Thémistocle (Themistocles) is an opera by the French composer François-André Danican Philidor, first performed at Fontainebleau on 13 October 1785. It transferred to the Académie Royale de Musique, Paris (the Paris Opera) on 23 May 1786. It takes the form of a tragédie lyrique in three acts. The libretto, by Étienne Morel de Chédeville, is based on the life of the ancient Greek statesman Themistocles.
François-André Danican Philidor, often referred to as André Danican Philidor during his lifetime, was a French composer and chess player. He contributed to the early development of the opéra comique. He is regarded as the best chess player of his age; his book Analyse du jeu des Échecs was considered a standard chess manual for at least a century. A well-known chess opening and a checkmate method are both named after him.
Philidor (Filidor) or Danican Philidor was a family of musicians that served as court musicians to the French kings. The original name of the family was Danican (D'Anican) and was of Scottish origin (Duncan). Philidor was a later addition to the family name, given first to Michel the elder by Louis XIII because his oboe playing reminded the king of an Italian virtuoso oboist named Filidori. Both Michel the younger and Jean played in the Grande Écurie in Paris. Later members of the family were known as composers as well. One of them was a chess master.
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, 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.
Michel-Jean Sedaine was a French dramatist and librettist, especially noted for his librettos for opéras comiques, in which he took an important and influential role in the advancement of the genre from the period of Charles-Simon Favart to the beginning of the Revolution.
Opéra comique is a genre of French opera that contains spoken dialogue and arias. It emerged from the popular opéras comiques en vaudevilles of the Fair Theatres of St Germain and St Laurent, which combined existing popular tunes with spoken sections. Associated with the Paris theatre of the same name, opéra comique is not necessarily comical or shallow in nature; Carmen, perhaps the most famous opéra comique, is a tragedy.
Antoine Dauvergne was a French composer and violinist.
The Concert Spirituel was one of the first public concert series in existence. The concerts began in Paris in 1725 and ended in 1790; later, concerts or series of concerts of the same name occurred in Paris, Vienna, London and elsewhere. The series was founded to provide entertainment during the Easter fortnight and on religious holidays when the other spectacles were closed. The programs featured a mixture of sacred choral works and virtuosic instrumental pieces, and for many years took place in a magnificently-decorated Salle des Cent Suisses in the Tuileries Palace. They started at six o’clock in the evening and were primarily attended by well-to-do bourgeois, the lower aristocracy, and foreign visitors. In 1784 the concerts were moved to the stage area of the Salle des Machines, and in 1790, when the royal family was confined in the Tuileries, they took place in a Paris theater.
Pierre-Alexandre Monsigny was a French composer and a member of the French Académie des Beaux-Arts (1813).
Tom Jones is a comédie mêlée d'ariettes, a kind of opéra comique, by the French composer François-André Danican Philidor which first appeared at the Comédie-Italienne, Paris, on 27 February 1765. Its French libretto, by Antoine-Alexandre-Henri Poisenet and Bertin Davesne, is loosely based on the 1749 novel by Henry Fielding.
Louis Anseaume was a French playwright and librettist.
The comédie en vaudevilles was a theatrical entertainment which began in Paris towards the end of the 17th century, in which comedy was enlivened through lyrics using the melody of popular vaudeville songs.
Antoine Trial was a French singer and actor. He was the younger brother of the musician Jean-Claude Trial (1732–1771) and husband of soprano Marie-Jeanne Milon, stage name Félicité Mandeville (1746–1818).
Blaise le savetier is a 1759 one-act opéra comique, by the French composer François-André Danican Philidor. The libretto was by Michel-Jean Sedaine, after a story by Jean de La Fontaine entitled Conte d'une chose arrivée à Château-Thierry.
Le maréchal ferrant is a 1761 French two-act opéra comique with spoken dialogue and music composed by François-André Danican Philidor as well as several vaudevilles, which were typically included in opéras comiques of the time. The libretto is by Antoine-François Quétant, after one of the stories in Boccaccio's Decameron, with verses for the ariettes by Louis Anseaume and a plan devised by Serrière.
Henry Prunières was a French musicologist, and international proponent of contemporary art in various forms, including music, dance and painting. He occupies an important place in the art world between the wars, particularly with regard to music. His major contribution La Revue musicale, a monthly musical periodical which he founded in 1920 and left in 1939, is still a reference in the Western musical world.
Persée (Perseus) is an opera by the French composer François-André Danican Philidor first performed at the Académie Royale de Musique, Paris on 24 October 1780. It takes the form of a tragédie lyrique in three acts. The text is a reworking, by Jean-François Marmontel, of a libretto by Philippe Quinault, originally set by Jean-Baptiste Lully in 1682. Philidor's version was not a success.
André Danican Philidor the elder [French: l'aîné], a member of the Philidorit family of French musicians and referred to as André Danican Philidor le père after 1709, was a music librarian, instrumentalist, and composer. He is chiefly known as the organizer and principal copyist of what is now known as the Philidor Collection of French Baroque manuscript scores.
Étienne Morel de Chedeville was a 19th-century French playwright and librettist.
Louis-Barthélémy Pradher was a French composer, pianist and music educator.
Louis-Augustin Richer was a French classical singer, singing professor and composer. He was a member of a family of musicians from Versailles who also had close ties to the family of André Danican Philidor. He gained prominence as a singer at the courts of Louis XV and Louis XVI and also served as maître de musique for the courts of the Duke of Chartres and the Duke of Bourbon. After the abolition of the monarchy during the French Revolution, Richer became a professor at the Paris Conservatory. He died in Paris at the age of 78.