234:. The forces required for performing the work were so large, that both he and his teacher believed it needed a great conductor. Realizing that the situation improved their chances of a positive response, they approached Valentino, who, after inspecting the score, agreed to conduct, despite having serious doubts concerning the quality of the players and singers that he might have at his disposal. The performance was set for 28 December. Unfortunately, the general rehearsal, held the day before the scheduled concert, was a disaster: many of the amateur musicians engaged by the church failed to appear, and the instrumental parts, copied by the choirboys, were full of errors, so the premiere had to be postponed. Despite the problems, Valentino encouraged Berlioz to persevere and promised to conduct, if conditions could be improved. Berlioz revised his score, copied out the parts himself, and managed to obtain a loan, enabling him to hire the Paris Opera orchestra, augmented with the best players from the
20:
270:, but at one of the general rehearsals Spontini and Habeneck argued violently, and Valentino was asked to take over, replacing Habeneck as conductor in the further preparations for the performance of the opera. Pougin suggests that Habeneck likely developed a grudge against Valentino; that this was not without consequence several years later when Valentino chose to retire under pressure from management, and "it was precisely the rectitude and firmness of his character which became the cause, or at least the pretext, of his departure from the Opéra.” After the establishment of the
576:, whom Wagner consulted, promised four, if Wagner would re-write the parts, although only two of these players were considered satisfactory. At the rehearsal Wagner found they were unable to play soft high notes without "cracking". Furthermore, Valentino and the rest of the orchestra made it clear they found the work "crazy". Perhaps unsurprisingly, the performance was a failure, and Wagner blamed the trumpets, although he also hints that the audience may have been bored by the piece. According to the German painter and historian
1036:: "Doué d'un talent à la fois énergique et souple, soigneux des moindres détails, sachant inspirer la confiance et le respect à tous ceux qui étaient placés sous ses ordres, il excitait non-seulement l'admiration du public, mais celle de tous les artistes du chant, de la danse, des choeurs et de l'orchestre. D'autre part, sa nature bienveillante et droite, son caractère ferme et juste lui conciliaient les sympathies générales et lui donnaient une grande autorité morale."
459:
together and then make them dance during the performance. The disadvantage of all this, however, was that M. Valentino, the conductor, had a strong sense of discipline. Offenbach's salary was eighty-three francs a month, and for disciplinary reasons and also, perhaps, for educative ones, Valentino would fine the culprit for each offense. Offenbach regarded boredom as the greater evil, so his salary often shrank to an alarming degree.
90:, who wanted his son to become a soldier, but Henri exhibited such a great talent for music, he was allowed to pursue that instead. At twelve he was playing violin in the local theatre (probably in Lille), and at fourteen was asked to substitute for a conductor on short notice, thereafter mainly dedicating himself to conducting. Later he conducted in
122:" in August. The decree did not take effect until Kreutzer's resignation on 1 December 1824, "when the two deputies had long been exercising the function of conductor in turn." Each of them was responsible for different new productions, that is, the conducting of the rehearsals and performances needed to bring a new work before the public.
194:
Gifted with a talent at once energetic and supple, meticulous of small details, capably inspiring the confidence and respect of all who were placed under him, he excited not only the admiration of the public, but that of the singers, dancers, choristers, and orchestral players. Moreover, his kindly
458:
In order to make life a little brighter, he started indulging in practical jokes, in which
Seligmann occasionally joined him. For instance, instead of following the score as they should have done, each would play alternate notes; or Offenbach would secretly tie several chairs and music stands
626:, director of the Paris Opera, offered him 15,000 francs per year to succeed the ailing Habeneck as the conductor of the Opera orchestra, but he declined. Valentino, who had remarried, continued living in obscurity with family and friends in Versailles, and he died there in 1865.
279:, who assumed this responsibility, needed to reduce expenditures and decided to lower the salaries of the weaker members of the orchestra. Valentino, unwilling to subscribe to a measure he considered unfair, decided to take advantage of an offer to become chief conductor of the
118:, who had been a deputy conductor since 1816, was named chief conductor in January 1820. Valentino was appointed deputy conductor under Kreutzer on 1 April. Valentino was "rewarded with the reversion of the title of first conductor conjointly with
512:
and
Dufresne. The concerts were popular, but the orchestra was always close to insolvency. The 1839 season was cut short, and the final concert was in April 1841. (The series was shut down by order of the government, according to the
274:
in 1830, the administration of the Opera was radically changed: on 1 March 1831, it ceased being an enterprise of the state and was entrusted to a director/entrepreneur, who was to run it "at his own risks, perils, and fortune".
484:(conducted by Habeneck) and to expand the audience for "high-class" instrumental music. Known as the Concerts de la rue Saint-Honoré and as the Concerts Valentino, the programs combined instrumental pieces by
245:, and was designated Plantade's heir apparent. Valentino never was able to take advantage of this privilege, however, since Plantade was still the First Conductor, when the monarchy was overthrown by the
610:
writes: "It was inevitable that many readers of the article should regard it as coming from , and it is impossible to avoid the conclusion that Wagner maliciously intended to create that impression".
881:
Manuscript letter (Paris, 2 April 1827) with the autograph signature of
Rossini, addressed to "Monsieur Valentino, Directeur de l'Orchestre de l'Academie R. de musique", thanking him for conducting
454:, in his biography of Offenbach, recounts an unverifiable anecdote concerning the latter's shenanigans, arising from his boredom with having to repeat the same repertory night after night:
1417:
944:
Manuscript letter with
Rossini's autograph signature from Rossini to Valentino (Paris, 9 August 1829), thanking Valentino for preparing and conducting the orchestra (
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1596:
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1396:
291:
Valentino officially became First
Conductor of the Opéra-Comique on 1 October 1832. Among the premieres he conducted for the company are the following works:
1907:
1902:
1897:
235:
1064:: "C'est précisément la droiture el fermeté de son caractère qui devinrent la cause, ou tout au moins le prétexte, de son départ de l'Opéra."
549:
On 4 February 1841, as part of the
Concerts on the rue Saint-Honoré, Valentino conducted an all German program, which began with Wagner's
1466:
426:
19:
1892:
587:, the overture was hissed. During Wagner's two-and-a-half-year stay in Paris, this was the only work of his that he heard performed.
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1779:
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1609:
1558:
1538:
1502:
1387:
1379:
1225:, p. 32, repeats the portion of this story having to do with Offenbach and Seligmann playing alternate notes and quotes
727:, p. 312. Persuis held the post of First Conductor from 1810 to 1819. In April 1817, Persuis also took on the duties of
872:, p. 619, states that Valentino conducted the premiere of the original version on 22 December 1819, possibly an error.
606:
in Paris on 7 January 1842. Although the article was written by Wagner, it was signed "H. Valentino". Wagner's biographer
592:
481:
231:
107:
1234:
1755:
Les
Cancans de l'Opéra. Chroniques de l'Académie Royale de Musique et du théâtre, à Paris sous les deux restorations
226:
1442:
L'Académie impériale de musique: histoire littéraire, musicale, politique et galante de ce théâtre, de 1645 à 1855
515:
412:
213:
195:
nature and integrity, his firmness and fair-mindedness won him general favor and gave him great moral authority.
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856:
Autograph letter from
Spontini to Valentino (Paris, 1 March 1826), thanking him for conducting the orchestra (
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246:
598:
242:
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had held concerts of dance music and masked balls. Valentino's intent was to offer an alternative to the
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472:, but the following year, on 15 October 1837, he inaugurated a concert series in a hall at 247–251
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Among the premieres conducted by
Valentino at the Paris Opera are the following works:
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Biographie universelle des musiciens et
Bibliographie générale de la musique par
563:
241:
In 1824 Valentino was made the Chapel Royale orchestra's Second Conductor, under
238:. The performance, conducted by Valentino on 10 June, was an undisputed success.
519:.) Afterwards the hall was used as a ballroom, but was still referred to as the
111:
47:
43:
1789:
Dictionnaire des théâtres parisiens au XIXe siècle: les théâtres et la musique
573:
497:
87:
1533:(in German). Amsterdam: Allert de Lange (1937). New York: Zone Books (2002).
554:
493:
336:
35:
1832:
1696:
1672:
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1510:
257:
1828:
569:
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447:
430:, "on all these popular works bestowed a care, zeal, and attention to
262:
130:
468:
Valentino retired from the Opéra-Comique on 1 April 1836 and moved to
489:
208:
Late in 1824, Valentino had applied for the post of conductor at the
819:, p. 312 (Kreutzer's exact retirement date of 1 December 1824).
618:
After the demise of the Concerts Saint-Honoré, Valentino retired to
496:, as well as turn-of-the-century French composers. There were also
212:, where he was already a violinist. The co-director of the Chapel,
731:, which he held until 13 November 1819, when it was taken over by
485:
296:
91:
83:
18:
46:, where he prepared and conducted the premieres of the first two
665:
663:
533:
In 1839 Valentino went to London, where he gave concerts at the
103:
1774:. New York: Knopf (1968). New York: Limelight Editions (1987).
312:, 3-act opéra-comique by Ferdinand Hérold, 15 December 1832
729:
Régisseur général de la scène et du personnel des artistes
779:("after the death of Persuis, that is to say, in 1820");
1374:. Berkeley, California: University of California Press.
1301:
1299:
1297:
1295:
972:. Some authors have credited Habeneck as the conductor:
1699:. 1976 reprint: Cambridge: Cambridge University Press.
1462:"Valentino, Henri Justin Armand Joseph", vol. 4, p. 214
748:
110:, who at that time was also the chief conductor of the
1553:. Cambridge, Massachusetts: Harvard University Press.
1372:
Berlioz. Volume One. The Making of an Artist 1803–1832
1117:
1115:
688:
686:
684:
682:
680:
678:
416:, 3-act opéra-comique by Adolphe Adam, 13 October 1836
402:, 1-act opéra-comique by Daniel Auber, 23 January 1836
190:
describes Valentino as a conductor of the first rank:
1529:, translated by Gwenda David and Eric Mosbacher from
827:
825:
897:
is a heavily revised French adaptation of Rossini's
424:, in his article on Valentino in the 1889 volume of
82:
He was born Henri-Justin-Armand-Joseph Valentino in
1076:, p. 306: "à ses risques, périls et fortune" (
408:, 3-act opéra-comique by Daniel Auber, 9 April 1836
62:. From 1832 to 1836, he was First Conductor of the
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969:
927:. Other sources credit Habeneck as the conductor:
924:
669:
646:
1098:
1096:
1094:
1092:
1090:
1088:
1086:
114:Orchestra. Persuis died on 20 December 1819, and
30:(14 October 1785 – 28 January 1865) was a French
1716:, 2nd edition. Oxford: Oxford University Press.
1571:"Valentino (Henri-Justin-Armand-Joseph)", p. 739
442:In Valentino's final year at the Opéra-Comique,
38:. From 1824 to 1832, he was co-conductor (with
1689:The Life of Richard Wagner. Volume I: 1813–1848
1652:The New Grove Dictionary of Music and Musicians
1597:The New Grove Dictionary of Music and Musicians
1490:The New Grove Dictionary of Music and Musicians
868:(as a "new" work), but does not give the date.
1757:(2 volumes, in French). Paris: CNRS Editions.
1734:"Valentino (Henri-Justin-Joseph)", pp. 597–598
946:BnF catalogue général - Notice bibliographique
887:BnF catalogue général - Notice bibliographique
858:BnF catalogue général - Notice bibliographique
106:, Valentino married the niece of the composer
590:On 28 December 1841, an article in Leipzig's
572:players, which the orchestra did not have. A
8:
949:
649:, the exact date of his death is uncertain.
1575:Grand dictionnaire universel du XIXe siècle
1531:Jacques Offenbach und das Paris seiner Zeit
1527:Jacques Offenbach and the Paris of His Time
553:overture. This work, composed 1834–1835 in
70:at the Concerts Valentino in a hall on the
1483:Cooper, Jeffrey; Ellis, Katharine (2001).
1770:Weinstock, Herbert (1968; reprint 1987).
985:
981:
977:
932:
803:, sharing with Habeneck, in August 1820).
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1823:. Paris: Deposé au journal L'Entr'acte
1485:"Valentino, Henri Justin Armand Joseph"
1246:
1194:
1178:
1162:
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1021:
1005:
989:
965:
920:
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176:, 2-act opera by Auber, 13 October 1830
170:, 4-act opera by Rossini, 3 August 1829
1819:Wolff, Stéphane (1962; reprint 1983).
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182:, 3-act opera by Auber, 1 October 1832
66:, and from 1837 to 1841, conductor of
1821:L'Opéra au Palais Garnier (1875–1962)
973:
928:
7:
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724:
1467:A Dictionary of Music and Musicians
1428:. L'Almanacco di Gherardo Casaglia
1407:. L'Almanacco di Gherardo Casaglia
1222:
1206:
602:, which was to be premiered at the
427:A Dictionary of Music and Musicians
180:Le serment, ou Les faux-monnayeurst
134:, 3-act opera (revised version) by
1908:19th-century French male musicians
1631:Offenbach: sa vie & son oeuvre
14:
1791:. Paris: Aux Amateurs de livres.
801:chef d'orchestre adjoint en titre
799:, p. 312 (Valentino becomes
540:
420:According to the music historian
86:. His father was an Italian army
1903:French people of Italian descent
1470:, 4 volumes. London: Macmillan.
1080:du directeur, 28 February 1831).
1744:, vol. 2. Paris: Firmin-Didot.
1647:"Persuis, Louis-Luc Loiseau de"
1444:, vol. 2. Paris: Castil-Blaze.
1249:, p. 619. See also the article
657:give 1787 as his year of birth.
568:, called for six accomplished
1898:French male conductors (music)
775:, p. 312 (1 April 1820);
557:for a play by Wagner's friend
382:by Daniel Auber, 23 March 1835
253:Departure from the Paris Opera
16:French conductor and violinist
1:
1691:. New York: Alfred A. Knopf.
482:Concerts of the Conservatoire
232:Church of Saint-Roch in Paris
1753:Tamvaco, Jean-Louis (2000).
1592:"Habeneck, François-Antoine"
749:Mongrédien & Quetin 2001
108:Louis-Luc Loiseau de Persuis
1813:20954302 (all editions)
1714:Rossini: His Life and Works
266:was initially rehearsed by
186:The French music historian
1924:
1742:. Supplément et complément
1645:; Quetin, Laurine (2001).
1525:(1937; translation 2002).
1416:Casaglia, Gherardo (2005).
1395:Casaglia, Gherardo (2005).
1133:All were performed at the
843:All were performed at the
593:Neue Zeitschrift fĂĽr Musik
1893:French conductors (music)
1855:(in French). : Galimard.
1835:. Paris: Slatkine (1983)
1712:Osborne, Richard (2007).
1655:, 2nd edition, edited by
1600:, 2nd edition, edited by
1493:, 2nd edition, edited by
1233:, who describes it as a "
1141:, which was given at the
864:says Valentino conducted
516:Revue et Gazette musicale
413:Le postillon de Lonjumeau
390:, 3-act opéra-comique by
340:, 1-act opéra-comique by
328:, 4-act opéra-comique by
318:, 3-act opéra-comique by
300:, 3-act opéra-comique by
1679:(subscription required).
1629:Martinet, André (1887).
1624:(subscription required).
1590:Macdonald, Hugh (2001).
1517:(subscription required).
1253:in the French Knowledge.
1197:, p. 654, note 115.
1271:Cooper & Ellis 2001
1181:, p. 615, note 58.
1165:, p. 591, note 19.
970:Cooper & Ellis 2001
925:Cooper & Ellis 2001
783:gives the date as 1818.
670:Cooper & Ellis 2001
647:Cooper & Ellis 2001
510:Charles-Alexandre Fessy
247:July Revolution of 1830
216:, had a young student,
23:Henri Valentino in 1836
1370:Cairns, David (1999).
461:
243:Charles-Henri Plantade
220:, who was composing a
214:Jean-François Le Sueur
197:
174:Le dieu et la bayadère
24:
1787:Wild, Nicole (1989).
1659:. London: Macmillan.
1604:. London: Macmillan.
1497:. London: Macmillan.
456:
316:Le prison d'Édimbourg
192:
78:Early life and career
22:
1772:Rossini: A Biography
1420:La muette de Portici
1048:, pp. 164–166;
968:, pp. 56, 619;
923:, pp. 87, 619;
535:Crown and Anchor Inn
434:beyond all praise."
406:Les chaperons blancs
356:Carl Maria von Weber
287:At the Opéra-Comique
230:), intended for the
155:La muette de Portici
53:La muette de Portici
1677:Oxford Music Online
1622:Oxford Music Online
1523:Kracauer, Siegfried
1515:Oxford Music Online
1024:, pp. 71, 619.
1008:, pp. 59, 619.
596:attacked Rossini's
373:Le cheval de bronze
344:, 25 September 1834
1577:, vol. 15. Paris.
1221:, pp. 44–45.
1135:Salle de la Bourse
1078:cahier des charges
1052:, pp. 36, 612
464:Concerts Valentino
452:Siegfried Kracauer
450:in the orchestra.
394:, 16 December 1835
368:), 15 January 1835
162:, 29 February 1828
138:, 27 February 1826
98:At the Paris Opera
25:
1853:Jacques Offenbach
1675:(eBook). Also at
1620:(eBook). Also at
1513:(eBook). Also at
1458:Chouquet, Gustave
1426:29 February 1828"
1287:p. 806 (Appendix)
950:Castil-Blaze 1855
845:Salle Le Peletier
444:Jacques Offenbach
309:Le pré aux clercs
268:François Habeneck
158:, 5-act opera by
148:Gioachino Rossini
146:, 4-act opera by
116:Rodolphe Kreutzer
40:François Habeneck
1915:
1864:
1849:Yon, Jean-Claude
1844:
1815:
1783:
1766:
1749:
1748:at Google Books.
1725:
1708:
1680:
1643:Mongrédien, Jean
1638:
1637:at Google Books.
1633:. Paris: Dentu.
1625:
1586:
1583:Internet Archive
1567:Larousse, Pierre
1562:
1547:Holoman, D. Kern
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474:rue Saint-Honoré
422:Gustave Chouquet
392:Fromental Halévy
352:opéra romantique
302:Ferdinand HĂ©rold
227:Messe solennelle
202:Messe solennelle
200:Premiere of the
136:Gaspare Spontini
72:rue Saint-Honoré
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645:. According to
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604:Salle Ventadour
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578:Friedrich Pecht
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521:Salle Valentino
478:Philippe Musard
466:
440:
289:
260:'s 3-act opera
255:
236:Théâtre-Italien
206:
150:, 26 March 1827
100:
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68:classical music
28:Henri Valentino
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1869:External links
1867:
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1730:Pougin, Arthur
1726:
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1685:Newman, Ernest
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1543:
1519:
1480:
1454:
1434:
1413:
1405:3 August 1829"
1399:Guillaume Tell
1392:
1365:
1362:
1359:
1358:
1356:, p. 383.
1346:
1344:, p. 283.
1334:
1332:, p. 285.
1322:
1320:, p. 177.
1310:
1308:, p. 284.
1291:
1275:
1255:
1239:
1211:
1199:
1183:
1167:
1147:
1126:
1124:, p. 332.
1111:
1082:
1066:
1054:
1038:
1026:
1010:
994:
992:, p. 110.
986:Casaglia 2005a
982:Macdonald 2001
978:Weinstock 1968
937:
933:Casaglia 2005b
905:
900:Mosè in Egitto
874:
849:
836:
821:
805:
785:
765:
763:, p. 312.
753:
741:
717:
697:
674:
659:
634:
633:
631:
628:
615:
612:
546:
539:
465:
462:
439:
436:
418:
417:
409:
403:
395:
383:
369:
361:Der FreischĂĽtz
348:Robin des bois
345:
333:
323:
322:, 20 July 1833
320:Michele Carafa
313:
305:
288:
285:
254:
251:
218:Hector Berlioz
205:
198:
184:
183:
177:
171:
167:Guillaume Tell
163:
151:
139:
99:
96:
79:
76:
59:Guillaume Tell
56:and Rossini's
15:
13:
10:
9:
6:
4:
3:
2:
1920:
1909:
1906:
1904:
1901:
1899:
1896:
1894:
1891:
1889:
1886:
1884:
1881:
1880:
1878:
1868:
1862:
1861:9782070747757
1858:
1854:
1850:
1846:
1842:
1841:9782050002142
1838:
1834:
1830:
1826:
1822:
1817:
1814:
1810:
1807:(paperback).
1806:
1805:9782905053800
1802:
1798:
1797:9780828825863
1794:
1790:
1785:
1781:
1780:9780879100711
1777:
1773:
1768:
1764:
1763:9782271056856
1760:
1756:
1751:
1747:
1743:
1741:
1735:
1731:
1727:
1723:
1722:9780195181296
1719:
1715:
1710:
1706:
1705:9780521290944
1702:
1698:
1694:
1690:
1686:
1682:
1678:
1674:
1670:
1667:(hardcover).
1666:
1665:9781561592395
1662:
1658:
1657:Stanley Sadie
1654:
1653:
1648:
1644:
1640:
1636:
1632:
1627:
1623:
1619:
1615:
1612:(hardcover).
1611:
1610:9781561592395
1607:
1603:
1602:Stanley Sadie
1599:
1598:
1593:
1588:
1584:
1580:
1576:
1572:
1568:
1564:
1560:
1559:9780674067783
1556:
1552:
1548:
1544:
1540:
1539:9781890951306
1536:
1532:
1528:
1524:
1520:
1516:
1512:
1508:
1505:(hardcover).
1504:
1503:9781561592395
1500:
1496:
1495:Stanley Sadie
1492:
1491:
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1481:
1477:
1473:
1469:
1468:
1463:
1459:
1455:
1451:
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1439:
1435:
1427:
1421:
1414:
1406:
1400:
1393:
1389:
1388:9780520240568
1385:
1382:(hardcover).
1381:
1380:9780713993851
1377:
1373:
1368:
1367:
1363:
1355:
1350:
1347:
1343:
1338:
1335:
1331:
1326:
1323:
1319:
1314:
1311:
1307:
1302:
1300:
1298:
1296:
1292:
1288:
1284:
1283:Chouquet 1889
1279:
1276:
1272:
1268:
1267:Chouquet 1889
1264:
1263:Larousse 1876
1259:
1256:
1252:
1251:Bal Valentino
1248:
1243:
1240:
1236:
1232:
1228:
1227:Martinet 1887
1224:
1220:
1219:Kracauer 1937
1215:
1212:
1209:, p. 32.
1208:
1203:
1200:
1196:
1192:
1187:
1184:
1180:
1176:
1171:
1168:
1164:
1160:
1159:Chouquet 1889
1156:
1151:
1148:
1144:
1140:
1137:, except for
1136:
1130:
1127:
1123:
1118:
1116:
1112:
1108:
1107:Chouquet 1889
1104:
1099:
1097:
1095:
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1089:
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1067:
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1027:
1023:
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1007:
1003:
998:
995:
991:
987:
983:
979:
975:
971:
967:
963:
962:Chouquet 1889
959:
955:
951:
947:
941:
938:
934:
930:
926:
922:
918:
917:Chouquet 1889
914:
909:
906:
902:
901:
896:
892:
891:Chouquet 1889
888:
884:
878:
875:
871:
867:
863:
859:
853:
850:
846:
840:
837:
833:
828:
826:
822:
818:
814:
813:Chouquet 1889
809:
806:
802:
798:
794:
793:Chouquet 1889
789:
786:
782:
781:Chouquet 1889
778:
774:
769:
766:
762:
757:
754:
750:
745:
742:
738:
734:
730:
726:
721:
718:
714:
713:Chouquet 1889
710:
706:
705:Larousse 1876
701:
698:
694:
693:Chouquet 1889
689:
687:
685:
683:
681:
679:
675:
671:
666:
664:
660:
656:
655:Larousse 1876
652:
651:Chouquet 1889
648:
644:
639:
636:
629:
627:
625:
621:
613:
611:
609:
608:Ernest Newman
605:
601:
600:
595:
594:
588:
584:
579:
575:
571:
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560:
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552:
544:
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407:
404:
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396:
393:
389:
388:
384:
381:
380:
375:
374:
370:
367:
364:, adapted by
363:
362:
357:
353:
349:
346:
343:
339:
338:
334:
332:, 24 May 1834
331:
327:
324:
321:
317:
314:
311:
310:
306:
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299:
298:
294:
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292:
286:
284:
282:
281:Opéra-Comique
278:
273:
272:July Monarchy
269:
265:
264:
259:
252:
250:
248:
244:
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237:
233:
229:
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210:Chapel Royale
203:
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188:Arthur Pougin
181:
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109:
105:
97:
95:
93:
89:
85:
77:
75:
73:
69:
65:
64:Opéra-Comique
61:
60:
55:
54:
49:
45:
41:
37:
33:
29:
21:
1852:
1820:
1788:
1771:
1754:
1737:
1713:
1688:
1650:
1630:
1595:
1574:
1550:
1530:
1526:
1488:
1476:Google Books
1465:
1450:Google Books
1441:
1438:Castil-Blaze
1430:(in Italian)
1419:
1409:(in Italian)
1398:
1390:(paperback).
1371:
1364:Bibliography
1349:
1337:
1325:
1313:
1278:
1258:
1247:Tamvaco 2000
1242:
1235:steeplechase
1214:
1202:
1195:Tamvaco 2000
1186:
1179:Tamvaco 2000
1170:
1163:Tamvaco 2000
1150:
1138:
1129:
1077:
1069:
1057:
1050:Holoman 1989
1041:
1029:
1022:Tamvaco 2000
1013:
1006:Tamvaco 2000
997:
990:Osborne 2007
966:Tamvaco 2000
940:
921:Tamvaco 2000
908:
898:
894:
882:
877:
870:Tamvaco 2000
865:
852:
839:
808:
800:
788:
768:
756:
744:
728:
720:
700:
638:
617:
599:Stabat Mater
597:
591:
589:
559:Theodor Apel
550:
548:
542:
532:
514:
508:directed by
506:contredances
467:
457:
441:
431:
425:
419:
411:
405:
397:
385:
379:opéra-féerie
377:
371:
366:Castil-Blaze
359:
351:
347:
342:Adolphe Adam
335:
330:Daniel Auber
325:
315:
307:
304:, 3 May 1831
295:
290:
261:
256:
240:
225:
207:
201:
193:
185:
179:
173:
165:
160:Daniel Auber
153:
141:
129:
124:
101:
81:
57:
51:
48:grand operas
27:
26:
1888:1865 deaths
1883:1785 births
1740:F.-J. FĂ©tis
1354:Newman 1937
1342:Newman 1937
1330:Newman 1937
1318:Newman 1937
1306:Newman 1937
1191:Pougin 1880
1175:Pougin 1880
1155:Pougin 1880
1103:Pougin 1880
1062:Pougin 1880
1046:Cairns 1999
1034:Pougin 1880
1018:Pougin 1880
1002:Pougin 1880
958:Pougin 1880
913:Pougin 1880
862:Pougin 1880
832:Pougin 1880
777:Pougin 1880
709:Pougin 1880
643:Pougin 1880
624:LĂ©on Pillet
581: [
562: [
524: [
277:Louis VĂ©ron
112:Paris Opera
102:In 1813 in
44:Paris Opera
1877:Categories
1746:Title page
1635:Title page
1579:Title page
1472:Title page
1446:Title page
974:Wolff 1962
929:Wolff 1962
622:. In 1846
620:Versailles
614:Later life
574:cornettist
498:quadrilles
204:by Berlioz
88:pharmacist
74:in Paris.
50:, Auber's
1833:460748195
1697:656734480
1673:419285866
1618:419285866
1569:(1876). "
1511:419285866
1122:Wild 1989
1074:Wild 1989
817:Wild 1989
815:(quote);
797:Wild 1989
795:(quote);
773:Wild 1989
761:Wild 1989
737:Wild 1989
725:Wild 1989
555:Magdeburg
541:Wagner's
494:Beethoven
470:Chantilly
446:became a
438:Offenbach
337:Le chalet
42:) of the
36:violinist
32:conductor
1851:(2000).
1732:(1880).
1687:(1937).
1549:(1989).
1460:(1889).
1440:(1855).
1223:Yon 2000
1207:Yon 2000
551:Columbus
545:overture
543:Columbus
387:L'Ă©clair
376:, 3-act
350:, 3-act
258:Spontini
120:Habeneck
1829:7068320
1551:Berlioz
1231:pp. 4–5
866:Olimpie
570:trumpet
502:waltzes
448:cellist
432:nuances
326:Lestocq
263:Olympie
131:Olympie
1859:
1839:
1827:
1811:
1803:
1795:
1778:
1761:
1720:
1703:
1695:
1671:
1663:
1616:
1608:
1557:
1537:
1509:
1501:
1424:
1403:
1386:
1378:
954:p. 211
504:, and
492:, and
490:Mozart
399:Actéon
1736:, in
1573:, in
1464:, in
1139:Zampa
895:MoĂŻse
883:MoĂŻse
630:Notes
585:]
566:]
528:]
486:Haydn
297:Zampa
224:(his
143:MoĂŻse
92:Rouen
84:Lille
34:and
1857:ISBN
1837:ISBN
1825:OCLC
1809:OCLC
1801:ISBN
1793:ISBN
1776:ISBN
1759:ISBN
1718:ISBN
1701:ISBN
1693:OCLC
1669:OCLC
1661:ISBN
1614:OCLC
1606:ISBN
1555:ISBN
1535:ISBN
1507:OCLC
1499:ISBN
1384:ISBN
1376:ISBN
653:and
222:mass
104:Metz
1649:in
1594:in
1581:at
1487:in
1474:at
1448:at
948:);
889:);
860:).
354:by
1879::
1831:,
1799:.
1294:^
1285:,
1269:;
1265:;
1229:,
1193:;
1177:;
1161:;
1157:;
1114:^
1105:;
1085:^
1020:;
1004:;
988:;
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964:;
960:;
956:;
952:,
919:;
915:;
893:.
824:^
711:;
707:;
677:^
662:^
583:de
564:de
537:.
530:.
526:fr
500:,
488:,
283:.
249:.
94:.
1863:.
1843:.
1782:.
1765:.
1724:.
1707:.
1585:.
1561:.
1541:.
1478:.
1452:.
1432:.
1422:,
1418:"
1411:.
1401:,
1397:"
1289:.
1273:.
1145:.
1109:.
935:.
903:.
885:(
847:.
834:.
751:.
735:(
715:.
695:.
672:.
358:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
