France: Musiques, Cultures, 1789-1918 – Descriptions and Links

This page provides descriptions of FMC text collections (listed below), and links to FMC additional resources and work in progress (opens in new window).

FMC Collection Descriptions

Content is accessed via the ‘Search Collections’ tab, above.

FMC Collection 1: Blaze de Bury: Writings on Music in the Revue des deux mondes (186 files)
Contains all essays and reviews written by Ange-Henri Blaze (Blaze de Bury) in the Revue des deux mondes between 1833 and 1884. This constitutes the author’s entire musicographical output with the exception of the texts that appeared in Le ménestrel between 25 December 1864 and 4 June 1865 (although the last three of these were reprinted from the Revue des deux mondes and were reprinted in his Meyerbeer et son temps (Paris: Lévy, 1865)). A small number were reprinted with significant changes in some cases in his Musiciens contemporains (Paris: Lévy, 1856) and in his Musiciens du passé, du présent et de l’avenir (Paris: Lévy, 1880). The edition was prepared by Aurélie Branger (Paris) and Daniel Trocmé-Latter (University of Southampton) under the direction of Mark Everist (University of Southampton), and was supported by a grant from the Arts and Humanities Research Council (AH/E002668/1).

FMC Collection 2: Massenet, La Navarraise, Paris premiere. Dossier de presse (31 files)
A collection of reviews from daily papers from across the political spectrum, immediately following the Paris premiere of Massenet’s opera La Navarraise in 1895. Also includes artistic journals in which operatic criticism is regularly found. The musical periodical press is not (yet) included. The edition was prepared by Rachel Moore (Royal Holloway, University of London) under the direction of Clair Rowden (Cardiff University) and was supported by a SAS Initiatives grant.

FMC Collection 3: Mascagni, Cavalleria rusticana, Paris premiere. Dossier de presse (34 files)
A collection of reviews from daily papers from across the political spectrum, immediately following the Paris premiere of Mascagni’s opera Cavalleria rusticana in 1892. Also includes artistic journals in which operatic criticism is regularly found. The musical periodical press is not (yet) included. The edition was prepared by Rachel Moore (Royal Holloway, University of London) under the direction of Clair Rowden (Cardiff University) and was supported by a SAS Initiatives grant.

FMC Collection 4: Meyerbeer Centenary Celebrations, Paris 1891 (40 files)
The centenary of the birth of Giacomo Meyerbeer took place at the Paris Opéra in November 1891 to a packed audience including the ‘tout Paris’ of opera premieres, the President of the Republic and members of Meyerbeer’s family. Reviews included here are chiefly from the daily papers, illustrated press and the musical press. Also included is an extract from a pamphlet by Albert Soubies & Charles Malherbe which although not written directly in response to the centenary, touches on the same issue as the reviews: a reassessment of Meyerbeer at the end of the century. The edition was prepared by Julia Lu (Royal Holloway, University of London) under the direction of Kerry Murphy (University of Melbourne), and was supported by a SAS Initiatives grant.

FMC Collection 5: Le Tannhauser in Paris, 1861 (81 files)
Contains reports, reviews and polemics associated with the Paris premiere of Richard Wagner’s opera Tannhauser in March 1861. Material comes from daily papers from across the political spectrum, music periodicals, and weekly and monthly publications. For more information on the collection, see Tannhauser in Paris. The edition was prepared by William Gibbons (University of North Carolina, Chapel Hill), under the direction of Annegret Fauser (University of North Carolina, Chapel Hill), and supported by a SAS Initiatives grant.

FMC Collection 6: Complete Criticism of Joseph d’Ortigue (627 files)
So far the collection contains three of six phases of the project: all essays and reviews written by Joseph d’Ortigue between 1829 and 1832 in L’Avenir (1830-31), Le Correspondant (1829-31), Le Courrier de l’Europe (1831-2), L’Écho de Vaucluse (1828-9) and Le Mémorial catholique (1827-1829), Journal de Paris and Le ménestrel. Extracts from some of the articles in L’Avenir were reprinted in Le Balcon de l’Opera (Paris: Renduel, 1833). D’Ortigue’s writings were collected by Sylvia LÉcuyer (Université de Montréal). The edition was prepared by Rachel Moore (Royal Holloway, University of London), Laura Hamer (Open University) and Aurélie Branger (Paris), under the direction of Sarah Hibberd (University of Nottingham), Clair Rowden (Cardiff University) and Mark Everist (University of Southampton), and supported by a SAS Initiatives grant.

FMC Collection 7: Rossini Guillaume Tell. Paris premiere (1829) and 1831 performance dossier de presse (117 files)
Guillaume Tell was premiered on 3 August 1829 at the Académie royale de musique, the Paris Opéra. Rossinis first completely original work for Paris had been awaited with enormous anticipation. Preceded by Le siège de Corinthe and Moïse et Pharaon, ou Le passage de la Mer Rouge, which were based on Maometto II and Mosè in Egitto, and Le comte Ory based in part on Il viaggio a Reims, Guillaume Tell represented the first engagement of an Italian composer with the Paris Opéra since Spontini. It was part of the emergence of grand opéra at the end of the 1820s, and sits alongside Aubers La muette de Portici (1828) and Meyerbeer’s Robert le diable (1831). Originally in four acts, it was revised with the composer’s approval in three acts in 1831. The collection includes both the 1829 and 1831 press responses to the work. The edition was prepared by Aurélie Branger (Paris), under the direction of Mark Everist (University of Southampton) and Ben Walton (University of Cambridge), and supported by a SAS Initiatives grant.

FMC Collection 8: Meyerbeer, Les Huguenots premiere, dossier de presse (54 files)
An extensive selection of reviews of the Paris premiere of Meyerbeer’s grand opera Les Huguenots drawn from the daily press, illustrated press, music periodical press and fashion magazines. The edition was prepared by Julia Lu (Royal Holloway, University of London) under the direction of Kerry Murphy (University of Melbourne), and was supported by a SAS Initiatives grant.

FMC Collection 9: François-Auguste Gevaert: The Parisian Operas (191 files)
Reviews of Gevaert’s seven completed operas that reached the stage between 1853 and 1864. The collection includes individual dossiers de presse for Georgette (1853), Le billet de Marguerite (1854), Les lavandières de Santarem (1855), Quentin Durward (1858), Le diable au moulin (1859), Le Chateau Trompette (1860) and Le capitaine Henriot (1864). The edition was prepared by Aurélie Branger (Paris) under the direction of Mark Everist (University of Southampton), and was supported by a grant from the British Academy (SG-50291).

FMC Collection 10: Camille Saint-Saëns: Writings (1872-1874) (32 files) Contains all essays and reviews written by Camille Saint-Saëns for La Renaissance littéraire et artistique from 1872 to 1874, signed initially with the pseudonym Phémius and later with his initials. These articles represent his first journalistic assignment. This edition was prepared by Cécile Champonnois (Université de Montréal) under the direction of Sabina Teller Ratner (Université de Montréal) and was supported by a grant from the Social Sciences and Humanities Research Council of Canada.

FMC Collection 11: The Société Nationale de Musique in Le ménestrel (135 files)
Contains notices and reviews from 1872 to 1896. The edition was prepared by Michel Duchesneau (Université de Montréal)

FMC Collection 12: Paul Dukas: Writings (1892-1894) (35 files)

Paul Dukas was a prolific critic, publishing around four hundred reviews and essays in various journals from 1892 to 1905, and a small number of articles in later life. This is a collection of Dukass earliest writings which, between 1892 and 1894, appeared exclusively in La Revue hebdomadaire every fortnight or month. Wagner, concert life, and the direction of French music constitute major topics of discussion. The edition was prepared by Christopher Corcoran (National University of Ireland Maynooth) under the direction of Laura Watson (NUIM).

FMC Collection 13: Carafa, Le solitaire (39 files)
A collection of reviews and other texts relating of the premiere of Carafas Le solitaire (1822). The edition was prepared by Aurélie Branger (Paris), under the direction of Mark Everist (University of Southampton) and Olivier Bara (Université de Lyon II). The edition is based on Baras Michele Carafa, Le Solitaire – dossier de presse parisienne (1822), ‘Critiques de lOpéra français du XIXe siècle 15 (Weinsberg: Lucie Galland, 2004). It is the first in a series of collaborations between the Francophone Music Criticism, 1789-1914 network and Musik-Edition Lucie Galland. The directors of the network are grateful to Olivier Bara and Karl Leich-Galland for agreement to reproduce parts of this publication.

FMC Collection 14: Mozart, Don Giovanni (1866) (50 files)
The year 1866 saw no fewer than three new productions of Don Giovanni in Paris: at the Théâtre Italien, the Théâtre Lyrique and the Opéra. This collection brings together reviews of all three productions. The edition was prepared by Kimberly White (McGill University) under the direction of Mark Everist (University of Southampton), and was supported by funding from the Arts and Humanities Research Council (AH/H004653/1).

FMC Collection 15: Bizet, Carmen (1875) (32 files)
This collection of reviews from the opening nights of Carmen at the Paris Opéra Comique is based on Lesley Wright’ss Georges Bizet, ‘Carmen’ – dossier de presse parisienne (1875), ‘Critiques de lOpéra français du XIXe siècle’ 13 (Weinsberg: Lucie Galland, 2001). It was prepared by Isabella Yeager (Smith College) under the direction of Mark Everist (University of Southampton) and was supported by a SAS Dean’s Development Fund award. The directors of the network are grateful to Lesley Wright and Karl Leich-Galland for agreement to reproduce parts of this publication.

FMC Collection 16: Berlioz, Benvenuto Cellini (1838) (31 files)
This collection of reviews from the premiere of Benvenuto Cellini is based on Peter Bloom’s Hector Berlioz, ‘Benvenuto Cellini’ – dossier de presse parisienne (1838), ‘Critiques de l’Opéra français du XIXe siècle’ 3 (Weinsberg: Lucie Galland, 1995). It was prepared by Isabella Yeager (Smith College) under the direction of Mark Everist (University of Southampton) and was supported by a SAS Dean’s Development Fund award. The directors of the network are grateful to Peter Bloom and Karl Leich-Galland for agreement to reproduce parts of this publication.

FMC Collection 17: Charles Gounod, Mireille (1864) in the Arenas of the Midi, 1899-1914(69 files)
Brings together reviews from key performances of Gounod’s opera in the Roman arenas of the Midi: Arles, 14/5/99; Nîmes, 18/6/99; Arles, 30/5/09; St-Rémy, 7/9/13; Marseille 11/7/14; Arles, 12/7/14. It was prepared by Rachel Moore (Royal Holloway, University of London) and Daniel Saulnier (CESR) under the direction of Katharine Ellis (Royal Holloway, University of London), and supported by the British Academy (BARDA Award) and a SAS Dean’s Development Fund award.

FMC Collection 18: Wagner, Rienzi in Paris (1869)
After the disastrous Paris premiere of Le Tannhauser in Paris in 1861, Richard Wagner was given a second chance at the Parisian stage with a production of Rienzi in 1869. After promoting much of Wagner’s music in concert during the 1860s, Jules Pasdeloup took over the management of the Théâtre-Lyrique in 1869 and made Rienzi one of his first new productions. Rienzi lasted as long as Pasdeloup’s management and closed in early 1870. The edition was prepared by Aurélie Branger (Paris) under the direction of Mark Everist (University of Southampton).

FMC Collection 19: Strauss & Mariotte etc: Salome
This collection documents the period between 1895 and 1914 that was particularly rich in appearances of ‘high art’ Salomes on the Parisian lyric and dance stages. The eclectic and developing collection currently includes press materials surrounding the following theatrical events: the premiere of Richard Strauss’s opera Salome in Dresden (1905), at the Théâtre de la Monnaie, Brussels (1907), at the Théâtre du Châtelet, Paris (1907) and at the Paris Opéra (1910); the premiere of Antoine Mariotte’s opera Salomé in Lyon (1908) and at the Paris Opéra (1910); the ‘Concerts de la Danse’ given by Natalia Trouhanowa at the Théâtre du Châtelet (1912) which included performance of Florent Schmitt’s La tragédie de Salomé. This edition was prepared by Louise Axon (Cardiff University), with the collaboration of Megan Varvir Coe (University of North Texas), under the direction of Clair Rowden (Cardiff University), and with the support of a CUROP grant from Cardiff University.

FMC Collection 20: Gluck, Orphée (1859)
Perhaps one of the most celebrated revivals in the nineteenth century, the production of Glucks Orphée at the Théâtre Lyrique stands as one of the defining points in the composers reception, one of the highlights of the the Théâtre Lyriques history and a landmark in the music for the Second Empire stage. The edition was prepared by Mia Tootill (Cornell University), under the direction of Mark Everist (University of Southampton), and with the support of a professorial fellowship in the University of London’s School of Advanced Study.

FMC Collection 21: Gluck, Alceste (1861)
Partially in response to the success of the revival of Glucks Orphée at the Théâtre Lyrique in 1859, and partly as a result of a Gluckian pamphlet war around 1860, the Paris Opéra mounted a production of Alceste in 1861. The edition was prepared by Mia Tootill (Cornell University), under the direction of Mark Everist (University of Southampton), and with the support of a professorial fellowship in the University of London’s School of Advanced Study.

FMC Collection 22: Gluck, Alceste (1866)
The 1861 revival of Glucks Alceste was itself resurrected in 1866, and represented the second attempt of the Second Empire to promote the works of the composer. The edition was prepared by Mia Tootill (Cornell University), under the direction of Mark Everist (University of Southampton), and with the support of a professorial fellowship in the University of London’s School of Advanced Study.

FMC Collection 23: Auber, Le cheval de bronze (1857) (42 files)
The Paris Opéra’s production of Auber’s Le cheval de bronze was an unprecedented attempt to mount a production of an opéra comique at the theatre. The edition was prepared by Mia Tootill (Cornell University), under the direction of Mark Everist (University of Southampton), and with the support of a professorial fellowship in the University of London’s School of Advanced Study.

FMC Collection 24: Poniatowski, Pierre de Médicis (1860)
When the Opéra was taken over, early in the Second Empire, by a committee consisting of some of the most highly-placed politicians in France, beneficiaries included aristocratic diplomats and heads of state with musical ambitions. Józef Poniatowski was already a distinguished composer by 1860, and his Pierre de Médicis was his first work for the Opéra. The edition was prepared by Mia Tootill (Cornell University), under the direction of Mark Everist (University of Southampton), and with the support of a professorial fellowship in the University of London’s School of Advanced Study.

FMC Collection 25: Verdi, Le trouvère (1857) (53 files)
Verdi’s Il trovatore was premiered at Rome’s Teatro Apollo in 1853, and was in the repertory of Paris’ Théâtre Italien from the following year. In 1857, Verdi substantially reworked his opera for the Paris Opéra. The edition was prepared by Mia Tootill (Cornell University), under the direction of Mark Everist (University of Southampton), and with the support of a professorial fellowship in the University of London’s School of Advanced Study.

FMC Collection 26: Théâtre des Fantaisies-Parsiennes (906 files)
The Théâtre des Fantaisies-Parisiennes was one of the central theatres for the cultivation of opérette during the Second Empire, and was active from 1865 to 1873. Phase 1 of the edition presents its activity as documented in La France musicale, Le ménestrel and the Revue et Gazette musicale de Paris, and was prepared by Jennifer Walker (University of North Carolina at Chapel Hill), under the direction of Mark Everist (University of Southampton), with the support of a professorial fellowship in the University of London’s School of Advanced Study. Phase 2 presents dossiers de presse of all the works of foreign origin produced at the Théâtre des Fantaisies-Parisiennes during the same period. The editions were prepared by Rosalba Agresta (Bibliothèque nationale de France) under the direction of Mark Everist (University of Southampton) with the support of a grant from the Arts and Humanities Research Council.

FMC Collection 27: Offenbach, Orphée aux enfers (25 files)
Offenbach’s Orphée aux enfers is one of his best-known but least-understood works. This collection allows the study of the work’s early history and reception, including an extended exchange between the librettist Hector Crémieux, the critic for the Journal des débats Jules Janin, and Offenbach himself. The editions were prepared and edited by Mark Everist (University of Southampton).

FMC Collection 28: Offenbach, Pépito (35 files)
Collection of reviews and press notices regarding the performances of Pépito: the première on 28 October 1853, the performance as an opéra de salon at Offenbach’s apartment in 1854, and the revivals at the Théâtre des Bouffes-Parisiens in 1856 and 1857. The edition was prepared by Richard Sherr (Smith College) and edited by Mark Everist (University of Southampton).

FMC Collection 29: Offenbach, La Grande-Duchesse de Gérolstein (47 files)
A collection of reviews following the Paris premiere of Offenbach’s La Grande-Duchesse de Gérolstein in 1867. Considered as one of the main events of the 1867’s World Fair, this opera was one of Offenbach’s biggest success and was widely discussed in the press. Reviews come from general periodical press and specialized press, either in music, theatre or other fields (economics, sport, fashion, satirical press, academic press, etc.). The edition was prepared by Hugo Rodriguez (Université Libre de Bruxelles) under the direction of Mark Everist (University of Southampton).

FMC Collection 30: Opéra de salon (1850-1870) (204 files)
This history of opéra de salon in its first twenty years is told through the press accounts in the Revue et Gazette musicale de Paris and Le ménestrel. The texts should be read alongside the catalogue of the repertory in the ‘Music in the Second Empire Theatre’ Database. The edition was prepared and edited by Mark Everist (University of Southampton).