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457:(1840), all comedies in five acts, developing a more or less original theme. In 1836 Scribe was elected to the Académie Française, and in 1839, at the age of 48 he married. His wife, whom he had known for several years, was the widow of a wine merchant. She worried about his tendency to overwork, and attempted, with only limited success, to get him to slow down. His working habits varied little throughout his life. He began work at five in the morning during the summer and at six in the winter, writing until noon. He spent the rest of the day planning new work, attending rehearsals of his plays or operas, and in the evening visiting friends or going to the theatre.
22:
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502:, the director of the Opéra, in 1841, he said he wanted to be paid for his librettos "according to what they bring in, that is to say, a great deal. The present director only wants to pay for them according to what they are worth, that is to say, very little". He bought a mansion in the fashionable Rue Olivier-Saint-Georges and two country houses. He was unobtrusively generous to deserving causes; among his benefactions was a fund for impoverished musicians and theatre people, into which he paid 13,000 francs (roughly €125,000 in 2015 values) a year.
64:
produced several hundred stage works. He wrote to entertain the public rather than educate it. Many of his plays were written in a formulaic manner which aimed at neatness of plot and focus on dramatic incident rather than naturalism, depth of characterisation or intellectual substance. For this he was much criticised by intellectuals, but the "well-made play" remained established in the theatre in France and elsewhere long after his death.
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selection and arrangement of incidents, and careful planning. Everything is done with the greatest economy. Every character is essential to the action, every speech develops it. There is no time for verbal wit, no matter how clever, or for philosophical musing, no matter how enlightening. The action is all-important.
321:(1825), a Romantic opera based on stories by Walter Scott. Scribe's libretto was one of the first to introduce the supernatural into an operatic plot. The piece was enormously popular, and reached its thousandth performance at the Opéra-Comique shortly after Scribe's death. In 1827 Scribe wrote the scenario for
687:
They exist in a parallel universe, in which colourful historical or geographical milieu display a handful of stereotypes who, as a consequence of some secret manoeuvrings in their own pasts and coincidences in the present, are forced to face some implausible crisis of choice or conscience, preferably
306:
His pleasure in cooperation was genuine, and evident in his generosity to co-authors, sharing not only revenues but glory with them. He was scrupulously honest in his dealings. Many unknown writers received cheques from him as "Payment for copyright in ideas" though they themselves were quite unaware
289:
as well as Mélesville and
Delavigne. Letellier writes that "part of Scribe's genius lay in his careful selection of his collaborators". A story grew that Scribe would hire one man to write the narrative, a different one for the dialogue, a third for the jokes, a fourth for the lyrics, and so on. The
737:
Estimates differ considerably of the number of stage works Scribe wrote or co-wrote. The published edition of his known works ran to 76 volumes, but it is inevitably incomplete, as he is known to have written pseudonymously and even anonymously. His total output of stage works is variously reckoned
1057:
Although reusing operatic music was not uncommon – Rossini did it many times – Scribe and
Delestre-Poirson had the particular problem of fitting French words to tunes written to be sung in Italian. Scribe had earlier provided French words for music written to be sung in German when he co-wrote the
63:
Born to a middle-class
Parisian family, Scribe was intended for a legal career, but was drawn to the theatre, and began writing plays while still in his teens. His early years as a playwright were unsuccessful, but from 1815 onwards he prospered. Writing, usually with one or more collaborators, he
583:
and
Stephen Stanton as among the best and most characteristic of Scribe's plays. It combines a story of a young man's successful attempts to escape official attempts to arrest him on a political charge with the depiction of the love two women have for him. It combines action, romance and a happy,
483:
A Scribe play, long or short, is a masterpiece of plot construction. It is as artistically put together as a master watch; the smallest piece is perfectly in place, and the removal of any part would ruin the whole. Such a "well-made" play always displays fertility of invention, dexterity in the
675:
The theatre-goer loves me because I take care always to win his trust; he is in on the secrets of the comedy; he has in his hands the threads that pull my characters along; he knows the surprises that I am going to spring, and he thinks he is managing them himself; in short, I take him for a
112:
Scribe's librettos are still performed in opera houses around the world, and although few of his non-musical plays have been revived frequently in the 20th or 21st centuries, his influence on subsequent generations of playwrights in France and elsewhere was profound and lasting.
491:, in which two or more characters interpret a word, a situation or a person's identity in different ways, all the time assuming that their interpretations are the same. This important feature of Scribe's "well-made plays" was raised to its greatest heights by
679:
Scribe elaborated on his views in a speech to the Académie Française: "I do not think the comic author should be a historian: that is not his mission. I do not believe that even in Molière himself you can recover the history of our country". In a 2012 study,
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At the Académie, Scribe went on to give his views on the purpose of the theatre of his own time, maintaining that the public no longer went to the theatre to be instructed – as had been the theory in the 18th century – but to be diverted and entertained.
471:
During the 1830s Scribe introduced social questions into his plays, although never losing sight of his principal purpose, which was to entertain. By this point in his career he had honed his skills as a dramatist and developed what became known as the
165:
in
January 1810 and was a failure. Numerous other plays, written in collaboration with Delavigne and others, followed; but for the next five years Scribe earned little from the theatre and was reliant on his inheritance. He had modest successes with
1047:
Letellier explains that the story had its origins in a favourite game played at Scribe's dinner table where one person would think of an idea, another would plot it, a third create the dialogue, all with the aim of finishing the piece by the end of
1029:
The vaudeville, a genre that originated in the middle ages as a satirical song, had evolved by the early 19th century into a play in verse with music, often popular songs borrowed for the purpose. Thereafter it split into two branches:
672:" – empty plays. Gautier asked, "How is it that an author devoid of poetry, lyricism, style, philosophy, truth and naturalness could have become the most fashionable dramatic writer of an era?" Scribe's answer to the question was:
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as between 300 and nearly 500. The known works include more than 120 librettos for 48 composers, collaborations in musical and non-musical theatre with more than 60 co-authors, and over 130 stage works written solo.
310:
During his career Scribe worked with more than 60 co-authors, in addition to writing more than 130 stage works on his own. He wrote or co-wrote librettos for 48 composers. During the 1820s Scribe collaborated with
331:, for the Paris Opéra. It was a landmark – the first time the Opéra had presented a ballet with a scenario by a leading dramatist. Until then the storyline and staging of a ballet had been left to the in-house
550:
In
Larousse's view the latter part of Scribe's career, from 1840 to 1861, was "just as full and as glorious as the first". Larousse singled out from the long list of Scribe's plays for the Théâtre Français:
480:– characterised by concise plotting, compelling narrative and a largely standardised structure, with little emphasis on characterisation and intellectual ideas. In the words of one literary critic:
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Although he was conscientious in his studies, Scribe's ambition was to write for the theatre, and when his mother died in 1807 he turned from the law, and together with his former classmate
224:, and Charles Moreau. Delestre-Poirson gave Scribe a remunerative contract that made him, in effect, the theatre's resident playwright, with the Gymnase having first call on his services.
212:. Over the next five years Scribe built a position as a dramatist, writing under his own name or pseudonyms, usually in collaboration with others. In 1820 Delestre-Poirson established the
701:, when he died suddenly of a stroke on 20 February 1861, in his carriage on the way home from a meeting of the Société des auteurs et compositeurs dramatiques. He was buried in the
424:
in 1831, after extensive re-writing. Within three years it reached 100 performances on the stage of the Opéra, and by 1835 it had been seen at 77 houses in ten different countries.
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1863:
1816:
1797:
1038:, and, in the words of the historian Peter Meyer, "the vaudeville itself ... akin to what we would call slapstick farce, where movement was more important than character".
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Scribe's earnings from his plays and librettos were considerable and he amassed a large fortune. He was a good businessman: commenting on a dispute over payment with
323:
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431:(The School for Politicians, 1830) a "serious" five-act comedy for the Comedie-Française. This began a series of historical or political comedies, which, as
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Little is known about Scribe's private life before his marriage. It is believed that by a liaison with a dancer he fathered an illegitimate son in 1838,
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1712:
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142:. His mother intended him to pursue a career in the legal profession, and sent him to study with Louis-Ferdinand Bonnet, a leading Parisian lawyer.
138:, where he was an outstanding pupil, winning the college's top prize in his final year and being ceremonially crowned with a laurel wreath at the
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composed three years earlier. The opera was a success, and was seen in London within six months of the Paris premiere, and in New York in 1831.
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85:, who took grand opera further and made it a dominant feature of French musical life. Among the other composers with whom Scribe worked were
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134:. His father, a silk merchant, died while the boy was an infant, but left his widow comfortably off. Scribe was educated at the prestigious
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277:. As with his plays, Scribe customarily wrote his librettos in collaboration with other writers. For Auber he worked with, among others,
1852:
1813:
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judged it a perfect mixture of French and
Italian sensibilities, but it did not become a core part of the Verdian operatic repertoire.
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by Scribe and two friends who had also abandoned law for the theatre, Baron Anne-Honoré-Joseph
Duveyrier, who wrote under the pen name
979:
358:, an unusual undertaking as the words for about half the numbers had to be written to fit existing music, repurposed by Rossini from
1139:
Meyerbeer continued to work on the piece until shortly before his own death in May 1864 and it was given at the Opéra in April 1865.
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1522:
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comments, have little to do with real politics and history, but which became the models of a new genre. The series continued with
52:" ("pièces bien faites"), a mainstay of popular theatre for over 100 years, and as the librettist of many of the most successful
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1894:
1084:, expanding a one-act vaudeville they had written in 1817 about the exploits of the libertine Count Ory, a real-life Don Juan.
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2135:
2116:
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2035:
2009:
1988:
1969:
1960:
Conway, David (2021). "The 'Mandatory' Ballet of the Grand Opéra: Then and Now". In Isolde Schmid-Reiter; Aviel Cahn (eds.).
1950:
1928:
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647:(1833), but Scribe was not involved with the adaptation.) Scribe and Charles Duveyrier provided Verdi with the libretto for
282:
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1114:, later a prominent politician. In his will, Scribe left Coulon money – "un certaine fortune" – and some unfinished works.
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In 1813 Scribe wrote his first opera libretto. From 1822 until his death he was closely associated with the composer
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In the 1830s Scribe's works were twice adapted by others for new operas that became well known. His scenario for
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story was apocryphal, but literary collaboration was a French tradition in which Scribe was thoroughly at home:
1938:
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162:
2368:
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Between 1820 and 1830 Scribe wrote more than a hundred plays for the
Gymnase, and librettos and plays for the
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1000:
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Of Scribe's later librettos for the Opéra or the Opéra-comique, Larousse listed as among the most notable:
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accused him of being "the ultimate in bourgeois art and philistinism, pleasing the masses and writing
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Among the many later playwrights drawing on Scribe's precepts for the well-made play were
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8:
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Theories of the
Theatre: A Historical and Critical Survey from the Greeks to the Present
963:
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328:
98:
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1371:
631:(with Meyerbeer, 1849 and 1854). In 1855 Scribe had his only direct collaboration with
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writes that the names of Scribe and Auber became as linked in French minds as those of
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2005:
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190:. In the same year he wrote his first opera libretto, for Luc Guénée's opéra comique
154:
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102:
94:
82:
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1891:
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420:. For reasons of musical politics the work was premiered by the Paris Opéra, at the
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There have been at least 30 films based on works by Scribe, from the 1916 silent
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Scribe never retired. He was working on the libretto for Meyerbeer's last opera,
492:
432:
317:
71:
for whom he wrote or co-wrote 39 librettos, among them that for the first French
44:; 24 December 1791 – 20 February 1861) was a French dramatist and
40:
1943:
Jewry in Music: Entry to the Profession from the Enlightenment to Richard Wagner
335:. This was the precursor of the fusion of opera and ballet in the first French
157:
he set his sights on a theatrical career. His first piece, a one-act vaudeville
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2019:
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898:
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632:
473:
278:
106:
49:
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Among the best-known operas for which Scribe contributed to the libretto are:
765:
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collaborator; he feels he created the play with me, and naturally he applauds.
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237:
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and seven other theatres. In 1822 he began a collaboration with the composer
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86:
68:
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Debré: Kindle section "Enfants célèbres dans les lycées de la République".
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accompanied by a simultaneous natural disaster or violent death (or both).
465:
264:, with a plot that Scribe, in collaboration with Mélesville, derived from
2488:
2432:
2344:
1892:"The Persistence of the 'Well-Made Play' in British Theatre of the 1990s"
761:
336:
126:
Scribe was born in Paris on 24 December 1791, at the family house in the
72:
53:
1031:
1578:
995:
131:
45:
2126:
Osborne, Richard (2004). "Rossini's life". In Senici, Emanuele (ed.).
1655:
1626:
660:
Scribe was the subject of continual criticism from highbrow writers.
588:
thought highly of the work, and drew on it in his own early writing;
579:– battle of the ladies – has been seen by literary critics including
179:
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615:
515:
248:
that lasted for 41 years and produced 39 operas. Auber's biographer
2247:
867:
1095:
The Ambitious Person, Comradeship, The Independent People, Slander
256:
later were in British ones. The partners' first collaboration was
922:
197:
Scribe's first substantial success came in 1815, with the comedy
26:
345:, with music by Auber and libretto by Scribe and Delavigne.
641:(1859) was translated from Scribe's libretto for Auber's
1890:
Taylor, pp. 52, 54, 60 and 89–90; and Saunders, Graham.
1719:, Oxford University Press, 2001. Retrieved 25 June 2021
653:, premiered at the Opéra in June. It was well received;
2070:. Berkeley and London: University of California Press.
1748:, Oxford University Press, 1992. Retrieved 7 June 2021
1473:, Oxford University Press, 2002. Retrieved 7 June 2021
1446:, Oxford University Press, 2002. Retrieved 7 June 2021
1329:, Oxford University Press, 2002. Retrieved 7 June 2021
946:
Among the other composers with whom Scribe worked were
2094:. Vol. XIV. Paris: Grand dictionnaire Universel.
1962:
Music Theatre in Motion: Reflections on Dance in Opera
410:(1832). The Opéra-Comique commissioned a grand opera,
307:
of the part they had played in this creative process.
81:(1828). His second most frequent musical partner was
2277:
Editors: John W. Cunliffe, Ashley H. Thorndike. 1917
1901:, University of Reading, 2008. Retrieved 5 June 2021
2044:
2199:
2176:
2068:The Keys to French Opera in the Nineteenth Century
1916:
1881:, Université Paris Sorbonne. Retrieved 5 June 2021
1579:"Ibsen, Gilbert, and Scribe's 'Bataille de Dames'"
2145:Roberts, John H. (4 September 2003). "Meyerbeer:
1859:, Oxford University Press. Retrieved 5 June 2021
1827:, Oxford University Press. Retrieved 9 June 2021
1793:. Oxford University Press. Retrieved 9 June 2021
1768:"Aide à la recherche: Cimetière du Père-Lachaise"
980:List of stage works by Eugène Scribe § Films
2632:
1825:The New Oxford Companion to Literature in French
1676:: CS1 maint: bot: original URL status unknown (
1376:: CS1 maint: bot: original URL status unknown (
1011:
1923:. Ithaca and London: Cornell University Press.
2656:19th-century French dramatists and playwrights
2312:
2018:
174:, (1812), both written with Delavigne for the
2525:
2298:
1658:. Archived from the original on 12 June 2021
1358:. Archived from the original on 12 June 2021
2091:Grand dictionnaire Universel du XIXe siècle
1838:
1836:
16:French dramatist and librettist (1791–1861)
2532:
2518:
2305:
2291:
2022:; Brauner, Patricia (1997). "Rossini". In
1573:
1571:
1569:
1062:(Robin Hood, 1824), very loosely based on
427:For the non-musical theatre, Scribe wrote
2385:Jean de Dieu-Raymond de Cucé de Boisgelin
2157:. Cambridge: Cambridge University Press.
2130:. Cambridge: Cambridge University Press.
1945:. Cambridge: Cambridge University Press.
1872:"Oser la nouveauté en usant les ficelles"
1346:10.1093/gmo/9781561592630.article.O003616
2084:
1857:The Companion to Theatre and Performance
1833:
1791:The Companion to Theatre and Performance
1637:
459:
292:
144:
20:
2261:: text, concordances and frequency list
2206:. New York: Columbia University Press.
2179:The Rise and Fall of the Well-Made Play
2144:
2125:
2065:
1914:
1621:
1619:
1566:
1218:
1216:
1214:
1212:
1210:
429:Bertrand et Raton ou l'art de conspirer
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2197:
2171:
2155:The Cambridge Companion to Grand Opera
2045:Koon, Helene; Richard Switzer (1980).
1959:
1937:
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1398:
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1299:
1297:
1295:
1200:
1198:
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1194:
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684:writes of Scribe's historical operas:
619:(with Auber, 1841, 1843 and 1847) and
258:Leicester, ou Le château de Kenilworth
178:. In 1813 he wrote the first of three
2513:
2286:
2107:Meyer, Peter (2003). "Introduction".
1978:
1640:"The Well-Made Play of Eugène Scribe"
1627:"The Well-Made Play of Eugène Scribe"
39:
1981:Robert Debré: Une vocation française
1777:, Paristoric. Retrieved 10 June 2021
1616:
1531:Dictionnaire de l'Académie française
1207:
1180:
791:
715:List of stage works by Eugène Scribe
487:One of Scribe's key devices was the
2259:Scribe's works at www.intratext.com
1684:
1393:
1337:Dame blanche, la | Grove Music
1292:
1189:
973:
727:Category: Libretti by Eugène Scribe
287:Jules-Henri Vernoy de Saint-Georges
208:), a collaboration with his friend
13:
2202:Tom Taylor and the Victorian Drama
2183:. Oxford and New York: Routledge.
2128:The Cambridge Companion to Rossini
1542:Gidel, pp. 57, 66, 89, 113 and 188
1080:Scribe co-wrote the libretto with
161:, was produced anonymously at the
116:
14:
2687:
2676:Burials at Père Lachaise Cemetery
2661:Members of the Académie Française
2377:Claude-Henri de Fusée de Voisenon
2329:Claude Gaspard Bachet de Méziriac
2219:
635:. (The libretto for the latter's
565:Les Contes de la reine de Navarre
400:(1831) was adapted by Romani for
348:In 1828 Scribe collaborated with
216:, and opened on 23 December with
2393:Jean-Baptiste Dureau de la Malle
2361:Jean-François Leriget de La Faye
2353:Jean-Baptiste-Henri de Valincour
2251:
2004:(in French). Paris: Flammarion.
1851:Carlson, p. 274; Howarth, W. D.
1230:, Oxford University Press, 2001
915:La chatte métamorphosée en femme
731:Category: Plays by Eugène Scribe
531:
514:
188:Théâtre de la Porte Saint-Martin
2235:Works by or about Eugène Scribe
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1130:while Scribe was working on it.
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1104:
1087:
1074:
1051:
1041:
1252:
1243:
1171:
1162:
1153:
1023:
505:
199:Une Nuit de la garde nationale
121:
1:
2337:François de La Mothe Le Vayer
1613:Koon and Switzer, pp. 147–148
1429:Gossett & Brauner, p. 347
1146:
1012:Notes, references and sources
644:Gustave III, ou Le bal masqué
584:albeit bitter-sweet, ending.
416:, from Scribe, Delavigne and
339:, given the following year –
186:, did reasonably well at the
1411:Gossett & Brauner, p. 34
783:
7:
2369:Prosper Jolyot de Crébillon
2250:(public domain audiobooks)
1583:Educational Theatre Journal
1501:Koon and Switzer, pp. 25–28
1289:Malherbe, pp. 42, 47 and 51
1258:Koon and Switzer, pp. 17–18
1177:Koon and Switzer, pp. 12–13
604:Les Diamants de la couronne
540:Les Diamants de la couronne
495:later in the 19th century.
396:; his libretto for Auber's
218:Le Boulevard Bonne-Nouvelle
48:. He is known for writing "
10:
2692:
1908:
1638:Cardwell, Douglas (1983).
1334:Forbes, Elizabeth (2002).
1224:"Scribe, (Auguste) Eugène"
977:
712:
464:Scribe's country house at
41:[oɡystɛ̃øʒɛnskʁib]
2671:French ballet librettists
2609:
2574:
2558:
2323:
1870:; and Heyraud, Violaine.
1787:"Scribe, Augustin-Eugène"
327:, a ballet with music by
2666:French opera librettists
1915:Carlson, Marvin (1984).
1633:, May 1983, pp. 876–884
1604:Koon and Switzer, p. 147
1585:, March 1965, pp. 24–30
1016:
987:The Dumb Girl of Portici
708:
592:also drew on it, in his
373:
227:
210:Charles Delestre-Poirson
2409:Antoine-Vincent Arnault
2198:Tolles, Winton (1940).
2066:Lacombe, Hervé (2001).
2028:The Penguin Opera Guide
1979:Debré, Patrice (2018).
1964:. Regensburg: ConBrio.
1861:(subscription required)
1829:(subscription required)
1795:(subscription required)
1750:(subscription required)
1731:Koon and Switzer, p. 33
1721:(subscription required)
1693:Koon and Switzer, p. 26
1635:(subscription required)
1587:(subscription required)
1563:Koon and Switzer, p. 32
1533:. Retrieved 5 June 2021
1475:(subscription required)
1448:(subscription required)
1331:(subscription required)
1249:Koon and Switzer, p. 17
1232:(subscription required)
1159:Koon and Switzer, p. 11
2244:Works by Eugène Scribe
2226:Works by Eugène Scribe
1983:. Paris: Odile Jacob.
1525:21 August 2020 at the
1126:had the working title
903:Les Vêpres siciliennes
703:Père Lachaise Cemetery
650:Les Vêpres siciliennes
468:
303:
182:, of which the third,
159:Le Prétendu par hasard
150:
33:Augustin Eugène Scribe
29:
1998:Gidel, Henry (1991).
1842:Larousse, pp. 424–427
1702:Conway (2012), p. 217
1312:Larousse, pp. 424–427
463:
296:
184:Les Frères invisibles
176:Théâtre du Vaudeville
149:Scribe as a young man
148:
24:
2173:Taylor, John Russell
1773:10 June 2021 at the
1390:Conway (2021), p. 61
1222:Schneider, Herbert.
816:La Muette de Portici
666:Théodore de Banville
638:Un ballo in maschera
342:La Muette de Portici
254:Gilbert and Sullivan
192:La Chambre à coucher
163:Théâtre des Variétés
136:Collège Sainte-Barbe
78:La Muette de Portici
2591:Adrienne Lecouvreur
2566:Adrienne Lecouvreur
2542:Adrienne Lecouvreur
2465:Wladimir d'Ormesson
2441:Paul-Albert Besnard
2401:Louis-Benoît Picard
2275:The Warner library.
2030:. London: Penguin.
1897:5 June 2021 at the
1877:5 June 2021 at the
1866:6 June 2021 at the
1853:"Sardou, Victorien"
1819:9 June 2021 at the
1800:6 June 2021 at the
1755:7 June 2021 at the
1592:5 June 2021 at the
1480:7 June 2021 at the
1453:7 June 2021 at the
1321:Forbes, Elizabeth.
1237:3 June 2021 at the
1034:, such as those by
561:Adrienne Lecouvreur
478:la pièce bien faite
2651:Writers from Paris
2618:Adriana Lecouvreur
2599:Adriana Lecouvreur
2314:Académie française
2111:. London: Oberon.
2051:. Boston: Twayne.
1746:Grove Music Online
1717:Grove Music Online
1625:Cardwell Douglas.
1577:Stanton, Stephen.
1554:in Roberts, p. 211
1471:Grove Music Online
1467:"Robert le diable"
1444:Grove Music Online
1438:Osborne, Richard.
1420:Lacombe, pp. 26–28
1327:Grove Music Online
1323:"Dame blanche, La"
1228:Grove Music Online
1099:The Glass of Water
928:1865: Meyerbeer's
920:1860: Offenbach's
889:1849: Meyerbeer's
853:1831: Meyerbeer's
575:(1855). Of these,
469:
361:Il viaggio a Reims
304:
270:historical romance
214:Théâtre du Gymnase
151:
140:Académie Française
30:
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2230:Project Gutenberg
2190:978-0-41-572333-6
2164:978-0-52-164683-3
2137:978-0-521-00195-3
2118:978-1-84943-993-0
2077:978-0-52-021719-5
2058:978-0-80-576390-4
2037:978-0-14-051385-1
2011:978-2-08-066280-4
1990:978-2-7381-4140-8
1971:978-3-940768-96-4
1952:978-1-10-701538-8
1930:978-0-80-141678-1
1740:Huebner, Steven.
1711:Huebner, Steven.
1644:The French Review
1631:The French Review
1510:Tolles, pp. 22–23
1465:Huebner, Steven.
1355:978-1-56159-263-0
1004:(1960), based on
943:
942:
662:Théophile Gautier
610:La Part du diable
577:Bataille de dames
569:Bataille de dames
522:Bataille de dames
422:Salle Le Peletier
418:Giacomo Meyerbeer
402:Gaetano Donizetti
350:Gioachino Rossini
234:Comédie-Française
155:Germain Delavigne
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407:L'elisir d'amore
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2540:
2457:Paul Claudel
2449:Louis Gillet
2416:
2274:
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2201:
2178:
2154:
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2108:
2090:
2067:
2047:
2027:
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1980:
1961:
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1918:
1886:
1856:
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1824:
1808:
1790:
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1672:cite journal
1660:. Retrieved
1647:
1643:
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1360:. Retrieved
1336:
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1308:
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1245:
1227:
1186:Meyer, p. 10
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1005:
999:
985:
983:
948:Adolphe Adam
945:
937:
934:(posthumous)
929:
921:
913:
901:
890:
882:
866:
854:
846:
834:
828:Le Comte Ory
826:
814:
802:
787:
744:
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736:
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696:
694:
690:
682:David Conway
678:
670:théâtre vide
669:
659:
648:
642:
636:
626:
620:
614:
608:
602:
600:
593:
590:Bernard Shaw
586:Henrik Ibsen
576:
572:
568:
564:
560:
556:
552:
549:
539:
521:
497:
488:
486:
477:
470:
452:
449:La Calomnie
448:
444:
440:
436:
428:
426:
411:
405:
397:
391:
382:was used by
379:
377:
365:
359:
355:Le Comte Ory
353:
347:
340:
332:
322:
316:
309:
299:Le Comte Ory
297:
272:
266:Walter Scott
257:
246:Daniel Auber
231:
217:
202:
198:
196:
191:
183:
171:
167:
158:
152:
125:
111:
87:Adolphe Adam
76:
69:Daniel Auber
66:
62:
54:grand operas
32:
31:
18:
2646:1861 deaths
2641:1791 births
2489:Simone Veil
2433:Pierre Loti
2345:Jean Racine
2151:L'Africaine
2147:Le Prophéte
1520:"quiproquo"
1124:L'Africaine
931:L'Africaine
892:Le Prophète
836:Fra Diavolo
780:in the US.
766:Noël Coward
762:Oscar Wilde
756:in France,
698:L'Africaine
622:Le Prophète
571:(1851) and
506:Later years
500:Léon Pillet
451:(1840) and
437:L'Ambitieux
337:grand opera
170:(1811) and
122:Early years
73:grand opera
2635:Categories
2559:Characters
2265:Obituary:
2100:1170460660
1147:References
996:Lois Weber
573:La Czarine
553:Une chaîne
398:Le Philtre
274:Kenilworth
222:Mélesville
180:melodramas
132:Les Halles
46:librettist
25:Scribe by
2212:504217641
1372:cite book
1036:Offenbach
1032:opérettes
910:Offenbach
879:Donizetti
843:Meyerbeer
799:Boieldieu
784:Librettos
721:See also
489:quiproquo
466:Séricourt
172:L'Auberge
2248:LibriVox
2175:(1967).
2088:(1875).
1941:(2012).
1895:Archived
1875:Archived
1864:Archived
1817:Archived
1798:Archived
1771:Archived
1753:Archived
1590:Archived
1523:Archived
1478:Archived
1451:Archived
1267:Hueffer
1235:Archived
868:La Juive
567:(1850),
563:(1819),
559:(1848),
555:(1841),
447:(1837),
443:(1836),
439:(1834),
2317:seat 13
2237:at the
2109:Feydeau
2026:(ed.).
1909:Sources
1662:12 June
1362:12 June
1064:Weber's
1048:dinner.
923:Barkouf
899:Verdi's
823:Rossini
557:Le Puff
37:French:
2621:(1902)
2610:Operas
2602:(1955)
2594:(1938)
2586:(1928)
2553:(1849)
2499:(2020)
2491:(2008)
2483:(1999)
2475:(1974)
2467:(1956)
2459:(1946)
2451:(1935)
2443:(1924)
2435:(1891)
2427:(1862)
2419:(1834)
2411:(1829)
2403:(1807)
2395:(1804)
2387:(1776)
2379:(1762)
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2363:(1730)
2355:(1699)
2347:(1672)
2339:(1639)
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809:1828:
797:1825:
616:Haydée
543:, 1851
524:, 1851
302:, 1828
240:, the
236:, the
2575:Films
1652:JSTOR
1269:et al
1017:Notes
811:Auber
709:Works
374:1830s
238:Opéra
228:1820s
130:near
27:Nadar
2549:and
2208:OCLC
2185:ISBN
2159:ISBN
2149:and
2132:ISBN
2113:ISBN
2096:OCLC
2072:ISBN
2053:ISBN
2032:ISBN
2006:ISBN
1985:ISBN
1966:ISBN
1947:ISBN
1925:ISBN
1678:link
1664:2021
1378:link
1364:2021
1350:ISBN
994:and
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768:and
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