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