1714
Opéra-Comique de la Foire Saint-Laurent
Comédie-Italienne ou Théâtre-Italien
Opéra-Comique
Théâtre de la rue Favart ou théâtre Favart
Opéra-Comique national de la rue de Favart
Théâtre impérial de l'Opéra-Comique
Théâtre oyal ou impérial de l'Opéra-Comique (suivant le régime)
Théâtre national de l'Opéra-Comique
Théâtre national de l'Opéra-Comique (Paris ; 1714-....)
Arrêté du 25 avril 1807 portant règlement sur les théâtres parisiens et des départements ;
Décret du 13 août 1936 mise sous tutelle de l'Opéra-Comique et de l'Opéra ;
Loi du 14 janvier 1939 créant un établissement public industriel et commercial placé sous l’égide du ministère de l’Éducation nationale, la « Réunion des théâtres lyriques nationaux » (R.T.L.N) (JO 21-01-1939 p. 1074-1075), réglementé par le décret du 11 mai 1939 ;
Décret n° 72-1256 du 30 décembre 1972 relatif la Réunion des théâtres lyriques nationaux (https://www.legifrance.gouv.fr/jo_pdf.do?cidTexte=JPDF0201197300000015&categorieLien=id) ;
Décret n° 2004-132 du 20 novembre 2004, le théâtre national de l'Opéra-Comique devient, à compter du 1er janvier 2005, un établissement public à caractère industriel et commercial (EPIC), placé sous la tutelle du ministre chargé de la culture (https://www.legifrance.gouv.fr/affichTexte.do?cidTexte=LEGITEXT000005874657)
L'Opéra-Comique est créé sous le règne de Louis XIV, en 1714. Il s'agit de l'une des plus anciennes institutions théâtrales et musicales de France avec l'Opéra de Paris (anciennement Académie royale de musique) et la Comédie-Française. D’après le Dictionnaire des théâtres parisiens, 1807-1914 de Nicole Wild, trois dates clés marquent les grandes étapes de la constitution de l’Opéra-Comique aux XVIIIe et XIXe siècles :
1714, octroi du premier privilège d’opéra-comique à deux entrepreneurs forains
1762, réunion de l’Opéra-Comique de la Foire et de la Comédie-Italienne
1801, fusion de cette troupe avec l’Opéra-Comique du théâtre Feydeau
En 1714, deux troupes obtiennent l’autorisation de chanter et de danser et d’ouvrir leur spectacle sous le nom d’Opéra-Comique au sein des foires Saint-Germain et Saint-Laurent. Suivant les époques, ces deux troupes jouent alternativement ou en association et subissent l’ire de la Comédie-Française. Cette dernière fait valoir son privilège sur les spectacles forains qui, dès lors, sont réduits à la danse de corde et aux marionnettes. Jusqu’en 1762, moment de la fusion avec la Comédie-italienne, l’Opéra-Comique joue dans les foires par éclipse. Cette même année, il s’installe à l’Hôtel de Bourgogne sous la dénomination de Comédie-Italienne ou Théâtre-Italien. À partir de 1783, l'Opéra-Comique présente ses saisons dans un théâtre qui a pris le nom d'un fameux auteur de livrets, Charles-Simon Favart. En 1801, la troupe de l’Opéra-Comique de la salle Favart est de nouveau réunie à celle issue du théâtre Feydeau. Ensemble, par acte du 7 thermidor an IX (26 juillet 1801), elles prennent le titre de théâtre national de l’Opéra-Comique installées salle Feydeau.
L’arrêté du 25 avril 1807 portant règlement sur les théâtres parisiens et des départements, en exécution du décret du 8 juin 1806, considère l’Opéra-comique comme l’un des quatre « grands théâtres » nationaux et fixe son genre ainsi : «Ce théâtre est spécialement destiné à la représentation de toute espèce de comédie ou drame mêlés de couplets, d’ariettes ou de morceaux d’ensemble. Son répertoire est composé de toutes les pièces jouées sur le théâtre de l’Opéra-Comique, avant et après sa réunion avec la Comédie-Italienne, pourvu que le dialogue de ces pièces soit coupé par du chant». Cette affirmation du chant se renforce tout au long du XIXe siècle puisque des liens étroits se nouent, en 1832, avec le Conservatoire de musique de Paris. Les premiers prix de composition musicale et de chant obtiennent le droit d’y débuter.
Par deux fois, en 1838 et 1887, la salle Favart brûle puis est reconstruite sur le même terrain. Inaugurée le 7 décembre 1898, la troisième salle Favart est érigée à l'emplacement où se trouve encore aujourd'hui le théâtre national de l'Opéra-Comique, place Boieldieu dans le second arrondissement de Paris, par l'architecte Louis Bernier avec une riche statuaire. C’est cette salle qui fait l’objet d’une rénovation du 1er juillet 2015 au 31 décembre 2016.
La direction de l’Opéra-Comique repose sur une concession. L’État nomme un directeur qui tout en bénéficiant de subventions doit assurer personnellement la responsabilité financière de son entreprise. En 1936 face aux difficultés financières, Pierre-Barthélémy Gheusi alors directeur doit démissionner. Par le décret du 13 août 1936, l’Opéra-Comique et l’Opéra passent sous la tutelle de l’État avec un directeur commun Jacques Rouché, directeur de l’Opéra depuis 1913. La loi du 14 janvier 1939 rapproche les deux salles qui forment dorénavant un établissement public industriel et commercial placé sous l’égide du ministère de l’Éducation nationale, la « Réunion des théâtres lyriques nationaux » (R.T.L.N), réglementé par le décret du 11 mai 1939. Cet établissement dispose d’un administrateur unique nommé par décret pour trois ans, d’un agent de l’administration des Finances pour la comptabilité également désigné par décret et d’un directeur pour chaque théâtre. Le rôle d’administrateur est dévolu à Jacques Rouché jusqu’en 1945. Le décret du 30 novembre 1972 modifie l’organisation de la R.T.L.N, un administrateur est nommé par théâtre, pour quatre années et renouvelable par période de deux ans. Après une première fermeture en 1971, l'Opéra-Comique cesse son activité le 30 novembre 1972 pour devenir de 1974 à 1978, un lieu de formation pour les jeunes chanteurs sous le nom d'Opéra-Studio créé par Rolf Liebermann et sous la direction de Louis Erlo.
La R.T.L.N est dissoute le 7 février 1978 au profit d'une nouvelle structure : le Théâtre national de l'Opéra. La salle Favart devient alors la seconde salle de spectacle de l'Opéra et c'est dans ce contexte qu'a lieu la recréation d'Atys de Lully par William Christie et Jean-Marie Villégier en 1987. La salle Favart recouvre son indépendance en 1990 sous forme d'une association régie par la loi de 1901 et est successivement dirigée par Thierry Fouquet (1989-1994), Pierre Médecin (1994-2000) et Jérôme Savary (2000-2007). Par décret n° 2004-132 du 20 novembre 2004, le théâtre national de l'Opéra-Comique devient, à compter du 1er janvier 2005, un établissement public à caractère industriel et commercial (EPIC), placé sous la tutelle du ministre chargé de la culture. Il a pour mission d'assurer, en direction du public le plus large, la production et la diffusion d'œuvres lyriques et de spectacles et de mettre en valeur la diversité des expressions, de l'opéra baroque à la création contemporaine et le patrimoine de l'Opéra-Comique. Du 27 juin 2007 jusqu'à fin juin 2015, l'Opéra-Comique est dirigé par Jérôme Deschamps. Olivier Mantei, ancien adjoint du directeur Deschamps, prend ensuite la tête de l'Opéra-Comique.
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