise
566:
548:
544:
538:
535:
530:Castil-Blaze
517:
511:
504:
479:
457:
443:
433:
414:
406:
396:
377:
369:Marseillaise
356:
354:
345:
322:
298:
293:Jacobin Club
279:A long-time
278:
266:
254:
228:haute-contre
217:
208:
204:
201:
195:
185:
177:
161:
156:
149:
146:Early career
137:
91:
77:Le rossignol
76:
68:
62:
33:
30:François Lay
29:
28:
3991:1831 deaths
3986:1758 births
3934:(in French)
3913:(in French)
3896:(in French)
3882:(in French)
3838:(in French)
3398:23 November
3394:20 November
3103: [
2993:(in French)
2893:comic tenor
2863:(in French)
2796: [
2748:(in French)
2465:opere buffe
2331:Colibrados
2241:L'Oriflamme
1971:Les Horaces
1881:A criminal
1762:Le portrait
1758:Le Sauvage
1604:Les Horaces
1396:A Scythian
1332:Other roles
1282: [
721:'s tragedy
641:Louis XVIII
581:Final years
492:Paul Barras
385: [
330:Robespierre
309:Montagnards
234: [
46:Paris Opéra
3980:Categories
3390:Bigarrures
2391:References
2277:Le bailli
2154:La vestale
2062:Mahomet II
1983:Chariclès
1949:Flaminius
1798:Corisandre
1507:Gandartès
1378:Le Bailli
1252:Aristippe
1217:Proserpine
1162:Praxitèle
1038:Pétrarque
1032:Lead roles
1017:Character
922:La Vestale
914:tenor clef
898:concordant
686:Strasbourg
612:La vestale
591:Talleyrand
3740:Paisiello
3561:(p. 318).
3524:Michaud,
3487:Démophoon
3324:Macedoine
2579:Quéruel,
2347:Béranger
2130:Licinius
2002:Bochoris
1726:Mathurin
1661:Démophoon
1635:Vellinus
1545:The king
1414:Florival
1358:Proténor
1270:Sophocle
1256:Aristippe
1232:Anacréon
1166:Praxitèle
1146:Anacréon
1112:Alcindor
1023:Composer
910:bass clef
870:Ingrandes
841:Boieldieu
805:Charles X
768:Meyerbeer
567:Trasibule
555:Tuileries
488:Directory
434:Aristippe
281:Freemason
134:Languedoc
110:baritenor
83:Biography
3736:Cimarosa
3574:(p. 49).
3526:op. cit.
3453:op. cit.
3237:op. cit.
2645:et al.,
2641:prison (
2627:La Borde
2595:Appendix
2365:Le cadi
2295:Bacchus
2259:Socrate
2228:pastiche
2185:Telasco
2112:Éliézar
2049:pastiche
2026:Tamerlan
2012:pastiche
1915:Le curé
1812:Lafleur
1794:Lourdis
1776:Atabila
1713:Démophon
1619:Thaddée
1581:Germond
1568:Dardanus
1563:Anténor
1487:Hidraot
1471:Myrtile
1274:Sophocle
1237:Anacréon
1196:Delphis
1116:Alcindor
1074:Panurge
962:—
939:—
918:Anacréon
894:baritone
618:Bourbons
607:Spontini
476:Panthéon
472:Voltaire
468:Mirabeau
393:Sacchini
305:Girondin
285:Rousseau
247:Brussels
240:and the
222:and the
192:Piccinni
118:Toulouse
79:(1816).
58:Napoleon
38:baritone
3865:(ed.),
3821:Sources
3559:Lajarte
3421:Emperor
3239:above).
2662:Salieri
2405:Occitan
2335:Zéloïde
2313:Voldik
2219:Kan-si
2092:Hidala
2074:Rustan
2022:Moctar
1831:Thomas
1708:Narbal
1680:Aspasie
1550:Chimène
1456:Électre
1451:Égiste
1295:Pélage
1212:Pluton
1130:Pollux
1056:Thésée
872:in the
834:family.
798:Rossini
745:Dunkirk
724:Athalie
633:Te Deum
603:Lesueur
599:Persuis
482:at the
470:'s and
462:at the
459:Te Deum
411:Salieri
338:Dugazon
102:Gascony
98:Bigorre
3960:
3946:
3875:
3748:Handel
3744:Gossec
3728:Mozart
3709:
3534:comedy
3001:Persée
2871:octavo
2781:online
2756:Persée
2667:Tarare
2605:
2522:
2203:Roger
2149:Cinna
2058:Morat
2040:David
1954:Adrien
1742:Mozès
1656:Astor
1585:Rosine
1527:Husca
1492:Renaud
1363:Persée
1313:Roger
1299:Pélage
1092:Jason
1020:Opera
1000:Mozart
735:; and
719:Racine
514:Grétry
454:Gossec
416:Tarare
73:Lebrun
65:Grétry
3861:, in
3732:Haydn
3695:Haydn
3496:IMSLP
3482:IMSLP
3287:Haydn
3188:, in
3107:]
3095:Collé
2800:]
2384:1822
2360:1818
2342:1818
2326:1816
2308:1816
2290:1816
2272:1814
2254:1814
2232:1813
2214:1812
2198:1809
2180:1809
2167:Seth
2162:1807
2144:1807
2125:1806
2107:1804
2087:1804
2069:1803
2053:1803
2035:1802
2017:1801
1997:1801
1978:1800
1962:1799
1944:1795
1926:1794
1910:1794
1892:1794
1876:1794
1858:1794
1842:1793
1826:1791
1807:1791
1789:1791
1771:1790
1753:1790
1737:1790
1721:1789
1703:1789
1687:1789
1671:1788
1651:1788
1630:1787
1614:1786
1594:1786
1576:1784
1558:1784
1540:1784
1522:1783
1502:1783
1482:1782
1466:1782
1446:1782
1428:1781
1409:1781
1391:1780
1373:1780
1353:1780
1326:1817
1308:1814
1290:1811
1286:]
1265:1808
1247:1803
1227:1803
1207:1803
1191:1801
1180:Mars
1175:1800
1157:1797
1141:1791
1125:1787
1107:1786
1087:1785
1069:1783
1051:1780
1026:Year
929:Fétis
788:. In
749:Lille
741:Brest
729:Talma
682:Nancy
522:buffo
389:]
334:Talma
238:]
182:Gluck
42:tenor
3958:ISBN
3944:ISBN
3918:and
3873:ISBN
3828:Lays
3746:and
3707:ISBN
3463:The
2603:ISBN
2520:ISBN
2378:and
2044:Saül
1780:Cora
1343:Atys
843:'s
757:Metz
623:The
601:and
340:and
242:bass
197:Atys
168:and
114:Auch
40:and
34:Lays
3536:by
3396:;
3285:by
2783:at
2775:in
2664:'s
2650:...
998:by
896:or
770:'s
668:by
656:by
609:'s
597:by
516:'s
436:by
413:'s
395:'s
194:'s
184:'s
176:'s
164:by
75:'s
67:'s
3982::
3922:,
3901:,
3857:,
3843:,
3814:).
3797:).
3780:).
3763:).
3738:,
3734:,
3730:,
3713:).
3669:).
3652:).
3635:).
3600:).
3548:).
3515:).
3498:).
3400:).
3370:).
3360:,
3330:).
3260:).
3252:,
3226:).
3220:);
3196:).
3105:fr
3097:,
2943:).
2912:).
2846:^
2798:fr
2758:).
2570:^
2565:).
2551:).
2508:,
2496:).
2488:,
2425:^
1823:)
1284:it
944:,
387:fr
363:,
352:.
336:,
320:.
236:it
215:.
3930:)
3909:)
3892:)
3851:)
3834:)
3750:.
3034:.
2612:.
2526:.
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