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Opéra-National

Corporate body | 1er mai 1851 - Juin 1872 Identifier: FRAN_NP_010011
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France
Archives nationales

Date of foundation:

1er mai 1851

Date of closing:

Juin 1872

Alternative names:

Théâtre-Lyrique Impérial

Troisième Théâtre-Lyrique

Théâtre-Lyrique-National

Théâtre-Lyrique (Paris ; 1851-1872)

PLACE

Place:

Théâtre de l'Athénée

Scribe (rue)

Role of the place:

Lieu de Paris

Date:

1871 - Juin 1872

Note:

Après l'incendie du Théâtre-Lyrique et avant la faillite du directeur.

Place:

Théâtre-Lyrique

Châtelet (place du)

Role of the place:

Lieu de Paris

Date:

Octobre 1862 - 25 mai 1871

Note:

Salle construite entre 1860 et 1862 qui se tenait à l'emplacement de l'actuel Théâtre de la ville de Paris au 2 place du Châtelet.

Place:

Théâtre-Historique

Temple (boulevard du)

Role of the place:

Lieu de Paris

Date:

27 septembre 1851 - Juin 1862

Note:

Le théâtre est détruit en même temps que le boulevard dit "du crime" à partir de juin 1862 dans le cadre des travaux du préfet de la Seine, Georges Eugène Haussmann. Il était situé au 72 boulevard du Temple.

LEGAL STATUS

Legal status:

société commerciale

FUNCTION

Function:

création artistique

Function:

MANDATE

Citation:

Directions Seveste frères (1851-1854)

Citation:

Arrêté du 1er mai 1851 nommant Edmond Seveste à la direction

Citation:

Arrêté du 9 mai 1851 réglant l’exploitation de la salle du Théâtre Historique sous le nom Opéra-national et fixant le répertoire

Citation:

Arrêté du 4 mars 1852 nommant Jules Seveste à la direction provisoire du Théâtre Lyrique

Citation:

Arrêté du 8 avril 1852 nommant Jules Seveste à la direction privilégiée

Citation:

Directions successives (1854-1872)

Citation:

Arrêté du 26 juillet 1854 nommant Emile Perrin à la direction

Citation:

Arrêté du 25 septembre 1855 nommant Pierre Pellegrin à la direction

Citation:

Arrêté du 20 février 1856 nommant Léon Carvalho à la direction

Citation:

17 janvier 1860 : prorogation de l’arrêté du 20 février 1856 de 6 ans pour Carvalho

Citation:

Arrêté du 2 avril 1860 nommant Charles Réty à la direction

Citation:

Déclaration de faillite de Charles Réty du 30 octobre 1862 par jugement du tribunal de commerce

Citation:

Arrêté du 7 octobre 1862 nommant Léon Carvalho à la direction

Citation:

Arrêté du 29 août 1862 autorisant l’ouverture du Théâtre-Lyrique (Place du Châtelet)

Citation:

Arrêté du 22 août 1868 nommant Jules Pasdeloup à la direction

Citation:

Arrêté du 31 janvier 1870 autorisant l’administration du Théâtre-Lyrique par une société des artistes dirigé par Charles Benou

Citation:

Arrêté du 1er juillet 1870 nommant Louis Martinet

Citation:

Déclaration de faillite de Louis Martinet du 6 juin 1872 par jugement du tribunal de commerce

HISTORICAL NOTE

Historical note:

L’arrêté du 20 août 1846 autorise la création de l’Opéra-National comme troisième scène lyrique parisienne. L’entreprise, qui prend la forme d’une société en commandite, est, d’après l’arrêté ministériel du 12 janvier 1847, sous la direction conjointe d’Adolphe Adam et d’Achille Tranchant dit Mirecour. Le public parisien peut enfin accéder à moindre coût à un nouveau théâtre lyrique d’envergure qui cherche à se démarquer à la fois du Théâtre national de l’Opéra et de l’Opéra-Comique selon les termes suivants : « Considérant qu’il y a lieu d’ouvrir aux productions des jeunes compositeurs de musique une issue nouvelle et de créer à ces effets un troisième théâtre lyrique d’un ordre secondaire où puissent s’essayer à leurs débuts et dans des conditions moins coûteuses, les artistes qui plus tard seraient appelés à se produire sur des scènes supérieures. » Ce théâtre s’établit sur le boulevard du Temple, dans l’ancien Cirque-Olympique. Il est inauguré le 15 novembre 1847 mais la révolution de février 1848 l’oblige à fermer prématurément.

Première salle : Quand l’Opéra-National devient le Théâtre-Lyrique (1851-1862)

Edmond Seveste demande et obtient l’autorisation accordée pour l’Opéra-National le 1er mai 1851. Il installe son entreprise dans les locaux de l’ancien Théâtre-Historique sur le boulevard du Temple, emplacement qui facilite l’accessibilité du genre à un public plus populaire. L’arrêté d’autorisation d’exploitation en date du 9 mai 1851 permet de constater l’enrichissement du paysage lyrique parisien et le rôle de promotion qu’elle entend jouer pour les élèves du Conservatoire de musique et de déclamation et les lauréats du Prix de Rome : « Les premiers prix de composition musicale auront un tour de faveur dans les deux années qui suivront l’expiration de leur pensionnat, pour la représentation d’un ouvrage en deux actes dont le directeur devra fournir le poème » (Article 5). Le répertoire du Théâtre-Lyrique, régi par un cahier des charges renouvelé à chaque direction, englobe des œuvres françaises anciennes et nouvelles ainsi que des traductions d’œuvres étrangères qui ne doivent pas faire concurrence aux deux autres institutions lyriques : « Il pourra représenter les ouvrages des auteurs vivants, appartenant aux répertoires des autres théâtres lyriques, dix années seulement après leur première représentation » (Article 4). Cette fonction lui assure l’appui des compositeurs et hommes de lettres. À la mort d’Edmond Seveste, son frère Jules Seveste obtient de poursuivre l’exploitation de l’établissement et en modifie le nom pour celui de Théâtre-Lyrique (12 avril 1852). Il dirige l’établissement jusqu’à sa mort le 30 juin 1854.

L’arrivée d’Émile Perrin, directeur de l’Opéra-Comique, à la tête du Théâtre-Lyrique le 26 juillet 1854 élève le niveau artistique et social du théâtre, la virtuosité des chanteurs engagés et la qualité des productions attirant un public plus aisé. Incapable de mener ces deux théâtres exigeants de front, Perrin cède sa place à Pellegrin dès septembre 1855 qui démissionne également au bout d’un an au profit de Léon Carvalho, ancien artiste de l’Opéra-Comique. Si l’histoire du Théâtre-Lyrique est largement instable, les deux directions de Carvalho (nommé le 20 février 1856 puis une nouvelle fois le 29 août 1862), correspondent aux périodes fastes du Théâtre-Lyrique. L’administration ambitieuse de Carvalho l’amène à en faire un rival non seulement de l’Opéra-Comique mais aussi du Théâtre national de l’Opéra et à produire des succès comme le Faust de Gounod (1859) et le Macbeth français de Verdi (1865).

Deuxième salle : Du « boulevard du crime » à la Place du Châtelet (Octobre 1862-mai 1871)

Après une courte période de transition où la direction revient à Charles Réty qui finit par faire faillite, les travaux du baron Haussmann chassent le Théâtre-Lyrique du « Boulevard du Crime » et conduisent Carvalho à inaugurer le 30 octobre 1862 la nouvelle salle du Théâtre-Lyrique sur la place du Châtelet, face au Théâtre-National construit à la même période. Le cœur théâtral de Paris retrouve ainsi le centre de la capitale. L’année 1864 voit enfin les vœux de la Société des auteurs et compositeurs dramatiques exaucés par l’attribution d’une subvention publique annuelle de 100 000 francs au Théâtre-Lyrique qui prend alors le nom de Théâtre-Lyrique Impérial.

La faillite de Carvalho en 1868 signe le déclin de l’institution qui est ensuite reprise par Jules Pasdeloup, fondateur des concerts populaires, le 22 août 1868. Il est également poussé à la démission au milieu de l’année 1870 et c’est par la formation des artistes du Théâtre en société autour de Charles Benou, le 1er février 1870, que la saison s’achève. L’expérience n’est pas reconduite l’année suivante. Louis Martinet, alors directeur de l’Athénée, est nommé à la tête du « Lyrique » le 1er juillet 1870 alors que la guerre franco-prussienne a contraint le théâtre à fermer ses portes le 31 mai 1870. Il n’a jamais pu jouer dans la salle du Châtelet qui disparaît, incendiée le 25 mai 1871, poussant la troupe à se réfugier au Théâtre de l’Athénée où le Lyrique vit ses derniers jours. Le Théâtre-Lyrique est emporté par la faillite de Martinet dont le jugement devant le tribunal est prononcé en juin 1872.

Les années qui suivent laissent apparaître des velléités de faire revivre le Théâtre-Lyrique dans d’autres lieux. Plusieurs personnalités tentent en vain de le réanimer, notamment Albert Vizentini au Théâtre de la Gaîté en 1876 sous le nom d’Opéra national lyrique puis Léon Escudier et Victor Capoul dans la salle Ventadour en 1878. Ainsi comme le souligne un jeune compositeur dans une réclamation au Ministre, à partir de 1872, « le Théâtre-Lyrique n’existe plus que de nom ».


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This object has been identified as an Orphan Work in the country of first publication and in line with the requirements of the national law implementing Directive 2012/28/EU of the European Parliament and of the Council of 25 October 2012 on certain permitted uses of orphan works.

You are free to use this object in any way that is permitted by the copyright and related rights legislation that applies to your use. Please note that you are responsible for your own use, including the need to obtain other permissions e.g. with regard to publicity, privacy or moral rights.

This object is in the public domain, but is subject to known legal restrictions other than copyright which prevent its free re-use. Please contact the providing institution for more information.

This object is currently in copyright. Please contact the providing institution for more information and in order to acquire additional permissions for re-use.

The copyright status of this object has not been evaluated yet. Please contact the providing institution for more information.

You are free to use this object in any way that is permitted by the copyright and related rights legislation that applies to your use. Please note that you are responsible for your own use, including the need to obtain other permissions e.g. with regard to publicity, privacy, or moral rights.

This object is currently in copyright and the rights holder(s) have allowed re-use for educational purposes only. You are free to use this object in any way that is permitted by the copyright and related rights legislation that applies to your use. Please note that you are responsible for your own use, including the need to obtain other permissions e.g. with regard to publicity, privacy or moral rights.

Please contact the providing institution for more information and in order to acquire additional permissions for any other uses.

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