446:
19:
502:
498:
race proscrite". Act 2 highlights include Lange's virtuoso "Les
Soldats d'Augereau sont des hommes"; Pomponnet's "Elle est tellement innocente"; the duet of the old schoolfriends "Jours fortunés de notre enfance"; the encounter of Lange and Pitou "Voyons, Monsieur, raisonnons politique"; the whispered "Conspirators' Chorus"; and the waltz "Tournez, Tournez" that concludes the Act. From Act 3 Gänzl makes particular mention of the "Duo des deux forts"; the "Letter duet 'Cher ennemi que je devrais haïr'"; and the "Quarrel Duet 'C'est donc toi, Madam' Barras'".
1745:
459:
invited to her presence and arrives while
Clairette is there and the interview is marked with more than cordiality. The jealous Larivaudière appears meanwhile and, to clear herself, Lange declares that Pitou and Clairette are lovers and have come to the house to join in a meeting of anti-government conspirators to be held at midnight. Clairette discovers that she does not enjoy a monopoly of Pitou's affections, and that he is dallying with Lange.
184:
163:), but he had no known connection with Mlle. Lange. The black collars, used as a badge by the conspirators in the opera, are a reference to a song by the historical Pitou, "Les collets noirs". The heroine's mother, Madame Angot – the formidable market woman with aspirations – is fictional, but was not the invention of the librettists, being a stock character in stage comedy of the Revolutionary period.
472:
After a lively duet in which the two young women quarrel vigorously there is a general mêlée, ended by
Clairette who extends a hand to her friend and declares that she truly prefers the faithful Pomponnet to the fickle Pitou. Remembering Madame Angot's amorous flights, Pitou remains hopeful that Clairette will take after her mother and may one day be interested in him again.
442:
between Mlle. Lange – an actress and the mistress of Barras – and Barras's supposed friend
Larivaudière. The latter has paid Pitou to suppress the song but Clairette gets hold it and, to avoid her marriage with Pomponnet, sings it publicly and is, as she expects, arrested so that her wedding is unavoidably postponed.
674:
the reviewer reported "frenzied bravos" and numerous encores, and praised the music: "a succession of memorable songs, lively, falling easily on the ear, and certain to appeal to the lazy ear of a French audience." The critic judged that Lecocq's score approached, but rarely fell into, vulgarity, and
497:
describes Lecocq's score as "a non-stop run of winning numbers". He singles out in Act 1 Clairette's "sweetly grateful romance 'Je vous dois tout'"; Amaranthe's "Légende de la mère Angot: 'Marchande de marée'"; Pitou's "Certainement, j'aimais
Clairette"; and the politically dangerous "Jadis les rois,
905:
Another version of the genesis of the piece is that Koning suggested writing a new piece for
Brussels, Siraudin had the idea of using Madame Angot as a theme and the libretto was then written by Clairville, although the other two were credited as co-authors. A third version, current in the decade
471:
To avenge herself, Clairette invites all of Les Halles to a ball, to which she lures Lange and Pitou by writing each a forged letter, seemingly signed by the other. At the ball Pitou and Lange are unmasked, Larivaudière is enraged, but realises he must hush matters up to save Barras from scandal.
462:
The conspirators arrive in due time, but in the middle of proceedings, the house is surrounded by
Hussars; Lange hides the badges of the conspirators, "collars black and tawny wigs", and the affair takes on the appearance of nothing more dangerous than a ball. The Hussars join gaily in the dance.
441:
A marriage with
Pomponnet, a sweet and gentle hairdresser, has been arranged for her against her wishes, for she is in love with Ange Pitou, a dashing poet and political activist, who is continually in trouble with the authorities. His latest song lyric, "Jadis les rois", satirises the relations
846:
Productions were staged in translation in
Germany (Friedrich-Wilhelmstädtisches Theater, Berlin, November 1873); Austria (Carltheater, Vienna, January 1874); Australia (Opera House, Melbourne, September 1874); and Hungary (State Theatre, Kolozsvár, March 1875). The piece was also translated for
766:
Humbert successfully took the
Brussels production to London in May 1873, after which managements there hastened to mount English translations of the piece: three different productions played in London in 1873, three more the following year and five in 1875. Some of Britain's leading theatrical
458:
Lange summons the girl to learn the reason for her attack and is surprised to recognise her as an old schoolfriend. Pomponnet loudly protests Clairette's innocence and says that Ange Pitou is the author of the verses. Lange already knows of Pitou and is not unmindful of his charms. He has been
834:
In New York, as in London, the first production (August 1873) was given in the original by a French company. An English version followed within weeks. Another French production was staged in 1879, and the last revival in English recorded by Gänzl and Lamb was in August 1890.
136:(The Hundred Virgins), ran for months at the Théâtre des Fantaisies-Parisiennes; productions quickly followed in Paris, London, New York, Vienna and Berlin. The success of this piece led Eugène Humbert, the director of the Brussels theatre, to commission another from Lecocq.
84:
The opera depicts the romantic exploits of Clairette, a young Parisian florist, engaged to one man but in love with another, and up against a richer and more powerful rival for the latter's attentions. Unlike some more risqué French comic operas of the era, the plot of
116:
in 1870 brought the Empire down, and Offenbach, who was inextricably associated in the public mind with it, became unpopular and went briefly into exile. Lecocq's rise coincided with Offenbach's temporary eclipse. Before the war his only substantial success had been
175:, it enjoyed a run of 411 performances, and set box-office records for the receipts. Productions quickly followed in theatres throughout France: within a year of the opening of the Paris production, the work was given in 103 French cities and towns.
438:, who was famous for her beauty, her amorous adventures and her sharp tongue. She died when Clairette was three, and the child was brought up by multiple adoptive parents from Les Halles, and given a fine education at a prestigious school.
667:
also commented on the propriety of the piece, and remarked that its enormous success with a public used to broader entertainments at the Folies-Dramatiques was "the most eloquent possible tribute to the intrinsic beauty of the music". In
682:
praised the freshness of the music and congratulated the composer on having an unusually good libretto to work with. He considered Lecocq inferior to Offenbach in invention and originality, but superior in musical technique.
434:
is over, but Paris is still a dangerous place for opponents of the government. The heroine is a charming young florist called Clairette. She is the daughter of Madame Angot, a former market woman of
931:
When the opera was first performed in non-Francophone countries the name Madame Angot meant nothing to the public: in London, critics remarked that in France the name was as well known as
675:
contained strong contrasts to fit the characters and situations. He had reservations about the singers, noting but not wholly sharing the audience's enthusiasm for the two leading ladies.
155:
was a prominent actress and anti-government activist, but there is no evidence that the historical figure was Barras's mistress as she is in the opera. There was a real activist called
147:, an unfamiliar setting for a comic opera. Their characters, though essentially fictional, incorporate elements of real people from the Revolutionary period. The régime was headed by
661:
wrote of the original Brussels production, "It is a long time since we saw at the theatre a better piece; it is interesting, perfectly proper, and crisp." The Paris correspondent of
171:
The opera was first presented at the Fantaisies-Parisiennes on 4 December 1872, and ran for more than 500 performances. In Paris, where it opened on 21 February 1873 at the
69:
was the most successful work of the French-language musical theatre in the last three decades of the 19th century, and outperformed other noted international hits such as
89:
proved exportable to more strait-laced countries without the need for extensive rewriting, and Lecocq's score was received with enthusiasm wherever it was played.
979:
642:
was "the most successful product of the French-language musical stage" in the last three decades of the 19th century. He adds, "Even such pieces as
1557:
55:. It was premiered in Brussels in December 1872 and soon became a success in Paris, London, New York and across continental Europe. Along with
654:, vastly successful though they were in their original languages, did not have the enormous international careers of Lecocq's opéra-comique".
952:
as the most successful opera by any composer in that time, earning more than two million francs (about €8,826,363 in 2015 purchasing values).
740:
44:
1539:
1748:
699:
took a different view on the latter point, regarding the piece as in the true tradition of French opéra comique, as practised by
823:. By the turn of the century, British revivals had become few, and the last London production recorded by Gänzl and Lamb was at
127:
in 1868. After moving to Brussels at the start of the war, Lecocq had two substantial successes there in a row. The first, the
906:
after the premiere, was that Lecocq and his collaborators unsuccessfully offered the piece to four managements in Paris – the
1508:
1489:
1470:
1430:
1407:
1382:
1359:
948:
A list of the gross takings of all stage productions in Paris during the two decades from 1870, published in 1891, showed
919:
172:
1798:
1209:
915:
1773:
1637:
207:
152:
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736:
539:
Duo bouffe (Pitou and Larivaudière) – "Pour être fort on se rassemble" – (To be strong, let's gather together)
1043:
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1532:
445:
112:
had dominated the sphere of comic opera in France, and Lecocq had struggled for recognition. Defeat in the
700:
1783:
1616:
752:
1685:
567:
Couplets (Lange and chorus) – "Les soldats d Augereau sont des hommes" – (Augereau's soldiers are men)
824:
634:
61:
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praised the "dash and style" of the work, but thought the score less elevated in musical style than
619:
Couplets de la dispute (Clairette and Lange) and Ensemble – "Ah! c'est donc toi" – (Ah, so it's you)
847:
productions in Russian, Spanish, Italian, Portuguese, Swedish, Turkish, Polish, Danish and Czech.
1525:
576:
Couplets (Lange and Pitou) – "La République à maints défauts" – (The republic has many faults)
1157:
854:
became familiar to audiences in the US, Britain and Australia arranged as a ballet score for
840:
1371:
536:
Duo (Clairette and Pitou) – "Certainement j'aimais Clairette" – (Certainly I love Clairette)
1778:
975:
610:
Duo des deux forts (Pomponnet and Larivaudière) – "Prenez donc garde !" – (Take care!)
579:
Quintette (Clairette, Larivaudière, Lange, Pitou, Louchardj) – "Hein, quoi!" – (Hah! What!)
105:
732:
501:
8:
1602:
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was revived continually in Paris. Among the higher-profile productions were those at the
663:
113:
1671:
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1459:
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Chorus of Merveilleuses – "Non, personne ne voudra croire" – (No-one would believe it)
296:
18:
1664:
855:
521:
Couplets (Pomponnet) – "Aujourd'hui prenons bien garde" – (Today let's take good care)
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Trio (Clairette, Pitou and Larivaudière) – "Je trouve mon futur" – (I find my future)
144:
109:
56:
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Although few other works by Lecocq have remained in the general operatic repertory,
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Craine and Mackrell, p. 291; and Royal Opera House programme, 23 February 1980
551:
Strette – "Quoi, la laisserons nous prendre" – (What! Let our child be taken!)
524:
Entrée de la Mariée – "Beauté, grâce et décence" – (Beauty, grace and dignity)
1762:
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Couplets (Clairette) – "Vous aviez fait de la dépense" – (You paid the cost)
494:
1588:
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772:
755:. The work continues to be seen from time to time in the French provinces.
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Romance (Pomponnet) – "Elle est tellement innocente" – (She is so innocent)
269:
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139:
Possibly at Humbert's suggestion, Lecocq's librettists set the piece in
128:
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435:
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Pauline Luigini and Mario Widmer, the original Clairette and Ange Pitou
803:
appeared in one or more of the productions. In an 1893 revival at the
760:
756:
670:
548:
Chanson Politique (Clairette) – "Jadis les rois" – (Before the kings)
1255:
884:. The plot of the ballet follows that of the opera fairly closely.
248:
582:
Chorus of conspirateurs – "Quand on conspire" – (When we conspire)
542:
Finale – "Eh quoi! c'est Larivaudière" – (What! It's Larivaudière)
1517:
232:
616:
Duo des lettres (Lange and Pitou) – "Cher ennemi" – (Dear enemy)
588:
Valse – "Tournez, tournez, qu'a la valse" – (Turn, turn, waltz!)
530:
Légende de la Mère Angot – "Marchande de Marée" – (A sea trader)
151:, who does not appear in the opera but is an offstage presence.
1581:
1482:
Shaw's Music: The Complete Musical Criticism in Three Volumes
1054:, Académie Nationale de l'Opérette. Retrieved 28 October 2018
779:
all made adaptations of the text, and London stars including
518:
Chorus and Scène – "Bras dessus, bras dessous" – (Arm in arm)
449:
Marie Desclauzas and Paola Marié in the 1873 Paris production
264:
858:. The first version of the ballet was given under the title
747:
in the 1918–1919 season, and remained there until after the
573:
Duo (Clairette and Lange) – "Jours fortunés" – (Lucky days)
527:
Romance (Clairette) – "Je vous dois tout" – (I owe you all)
1160:, Historical currency converter. Retrieved 28 October 2018
1225:
Hanslick, Eduard. "Serious and buffo opera in Vienna",
986:, Oxford University Press. Retrieved 20 September 2018
850:
In the later decades of the 20th century, the music of
743:(1898). The work finally entered the repertoire of the
1377:(second ed.). New York: Oxford University Press.
880:, with a new score arranged from Lecocq's original by
505:
Poster from a children's production in Edinburgh, 1885
1368:
922:– before turning to Brussels to have the work staged.
1327:, American Ballet Theatre. Retrieved 30 October 2018
862:
in New York in 1943. Lecocq's music was arranged by
1354:. Chicago and London: University of Chicago Press.
759:gives details of a 2018 production at the Odéon in
585:
Scène – "Ah! je te trouve" – (Ah, I have found you)
533:
Rondeau (Ange Pitou) – "Très-jolie" – (Very pretty)
329:Giulietta Borghese (Juliette Euphrosine Bourgeois)
1458:
1456:
1418:
1370:
260:barber of the market and hairdresser of Mlle Lange
1421:The encyclopedia of the musical theatre, Volume 1
244:friend of Barras, conspiring against the Republic
1760:
1439:
887:
870:. Massine created a new version of the work for
607:Sortie – "De la mère Angot" – (Of Mother Angot)
545:Chorus – "Tu l'as promis" – (You have promised)
843:as part of a season of opéra comique in 1909.
1533:
1425:(second ed.). New York: Schirmer Books.
751:. A 1984 revival was mounted in Paris at the
601:Chorus – "Place, place." – (Places, places!)
292:police officer at the orders of Larivaudière
1268:
1266:
1264:
722:
350:dandy of the period, officer of the Hussars
1540:
1526:
1465:. Cambridge: Cambridge University Press.
715:, rather than the less refined manner of
1261:
1080:
1078:
1013:, Musicals101. Retrieved 28 October 2018
1011:"Stage Musical Chronology, 1870 to 1874"
500:
444:
182:
17:
1369:Craine, Debra; Judith Mackrell (2010).
1307:"Light Opera Starts at the Manhattan",
1146:
971:
969:
1761:
1258:, Operabase. Retrieved 29 October 2018
1001:
839:mounted a production in French at the
1521:
1457:Lyons, Martyn; Malcolm Lyons (1975).
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96:is still revived from time to time.
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1442:Gänzl's Book of the Musical Theatre
727:For fifty years after the premiere
491:The Encyclopedia of Musical Theatre
478:Gänzl's Book of the Musical Theatre
13:
1547:
1057:
14:
1810:
1440:Gänzl, Kurt; Andrew Lamb (1988).
1352:Dandyism in the Age of Revolution
1178:"Lyrical novelties at Brussels",
1025:
1744:
1743:
628:Gänzl writes that together with
178:
143:Paris in the later years of the
22:Scene from 1873 Paris production
1503:(in French). Paris: Gallimard.
1389:The Oxford Dictionary of Dance.
1330:
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212:actress and favourite of Barras
200:Premiere Cast, 4 December 1872
1373:The Oxford Dictionary of Dance
1091:
1016:
998:Faris, p. 164; and Yon, p. 396
992:
899:
173:Théâtre des Folies-Dramatiques
1:
1480:Shaw, George Bernard (1981).
1402:. London: Faber & Faber.
980:"Lecocq, (Alexandre) Charles"
959:
888:Notes, references and sources
278:a poet in love with Clairette
159:(fictionalised in a novel by
99:
1558:List of operas and operettas
1292:The Daughter of Madame Angot
1156:, 29 August 1891, p. 9; and
1119:, 2 March 1873, p. 10; and "
623:
7:
1444:. London: The Bodley Head.
1272:Gänzl and Lamb, pp. 335–337
1169:Gänzl and Lamb, pp. 337–341
1022:Gänzl and Lamb, pp. 330–331
416:
10:
1815:
1461:France Under the Directory
1343:
1246:, 24 May 1873, pp. 670–671
1229:, 15 December 1877, p. 836
1088:, 10 December 1881, p. 797
1052:Opérette – Théâtre Musical
484:
426:The scene of the opera is
1799:Libretti by Frank Desprez
1740:
1715:
1695:
1647:
1564:
1555:
1499:Yon, Jean-Claude (2000).
1350:Amann, Elizabeth (2015).
1311:, 17 November 1909, p. 12
1281:Shaw, vol. 2, pp. 941–948
939:was to British audiences.
635:Les cloches de Corneville
123:(Tea-flower) a three-act
62:Les cloches de Corneville
1774:Operas by Charles Lecocq
1638:La belle au bois dormant
1575:La fille de Madame Angot
1240:La fille de Madame Angot
1216:, 23 February 1873, p. 3
1182:, 8 February 1873, p. 76
1127:, 30 October 1873, p. 11
1121:La fille de Madame Angot
1046:La fille de Madame Angot
950:La fille de Madame Angot
892:
852:La fille de Madame Angot
729:La fille de Madame Angot
723:Revivals and adaptations
640:La fille de Madame Angot
466:
453:
421:
336:a servant of Mlle. Lange
94:La fille de Madame Angot
87:La fille de Madame Angot
67:La fille de Madame Angot
28:La fille de Madame Angot
1199:, 22 March 1873, p. 184
1193:La fille de Mdme. Angot
988:(subscription required)
767:figures were involved:
33:Madame Angot's Daughter
1769:French-language operas
1152:"The Drama in Paris",
1143:, 23 August 1891, p. 2
1137:"Le succès au théâtre"
1115:"The Drama in Paris",
506:
450:
228:betrothed to Pomponnet
188:
23:
1298:, August 1919, p. 425
1125:The Pall Mall Gazette
872:Sadler's Wells Ballet
841:Manhattan Opera House
504:
448:
202:(Conductor: Warnotz)
186:
21:
1417:Gänzl, Kurt (2001).
1256:"Performance search"
1210:"Chronique musicale"
1042:Pourvoyeur, Robert.
807:, the cast included
737:Théâtre des Variétés
1794:Operas set in Paris
1603:Le coeur et la main
837:Oscar Hammerstein I
753:Théâtre du Châtelet
741:Théâtre de la Gaîté
664:The Daily Telegraph
364:Clairette's servant
114:Franco-Prussian War
1686:Le jour et la nuit
1323:Mademoiselle Angot
1309:The New York Times
1084:"Charles Lecocq",
1072:Gänzl, pp. 644–647
984:Grove Music Online
920:Folies-Dramatiques
860:Mademoiselle Angot
829:Sir Thomas Beecham
507:
451:
253:Charlieu/Chambéry
208:Mademoiselle Lange
189:
167:First performances
153:Mademoiselle Lange
24:
1756:
1755:
1510:978-2-07-074775-7
1501:Jacques Offenbach
1491:978-0-396-07967-5
1472:978-0-521-09950-9
1432:978-0-02-865572-7
1409:978-0-571-11147-3
1400:Jacques Offenbach
1384:978-0-19-956344-9
1361:978-0-226-18725-9
1296:The Musical Times
1227:The Musical World
1197:The Musical World
1180:The Musical World
1086:The Musical World
916:Bouffes-Parisiens
831:'s opera season.
805:Criterion Theatre
685:The Musical World
630:Robert Planquette
430:Paris, 1794; the
414:
413:
226:Clairette Angot,
221:Marie Desclauzas
145:French Revolution
110:Jacques Offenbach
57:Robert Planquette
39:in three acts by
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301:Jacques Ernotte
237:Pauline Luigini
191:
190:
133:Les cent vierges
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877:Mam'zelle Angot
868:Richard Mohaupt
856:LĂ©onide Massine
827:in 1919 during
817:Courtice Pounds
789:Harriet Everard
725:
719:and Offenbach.
680:Eduard Hanslick
645:H.M.S. Pinafore
626:
487:
469:
456:
432:Reign of Terror
424:
419:
201:
181:
169:
102:
72:H.M.S. Pinafore
12:
11:
5:
1812:
1802:
1801:
1796:
1791:
1786:
1781:
1776:
1771:
1754:
1753:
1741:
1738:
1737:
1735:
1734:
1727:
1719:
1717:
1713:
1712:
1710:
1709:
1701:
1699:
1693:
1692:
1690:
1689:
1682:
1675:
1668:
1661:
1653:
1651:
1645:
1644:
1642:
1641:
1634:
1627:
1620:
1613:
1606:
1599:
1592:
1585:
1578:
1570:
1568:
1562:
1561:
1556:
1553:
1552:
1549:Charles Lecocq
1545:
1544:
1537:
1530:
1522:
1516:
1515:
1509:
1496:
1490:
1484:. Dodd, Mead.
1477:
1471:
1454:
1437:
1431:
1414:
1408:
1392:
1383:
1366:
1360:
1345:
1342:
1339:
1338:
1329:
1313:
1300:
1283:
1274:
1260:
1248:
1231:
1218:
1201:
1184:
1171:
1162:
1145:
1129:
1108:
1099:
1090:
1074:
1056:
1024:
1015:
1000:
991:
964:
963:
961:
958:
955:
954:
941:
924:
897:
896:
894:
891:
889:
886:
797:Richard Temple
724:
721:
651:Die Fledermaus
625:
622:
621:
620:
617:
614:
611:
608:
605:
602:
599:
590:
589:
586:
583:
580:
577:
574:
571:
568:
565:
562:
553:
552:
549:
546:
543:
540:
537:
534:
531:
528:
525:
522:
519:
516:
486:
483:
482:
481:
468:
465:
455:
452:
423:
420:
418:
415:
412:
411:
408:
405:
398:
397:
394:
391:
384:
383:
380:
377:
373:
372:
369:
366:
359:
358:
355:
352:
345:
344:
341:
338:
331:
330:
327:
326:mezzo-soprano
324:
317:
316:
313:
312:mezzo-soprano
310:
303:
302:
299:
294:
287:
286:
283:
280:
273:
272:
267:
262:
255:
254:
251:
246:
242:Larivaudière,
239:
238:
235:
230:
223:
222:
219:
214:
204:
203:
198:
195:
180:
177:
168:
165:
101:
98:
78:Die Fledermaus
43:with words by
41:Charles Lecocq
9:
6:
4:
3:
2:
1811:
1800:
1797:
1795:
1792:
1790:
1787:
1785:
1782:
1780:
1777:
1775:
1772:
1770:
1767:
1766:
1764:
1751:
1750:
1739:
1733:
1732:
1728:
1726:
1725:
1721:
1720:
1718:
1714:
1708:
1707:
1703:
1702:
1700:
1698:
1694:
1688:
1687:
1683:
1681:
1680:
1679:La Marjolaine
1676:
1674:
1673:
1669:
1667:
1666:
1662:
1660:
1659:
1655:
1654:
1652:
1650:
1646:
1640:
1639:
1635:
1633:
1632:
1628:
1626:
1625:
1621:
1619:
1618:
1614:
1612:
1611:
1607:
1605:
1604:
1600:
1598:
1597:
1593:
1591:
1590:
1586:
1584:
1583:
1579:
1577:
1576:
1572:
1571:
1569:
1567:
1566:Opéra comique
1563:
1559:
1554:
1550:
1543:
1538:
1536:
1531:
1529:
1524:
1523:
1520:
1512:
1506:
1502:
1497:
1493:
1487:
1483:
1478:
1474:
1468:
1463:
1462:
1455:
1451:
1447:
1443:
1438:
1434:
1428:
1423:
1422:
1415:
1411:
1405:
1401:
1397:
1393:
1390:
1386:
1380:
1375:
1374:
1367:
1363:
1357:
1353:
1348:
1347:
1333:
1326:
1324:
1317:
1310:
1304:
1297:
1293:
1287:
1278:
1269:
1267:
1265:
1257:
1252:
1245:
1244:The Athenaeum
1241:
1235:
1228:
1222:
1215:
1211:
1205:
1198:
1194:
1188:
1181:
1175:
1166:
1159:
1155:
1149:
1142:
1138:
1133:
1126:
1122:
1118:
1112:
1106:Lyons, p. 136
1103:
1097:Amann, p. 122
1094:
1087:
1081:
1079:
1069:
1067:
1065:
1063:
1061:
1053:
1049:
1047:
1039:
1037:
1035:
1033:
1031:
1029:
1019:
1012:
1009:
1008:Kenrick, John
1004:
995:
985:
981:
977:
972:
970:
965:
951:
945:
938:
934:
928:
921:
917:
913:
909:
908:Opéra Comique
902:
898:
885:
883:
879:
878:
873:
869:
865:
861:
857:
853:
848:
844:
842:
838:
832:
830:
826:
822:
818:
814:
810:
806:
802:
798:
794:
793:Fred Sullivan
790:
786:
785:Emily Soldene
782:
781:Selina Dolaro
778:
777:Frank Desprez
774:
770:
764:
762:
758:
754:
750:
746:
745:Opéra Comique
742:
738:
734:
730:
720:
718:
714:
710:
706:
702:
698:
697:The Athenaeum
694:
690:
686:
681:
676:
673:
672:
666:
665:
660:
655:
653:
652:
647:
646:
641:
637:
636:
631:
618:
615:
612:
609:
606:
603:
600:
597:
596:
595:
594:
587:
584:
581:
578:
575:
572:
569:
566:
563:
560:
559:
558:
557:
550:
547:
544:
541:
538:
535:
532:
529:
526:
523:
520:
517:
514:
513:
512:
511:
503:
499:
496:
492:
479:
475:
474:
473:
464:
460:
447:
443:
439:
437:
433:
429:
409:
406:
404:
400:
399:
395:
392:
390:
386:
385:
381:
378:
375:
374:
370:
367:
365:
361:
360:
356:
353:
351:
347:
346:
342:
339:
337:
333:
332:
328:
325:
323:
319:
318:
315:Jane Delorme
314:
311:
309:
305:
304:
300:
298:
295:
293:
289:
288:
285:Mario Widmer
284:
281:
279:
275:
274:
271:
268:
266:
263:
261:
257:
256:
252:
250:
247:
245:
241:
240:
236:
234:
231:
229:
225:
224:
220:
218:
217:mezzo-soprano
215:
213:
209:
206:
205:
199:
196:
193:
192:
185:
179:Original cast
176:
174:
164:
162:
158:
154:
150:
146:
142:
137:
135:
134:
130:
126:
122:
121:
115:
111:
107:
106:Second Empire
97:
95:
90:
88:
82:
80:
79:
74:
73:
68:
64:
63:
58:
54:
53:Victor Koning
50:
49:Paul Siraudin
46:
42:
38:
37:opéra comique
34:
30:
29:
20:
16:
1742:
1729:
1722:
1704:
1684:
1677:
1670:
1663:
1658:Fleur-de-Thé
1656:
1649:Opéra bouffe
1636:
1629:
1622:
1617:L'Ă©gyptienne
1615:
1608:
1601:
1594:
1589:Le petit duc
1587:
1580:
1574:
1573:
1500:
1481:
1460:
1441:
1420:
1399:
1388:
1372:
1351:
1332:
1322:
1316:
1308:
1303:
1295:
1291:
1286:
1277:
1251:
1243:
1239:
1234:
1226:
1221:
1213:
1204:
1196:
1192:
1187:
1179:
1174:
1165:
1153:
1148:
1140:
1132:
1124:
1120:
1116:
1111:
1102:
1093:
1085:
1051:
1045:
1018:
1003:
994:
983:
949:
944:
927:
901:
882:Gordon Jacob
875:
874:in 1947, as
859:
851:
849:
845:
833:
809:Decima Moore
801:Pauline Rita
773:H. B. Farnie
765:
733:Éden-Théâtre
728:
726:
696:
692:
689:Fleur de thé
688:
684:
677:
669:
662:
658:
656:
649:
643:
639:
633:
627:
592:
591:
555:
554:
509:
508:
490:
488:
477:
470:
461:
457:
440:
425:
402:
388:
363:
349:
335:
322:market woman
321:
308:market woman
307:
291:
277:
276:Ange Pitou,
270:Alfred Jolly
259:
243:
227:
211:
170:
138:
131:
125:opéra-bouffe
120:Fleur-de-Thé
118:
103:
93:
91:
86:
83:
76:
70:
66:
60:
32:
27:
26:
25:
15:
1779:1872 operas
976:Andrew Lamb
933:Nell Gwynne
864:Efrem Kurtz
813:Amy Augarde
769:H. J. Byron
739:(1889) and
678:In Vienna,
387:Guillaume,
334:Hersillie,
258:Pomponnet,
197:Voice type
149:Paul Barras
104:During the
1763:Categories
1596:La Camargo
1208:Bénédict.
1158:Conversion
960:References
825:Drury Lane
659:La Comédie
495:Kurt Gänzl
436:Les Halles
428:Directoire
403:market man
389:market man
306:Amarante,
290:Louchard,
157:Ange Pitou
100:Background
45:Clairville
1450:966051934
1214:Le Figaro
1141:Le Figaro
761:Marseille
757:Operabase
701:Boieldieu
671:Le Figaro
624:Reception
598:Entr'acte
561:Entr'acte
476:Source:
401:Buteaux,
379:baritone
348:Trenitz,
320:Javotte,
141:Directory
1749:Category
1724:Le Cygne
1697:Opérette
1610:Ali-Baba
1398:(1980).
937:Mrs Gamp
918:and the
912:Variétés
735:(1888),
515:Overture
493:(2001),
417:Synopsis
410:Durieux
371:Pauline
368:soprano
343:Camille
340:soprano
249:baritone
129:opérette
35:) is an
1631:Ninette
1344:Sources
1154:The Era
1117:The Era
485:Numbers
362:Babet,
233:soprano
1789:Operas
1716:Ballet
1624:Plutus
1582:Kosiki
1507:
1488:
1469:
1448:
1429:
1406:
1381:
1358:
914:, the
910:, the
705:HĂ©rold
396:Ometz
393:tenor
376:Cadet
357:Touzé
354:tenor
282:tenor
893:Notes
717:Hervé
709:Auber
593:Act 3
556:Act 2
510:Act 1
467:Act 3
454:Act 2
422:Act 1
407:bass
265:tenor
194:Role
161:Dumas
1505:ISBN
1486:ISBN
1467:ISBN
1446:OCLC
1427:ISBN
1404:ISBN
1379:ISBN
1356:ISBN
866:and
819:and
799:and
775:and
713:Adam
711:and
691:and
648:and
382:Noé
297:bass
75:and
51:and
1294:",
1242:",
1195:",
1123:",
935:or
632:'s
489:In
59:'s
1765::
1387:.
1263:^
1212:,
1139:,
1077:^
1059:^
1050:,
1027:^
982:,
978:.
968:^
815:,
811:,
795:,
791:,
787:,
783:,
771:,
763:.
707:,
703:,
695:.
638:,
210:,
108:,
81:.
65:,
47:,
1541:e
1534:t
1527:v
1513:.
1494:.
1475:.
1452:.
1435:.
1412:.
1364:.
1325:"
1321:"
1290:"
1238:"
1191:"
1048:"
1044:"
480:.
31:(
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