Émile Louis Fortuné Pessard (29 May 1843 – 10 February 1917) was a French composer.
Pessard was born and died in Paris. He studied at the Conservatoire de Paris, where he won 1st prize in Harmony. In 1866 he won the Grand Prix de Rome with his cantata Dalila which was performed at the Paris Opera on 21 February 1867. From 1878 to 1880 he was inspector of singing at Paris Schools, in 1881 he became professor of Harmony at the Paris Conservatory.
His students included Maurice Ravel, Jacques Ibert, William Molard, [1] Albert Seitz [2] and Justin Élie. [3] After 1895 he was a critic and director. [4] He composed many comic operas and operettas, as well as masses.
The Opéra-Comique is a Paris opera company which was founded around 1714 by some of the popular theatres of the Parisian fairs. In 1762 the company was merged with – and for a time took the name of – its chief rival, the Comédie-Italienne at the Hôtel de Bourgogne. It was also called the Théâtre-Italien up to about 1793, when it again became most commonly known as the Opéra-Comique. Today the company's official name is Théâtre national de l'Opéra-Comique, and its theatre, with a capacity of around 1,248 seats, sometimes referred to as the Salle Favart, is located at Place Boïeldieu in the 2nd arrondissement of Paris, not far from the Palais Garnier, one of the theatres of the Paris Opéra. The musicians and others associated with the Opéra-Comique have made important contributions to operatic history and tradition in France and to French opera. Its current mission is to reconnect with its history and discover its unique repertoire to ensure production and dissemination of operas for the wider public. Mainstays of the repertory at the Opéra-Comique during its history have included the following works which have each been performed more than 1,000 times by the company: Cavalleria Rusticana, Le chalet, La dame blanche, Le domino noir, La fille du régiment, Lakmé, Manon, Mignon, Les noces de Jeannette, Le pré aux clercs, Tosca, La bohème, Werther and Carmen, the last having been performed more than 2,500 times.
Célestine Galli-Marié was a French mezzo-soprano who is most famous for creating the title role in the opera Carmen.
Les deux aveugles is an 1855 one-act French bouffonerie musicale (operetta) by Jacques Offenbach. The libretto was written by Jules Moinaux and was a condensation of his 3-act Les musiciens ambulants.
The Théâtre des Bouffes-Parisiens is a Parisian theatre founded in 1855 by the composer Jacques Offenbach for the performance of opéra bouffe and operetta. The current theatre is located in the 2nd arrondissement at 4 rue Monsigny with an entrance at the back at 65 Passage Choiseul. In the 19th century the theatre was often referred to as the Salle Choiseul. With the decline in popularity of operetta after 1870, the theatre expanded its repertory to include comedies. The theatre is still active with regular productions of stage plays.
Achille-Félix Montaubry was a French musician and operatic tenor, active in Paris; later a theatre director. His brother was the conductor and composer Édouard Montaubry (1824–1883).
Gabrielle Delphine Ugalde, née Beaucé, was a French soprano and composer. She was the mother of Marguerite Ugalde.
Paul Adrien Bastide was a French conductor and composer.
Caroline Girard was a French operatic Mezzo-soprano. She was the mother of Juliette Simon-Girard.

Édouard-Théodore Nicole, known as Léonce, was a 19th-century French actor and singer.
Jean-Pierre Solié was a French cellist and operatic singer. He began as a tenor, but switched and became well known as a baritone. He sang most often at the Paris Opéra-Comique. He also became a prolific composer, writing primarily one-act comic operas.
The Théâtre des Folies-Marigny, a former Parisian theatre with a capacity of only 300 spectators, was built in 1848 by the City of Paris for a magician named Lacaze and was originally known as the Salle Lacaze. It was located at the east end of the Carré Marigny of the Champs-Élysées, close to the Avenue Marigny, but faced west toward the Cirque National on the other side of the square.
Tromb-al-ca-zar, ou Les criminels dramatiques is a bouffonnerie musicale in one act of 1856 with music by Jacques Offenbach. The French libretto was by Charles-Désiré Dupeuty and Ernest Bourget. With its dialogue containing plays on words and stage business from contemporary Parisian dramas and operas, it is described by Kracauer as satirizing the romantic bandits of grand opera.
Antoine Banés, real name Antoine Anatole, was a French composer of operettas and ballets.
Eugène Gaston Mestépès was a 19th-century French librettist, playwright and theatre director.
Isidore Edouard Legouix was a 19th-century French composer.

Jean Alexandre Ferdinand Poise was a French composer, mainly of opéra-comiques, for which he also frequently wrote the librettos.
Nicole Wild was a French musicologist, chief curator at the Paris Opera Library and Museum, and a specialist in the history and iconography of opera in France in the 19th century.

Marie-Thérèse Gauley was a French opera and concert singer who sang leading soprano and mezzo-soprano roles at the Opéra-Comique in Paris as well as in other French cities and abroad. She was also heard in early broadcasts on French radio and made several recordings for Disques Odéon. Amongst the roles she created were The Child in Ravel's opera L'enfant et les sortilèges.
Henri Tayau was an operetta singer and actor, and violinist, who during a short but successful career performed many light tenor roles in opéra-bouffes of Offenbach, and created several roles, the most notable being that of Orphée in Offenbach's greatest success, Orphée aux Enfers.