Théâtre de l'Académie Royale de Musique may refer to the opera company commonly known as the Paris Opera or to one of several different theatres used during periods when the company was officially named the Académie Royale de Musique:
The Paris Opera is the primary opera and ballet company of France. It was founded in 1669 by Louis XIV as the Académie d'Opéra, and shortly thereafter was placed under the leadership of Jean-Baptiste Lully and officially renamed the Académie Royale de Musique, but continued to be known more simply as the Opéra. Classical ballet as it is known today arose within the Paris Opera as the Paris Opera Ballet and has remained an integral and important part of the company. Currently called the Opéra National de Paris, it mainly produces operas at its modern 2700-seat theatre Opéra Bastille which opened in 1989, and ballets and some classical operas at the older 1970-seat Palais Garnier which opened in 1875. Small scale and contemporary works are also staged in the 500-seat Amphitheatre under the Opéra Bastille.
The Théâtre de la Porte Saint-Martin is a venerable theatre and opera house at 18, Boulevard Saint-Martin in the 10th arrondissement of Paris.
The Théâtre National de la rue de la Loi was a Parisian theatre located across from the Bibliothèque Nationale de France on the rue de la Loi, which was the name of the rue de Richelieu from 1793 to 1806. The theatre was built by the actress and theatre manageress Mademoiselle Montansier, and opened on 15 August 1793. It was designed by the architect Victor Louis and had a capacity of 2,300 spectators. The theatre was demolished in 1820, and its former site is now the Square Louvois.
The Salle Le Peletier was the home of the Paris Opera from 1821 until the building was destroyed by fire in 1873. The theatre was designed and constructed by the architect François Debret on the site of the garden of the Hôtel de Choiseul on the rue Lepeletier. Due to the many changes in government and management during the theatre's existence, it had a number of different official names, the most important of which were: Théâtre de l'Académie Royale de Musique (1821–1848), Opéra-Théâtre de la Nation (1848–1850), Théâtre de l'Académie Nationale de Musique (1850–1852), Théâtre de l'Académie Impériale de Musique (1852–1854), Théâtre Impérial de l'Opéra (1854–1870), and Théâtre National de l'Opéra (1870–1873).
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Antoine Houdar de la Motte was a French author.
The Paris Opera Ballet is an integral part of the Paris Opera and the oldest national ballet company. Together with the Mariinsky Ballet, Moscow Bolshoi Ballet and the London Royal Ballet it is regarded as one of the four most preeminent ballet companies in the world.
Ballet Master is the term used for an employee of a ballet company who is responsible for the level of competence of the dancers in their company. In modern times, ballet masters are generally charged with teaching the daily company ballet class and rehearsing the dancers for both new and established ballets in the company's repertoire. The artistic director of a ballet company, whether a male or female, may also be called its ballet master. Historic use of gender marking in job titles in ballet is being supplanted by gender-neutral language job titles regardless of an employee's gender.
Jules-Henri Vernoy de Saint-Georges, French playwright, was born and died in Paris. He was one of the most prolific librettists of the 19th century, often working in collaboration with others.
Victor Louis was a French architect, disqualified on a technicality from winning the Prix de Rome in architecture in 1755.
Michel de la Barre was a French composer and renowned flautist known as being the first person to publish solo flute music. He played at the Académie Royale de Musique, the Musettes and Hautbois de Poitou and the courts of Louis XIV and Louis XV.
Comédie-Italienne or Théâtre-Italien are French names which have been used to refer to Italian-language theatre and opera when performed in France.
Tancrède is a 1702 tragédie en musique in a prologue and five acts by composer André Campra and librettist Antoine Danchet, based on Gerusalemme liberata by Torquato Tasso.
Alcine is an opera by the French composer André Campra. It takes the form of a tragédie en musique in a prologue and five acts. The libretto, by Antoine Danchet, is based on Cantos IV, VI and VII of Ariosto's epic poem Orlando furioso and tells of the love of the enchantress Alcine (Alcina) for the paladin Astolphe (Astolfo).
Iphigénie en Tauride is an opera by the French composers Henri Desmarets and André Campra. It takes the form of a tragédie en musique in a prologue and five acts. The libretto is by Joseph-François Duché de Vancy with additions by Antoine Danchet. Desmarets had begun work on the opera around 1696 but abandoned it when he was forced to go into exile in 1699. Campra and his regular librettist Danchet took up the piece and wrote the prologue, most of Act Five, two arias in Act One, an aria for Acts Two and Three, and two arias for the fourth act. The plot is ultimately based on Euripides' tragedy Iphigeneia in Tauris.
Les âges or Le ballet des âges is an opéra-ballet in a prologue and three acts by the French composer André Campra. The libretto is by Louis Fuzelier. It was first performed by the Académie royale de musique at the Théâtre du Palais-Royal on 9 October 1718.
Iphigénie en Tauride is a tragédie lyrique in four acts by Niccolò Piccinni, which was first performed on 23 January 1781 by the Académie royale de musique in the second Salle du Palais-Royal. The opera's libretto, by Alphonse du Congé Dubreuil, is based on a play of the same name by Claude Guimond de La Touche, although the ultimate source was the tragedy Iphigeneia in Tauris by Euripides.
The Théâtre des Variétés-Amusantes was a theatre company in Paris.
Andromaque is an opera in three acts by the composer André Ernest Modeste Grétry. The French libretto is an adaptation of Jean Racine's play Andromaque by Louis-Guillaume Pitra (1735-1818). It was first performed on 6 June 1780 by the Académie Royale de Musique in the second Salle du Palais-Royal. It was the only opera Grétry wrote in the form of a tragédie lyrique.
The Théâtre du Palais-Royal on the rue Saint-Honoré in Paris was a theatre in the east wing of the Palais-Royal, which opened on 14 January 1641 with a performance of Jean Desmarets' tragicomedy Mirame. The theatre was used by the troupe of Molière from 1660 to 1673 and as an opera house by the Académie Royale de Musique from 1673 to 1763, when it was destroyed by fire. It was rebuilt and reopened in 1770, but again was destroyed by fire in 1781 and not rebuilt.
The Salle de la Bouteille or Salle du Jeu de Paume de la Bouteille, later known as the Hôtel [de] Guénégaud or Guénégaud Theatre, was a 1671 theatre located in Paris, France, between the rue de Seine and the rue des Fossés de Nesle across from the rue Guénégaud. It was the first home of the Paris Opera and in 1680 became the first theatre of the Comédie-Française.
The Salle du Bel-Air or Salle du Jeu de Paume de Béquet was a 1672 theatre located in Paris, France. Originally an indoor tennis court it was converted by the Italian designer Carlo Vigarani into a theatre which was used by Jean-Baptiste Lully's Paris Opera from 15 November 1672 to 1 February 1673. It was located in the Rue de Vaugirard, just west of the city moat (fossé) and the Rue des Fossés Monsieur-le-Prince. Today the site of the former theatre extends into the Rue de Médicis, just south of no. 15 Rue de Vaugirard.