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468:(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.
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513:, 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.
75:
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.
332:(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
698:
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
317:
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
300:
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
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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
1068:
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
74:
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
594:
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,
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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
686:
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
123:
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.
502:, 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
690:
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.
482:
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
176:
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
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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
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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:
683:" – 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.
321:
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
342:, 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
561:
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:
491:– 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
235:, 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.
223:. 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
712:, 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
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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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1874:
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1808:
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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
334:
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442:(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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153:. 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.
149:, 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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96:, 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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145:. 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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288:. As with his plays, Scribe customarily wrote his librettos in collaboration with other writers. For Auber he worked with, among others,
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1824:
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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
990:
369:, an unusual undertaking as the words for about half the numbers had to be written to fit existing music, repurposed by Rossini from
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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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comments, have little to do with real politics and history, but which became the models of a new genre. The series continued with
63:" ("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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1905:
1095:, 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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2127:
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2020:
1999:
1980:
1971:
Conway, David (2021). "The 'Mandatory' Ballet of the Grand Opéra: Then and Now". In Isolde Schmid-Reiter; Aviel Cahn (eds.).
1961:
1939:
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658:(1833), but Scribe was not involved with the adaptation.) Scribe and Charles Duveyrier provided Verdi with the libretto for
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1125:, 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:
1949:
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173:
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Between 1820 and 1830 Scribe wrote more than a hundred plays for the
Gymnase, and librettos and plays for the
17:
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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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1930:
Theories of the
Theatre: A Historical and Critical Survey from the Greeks to the Present
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109:
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642:(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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2016:
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201:. In the same year he wrote his first opera libretto, for Luc Guénée's opéra comique
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1902:
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431:. 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,
503:
443:
328:
82:
for whom he wrote or co-wrote 39 librettos, among them that for the first French
55:; 24 December 1791 – 20 February 1861) was a French dramatist and
51:
1954:
Jewry in Music: Entry to the Profession from the Enlightenment to Richard Wagner
346:. This was the precursor of the fusion of opera and ballet in the first French
168:
he set his sights on a theatrical career. His first piece, a one-act vaudeville
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289:
117:
60:
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Among the best-known operas for which Scribe contributed to the libretto are:
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collaborator; he feels he created the play with me, and naturally he applauds.
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248:
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and seven other theatres. In 1822 he began a collaboration with the composer
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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).
476:
275:, with a plot that Scribe, in collaboration with Mélesville, derived from
2499:
2443:
2355:
1903:"The Persistence of the 'Well-Made Play' in British Theatre of the 1990s"
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347:
137:
Scribe was born in Paris on 24 December 1791, at the family house in the
83:
64:
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1006:
142:
56:
2137:
Osborne, Richard (2004). "Rossini's life". In Senici, Emanuele (ed.).
1666:
1637:
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Scribe was the subject of continual criticism from highbrow writers.
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thought highly of the work, and drew on it in his own early writing;
590:– battle of the ladies – has been seen by literary critics including
190:
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626:
526:
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that lasted for 41 years and produced 39 operas. Auber's biographer
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878:
1106:
The Ambitious Person, Comradeship, The Independent People, Slander
267:
later were in British ones. The partners' first collaboration was
933:
208:
Scribe's first substantial success came in 1815, with the comedy
37:
356:, with music by Auber and libretto by Scribe and Delavigne.
652:(1859) was translated from Scribe's libretto for Auber's
1901:
Taylor, pp. 52, 54, 60 and 89–90; and Saunders, Graham.
1730:, Oxford University Press, 2001. Retrieved 25 June 2021
664:, premiered at the Opéra in June. It was well received;
2081:. Berkeley and London: University of California Press.
1759:, Oxford University Press, 1992. Retrieved 7 June 2021
1484:, Oxford University Press, 2002. Retrieved 7 June 2021
1457:, Oxford University Press, 2002. Retrieved 7 June 2021
1340:, Oxford University Press, 2002. Retrieved 7 June 2021
957:
Among the other composers with whom Scribe worked were
2105:. Vol. XIV. Paris: Grand dictionnaire Universel.
1973:
Music Theatre in Motion: Reflections on Dance in Opera
421:(1832). The Opéra-Comique commissioned a grand opera,
318:
of the part they had played in this creative process.
92:(1828). His second most frequent musical partner was
2288:
Editors: John W. Cunliffe, Ashley H. Thorndike. 1917
1912:, University of Reading, 2008. Retrieved 5 June 2021
2055:
2210:
2187:
2079:The Keys to French Opera in the Nineteenth Century
1927:
1892:, Université Paris Sorbonne. Retrieved 5 June 2021
1590:"Ibsen, Gilbert, and Scribe's 'Bataille de Dames'"
2156:Roberts, John H. (4 September 2003). "Meyerbeer:
1870:, Oxford University Press. Retrieved 5 June 2021
1838:, Oxford University Press. Retrieved 9 June 2021
1804:. Oxford University Press. Retrieved 9 June 2021
1779:"Aide à la recherche: Cimetière du Père-Lachaise"
991:List of stage works by Eugène Scribe § Films
2643:
1836:The New Oxford Companion to Literature in French
1687:: CS1 maint: bot: original URL status unknown (
1387:: CS1 maint: bot: original URL status unknown (
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1934:. Ithaca and London: Cornell University Press.
2667:19th-century French dramatists and playwrights
2323:
2029:
185:, (1812), both written with Delavigne for the
2536:
2309:
1669:. Archived from the original on 12 June 2021
1369:. Archived from the original on 12 June 2021
2102:Grand dictionnaire Universel du XIXe siècle
1849:
1847:
27:French dramatist and librettist (1791–1861)
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2529:
2316:
2302:
2033:; Brauner, Patricia (1997). "Rossini". In
1584:
1582:
1580:
1073:(Robin Hood, 1824), very loosely based on
438:For the non-musical theatre, Scribe wrote
2396:Jean de Dieu-Raymond de Cucé de Boisgelin
2168:. Cambridge: Cambridge University Press.
2141:. Cambridge: Cambridge University Press.
1956:. Cambridge: Cambridge University Press.
1883:"Oser la nouveauté en usant les ficelles"
1357:10.1093/gmo/9781561592630.article.O003616
2095:
1868:The Companion to Theatre and Performance
1844:
1802:The Companion to Theatre and Performance
1648:
470:
303:
155:
31:
2272:: text, concordances and frequency list
2217:. New York: Columbia University Press.
2190:The Rise and Fall of the Well-Made Play
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1925:
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1229:
1227:
1225:
1223:
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440:Bertrand et Raton ou l'art de conspirer
14:
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2208:
2182:
2166:The Cambridge Companion to Grand Opera
2056:Koon, Helene; Richard Switzer (1980).
1970:
1948:
1700:
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1409:
1407:
1344:
1310:
1308:
1306:
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1209:
1207:
1205:
1203:
695:writes of Scribe's historical operas:
630:(with Auber, 1841, 1843 and 1847) and
269:Leicester, ou Le château de Kenilworth
189:. In 1813 he wrote the first of three
2524:
2297:
2118:Meyer, Peter (2003). "Introduction".
1989:
1651:"The Well-Made Play of Eugène Scribe"
1638:"The Well-Made Play of Eugène Scribe"
50:
1992:Robert Debré: Une vocation française
1788:, Paristoric. Retrieved 10 June 2021
1627:
1542:Dictionnaire de l'Académie française
1218:
1191:
802:
726:List of stage works by Eugène Scribe
498:One of Scribe's key devices was the
2270:Scribe's works at www.intratext.com
1695:
1404:
1348:Dame blanche, la | Grove Music
1303:
1200:
984:
738:Category: Libretti by Eugène Scribe
298:Jules-Henri Vernoy de Saint-Georges
219:), a collaboration with his friend
24:
2213:Tom Taylor and the Victorian Drama
2194:. Oxford and New York: Routledge.
2139:The Cambridge Companion to Rossini
1553:Gidel, pp. 57, 66, 89, 113 and 188
1091:Scribe co-wrote the libretto with
172:, was produced anonymously at the
127:
25:
2698:
2687:Burials at Père Lachaise Cemetery
2672:Members of the Académie Française
2388:Claude-Henri de Fusée de Voisenon
2340:Claude Gaspard Bachet de Méziriac
2230:
646:. (The libretto for the latter's
576:Les Contes de la reine de Navarre
411:(1831) was adapted by Romani for
359:In 1828 Scribe collaborated with
227:, and opened on 23 December with
2404:Jean-Baptiste Dureau de la Malle
2372:Jean-François Leriget de La Faye
2364:Jean-Baptiste-Henri de Valincour
2262:
2015:(in French). Paris: Flammarion.
1862:Carlson, p. 274; Howarth, W. D.
1241:, Oxford University Press, 2001
926:La chatte métamorphosée en femme
742:Category: Plays by Eugène Scribe
542:
525:
199:Théâtre de la Porte Saint-Martin
2246:Works by or about Eugène Scribe
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1141:while Scribe was working on it.
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1115:
1098:
1085:
1062:
1052:
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1182:
1173:
1164:
1034:
516:
210:Une Nuit de la garde nationale
132:
13:
1:
2348:François de La Mothe Le Vayer
1624:Koon and Switzer, pp. 147–148
1440:Gossett & Brauner, p. 347
1157:
1023:Notes, references and sources
655:Gustave III, ou Le bal masqué
595:albeit bitter-sweet, ending.
427:, from Scribe, Delavigne and
350:, given the following year –
197:, did reasonably well at the
1422:Gossett & Brauner, p. 34
794:
7:
2380:Prosper Jolyot de Crébillon
2261:(public domain audiobooks)
1594:Educational Theatre Journal
1512:Koon and Switzer, pp. 25–28
1300:Malherbe, pp. 42, 47 and 51
1269:Koon and Switzer, pp. 17–18
1188:Koon and Switzer, pp. 12–13
615:Les Diamants de la couronne
551:Les Diamants de la couronne
506:later in the 19th century.
407:; his libretto for Auber's
229:Le Boulevard Bonne-Nouvelle
59:. He is known for writing "
10:
2703:
1919:
1649:Cardwell, Douglas (1983).
1345:Forbes, Elizabeth (2002).
1235:"Scribe, (Auguste) Eugène"
988:
723:
475:Scribe's country house at
52:[oɡystɛ̃øʒɛnskʁib]
2682:French ballet librettists
2620:
2585:
2569:
2334:
1881:; and Heyraud, Violaine.
1798:"Scribe, Augustin-Eugène"
338:, a ballet with music by
2677:French opera librettists
1926:Carlson, Marvin (1984).
1644:, May 1983, pp. 876–884
1615:Koon and Switzer, p. 147
1596:, March 1965, pp. 24–30
1027:
998:The Dumb Girl of Portici
719:
603:also drew on it, in his
384:
238:
221:Charles Delestre-Poirson
2420:Antoine-Vincent Arnault
2209:Tolles, Winton (1940).
2077:Lacombe, Hervé (2001).
2039:The Penguin Opera Guide
1990:Debré, Patrice (2018).
1975:. Regensburg: ConBrio.
1872:(subscription required)
1840:(subscription required)
1806:(subscription required)
1761:(subscription required)
1742:Koon and Switzer, p. 33
1732:(subscription required)
1704:Koon and Switzer, p. 26
1646:(subscription required)
1598:(subscription required)
1574:Koon and Switzer, p. 32
1544:. Retrieved 5 June 2021
1486:(subscription required)
1459:(subscription required)
1342:(subscription required)
1260:Koon and Switzer, p. 17
1243:(subscription required)
1170:Koon and Switzer, p. 11
2255:Works by Eugène Scribe
2237:Works by Eugène Scribe
1994:. Paris: Odile Jacob.
1536:21 August 2020 at the
1137:had the working title
914:Les Vêpres siciliennes
714:Père Lachaise Cemetery
661:Les Vêpres siciliennes
479:
314:
193:, of which the third,
170:Le Prétendu par hasard
161:
44:Augustin Eugène Scribe
40:
2009:Gidel, Henry (1991).
1853:Larousse, pp. 424–427
1713:Conway (2012), p. 217
1323:Larousse, pp. 424–427
474:
307:
195:Les Frères invisibles
187:Théâtre du Vaudeville
160:Scribe as a young man
159:
35:
2184:Taylor, John Russell
1784:10 June 2021 at the
1401:Conway (2021), p. 61
1233:Schneider, Herbert.
827:La Muette de Portici
677:Théodore de Banville
649:Un ballo in maschera
353:La Muette de Portici
265:Gilbert and Sullivan
203:La Chambre à coucher
174:Théâtre des Variétés
147:Collège Sainte-Barbe
89:La Muette de Portici
2602:Adrienne Lecouvreur
2577:Adrienne Lecouvreur
2553:Adrienne Lecouvreur
2476:Wladimir d'Ormesson
2452:Paul-Albert Besnard
2412:Louis-Benoît Picard
2286:The Warner library.
2041:. London: Penguin.
1908:5 June 2021 at the
1888:5 June 2021 at the
1877:6 June 2021 at the
1864:"Sardou, Victorien"
1830:9 June 2021 at the
1811:6 June 2021 at the
1766:7 June 2021 at the
1603:5 June 2021 at the
1491:7 June 2021 at the
1464:7 June 2021 at the
1332:Forbes, Elizabeth.
1248:3 June 2021 at the
1045:, such as those by
572:Adrienne Lecouvreur
489:la pièce bien faite
2662:Writers from Paris
2629:Adriana Lecouvreur
2610:Adriana Lecouvreur
2325:Académie française
2122:. London: Oberon.
2062:. Boston: Twayne.
1757:Grove Music Online
1728:Grove Music Online
1636:Cardwell Douglas.
1588:Stanton, Stephen.
1565:in Roberts, p. 211
1482:Grove Music Online
1478:"Robert le diable"
1455:Grove Music Online
1449:Osborne, Richard.
1431:Lacombe, pp. 26–28
1338:Grove Music Online
1334:"Dame blanche, La"
1239:Grove Music Online
1110:The Glass of Water
939:1865: Meyerbeer's
931:1860: Offenbach's
900:1849: Meyerbeer's
864:1831: Meyerbeer's
586:(1855). Of these,
480:
372:Il viaggio a Reims
315:
281:historical romance
225:Théâtre du Gymnase
162:
151:Académie Française
41:
2639:
2638:
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2517:
2241:Project Gutenberg
2201:978-0-41-572333-6
2175:978-0-52-164683-3
2148:978-0-521-00195-3
2129:978-1-84943-993-0
2088:978-0-52-021719-5
2069:978-0-80-576390-4
2048:978-0-14-051385-1
2022:978-2-08-066280-4
2001:978-2-7381-4140-8
1982:978-3-940768-96-4
1963:978-1-10-701538-8
1941:978-0-80-141678-1
1751:Huebner, Steven.
1722:Huebner, Steven.
1655:The French Review
1642:The French Review
1521:Tolles, pp. 22–23
1476:Huebner, Steven.
1366:978-1-56159-263-0
1015:(1960), based on
954:
953:
673:Théophile Gautier
621:La Part du diable
588:Bataille de dames
580:Bataille de dames
533:Bataille de dames
433:Salle Le Peletier
429:Giacomo Meyerbeer
413:Gaetano Donizetti
361:Gioachino Rossini
245:Comédie-Française
166:Germain Delavigne
114:Jacques Offenbach
106:Gaetano Donizetti
94:Giacomo Meyerbeer
16:(Redirected from
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859:Robert le diable
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761:Victorien Sardou
754:Alexandre Dumas
639:L'Etoile du Nord
606:Arms and the Man
592:Brander Matthews
546:
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456:Les Indépendants
424:Robert le diable
418:L'elisir d'amore
399:Vincenzo Bellini
397:as the basis of
378:pièce d'occasion
340:Ferdinand Hérold
324:Adrien Boieldieu
294:E.-J.-E. Mazères
261:Robert Letellier
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329:La Dame blanche
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214:A Night at the
139:Rue Saint-Denis
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128:Life and career
69:opéras-comiques
61:well-made plays
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452:La Camaraderie
401:'s 1831 opera
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271:, a three-act
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18:Eugene Scribe
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2468:Paul Claudel
2460:Louis Gillet
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1991:
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1683:cite journal
1671:. Retrieved
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1347:
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1197:Meyer, p. 10
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959:Adolphe Adam
956:
948:
945:(posthumous)
940:
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912:
901:
893:
877:
865:
857:
845:
839:Le Comte Ory
837:
825:
813:
798:
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747:
731:
707:
705:
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693:David Conway
689:
681:théâtre vide
680:
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637:
631:
625:
619:
613:
611:
604:
601:Bernard Shaw
597:Henrik Ibsen
587:
583:
579:
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508:
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460:La Calomnie
459:
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393:was used by
390:
388:
376:
370:
366:Le Comte Ory
364:
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343:
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327:
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310:Le Comte Ory
308:
283:
277:Walter Scott
268:
257:Daniel Auber
242:
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194:
182:
178:
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136:
122:
98:Adolphe Adam
87:
80:Daniel Auber
77:
73:
65:grand operas
43:
42:
29:
2657:1861 deaths
2652:1791 births
2500:Simone Veil
2444:Pierre Loti
2356:Jean Racine
2162:L'Africaine
2158:Le Prophéte
1531:"quiproquo"
1135:L'Africaine
942:L'Africaine
903:Le Prophète
847:Fra Diavolo
791:in the US.
777:Noël Coward
773:Oscar Wilde
767:in France,
709:L'Africaine
633:Le Prophète
582:(1851) and
517:Later years
511:Léon Pillet
462:(1840) and
448:L'Ambitieux
348:grand opera
181:(1811) and
133:Early years
84:grand opera
2646:Categories
2570:Characters
2276:Obituary:
2111:1170460660
1158:References
1007:Lois Weber
584:La Czarine
564:Une chaîne
409:Le Philtre
285:Kenilworth
233:Mélesville
191:melodramas
143:Les Halles
57:librettist
36:Scribe by
2223:504217641
1383:cite book
1047:Offenbach
1043:opérettes
921:Offenbach
890:Donizetti
854:Meyerbeer
810:Boieldieu
795:Librettos
732:See also
500:quiproquo
477:Séricourt
183:L'Auberge
2259:LibriVox
2186:(1967).
2099:(1875).
1952:(2012).
1906:Archived
1886:Archived
1875:Archived
1828:Archived
1809:Archived
1782:Archived
1764:Archived
1601:Archived
1534:Archived
1489:Archived
1462:Archived
1278:Hueffer
1246:Archived
879:La Juive
578:(1850),
574:(1819),
570:(1848),
566:(1841),
458:(1837),
454:(1836),
450:(1834),
2328:seat 13
2248:at the
2120:Feydeau
2037:(ed.).
1920:Sources
1673:12 June
1373:12 June
1075:Weber's
1059:dinner.
934:Barkouf
910:Verdi's
834:Rossini
568:Le Puff
48:French:
2632:(1902)
2621:Operas
2613:(1955)
2605:(1938)
2597:(1928)
2564:(1849)
2510:(2020)
2502:(2008)
2494:(1999)
2486:(1974)
2478:(1956)
2470:(1946)
2462:(1935)
2454:(1924)
2446:(1891)
2438:(1862)
2430:(1834)
2422:(1829)
2414:(1807)
2406:(1804)
2398:(1776)
2390:(1762)
2382:(1731)
2374:(1730)
2366:(1699)
2358:(1672)
2350:(1639)
2342:(1634)
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888:1843:
874:Halévy
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852:1831:
832:1828:
820:1828:
808:1825:
627:Haydée
554:, 1851
535:, 1851
313:, 1828
251:, the
247:, the
2586:Films
1663:JSTOR
1280:et al
1028:Notes
822:Auber
720:Works
385:1830s
249:Opéra
239:1820s
141:near
38:Nadar
2560:and
2219:OCLC
2196:ISBN
2170:ISBN
2160:and
2143:ISBN
2124:ISBN
2107:OCLC
2083:ISBN
2064:ISBN
2043:ISBN
2017:ISBN
1996:ISBN
1977:ISBN
1958:ISBN
1936:ISBN
1689:link
1675:2021
1389:link
1375:2021
1361:ISBN
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