The Théâtre des Folies-Dramatiques was a theatre in Paris in the 19th and 20th centuries. Opened first in 1832 in the site of the old Théâtre de l'Ambigu-Comique on the Boulevard du Temple, under Frédérick Lemaître it became a noted venue for the genre of mélodrame.
Paris is the capital and most populous city of France, with an area of 105 square kilometres and an official estimated population of 2,140,526 residents as of 1 January 2019. Since the 17th century, Paris has been one of Europe's major centres of finance, commerce, fashion, science, and the arts.
The Théâtre de l’Ambigu-Comique, a former Parisian theatre, was founded in 1769 on the boulevard du Temple immediately adjacent to the Théâtre de Nicolet. It was rebuilt in 1770 and 1786, but in 1827 was destroyed by fire. A new, larger theatre with a capacity of 2,000 as compared to the earlier 1,250 was built nearby on the boulevard Saint-Martin at its intersection with the rue de Bondy and opened the following year. The theatre was eventually demolished in 1966.
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.
In 1862, the theatre moved to the rue de Bondy and the repertoire developed more in the field of operetta, La fille de Madame Angot by Charles Lecocq in 1873, Les cloches de Corneville by Robert Planquette in 1877, Madame Favart , by Jacques Offenbach in 1878, La fille du tambour-major by Offenbach in 1879, La fauvette du temple by André Messager in 1885, La Béarnaise by Messager in 1887 and Surcouf by Robert Planquette in October of the same year being among the premieres seen at the theatre. Other operettas and light operas were revived along with many vaudevilles. The French version of Rip was given at the Folies-Dramatiques in 1884.
Operetta is a genre of light opera, light in terms both of music and subject matter.
La fille de Madame Angot is an opéra comique in three acts by Charles Lecocq with words by Clairville, Paul Siraudin and Victor Koning. It was premiered in Brussels in December 1872 and soon became a success in Paris, London, New York and across continental Europe. Along with Robert Planquette's Les cloches de Corneville, La fille de Madame Angot 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 H.M.S. Pinafore and Die Fledermaus.
Alexandre Charles Lecocq was a French composer, known for his opérettes and opéras comiques. He became the most prominent successor to Jacques Offenbach in this sphere, and enjoyed considerable success in the 1870s and early 1880s, before the changing musical fashions of the late 19th century made his style of composition less popular. His few serious works include the opera Plutus (1886), which was not a success, and the ballet Le cygne (1899). His only piece to survive in the regular modern operatic repertory is his 1872 opéra comique La fille de Madame Angot. Others of his more than forty stage works receive occasional revivals.
In the 1920s, the Théâtre des Folies-Dramatiques saw a succession of musical comedies: Le Mariage de Pyramidon (1923), Le Rosier (1924), Le Million du Bouif (1924), Micheline (1924), Le Tour du monde d'une midinette (1924), Ernest (1924), Maurin des Maures (1925) and Souris blonde (1926).
In the 1930s, the theatre turned into a cinema.
Jean Robert Planquette was a French composer of songs and operettas.
Henri Meilhac was a French dramatist and opera librettist.
Jules Adenis was a 19th-century French playwright and opera librettist. Some of his works include Un postillon en gage (1856) Sylvie (1864), and La grand'tante (1867).
The Théâtre Marigny is a theatre in Paris, situated near the junction of the Champs-Élysées and the Avenue Marigny in the 8th arrondissement.
Mariette Sully (1974–1950) was a Belgian soprano who was principally active in operetta in France.
Juliette-Joséphine Simon-Girard was a French soprano, principally in operetta. Her father, Philippe Lockroy, was an actor at the Comédie Française, and her mother was Caroline Girard, of the Opéra-Comique.
Marguerite Ugalde (1862–1940) was a French mezzo-soprano. She was the daughter of the singer and theatre manager Delphine Ugalde.
Louis Bouchêne, known as Louis Baron, fils, was an actor and singer, who took part in many operettas and comédie-musicales, and was in 30 films between 1929 et 1938. He was the son of Louis Baron often associated with the works of Offenbach.
Pierre-Paul-Désiré Siraudin was a French playwright and librettist.
Armand-Numa Jautard was a 19th-century French playwright and chansonnier who died after 1872
Henri Chivot was a French writer and playwright, mostly known as an operettas librettist.
Eugène Grangé was a French playwright, librettist, chansonnier and goguettier.
Alfred Duru was a 19th-century French playwright and operetta librettist who collaborated on more than 40 librettos for the leading French composers of operetta: Hervé, Offenbach, Lecocq and Audran.
Émile Étienne Charles Gabet was a 19th-century French playwright and librettist.
Marcel Auguste Antoine Cariven, was a French conductor, particularly associated with light music and with operetta.
Maria Conchita Gélabert (1857–1922) was a lyrical artist and actress of Spanish origin who performed in France at the end of the 19th century.
Robert Pizani was a French stage and film actor whose 45-year career encompassed leading roles in numerous plays, revues and operettas as well as dozens of films.
Anna Van Ghell was a Belgian singer who starred in numerous operettas in Paris. She was called Anna Vanghel or Vanghell in France.