Opera in Paris from the Empire to the Commune

Contents
List of examples
List of figures
List of tables
Acknowledgements
Ouverture: power, licence and technology
1 The music of power: Parisian opera and the politics of genre, 1806–1864
2 Grand opéra – petit opéra: Parisian opera and ballet from the Restoration to the Second Empire
3 Jacques Offenbach: the music of the past and the image of the present
4 The operas of François-Auguste Gevaert: the tour d’horizon
5 Between Opéra-Comique and Opéra-National: Scribe, Vaëz and Boisselot c1850
Premier entr’acte: les ultramontains
6 Beethoven and Rossini: opera and concert at the end of the Restoration
7 ‘Il n’y a qu’un Paris au monde, et j’y reviendrai planter mon drapeau!’: Rossini’s second grand opéra
8 A transalpine comedy: L’elisir d’amore and cultural transfer
9 Partners in rhyme: Alphonse Royer, Gustave Vaëz, and foreign opera in Paris during the July Monarchy
Second entr’acte: la musique allemande
10 Castil-Blaze and the reception of Weber in Paris, 1824–1857
11 Gluck, politics and the Second Empire press
12 Wagner and Paris: the case of Rienzi (1869)
Strette: Censors and others
Bibliography
Index