The Théâtre de la Cité-Variétés, also known simply as the Théâtre de la Cité, was an entertainment venue now demolished, located in the former rue Saint-Barthélemy, now the Boulevard du Palais, on the Île de la Cité in the modern 4th arrondissement of Paris. The theatre had a capacity of 1,800–2,000 spectators.
Built by the architect Nicolas Lenoir(who also designed the Théâtre de la Porte Saint-Martin) on the site of the Église Saint-Barthélemy, which façade it retained, the hall was inaugurated on 20 October 1792. From October 1792 to November 1793 it was named Théâtre du Palais-Variétés because of its proximity to the Palais de Justice. The venue was later renamed Théâtre de la Cité-Variétés.
From October 1792 to May 1800 the theatre was managed by Nicolas Lenoir, also known as Lenoir du Romain, and his nephew, known as Lenoir de Saint-Edme. Thereafter, it had a number of different managers, including Nicolas Cammaille-Saint-Aubin (May 1800 – February 1801), César Ribié and Louis Ferville (3 February – August 1801), Lenoir de Saint-Edme (November 1802 – September 1803, 23 October 1803 – June 1805), and an association of actors under the direction of Jean-François de Brémond de la Rochenard, dit Beaulieu (4 August 1805 – September 1806). The repertory included comedies, comédies-vaudevilles , melodramas, patriotic scenes, opéras-bouffes , opéras-folies , opéras-comiques , ballets-pantomimes , and pantomimes.
From 16 November to 6 December 1801 a German troupe known as the Théâtre Mozart, directed by Haselmayer and the bass Elmenreich, presented the first operas to be performed in German in Paris:Die Entführung aus dem Serail by Mozart (16 November), Das rothe Käppchen by Carl Ditters von Dittersdorf (21 November), Das Neusonntagskind by Wenzel Müller (25 November), Der Spiegel von Arkadien by Franz Xaver Süssmayr (29 November), Der Tiroler Wastel by Jakob Haibel (30 November), and Das Sonnenfest der Braminen by Müller (3 December). The conductor of the French orchestra was Frédéric Blasius, who came from a German family.
Other groups sometimes used the theatre on the odd nights, when the resident company was not performing. From 11 June to 1 October 1799, the artists of the Odéon (destroyed by fire on 18 March) found sanctuary at the Cité. Beginning on 22 January 1804 the artists of the Théâtre Olympique on the Rue de la Victoire performed at the Cité for one year. From 22 January 1804 to 4 June 1807 the troupe of the Variétés-Montansier, evicted from their theatre at the Palais-Royal, appeared at the Cité.
Napoleon's decree on the theatres of 29 July 1807 condemned the Théâtre de la Cité to oblivion. The final performance was on 10 August 1807.
Lenoir constructed a ballroom on the site in January 1809, which in 1846 took the name Bal du Prado, itself razed in 1859 to allow for the construction of the tribunal de commerce de Paris.
Henri Meilhac was a French dramatist and opera librettist, best known for his collaborations with Ludovic Halévy on Georges Bizet's Carmen and on the works of Jacques Offenbach, as well as Jules Massenet's Manon.
The Palais-Royal is a former royal palace located in the 1st arrondissement of Paris, France. The screened entrance court faces the Place du Palais-Royal, opposite the Louvre. Originally called the Palais-Cardinal, it was built for Cardinal Richelieu from about 1633 to 1639 by the architect Jacques Lemercier. Richelieu bequeathed it to Louis XIII, and Louis XIV gave it to his younger brother, the Duke of Orléans. As the succeeding dukes of Orléans made such extensive alterations over the years, almost nothing remains of Lemercier's original design.
Jules-Henri Vernoy de Saint-Georges was a French playwright, who was born and died in Paris. He was one of the most prolific librettists of the 19th century, often working in collaboration with others.
The Salle Le Peletier or Lepeletier 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).
François-Henri-Joseph Blaze, known as Castil-Blaze, was a French musicologist, music critic, composer, and music editor.
Comédie-Italienne or Théâtre-Italien are French names which have been used to refer to Italian-language theatre and opera when performed in France.
The Boulevard du Temple, formerly nicknamed the "Boulevard du Crime", is a thoroughfare in Paris that separates the 3rd arrondissement from the 11th. It runs from the Place de la République to the Place Pasdeloup, and its name refers to the nearby Knights Templars' Temple, where they established their Paris priory.
The Théâtre du Palais-Royal is a 750-seat Parisian theatre at 38 rue de Montpensier, located at the northwest corner of the Palais-Royal in the Galerie de Montpensier at its intersection with the Galerie de Beaujolais.
L'attaque du moulin is a drame lyrique (opera) in four acts by the French composer Alfred Bruneau. The libretto, by Louis Gallet with the collaboration of Émile Zola, is based on a short story by Zola. Zola's story is about the Franco-Prussian War, but the setting of the opera was changed to the period of the French Revolution.
The Théâtre National 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. Other names have included Salle de la rue de la Loi, Salle de la rue de Richelieu, Salle Montansier, and Théâtre Montansier, although the latter two names have also been used to refer to two other theatres built and/or managed by Montansier: the Théâtre Montansier in Versailles and the Théâtre du Palais-Royal. The Théâtre National 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 Richelieu is the principal theatre of the Comédie-Française. It is located in the Palais-Royal in the first arrondissement of Paris and was originally constructed in 1786–1790 to the designs of the architect Victor Louis. It seats 862 spectators.
The Théâtre des Tuileries was a theatre in the former Tuileries Palace in Paris. It was also known as the Salle des Machines, because of its elaborate stage machinery, designed by the Italian theatre architects Gaspare Vigarani and his two sons, Carlo and Lodovico. Constructed in 1659–1661, it was originally intended for spectacular productions mounted by the court of the young Louis XIV, but in 1763 the theatre was greatly reduced in size and used in turn by the Paris Opera, the Comédie-Française, and the Théâtre de Monsieur. In 1808 Napoleon had a new theatre/ballroom built to the designs of the architects Percier and Fontaine. The Tuileries Palace and the theatre were destroyed by fire on 24 May 1871, during the Paris Commune.
Pierre-Paul-Désiré Siraudin was a French playwright and librettist.
Alfred Delacour or Alfred-Charlemagne Delacour, real name Pierre-Alfred Lartigue, was a 19th-century French playwright and librettist.
Lambert-Thiboust was a 19th-century French playwright.
Gabriel de Lurieu was a French author and playwright.
Raymond Deslandes, called Raimond Deslandes, was a 19th-century French journalist, playwright and theater manager.
Félix-Auguste Duvert was a 19th-century French playwright and vaudevillist.
Jacques Cellerier (1742–1814) was a French architect in the neoclassical style whose buildings can be seen mainly in Paris and Dijon.
Auguste Pilati was a prolific French composer, opera conductor and occasional singer. He employed several pseudonyms including "Auguste Pilati Juliano", "A. P. Juliano", "Ate. P. Juliano", "A. Ruytler", "P. Ruytler", and "Wolfart". He wrote about 40 works for the stage, including operas, operettas, and ballets besides a very large number of popular songs and piano works.