205:
117:
106:
560:
320:
518:
29:
651:
297:. Duponchel had also introduced new technical tricks, including English traps for the sudden appearance and disappearance of the ghosts. This scene became so famous that it was remembered until the end of the century. Meyebeer even began to complain that the spectacle was too much and was pushing his music into the background. The press coined the term "Duponchellerie" to refer to scenic spectacles that were considered excessive. Duponchel also collaborated with
1852:
135:, but this must be viewed with caution as there is no record of it in the student registers. At the time of his father's death in 1821, he had in effect become an architect, but some sources cast doubt on this, saying that he was an amateur and unaware of the technical side of the subject. Later, in February 1861, Duponchel collaborated with two other more well-established architects, Botrel and
1840:
556:
Paris and moved his business to London in a partnership with Fossin's son Jules. In the meantime, Duponchel had regained his directorship at the Opéra, where he remained until 13 November 1849, but also continued to successfully operate the gold and silver business with other associates as shown by their participation in the exposition of 1849.
860:, was announced on 30 December 1860 and closed on 31 January 1861. It called for the submission of preliminary projects, which were to indicate "la pensée de leurs auteurs" ("the thoughts of their authors"). There were no restrictions on who could compete, and projects by amateurs, as well as architects, were submitted (Mead 1991, p. 60).
373:, favoring her in the selection of roles at the Opéra and causing dissension within the company and with the public. After being severely attacked in the press, and with his losses mounting, he was forced to retire in October 1847. Duponchel then rejoined the administration of the Opéra in a co-directorship with
697:
as "a thin, yellow man with a face like an undertaker." He died in Paris at age 73, and tried to leave his gold business, which was quite valuable, to his son, Ludovic-Maxime (born 15 October 1832). However, Ludovic's mother Marie-Joséphine
Blanchard (1810–1896) gained control of it in November 1869,
555:
By the end of 1846, however, disagreements had sprung up between the two associates, resulting in a lawsuit won by
Duponchel, which brought about the dissolution of the partnership, and awarded him sole possession of the property and merchandise. Morel was forbidden to continue with silversmithing in
152:
that the designs were remarkable in revealing that, while
Duponchel had studied the subject, it was not likely that he had completed a diploma, and that to call him an architect was an overstatement. He also pointed out that throughout his career Duponchel habitually benefited from collaboration with
69:
He was born Henry
Duponchel on the rue des Lombards in Paris to Pierre-Henry Duponchel (c. 1752 – 18 October 1821), who ran a grocery-hardware store, and Marie-Geneviève-Victoire Théronenne (d. 8 August 1842). The family subsequently moved to the rue Sainte-Croix de la Bretonnerie. According to early
735:
Dion-Tenenbaum 1997, pp. 66, 73. His name at birth was spelled 'Henry', which was changed much later to 'Henri'. Huebner 1992 gives
Duponchel's day of birth as 25 July and his first names as "Charles (Edmond)" (for the difference in names, see below). According to Tamvaco 2000, p. 963, the confusion
183:
and Lebe-Gigun, scene painters at the Opéra, did the decorative painting, which initiated relationships that were to prove significant for
Duponchel's subsequent career. The work also inaugurated an important patronage from the Baron. Continuing his association with Piron, Duponchel also executed in
689:
as a scenic designer, with J. J. Dormeuil as artistic director and the entrepreneur Benou in charge of the financial side. He did not try to recreate the spectacular displays he had used at the Opéra, but rather continued to develop the realistic settings which had already been established at that
605:
began creating the model in the spring of 1844, and the Maison
Duponchel began its execution in 1846, finishing in 1851. Silver was used for the goddess's tunic and shield, and bronze for the serpent and weapons. Ivory was used for the areas of flesh: the goddess's face, neck, arms, and feet; the
359:
on 1 December 1835. It was a financially difficult period at the Opéra after Louis Véron's retirement. The state subvention to the theatre had dropped from a high of 870,000 francs per annum to as low as 620,000 francs, about one third of the annual budget. Duponchel formed an alliance with
1158:(4 August 1849) concerning precious metal objects that Duponchel exhibited that year: "il nous semble qu'il est dangereux pour un directeur d'opéra de cultiver l'orfèvrerie perfectionnée et de mener de front deux arts qui ont tant de sympathie l'un pour l'autre. Que M. Duponchel y réfléchisse!"
772:. Incorrect first names have frequently and persistently been used by various authors, even quite recently (for example, Kelly 2004, p. 172, identifies the director of the Opéra as Charles-Edmond Duponchel), despite Dion-Tenenbaum's 1997 paper, and even earlier, Ivor Guest's 1956 biography of
156:
The first records of
Duponchel's work activities are in the areas of architecture and interior decoration. At the end of 1818 he was associated with a young architect by the name of LĂ©onard-Ferdinand Verneuil, but in what capacity is not clear. Verneuil's father-in-law was the director of the
551:
to Pillet for 500,000 francs. Having been to London in 1825, 1836 and 1838, he was convinced that the state of the art of silversmithing in France was comparable to that in
England. Their venture, set up in an apartment at 39 rue Neuve-Saint-Augustin and called Morel & Cie, became very
784:, which includes three letters: no. 4 to "Henry Duponchel", dated at the bottom "2nd August 1847"; no.5 to "Henri Duponchel", dated at the bottom "10.8.47 London"; and no. 6 to "Henri Duponchel", dated at the top "Bath, 1st Sept. 1847" and at the bottom "Bath 1/9/47" (see Guest 1981,
368:
on 1 June 1840, but the two men had a quarrel and
Duponchel withdrew, returning to his former position as scenic director, in October 1841. Aguado died in 1842 creating further financial problems, and Pillet formed an intimate relationship with the singer
977:
According to Brozoska 2003, p. 190, Marie Taglioni danced in 6 performances, after which she was replaced by Louise Fitzjames, who danced the role 232 times. Guest 2008, p. 208, says Taglioni danced it 7 times, after which the role was taken over by
1504:
204:
965:
116:
1501:
658:
Duponchel's gold and silver business remained successful, but architecture and opera continued to attract him. He collaborated occasionally with several of his designer colleagues from the Opéra, including
283:." He was an innovative stage designer who promoted the introduction of "local colour" not previously a characteristic of productions at the Opera. With Cicéri, he co-designed stage setting for
768:'s first names being given to Henri Duponchel, was made early on. Vapereau 1858, p. 38, gives the incorrect name (as well the incorrect 1795 as the year of his birth), as does Larousse 1870,
234:(23 July), Duponchel created a new tradition by throwing a crown of white roses on the stage at her curtain calls, the first time flowers had ever been thrown on the stage at that theatre.
744:
an II (which would have been used in official documents at the time of Duponchel's birth). The latter date actually corresponds to 28 July 1794. An even earlier source, the Belgian
361:
796:, Paris, Series AJ: Box 477). More evidence comes from a legal document concerning his mother's will, which identifies him as Henri Duponchel (Ledru-Rollin & Levesque 1847,
986:, but both Brozoska and Guest say the choreography was by Filippo Taglioni. Guest, p. 209, mentions that Coralli probably did the choreography for the divertissement in Act 2.
672:
136:
105:
78:. Duponchel and Delacroix remained good friends, and many years later, in 1831, Duponchel recommended Delacroix as a traveling companion and artist for an extended trip to
293:(1831). (Marie Taglioni danced Hélèna, the Mother Superior.) The ballet scenario was Duponchel's own suggestion, replacing the previously intended staid scenario set on
751:
has the entry "28 July 1794 Duponchel (Henri), ex-dir. of the Gr. Op." Other sources give 1795 as the year of Duponchel's birth. One of the earliest is Vapereau 1858,
545:. Totally ignorant of silversmithing, Duponchel brought to the enterprise taste and energy, as well as considerable capital, acquired from the sale of his opera
222:, where in 1827 he collaborated as a costume designer with Cicéri as the scenery designer in creating a 15th-century setting for Jean-Marie Mély-Janin's play
800:). In addition, as Tamvaco mentions, the rare extant letters written by Duponchel have his monogram "H. D" as the letterhead (Tamvaco 2000, p. 963 note 200).
642:, which was drawing far larger crowds. Despite this, the piece attracted much attention, both at the exhibit and in the press, and it won a Medal of Honour.
736:
between 25 and 28 July derives from the obituary of Duponchel by Boudin 1868, where Duponchel's date of birth is given as 25 July 1794 as well as the
809:
Dion-Tenenbaum 1997, p. 66; Ledru-Rollin & Levesque 1847, p. 543 (mother's death date); Whiteley 1998, p. 792 (Guérin as a theatre enthusiast).
82:
with the diplomat Count Charles de Mornay. Duponchel, who did not himself know Mornay, had some influence through his friendship with the actress
153:
others. However, when the results were announced Duponchel and his collaborators won the second place prize of 4,000 francs out of 170 entrants.
1887:
1922:
1136:
856:
and Jacques 1986, p. 26, among others. The first competition, for the design of the new opera house which was later to become known as the
578:
196:
in Italian renaissance style on an unusual site located between the garden and court of the HĂ´tel de Bourrienne on the rue d'Hauteville.
1090:(Holoman 1992, p. 435). The production was notable for being far more faithful to the original than the previous French adaptation by
1912:
634:
receiving gifts from the gods. The finished statue including the pedestal is more than nine feet tall, and it was exhibited at the
237:
Duponchel also became a stage director, working on almost all productions at the Opéra from about 1828 up to 1849, beginning with
1882:
319:
638:. To Duponchel's great annoyance, the organizers required him to exhibit the work in the Palais des Beaux-Arts, rather than the
559:
146:, and submitted an architectural project in a competition for the design of a new opera house. G. Bourdin wrote unfavourably in
1818:
1393:
635:
1062:
Weber's German opera had premiered on 18 June 1821 in Berlin. For the Paris Opera production it was translated into French by
1892:
1777:
1756:
1720:
1703:
1685:
1665:
1650:
1635:
1620:
1605:
1551:
1533:
1478:
1463:
1430:
1353:
1336:
1321:
1306:
158:
517:
1557:
Lacombe, Hervé (2003). "The 'machine' and the state", translated by Christopher Smith, in Charlton 2003, pp. 21–42.
161:, and this may have been an important influence. Duponchel may have also served with Camille Piron as architect for the
864:
was finally selected as the architect after a second, more exacting competition later that year (Mead 1991, pp. 76–78).
789:
1897:
1676:
1696:
Les Cancans de l'Opéra. Chroniques de l'Académie Royale de Musique et du théâtre, à Paris sous les deux restorations
1238:
L' orfèvrerie française aux XVIIIe et XIXe siècles. Vol. 2: L 'orfèvrerie française au XIXe siècle. Première période
28:
677:
529:
On 11 February 1842, not long after Duponchel first quit as director of the Opéra, he signed a contract with the
1102:, which had nevertheless been hugely successful all over France. The opera had also been given in German by the
141:
86:, who was Mornay's mistress. After returning from the trip, Delacroix created one of his more famous paintings,
1917:
1070:. Berlioz composed recitatives to replace the spoken dialogue and arranged some of Weber's other music for the
364:, who helped to underwrite the deficit. Continuing to have difficulty, Duponchel formed a co-directorship with
1643:
The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers. Growth and Grandeur, 1815–1914
840:
Duponchel's participation was unofficial, and he was not credited on the designs when they were reproduced by
1344:
777:
737:
226:(15 February 1827). Soon thereafter Duponchel joined Cicéri at the Opéra. On 8 August 1827, at the ballerina
1907:
793:
769:
755:, and 1795 is repeated in two other obituaries (cited by Tamvaco 2000, p. 963: Marx 1868 and Énault 1868).
752:
861:
1734:
1630:, p. 185. New York: The Architectural History Foundation. Cambridge, Massachusetts: The MIT Press.
1830:
1593:
1568:
686:
571:
172:
1241:
434:
168:
1765:
Williams, Simon (2003). "The spectacle of the past in grand opera" in Charlton 2003, pp. 58–75.
1168:
699:
1902:
1822:
765:
639:
615:
58:
20:
797:
785:
522:
328:
189:
1790:
1133:
630:
was done by Delagrange de Lagny. The statue stands on a marble pedestal with bas-reliefs showing
1583:
1405:
627:
586:
132:
1294:
996:
660:
219:
953:
940:
887:
380:
Premieres (except as noted) during Duponchel's two periods as director of the Opéra included:
1762:
Whiteley, John (1998). "Guérin, Pierre(-Narcisse)" in Turner 1998, vol. 13, pp. 791–795.
1711:
1628:
Charles Garnier's Paris Opéra: Architectural Empathy and the Renaissance of French Classicism
1521:
1086:
849:
745:
650:
602:
1425:, translated from German to English by Mary Whittall. Chicago: University of Chicago Press.
1382:
1367:
668:
298:
1877:
1872:
1103:
542:
407:
243:
1490:
Huebner, Steven (1992). "Duponchel, Charles (Edmond)" in Sadie 1992, vol. 1, p. 1279.
781:
192:
on the rue de la Tour-des-Dames. In 1826 he oversaw the construction of an elegant, small
163:
8:
538:
1813:
1807:
1512:
248:
75:
1436:
398:
443:
356:
1773:
1752:
1716:
1699:
1681:
1661:
1646:
1631:
1616:
1601:
1547:
1529:
1474:
1459:
1444:
1426:
1401:
1359:
1349:
1332:
1317:
1302:
1273:
1265:
1154:
416:
324:
258:
83:
1539:
1063:
682:. In 1854 he was again a candidate for director of the Opéra, but was not selected.
664:
470:
1844:
1738:
1572:
1560:
1245:
979:
853:
715:
591:
425:
374:
289:
284:
210:
88:
42:
1518:
Johnston, William R. (1985). "II Later Ivories" in Randall 1985, pp. 281–289.
1493:
Huebner, Steven (1992). "Robert le diable" in Sadie 1992, vol. 3, pp. 1357–9.
1411:
1251:
Bourdin, G. (14 February 1861). "Concours public pour la nouvelle salle d'opéra",
892:
279:
180:
131:
Early biographers also say that Duponchel attended courses in architecture at the
71:
1508:
1484:
1140:
41:(28 July 1794 – 8 April 1868) was in turn a French architect, interior designer,
1795:
23:(1804 – c. 1860), French military officer and Chevalier of the Legion of Honour.
1671:
1091:
1067:
982:. Carlson 1972, p. 75, credits the choreography of the "Ballet of the Nuns" to
857:
694:
546:
274:
227:
125:
Design for a new opera house by Botrel, Crépinet, and Duponchel (February 1861)
46:
1691:
Smith, Marian (2003). 'Dance and Dancers' in Charlton (2003), pp. 93–108.
1580:
Journal du Palais. Recueil le plus complet de jurisprudence française. Tome II
1044:
Gerhard 1998, pp. 34–35; Carlson 1972, p. 79 (1841 return to scenic director).
828:
502:
365:
344:
269:
1866:
773:
610:
on the shield. The concave side of the shield depicts the combat between the
389:
370:
294:
263:
230:'s sixth and final performance in her debut at the Paris Opera in the ballet
1546:, translated by Edward Schneider. Berkeley: University of California Press.
841:
1856:
1744:
1726:
1587:
1423:
The Urbanization of Opera: Music theatre in Paris in the Nineteenth Century
1386:
1371:
1095:
983:
307:
238:
70:
biographies Duponchel took lessons from the painter and theatre enthusiast
1277:
1269:
493:
530:
461:
452:
54:
50:
1448:
1291:", translated by Christopher Smith, in Charlton 2003, pp. 189–207.
589:. The statue is a reproduction of the ancient Greek sculptor Phidias's
1812:"Notice d'autorité personne" for Edmond Duponchel (1795–1868) at BnF:
1167:
Dion-Tenenbaum 1997, p. 71; Johnston 1985, p. 284–285; Bouilhet 1910,
377:. Duponchel retired from all types of work in opera in November 1849.
1456:
Letters from a Ballet-Master: The Correspondence of Arthur Saint-LĂ©on
1253:
741:
148:
552:
successful. At the exhibition of 1844 Morel received a gold medal.
534:
302:
287:'s ghostly "Ballet of the Dead Nuns" in Act 3 of Meyerbeer's opera
267:(a production costing 160,000 francs), and ending with Meyerbeer's
253:
1487:(1992). "Berlioz, Hector" in Sadie 1992, vol. 1, pp. 434–439.
1715:, reprinted with minor corrections, 34 volumes. New York: Grove.
852:. Dion-Tenenbaum 1997, p. 66, cites G. Bourdin 14 February 1861,
631:
623:
619:
611:
597:
479:
79:
1802:"Notice d'autorité personne" for Henri Duponchel (1794–1868) at
1381:, second edition. Paris: Librairie de la Construction moderne.
1080:
1053:
The information in this list is from Pitou 1990, pp. 1428–1431.
607:
606:
torso of Victory (held in the goddess's hand); and the head of
176:
474:, romantic opera in 3 acts as adapted by Berlioz (7 June 1841)
614:
and the Athenians, and the convex side, a battle between the
1851:
1613:
Romantic Paris: Histories of a Cultural Landscape, 1800–1850
1233:, obituary of Duponchel. Paris: Bureaux, 5 passage Chausson.
827:
Probably Julien-Alphonse Bottrel (c. 1818–1870), student of
1379:
1793–1907: Les Architectes élèves de l'école des Beaux-Arts
512:
1819:"Duponchel, Charles-Edmond (French architect, born 1804)"
1803:
335:
Duponchel's official positions at the Opéra had included
171:, and it is generally agreed that at minimum he provided
1749:
Second Empire Opera: The Théâtre Lyrique Paris 1851–1870
890:, credits Cicéri with the decor and Duponchel with the
846:
Revue générale de l'Architecture et des Travaux publics
64:
1299:
Berlioz. Volume Two. Servitude and Greatness 1832–1869
1828:
384:
First directorship (1 September 1835 – October 1841)
61:, a contemporary who also lived and worked in Paris.
780:) and his 1981 compilation of the correspondence of
698:
and it soon disappeared. Duponchel is buried at the
618:
and the Gods. The sandals depict the dispute of the
16:
French architect, designer, director and silversmith
1615:. Stanford, California: Stanford University Press.
1074:, including excerpts from his incidental music for
488:Second directorship (October 1847 – November 1849)
1658:Masterpieces of Ivory from the Walters Art Gallery
1544:The Keys to French Opera in the Nineteenth Century
95:
1770:Giacomo Meyerbeer: Eine Biografie nach Dokumenten
914:Carlson 1972, pp. 72–73; Guest 2008, pp. 121–122.
654:Tomb of Henri Duponchel in Père Lachaise Cemetery
1864:
1600:. Newcastle, UK: Cambridge Scholars Publishing.
1084:. Berlioz also orchestrated Weber's piano piece
402:, pantomime-ballet in 2 acts (21 September 1836)
1582:. Paris: Bureaux, rue des Grands-Augustins, 7.
1441:Fanny Cerrito: The Life of a Romantic Ballerina
570:The firm's masterpiece is the ivory and silver
1698:(2 volumes, in French). Paris: CNRS Editions.
1500:. Exposition-dossier du musée d'Orsay. Paris.
199:
1348:. Cambridge, UK: Cambridge University Press.
1316:. Metuchen, New Jersey: The Scarecrow Press.
1143:at christies.com, accessed 29 February 2012.
1035:Williams 2003, pp. 429; Lacombe 2003, p. 27.
218:Duponchel worked as a stage designer at the
1364:Histoire de la musique dramatique en France
1264:(3 volumes, in French). Paris: H. Laurens.
1231:Le Panthéon de la Légion d'Honneur. Tome II
541:, who had formerly been in the workshop of
483:, fantastic ballet in 2 acts (28 June 1841)
214:(1831), a co-design of Cicéri and Duponchel
1565:Grand dictionnaire universel du XIX siècle
1314:The French Stage in the Nineteenth Century
926:
924:
922:
920:
764:The confusion of identities, resulting in
497:, grand opera in 4 acts (26 November 1847)
411:, grand opera in 4 acts (14 November 1836)
393:, grand opera in 5 acts (29 February 1836)
208:Scene of the "Ballet of the Dead Nuns" in
1498:La carrière de l'architecte au XIX siècle
1301:. London: Allen Lane. The Penguin Press.
525:for a miniature setting in precious metal
465:, grand opera in 4 acts (2 December 1840)
1731:Dictionnaire universel des contemporains
1272:. Elibron Classics (2005–2006 reprint):
1106:in 1829. See Walsh 1981, pp. 58–59, 215.
831:(Brault & Du Bois , vol. 3, p. 374).
649:
558:
521:Portrait of Madame Duponchel, design by
516:
318:
203:
27:
917:
513:Gold and silver dealer and manufacturer
506:, grand opera in 5 acts (16 April 1849)
456:, grand opera in 4 acts (10 April 1840)
347:retired in 1835, Duponchel became sole
1865:
1578:Ledru-Rollin; Levesque, J. A. (1847).
1345:The Cambridge Companion to Grand Opera
636:Paris International Exhibition of 1855
447:, grand opera in 5 acts (1 April 1839)
429:, grand opera in 5 acts (5 March 1838)
420:, grand opera in 5 acts (3 March 1837)
323:Duponchel's bedchamber at the Opéra's
1888:French theatre managers and producers
1473:. Alton, Hampshire, UK: Dance Books.
1283:Brzoska, Matthias (2003) "Meyerbeer:
1260:Brault, Élie; Du Bois, Alexandre ().
438:, opera in 2 acts (10 September 1838)
1528:. New Haven: Yale University Press.
1331:. New Haven: Yale University Press.
65:Early life and training as a painter
1180:Dion-Tenenbaum 1997, p. 69–71.
13:
337:Inspecteur du matériel de la scène
184:1821 a neo-Pompeian decor for the
57:. He has often been confused with
14:
1934:
1923:Burials at Père Lachaise Cemetery
1784:
1677:The New Grove Dictionary of Opera
1656:Randall, Richard H., Jr. (1985).
1626:Mead, Christopher Curtis (1991).
1329:Wagner and the art of the theatre
1262:Les Architectes par leurs oeuvres
277:called him the "Alexander of the
1850:
1838:
1680:(4 volumes). London: Macmillan.
1660:. New York: Hudson Hills Press.
1342:Charlton, David, editor (2003).
1152:Dion-Tenenbaum 1997, pp. 70–71.
690:theatre in the previous decade.
305:of Halévy's 1832 'ballet-opéra'
159:Théâtre de la Porte-Saint-Martin
115:
104:
1913:Knights of the Legion of Honour
1223:
1210:
1201:
1192:
1183:
1174:
1161:
1146:
1127:
1124:Dion-Tenenbaum 1997, pp. 69–70.
1118:
1115:Dion-Tenenbaum 1997, pp. 68–69.
1109:
1056:
1047:
1038:
1029:
1020:
1011:
1002:
989:
971:
959:
946:
933:
908:
873:Dion-Tenenbaum 1997, pp. 66–67.
645:
351:on 1 September 1835, and joint
175:decor for the ballroom and neo-
96:Architect and interior designer
1883:19th-century French architects
1821:, Union List of Artist Names,
1772:(in German). Berlin: Parthas.
1207:Dion-Tenenbaum 1997, p. 73–74.
899:
876:
867:
834:
821:
812:
803:
758:
729:
566:by Simart and Duponchel (1855)
74:and was a fellow student with
1:
1793:(death notice, in French) in
1709:Turner, Jane (editor, 1998).
1645:. New York: Greenwood Press.
1392:Dion-Tenenbaum, Anne (1997).
968:. Retrieved 23 February 2012.
747:Annuaire dramatique pour 1843
738:French Revolutionary Calendar
685:In 1861 Duponchel joined the
314:
1893:Directors of the Paris Opera
1751:. New York: Riverrun Press.
1694:Tamvaco, Jean-Louis (2000).
1471:The Romantic Ballet in Paris
1454:Guest, Ivor, editor (1981).
673:Jean-Baptiste-Jules Klagmann
7:
1768:Zimmermann, Reiner (1998).
1598:Giacomo Meyerbeer: A Reader
1400:, vol 116, pp. 66–75.
1366:(in French). Paris: Didot.
1216:Dion-Tenenbaum 1997, p. 68.
1026:Smith (2003), 102 and n. 19
818:Marrinan 2009, pp. 195–196.
693:Duponchel was described by
200:Stage designer and director
49:, managing director of the
10:
1939:
1611:Marrinan, Michael (2009).
1594:Letellier, Robert Ignatius
705:
572:chryselephantine sculpture
18:
1526:First Nights at the Opera
1443:. London: Phoenix House.
1327:Carnegy, Patrick (2006).
595:, known to the Romans as
169:Baron James de Rothschild
137:Alphonse-Nicolas Crépinet
1898:French costume designers
1823:Getty Research Institute
1421:Gerhard, Anselm (1998).
1312:Carlson, Marvin (1972).
1236:Bouilhet, Henri (1910).
966:"Origins of Grand Opera"
766:Charles-Edmond Duponchel
722:
179:for the billiards room.
59:Charles-Edmond Duponchel
21:Charles-Edmond Duponchel
19:Not to be confused with
1496:Jacques, Annie (1986).
1458:. London: Dance Books.
1229:Boudin, Amédée (1868).
343:(1831–1835), but after
700:Père Lachaise Cemetery
661:Charles-Antoine Cambon
655:
577:, commissioned by the
567:
526:
362:Marie-Alexander Aguado
332:
215:
35:
1918:Architects from Paris
1712:The Dictionary of Art
1641:Pitou, Spire (1990).
1522:Kelly, Thomas Forrest
1189:Carlson 1972, p. 126.
1087:Aufforderung zum Tanz
1072:ballet-divertissement
687:Théâtre du Vaudeville
653:
640:Palais de l'Industrie
603:Pierre-Charles Simart
562:
523:Jean-Jacques Feuchère
520:
341:Directeur de la scène
329:Jean-Jacques Feuchère
322:
207:
31:
1507:4 March 2016 at the
1469:Guest, Ivor (2008).
1394:"Multiple Duponchel"
1377:Delaire, E. (1907).
1198:Cairns 1999, p. 104.
1139:14 July 2012 at the
1017:Carlson 1972, p. 84.
1008:Carlson 1972, p. 75.
905:Carlson 1972, p. 61.
628:repoussé and chasing
587:Château of Dampierre
543:Jean-Baptiste Fossin
244:La muette de Portici
133:École des Beaux-Arts
1908:French silversmiths
1733:. Paris: Hachette.
1418:, 3rd year, no. 17.
1416:La Vogue parisienne
794:Archives Nationales
539:Jean-Valentin Morel
1240:. Paris: Laurens.
669:Édouard Desplechin
656:
568:
527:
399:La fille du Danube
333:
299:Hygin-Auguste Cavé
216:
45:, stage designer,
36:
1778:978-3-932529-23-8
1757:978-0-7145-3659-0
1721:978-1-884446-00-9
1704:978-2-271-05685-6
1686:978-1-56159-228-9
1674:, editor (1992).
1666:978-0-933920-42-2
1651:978-0-313-26218-0
1636:978-0-262-13275-6
1621:978-0-8047-5062-2
1606:978-1-84718-388-0
1567:, vol. 6. Paris.
1552:978-0-520-21719-5
1534:978-0-300-10044-0
1479:978-1-85273-119-9
1464:978-0-903102-58-2
1431:978-0-226-28857-4
1414:(12 April 1868).
1360:Chouquet, Gustave
1354:978-0-521-64118-0
1337:978-0-300-10695-4
1322:978-0-8108-0516-3
1307:978-0-7139-9386-8
886:, Chouquet 1873,
848:, vol. 19 (1861)
782:Arthur Saint-LĂ©on
663:, Pierre Cicéri,
435:Benvenuto Cellini
325:Salle Le Peletier
220:Comédie-Française
164:hĂ´tel particulier
84:Mademoiselle Mars
1930:
1855:
1854:
1843:
1842:
1841:
1834:
1739:Internet Archive
1573:Internet Archive
1561:Larousse, Pierre
1485:Holomon, D. Kern
1285:Robert le Diable
1246:Internet Archive
1217:
1214:
1208:
1205:
1199:
1196:
1190:
1187:
1181:
1178:
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1113:
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1054:
1051:
1045:
1042:
1036:
1033:
1027:
1024:
1018:
1015:
1009:
1006:
1000:
993:
987:
980:Pauline Duvernay
975:
969:
963:
957:
950:
944:
937:
931:
928:
915:
912:
906:
903:
897:
884:Robert le diable
880:
874:
871:
865:
838:
832:
825:
819:
816:
810:
807:
801:
762:
756:
740:date of 10
733:
716:Legion of Honour
681:
592:Athena Parthenos
426:Guido et Ginevra
375:Nestor Roqueplan
290:Robert le diable
285:Filippo Taglioni
211:Robert le diable
167:(town house) of
145:
119:
108:
89:Women of Algiers
76:Eugène Delacroix
43:costume designer
1938:
1937:
1933:
1932:
1931:
1929:
1928:
1927:
1903:Opera designers
1863:
1862:
1861:
1849:
1839:
1837:
1829:
1799:(19 April 1868)
1787:
1509:Wayback Machine
1226:
1221:
1220:
1215:
1211:
1206:
1202:
1197:
1193:
1188:
1184:
1179:
1175:
1166:
1162:
1151:
1147:
1141:Wayback Machine
1134:Master Jewelers
1132:
1128:
1123:
1119:
1114:
1110:
1104:Théâtre-Italien
1061:
1057:
1052:
1048:
1043:
1039:
1034:
1030:
1025:
1021:
1016:
1012:
1007:
1003:
994:
990:
976:
972:
964:
960:
952:Chouquet 1873,
951:
947:
939:Chouquet 1873,
938:
934:
929:
918:
913:
909:
904:
900:
881:
877:
872:
868:
862:Charles Garnier
839:
835:
826:
822:
817:
813:
808:
804:
763:
759:
734:
730:
725:
708:
675:
648:
601:. The sculptor
583:salle des fĂŞtes
515:
444:Le lac des fées
357:Édouard Monnais
317:
301:in writing the
202:
139:
129:
128:
127:
126:
122:
121:
120:
111:
110:
109:
98:
67:
39:Henri Duponchel
34:
33:Henri Duponchel
24:
17:
12:
11:
5:
1936:
1926:
1925:
1920:
1915:
1910:
1905:
1900:
1895:
1890:
1885:
1880:
1875:
1860:
1859:
1847:
1827:
1826:
1816:
1810:
1800:
1786:
1785:External links
1783:
1782:
1781:
1766:
1763:
1760:
1742:
1724:
1707:
1692:
1689:
1672:Sadie, Stanley
1669:
1654:
1639:
1624:
1609:
1591:
1576:
1558:
1555:
1540:Lacombe, Hervé
1537:
1519:
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1494:
1491:
1488:
1482:
1467:
1452:
1434:
1419:
1409:
1398:Revue de l'Art
1390:
1375:
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1325:
1310:
1292:
1281:
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1249:
1234:
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1191:
1182:
1173:
1160:
1155:L'Illustration
1145:
1126:
1117:
1108:
1092:Thomas Sauvage
1078:and his opera
1068:Hector Berlioz
1064:Émilien Pacini
1055:
1046:
1037:
1028:
1019:
1010:
1001:
995:Carnegy 2006,
988:
970:
958:
945:
932:
916:
907:
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875:
866:
858:Palais Garnier
833:
820:
811:
802:
792:; provenance:
757:
727:
726:
724:
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719:
707:
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695:Heinrich Heine
665:Jules Diéterle
647:
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579:Duke of Luynes
514:
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509:
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507:
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486:
485:
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475:
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448:
439:
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421:
414:Niedermeyer's
412:
403:
394:
339:(1829–31) and
327:, designed by
316:
313:
275:Alphonse Royer
247:and including
228:Marie Taglioni
201:
198:
124:
123:
114:
113:
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103:
102:
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100:
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94:
66:
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47:stage director
32:
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1513:Musée d'Orsay
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1412:Énault, Louis
1410:
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1295:Cairns, David
1293:
1290:
1289:Les Huguenots
1286:
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1100:Robin de Bois
1097:
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998:
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949:
942:
936:
930:Huebner 1992.
927:
925:
923:
921:
911:
902:
895:
894:
893:mise en scène
889:
885:
879:
870:
863:
859:
855:
851:
847:
843:
837:
830:
824:
815:
806:
799:
795:
791:
790:pp. 40 and 41
787:
783:
779:
775:
774:Fanny Cerrito
771:
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761:
754:
750:
748:
743:
739:
732:
728:
718:(11 May 1839)
717:
713:
710:
709:
703:
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696:
691:
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683:
679:
674:
671:, as well as
670:
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524:
519:
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499:
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490:
489:
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482:
481:
476:
473:
472:
471:Le Freyschutz
467:
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458:
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449:
446:
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440:
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436:
431:
428:
427:
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418:
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410:
409:
404:
401:
400:
395:
392:
391:
390:Les Huguenots
386:
385:
383:
382:
381:
378:
376:
372:
371:Rosine Stoltz
367:
363:
358:
354:
350:
346:
342:
338:
330:
326:
321:
312:
310:
309:
304:
300:
296:
292:
291:
286:
282:
281:
280:mise-en-scène
276:
272:
271:
266:
265:
264:Les Huguenots
260:
256:
255:
250:
246:
245:
240:
235:
233:
229:
225:
221:
213:
212:
206:
197:
195:
191:
188:of the actor
187:
182:
181:Pierre Cicéri
178:
174:
170:
166:
165:
160:
154:
151:
150:
143:
138:
134:
118:
107:
93:
91:
90:
85:
81:
77:
73:
72:Pierre Guérin
62:
60:
56:
52:
48:
44:
40:
30:
26:
22:
1796:Le ménestrel
1794:
1791:"NĂ©crologie"
1769:
1748:
1745:Walsh, T. J.
1730:
1727:Vapereau, G.
1710:
1695:
1675:
1657:
1642:
1627:
1612:
1597:
1588:Google Books
1579:
1564:
1543:
1525:
1497:
1470:
1455:
1440:
1422:
1415:
1397:
1387:Google Books
1378:
1372:Google Books
1363:
1343:
1328:
1313:
1298:
1288:
1284:
1261:
1252:
1237:
1230:
1224:Bibliography
1212:
1203:
1194:
1185:
1176:
1163:
1153:
1148:
1129:
1120:
1111:
1099:
1096:Castil-Blaze
1085:
1079:
1075:
1071:
1058:
1049:
1040:
1031:
1022:
1013:
1004:
991:
984:Jean Coralli
973:
961:
948:
935:
910:
901:
891:
883:
878:
869:
845:
836:
823:
814:
805:
760:
746:
731:
711:
692:
684:
657:
646:Later career
596:
590:
582:
574:
569:
563:
554:
547:
528:
501:
500:Meyerbeer's
492:
478:
469:
460:
459:Donizetti's
451:
450:Donizetti's
442:
433:
424:
415:
408:La Esmeralda
406:
397:
388:
387:Meyerbeer's
379:
352:
348:
340:
336:
334:
308:La tentation
306:
288:
278:
268:
262:
252:
242:
236:
231:
223:
217:
209:
193:
185:
173:neoclassical
162:
155:
147:
130:
87:
68:
38:
37:
25:
1878:1868 deaths
1873:1794 births
1814:cb14658688m
1808:cb150898702
1437:Guest, Ivor
1169:pp. 260–263
1098:, known as
882:Concerning
829:FĂ©lix Duban
676: [
531:silversmith
503:Le prophète
462:La favorite
453:Les martyrs
366:LĂ©on Pillet
345:Louis VĂ©ron
270:Le prophète
232:Le Sicilien
140: [
55:silversmith
51:Paris Opera
1867:Categories
842:CĂ©sar Daly
432:Berlioz's
315:Impresario
1845:Biography
1406:0035-1326
1278:226396637
1270:457134263
1254:Le Figaro
997:pp. 15–16
742:Thermidor
712:Chevalier
622:with the
548:privilège
494:JĂ©rusalem
423:Halévy's
417:Stradella
405:Bertin's
353:Directeur
349:Directeur
259:Meyerbeer
149:Le Figaro
1747:(1981).
1729:(1858).
1596:(2007).
1563:(1870).
1542:(2001).
1524:(2004).
1515:website.
1505:Archived
1439:(1956).
1362:(1873).
1297:(1999).
1137:Archived
1076:Preciosa
850:plate 48
620:Centaurs
581:for the
535:lapidary
491:Verdi's
468:Weber's
303:libretto
254:La juive
224:Louis XI
177:Pompeian
92:(1834).
53:, and a
1831:Portals
1511:at the
1502:Listing
1449:4506387
844:in his
770:p. 1412
749:, p. 20
714:of the
706:Honours
632:Pandora
624:Lapiths
612:Amazons
598:Minerva
585:in his
575:Minerve
564:Minerve
480:Giselle
477:Adam's
441:Auber's
396:Adam's
295:Olympus
80:Morocco
1776:
1755:
1719:
1702:
1684:
1664:
1649:
1634:
1619:
1604:
1550:
1532:
1477:
1462:
1447:
1429:
1404:
1352:
1335:
1320:
1305:
1276:
1268:
1081:Oberon
954:p. 399
941:p. 398
888:p. 396
798:p. 543
788:, and
778:p. 117
667:, and
626:. The
616:Giants
608:Medusa
331:(1836)
249:Halévy
1857:Opera
1396:, in
786:p. 39
776:(see
753:p. 38
723:Notes
680:]
355:with
239:Auber
194:hĂ´tel
190:Talma
186:hĂ´tel
144:]
1774:ISBN
1753:ISBN
1735:View
1717:ISBN
1700:ISBN
1682:ISBN
1662:ISBN
1647:ISBN
1632:ISBN
1617:ISBN
1602:ISBN
1584:View
1569:View
1548:ISBN
1530:ISBN
1475:ISBN
1460:ISBN
1445:OCLC
1427:ISBN
1402:ISSN
1383:View
1368:View
1350:ISBN
1333:ISBN
1318:ISBN
1303:ISBN
1287:and
1274:OCLC
1266:OCLC
1242:View
1094:and
1066:and
854:p. 3
533:and
1804:BnF
1737:at
1586:at
1571:at
1385:at
1370:at
1244:at
261:'s
251:'s
241:'s
1869::
1806::
919:^
702:.
678:fr
537:,
311:.
273:.
257:,
142:fr
1833::
1825:.
1780:.
1759:.
1741:.
1723:.
1706:.
1688:.
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1608:.
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1536:.
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1309:.
1280:.
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999:.
956:.
943:.
896:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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