Ambroise Thomas

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Thomas by Wilhelm Benque, c. 1895 Wilhelm Benque - Photograph of Ambroise Thomas.jpg
Thomas by Wilhelm Benque, c. 1895

Charles Louis Ambroise Thomas (French:  [ɑ̃bʁwaz tɔma] ; 5 August 1811 – 12 February 1896) was a French composer and teacher, best known for his operas Mignon (1866) and Hamlet (1868).

<i>Mignon</i> opera by Ambroise Thomas

Mignon is an opéra comique in three acts by Ambroise Thomas. The original French libretto was by Jules Barbier and Michel Carré, based on Goethe's novel Wilhelm Meisters Lehrjahre. The Italian version was translated by Giuseppe Zaffira. The opera is mentioned in James Joyce's "The Dead" (Dubliners) and Willa Cather's The Professor's House. Thomas's goddaughter Mignon Nevada was named after the main character.


Born into a musical family, Thomas was a student at the Conservatoire de Paris, winning France's top music prize, the Prix de Rome. He pursued a career as a composer of operas, completing his first opera, La double échelle, in 1837. He wrote twenty further operas over the next decades, mostly comic, but he also treated more serious subjects, finding considerable success with audiences in France and abroad.

Conservatoire de Paris music school

The Conservatoire de Paris is a college of music and dance founded in 1795. Currently known as the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP), it is situated in the avenue Jean Jaurès in the 19th arrondissement of Paris, France. The Conservatoire offers instruction in music and dance, drawing on the traditions of the "French School". Formerly the consrvatory also included drama, but in 1946 that division was moved into a separate school, the Conservatoire national supérieur d'art dramatique (CNSAD), for acting, theatre and drama. Today the conservatories operate under the auspices of the Ministry of Culture and Communication and are associated with PSL Research University. The CNSMDP is also associated with the Conservatoire national supérieur de musique et de danse de Lyon (CNSMDL).

Prix de Rome French scholarship for arts students

The Prix de Rome or Grand Prix de Rome was a French scholarship for arts students, initially for painters and sculptors, that was established in 1663 during the reign of Louis XIV of France. Winners were awarded a bursary that allowed them to stay in Rome for three to five years at the expense of the state. The prize was extended to architecture in 1720, music in 1803, and engraving in 1804. The prestigious award was abolished in 1968 by André Malraux, the Minister of Culture.

Thomas was appointed as a professor at the Conservatoire in 1856, and in 1871 he succeeded Daniel Auber as director. Between then and his death at his home in Paris twenty-five years later, he modernised the Conservatoire's organisation while imposing a rigidly conservative curriculum, hostile to modern music, and attempting to prevent composers such as César Franck and Gabriel Fauré from influencing the students of the Conservatoire.

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Thomas' operas were generally neglected during most of the 20th century, but in more recent decades they have experienced something of a revival both in Europe and the US.

Life and career

Early years

Thomas in 1834 by Jean-Hippolyte Flandrin Hippolyte Flandrin - Ambroise Thomas - 1834.jpg
Thomas in 1834 by Jean-Hippolyte Flandrin

Thomas was born in Metz, the youngest of four children of Martin Thomas (1770–1823) and his wife, Jeanne, née Willaume (1780–1866), [1] both music teachers. [2] By the age of ten he was already an experienced pianist and violinist. When he was twelve his father died, and Ambroise's elder brother Charles moved to Paris, where he played the cello in the Opéra orchestra. [2] In 1828, aged 17, Ambroise joined him in Paris, where he was admitted as a student by the Conservatoire de Paris. He studied the piano with Pierre Zimmerman and harmony and counterpoint with Victor Dourlen. [2] He won premiers prix in these subjects in 1829 and 1830. He went on to study the piano with Friedrich Kalkbrenner, and composition with Jean-François Lesueur and Auguste Barbereau. [2]

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In 1832, at his second attempt, Thomas won France's premier music prize, the Grand Prix de Rome, with his cantata Hermann et Ketty. [3] The prize brought him three years' study at the Villa Medici, the French Academy in Rome. During his time there he became friendly with the painter Ingres, the head of the academy, with whom he shared an admiration for both Mozart and Beethoven; he also met Berlioz, who encouraged him and wrote about him favourably. [3] During his Italian sojourn he wrote chamber music – a piano trio, a string quintet and a string quartet – and a set of six songs, Souvenirs d'Italie. [2] After leaving Rome, Thomas stayed briefly in Germany, before returning to Paris in 1835, when he began writing for the stage. [3]

Villa Medici Historic house in Rome, Italy

The Villa Medici is a Mannerist villa and an architectural complex with a garden contiguous with the larger Borghese gardens, on the Pincian Hill next to Trinità dei Monti in Rome, Italy. The Villa Medici, founded by Ferdinando I de' Medici, Grand Duke of Tuscany and now property of the French State, has housed the French Academy in Rome since 1803. A musical evocation of its garden fountains features in Ottorino Respighi's Fontane di Roma.

French Academy in Rome

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Jean-Auguste-Dominique Ingres 19th-century French Neoclassical painter

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Composing career

Le caid, 1849 Le caid.jpg
Le caïd , 1849

The first opera Thomas composed was La double échelle (The Double Ladder, 1837), a one-act comedy, praised by Berlioz for its "extreme vivacity and wit". [3] It was produced at the Opéra-Comique, received 247 performances, [4] and in the next few years was given in Brussels, New Orleans, Berlin, Vienna and London. [3] His first full-length opera, Le perruquier de la Régence (The Regency Wigmaker, 1838) was followed in the next decade by six more, none of which made any permanent impression. During this period he also composed a ballet (La Gipsy, 1839). His first completely successful three-act opera was Le caïd (The Qaid, 1849), described by the musicologist Elizabeth Forbes as "a mixture of Il barbiere di Siviglia and L'italiana in Algeri "; [4] it remained in the French operatic repertoire throughout the nineteenth century, and achieved more than four hundred performances over the next fifty years. [4]

Opéra-Comique opera company in Paris

The Opéra-Comique is a Parisian 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, and 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 in 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.

New Orleans Largest city in Louisiana

New Orleans is a consolidated city-parish located along the Mississippi River in the southeastern region of the U.S. state of Louisiana. With an estimated population of 391,006 in 2018, it is the most populous city in Louisiana. A major port, New Orleans is considered an economic and commercial hub for the broader Gulf Coast region of the United States.

<i>Régence</i> period in French history between 1715 and 1723

The Régence was the period in French history between 1715 and 1723, when King Louis XV was a minor and the land was governed by Philippe d'Orléans, a nephew of Louis XIV of France, as prince regent.

Thomas' next work for the Opéra-Comique, Le songe d'une nuit d'été (The Summer Night's Dream, 1850), was also a popular success. The text, by Joseph-Bernard Rosier and Adolphe de Leuven, owes nothing to A Midsummer Night's Dream : Shakespeare appears as one of the characters, along with Queen Elizabeth I and Shakespeare's Falstaff, the governor of "Richemont", where the action takes place. [4] The premiere in Paris was followed by productions in many European and American theatres. [5] The work, described by The Musical Times as "a little masterpiece", [2] was frequently revived, but fell out of the repertory after the composer's death. [n 1] Later in 1850 Thomas' next opera, Raymond, was premiered. It has not survived in the operatic repertoire, but the overture became a popular orchestral showpiece. [2] In 1851, following the death of the composer Gaspare Spontini, Thomas was elected to succeed him as a member of the Académie des Beaux Arts. [n 2]


In 1856 Thomas was appointed professor of composition at the Conservatoire, under the directorship of Daniel Auber. [8] He remained on the staff, as professor and subsequently director, until his death forty years later. Over these years his students included the composers Jules Massenet, Gaston Serpette, and, late in Thomas' career, George Enescu; future academics included Théodore Dubois and Charles Lenepveu; and conductors who were Thomas' students included Edouard Colonne and Désiré-Émile Inghelbrecht. [9] [n 3]

Jean-Baptiste Faure as Hamlet, painted by Manet Edouard Manet Faure as Hamlet.JPG
Jean-Baptiste Faure as Hamlet, painted by Manet

During the 1850s Thomas continued to compose, writing five operas, none of which made much impression. After a fallow spell in the early 1860s he wrote Mignon , the work by which his name became most widely known. [2] The libretto was by Jules Barbier and Michel Carré, based on Goethe's novel Wilhelm Meisters Lehrjahre . [4] Forbes writes that, unusually, Thomas had the advantage of a well-judged and theatrically effective libretto, and that although in the novel Mignon dies, the happy ending works well in the opera. (A happy ending was then compulsory at the Opéra-Comique: it was another nine years before Carmen defied the convention there, ending with the death of the main character.) [4] The strong original cast featured, in the title role, Célestine Galli-Marié, a celebrated singer who later created the part of Carmen in Bizet's opera. [2]

Thomas was similarly fortunate in his cast for his next success, Hamlet (1868), which starred Jean-Baptiste Faure as Hamlet and Christine Nilsson as Ophelia. The opera was distantly based on Shakespeare by way of a French adaptation by Alexandre Dumas, père, and Paul Meurice, further adapted as a libretto by Carré and Barbier. Although the adaptation was seen as a travesty of the play, with a ballet-divertissement (obligatory at the Opéra) and a happy ending, with Hamlet acclaimed as king, the work was successful not only in Paris but in London. [13] Despite disparaging reviews of the libretto from English-speaking critics at the time and subsequently, [n 4] the work has remained an occasional part of the operatic repertoire; later singers of Ophelia included Emma Calvé, Emma Albani, Nellie Melba and Mary Garden, and among the Hamlets have been Victor Maurel, Titta Ruffo, Mattia Battistini and more recently Sherrill Milnes, Thomas Allen and Thomas Hampson. [13] [17] Although Thomas had by now a reputation for musical conservatism, the score of Hamlet was innovative in one respect: its incorporation of saxophones into the instrumentation. [3]

Later in Thomas' life his academic career largely overtook his activities as a composer, and after Hamlet, he composed only one more opera: Françoise de Rimini (1882), which was well received but did not enter the regular operatic repertoire. [4]

Later years

On the outbeak of the Franco-Prussian War in 1870 Thomas, though aged nearly sixty, volunteered to serve in the Garde Nationale. [3] The following year Auber died and Thomas was appointed his successor as director of the Conservatoire. He was so widely seen as Auber's heir apparent that the minister of education, Jules Simon, said in his letter offering Thomas the post, "You are so obviously fitted for the office that if I did not nominate you I should seem to be signing your dismissal from a post already yours." [18] As director Thomas ran an intransigently conservative regime. [19] The music of Auber, Halévy and especially Meyerbeer was regarded as the correct model for students, and early French music such as that of Rameau and modern music, including that of Wagner were kept rigorously out of the curriculum. [20] Thomas strove to keep progressive musicians from being appointed to the faculty of the Conservatoire – unsuccessfully in the case of César Franck, who was appointed against Thomas' wishes in 1872, but successfully as regards Gabriel Fauré whose appointment to the Conservatoire was delayed until after Thomas' death. [21]

Thomas was, on the other hand, innovative in the running of the Conservatoire: he increased the number of classes, improved the conditions of the faculty, and expanded the curriculum to include solfège, sight-reading and compulsory orchestral practice. [22] The faculty under Thomas included, at various times the composers Franck, Théodore Dubois, Jules Massenet and Ernest Guiraud, and the singers Pauline Viardot and Romain Bussine. [23] [24]

In 1889 the Opéra staged Thomas' ballet La tempête (another treatment of a Shakespeare play – The Tempest ), but it made little impression. [3] In 1894, after the 1,000th performance of Mignon at the Opéra-Comique, the octogenarian composer was embraced on the stage by Verdi, his junior by two years, before President Carnot decorated Thomas with the ribbon of the Grand-Croix de la Légion d'honneur. [25]

Thomas died in his flat in the Conservatoire in 1896, aged 84, of congestion of the lungs. [2] [26] He was survived by his widow, Elvire, née Remaury (1827–1910), whom he married in 1878. [1] He was succeeded as director of the Conservatoire by Dubois. [27]


Thomas, about 1865 Ambroise Thomas 2.jpg
Thomas, about 1865

Emmanuel Chabrier's jibe, "There is good music, there is bad music, and then there is Ambroise Thomas" is often quoted, but, as the musicologist Richard Langham Smith observes, it is not clear whether Chabrier meant that Thomas' music was worse than bad, somewhere between good and bad, or something else. [28] A contemporary assessment was given in the first edition of Grove's Dictionary of Music and Musicians (1889), where Gustave Chouquet wrote of Thomas:

He brings to his task an inborn instinct for the stage, and a remarkable gift of interpreting dramatic situations of the most varied and opposite kinds. His skill in handling the orchestra is consummate, both in grouping instruments of different timbre, and obtaining new effects of sound; but though carrying orchestral colouring to the utmost pitch of perfection, he never allows it to overpower the voices. With a little more boldness and individuality of melody this accomplished writer, artist, and poet – master of all moods and passing in turn from melancholy musings to the liveliest banter – would rank with the leaders of the modern school of composers; as it is, the purity and diversity of his style make him a first-rate dramatic composer. [29]

In the 2001 edition of Grove, Langham Smith writes, "In the context of French opera of the late 19th century Thomas was a figure of considerable importance, an imaginative innovator and a master of musical characterization." [3] Langham Smith concludes that after years of neglect, Thomas' work saw a considerable revival, beginning in the late 20th century, with major productions of Mignon and Hamlet in France, Britain and the US. [3]

Forbes writes that Thomas was an eclectic composer able to write in a wide variety of styles. She identifies Hérold and Auber as influences on his early works, and considers Le caïd the first of his works to show true originality, though nonetheless clearly showing the influence of Rossini. In later works, Thomas' music could still be derivative: Forbes cites Psyché (1857) as "an inferior copy of Gounod's Sapho " and his Le carnaval de Venise (also 1857) as imitating Victor Massé. [4] She concludes that at his best – which he was not always – Thomas wrote delightful and individual music, was capable of orchestration that is "often quite ravishing", and musically conveyed the character of the important roles strongly and clearly. "If Thomas had written no stage works except Mignon and Hamlet he would probably be more widely recognized as one of the most influential and important of French 19th-century operatic composers." [4]


See: List of operas by Ambroise Thomas.

Non-operatic vocal: secular

Non-operative vocal: sacred


solo voice and piano, except where otherwise stated




Piano solo

Organ solo

Source: Grove. [3]

Notes, references and sources


  1. A rare modern revival was staged by the director Pierre Jourdan at the Théâtre Impérial de Compiègne in 1994. [6]
  2. Like many other composers, Thomas made several attempts to secure election to the Académie (also known as the "Institut"). This successful application was his third attempt. Berlioz, another candidate to succeed Spontini, had to wait another five years before being elected. [7]
  3. Other Thomas students mentioned in Grove's Dictionary of Music and Musicians are Louis-Albert Bourgault-Ducoudray; Charles-Alexis Chauvet; Louis Diémer; Octave Fouque(fr); Albert Lavignac; Charles-Édouard Lefebvre; Isidore-Edouard Legouix; Izydor Lotto(de); Olivier Métra; and Johan Peter Selmer(de). [9] Among Thomas' other pupils were the pianist and teacher Raoul Pugno. [10] the pianist and composer Francis Thomé, [11] and the zarzuela composer and conductor Gerónimo Giménez. [12]
  4. Reviewing the first British performance, the music critic of The Morning Post wrote, "The little there is of Hamlet in the opera has not been understood by the composer of the music or the author of the libretto". [14] After later performances at Covent Garden, the text was condemned by The Observer ("an absurd travesty of the great original"), The Pall Mall Gazette ("No one but a barbarian or a Frenchman would have dared to make such a lamentable burlesque of so tragic a theme") and Sir Thomas Beecham ("a perfectly abominable French travesty of Hamlet" – this despite Beecham's inclusion of the piece in his 1910 season at Covent Garden.) [15] [16]

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  1. 1 2 Garric, Alain. "Ambroise Thomas: Essai de Généalogie", Geneanet. Retrieved 24 September 2018
  2. 1 2 3 4 5 6 7 8 9 10 "Ambroise Thomas" Archived 23 September 2018 at the Wayback Machine , The Musical Times, Vol. 37, No. 637 (1 March 1896), pp. 165–166 (subscription required)
  3. 1 2 3 4 5 6 7 8 9 10 11 Langham Smith, Richard. "Thomas, (Charles Louis) Ambrose", Grove Music Online, Oxford University Press 2001. Retrieved 21 September 2018 (subscription required)
  4. 1 2 3 4 5 6 7 8 9 Forbes, Elizabeth. "Thomas, (Charles Louis) Ambroise (opera)", Grove Music Online, Oxford University Press 2001. Retrieved 21 September 2018 (subscription required)
  5. Loewenberg, column 881
  6. Rizoud, Christophe. "Le songe d'une nuit d'été d'Ambroise Thomas exhumé à Pari", Forumopera, 2 January 2017
  7. Bloom, Peter Anthony. "Berlioz à l'Institut Revisited", Acta Musicologica, Vol. 53, Fasc. 2 (July–December 1981), pp. 178 and 82 (subscription required)
  8. "Ambroise Thomas" Archived 30 October 2017 at the Wayback Machine Bibliothèque nationale de France. Retrieved 23 September 2018
  9. 1 2 "Search: Ambroise Thomas" Archived 23 September 2018 at the Wayback Machine , Grove Music Online, Oxford University Press. Retrieved 23 September 2018
  10. "Raoul Pugno" Archived 23 September 2018 at the Wayback Machine , Encyclopædia Britannica . Retrieved 23 September 2018
  11. Briscoe, p. iv
  12. Randel, p. 310
  13. 1 2 Forbes, Elizabeth. "Hamlet", Grove Music Online, Oxford University Press, 2002. Retrieved 23 September 2018 (subscription required)
  14. "Royal Italian Opera", The Morning Post, 21 June 1869, p. 2
  15. "Royal Italian Opera", The Observer, 9 June 1876, p. 6; "Royal Opera", The Pall Mall Gazette , 22 July 1890, p. 2; and Reid, p. 108
  16. "Hamlet", The Times, 4 October 1910, p. 10
  17. Sen, p. 184
  18. "Personal", Illustrated London News , 22 February 1896, p. 230
  19. Nichols, p. 35; and Orenstein, p. 26
  20. Nectoux, p. 269
  21. Nectoux, pp. 224 and 263
  22. "Ambroise Thomas", The Manchester Guardian, 13 February 1896, p. 5
  23. Grove, Volume 1, p. 393
  24. Milnes, Rodney. "Massenet, Jules" The New Grove Dictionary of Opera, Oxford University Press. Retrieved 28 July 2014 (subscription required)
  25. "M. Ambroise Thomas". The Times, 16 May 1894, p. 5, and 19 May 1894, p. 6
  26. Massenet, pp. 213–214
  27. Nectoux, p. 263
  28. Langham Smith Richard. "Good, Bad and..." Archived 23 September 2018 at the Wayback Machine , The Musical Times, Vol. 138, No. 1857 (November 1997), p. 32 (subscription required)
  29. Grove, Volume 4, p. 104


Further reading

Statue of Thomas in Paris. Statue d'Ambroise Thomas.jpg
Statue of Thomas in Paris.