• Alexander Faris
• Alfred de Musset
• Alfred Tennyson
• Alphonse Varney
• Ambroise Thomas
• Andrew Lamb
• André Gill
• André Messager
• Antimilitarist
• Anton Rubinstein
• Arsène Houssaye
• Arthur Sullivan
• Avenue (landscape)
• Ba-ta-clan
• Bad Ems
• Baldassare Galuppi
• Barbe-bleue (opera)
• Bassoon
• Blaise le savetier
• Booth's Theatre
• Burlesque
• Camille Erlanger
• Can-can
• Carl Maria von Weber
• Carlist
• Champs-Élysées
• Charles Gounod
• Charles Lecocq
• Clarinet
• Claude Debussy
• Clement Scott
• Cologne
• Coloratura
• Comédie Française
• Cor anglais
• Cornet
• Daniel Auber
• Die Fledermaus
• Die Rheinnixen
• Dominant (music)
• Eduard Hanslick
• Edvard Grieg
• Ernest Guiraud
• Eugène Scribe
• Felix Mendelssohn
• Flute
• Francis Hueffer
• Franco-Prussian War
• Franz Lehár
• Franz Liszt
• Franz Schubert
• Franz von Suppé
• Frederick Delius
• French horn
• Friedrich Nietzsche
• Friedrich von Flotow
• Fritz Spiegl
• Fromental Halévy
• Félicien-César David
• Gaetano Donizetti
• Gaîté Parisienne
• Geneviève de Brabant
• Georges Bizet
• Germany
• Giacomo Meyerbeer
• Giacomo Puccini
• Gioachino Rossini
• Gout
• Grand opera
• Guillaume Tell
• Gustave Doré
• Harp
• Hazzan
• Hector Berlioz
• Henri Meilhac
• Hervé (composer)
• Hippolyte Belhomme
• Holy Ghost
• Hortense Schneider
• Il signor Bruschino
• Il signor Fagotto
• Incidental music
• Irving Berlin
• Jacques Offenbach
• Jean de La Fontaine
• Johann Strauss II
• Johann Strauss, Jr.
• John Hollingshead
• Joseph Joachim
• Jules Barbier
• Julius Benedict
• Kingdom of Prussia
• Kurt Gänzl
• L'île de Tulipatan
• La belle Hélène
• La fille du régiment
• La jolie parfumeuse
• La Juive
• La Marseillaise
• La Périchole
• La vie parisienne
• Le château à Toto
• Le désert
• Le Figaro
• Le papillon (ballet)
• Le pont des soupirs
• Le roi Carotte
• Le violoneux
• Leitmotiv
• Leon Gastinel
• Les bavards
• Les brigands
• Les deux aveugles
• Les Huguenots
• Lionel Monckton
• Lischen et Fritzchen
• Louis Philippe I
• Louis-Pierre Norblin
• Ludovic Halévy
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• Luigi Cherubini
• Légion d'Honneur
• Légion d’Honneur
• Léo Delibes
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• Madame Favart
• Major sixth
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• Manuel Rosenthal
• Manuscript paper
• Marguerite Ugalde
• Marie Favart
• Marines' Hymn
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• Mezzo-soprano
• Michel Carré
• Modest Mussorgsky
• Modulation
• Montmartre Cemetery
• Morgenblätter
• Nadar (photographer)
• Nana (novel)
• Napoleon III
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• Operetta
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• Opérette
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• Orfeo ed Euridice
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• Otto von Bismarck
• Paris Conservatoire
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• Richard D'Oyly Carte
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• Salle Choiseul
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• San Sebastián
• Savoy opera
• Second French Empire
• Siegfried Kracauer
• St James's Theatre
• Subdominant
• The Era (newspaper)
• The Gondoliers
• The Guardian
• The Independent
• The Mikado
• The Musical Times
• The New York Times
• The Princess (poem)
• The Sorcerer
• The Sunday Times
• The Times
• The Zoo
• Theodore Baker
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• Théâtre des Variétés
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• Timpani
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• Trial by Jury
• Trombone
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• Tuileries
• U.S. Centennial
• Victorien Sardou
• Vienna State Opera
• Vincenzo Bellini
• W.S. Gilbert
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• West End theatre
• Wikipedia Persondata
• Wind machine
• Windsor Castle
• Zulma Bouffar
• Émile Zola
• Étretat
• 
  

• 
  Champs-Élysées
  The Avenue des Champs-Élysées (French pronunciation: [av(ə)ny de ʃɑ̃zelize] ( listen)) is a street in Paris, France. With its cinemas, cafés, luxury specialty shops and clipped horse-chestnut trees, the Avenue des Champs-Élysées is one of the most famous streets and one of the most expensive strips of real estate in the world. Several French monuments are also on the street, including the Arc de Triomphe and the Place de la Concorde. The name is French for Elysian Fields, the place of the blessed dead in Greek mythology. The Avenue des Champs-Élysées is known as "The most beautiful avenue in the world", La plus belle avenue du monde in French.
  The avenue runs for 1.91 km (1.18 mi) through the 8th arrondissement in northwestern Paris, from the Place de la Concorde in the east, with the Obelisk of Luxor, to the Place Charles de Gaulle (formerly the Place de l'Étoile) in the west, location of the Arc de Triomphe. The Champs-Élysées forms part of the Axe historique.
  One of the principal tourist destinations in Paris, the lower part of the Champs-Élysées is bordered by greenery (Carré Marigny) and by buildings such as the Théâtre Marigny and the Grand Palais (containing the Palais de la Découverte). The Élysée Palace is slightly to the north, but not on the avenue itself. Further to the west, the avenue is lined with cinemas, cafés and restaurants, and luxury specialty shops. The Champs-Élysées ends at the Arc de Triomphe, built to honour the victories of Napoleon Bonaparte.
  
  wn.com/Champs-Élysées
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  Comédie Française
  The Comédie-Française (French pronunciation: [kɔmedi fʁɑ̃sɛz]) or Théâtre-Français (IPA: [teatʁ fʁɑ̃sɛ]) is one of the few state theaters in France. It is the only state theater to have its own troupe of actors. It is located in the 1st arrondissement of Paris.
  The theatre has also been known as the Théâtre-Nautique, the théâtre de la République and La maison de Molière. It inherited the latter name (English: House of Molière) along with the dramatic venue of the best-known playwright associated with the Comédie-Française, Molière. He was considered the patron of French actors. He died seven years before “La maison de Molière” was rechristened the “Comédie-Française,” and it continued to be known popularly by the former name even after the official change of name.
  The Comédie-Française was founded by a decree of Louis XIV on 24 August 1680 to merge the only two Parisian acting troupes of the time, the troupe of the Guénégaud Theatre and that of the Hôtel de Bourgogne. On the death of Molière in 1673, the troupe at the Guénégaud had been formed by a merger of the Théâtre du Marais and the Troupe de Molière. Thus the Comédie-Française may be said to have an unbroken tradition reaching back to the days of Molière, and to have had theatre connections for more than a century previous to the death of the great dramatist in 1673. In 1680, the repertoire consisted of the collection of theatrical works by Molière and Jean Racine, along with a few works by Pierre Corneille, Paul Scarron and Jean Rotrou. Two years after the amalgamation of the dramatic companies, they received a royal grant of 12,000 livres per year; and seven years later they took as their name their present designation of “players of the Comédie Française.”
  
  wn.com/Comédie_Française
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  Germany
  Germany (ⁱ/ˈdʒɜrməni/), officially the Federal Republic of Germany (German: Bundesrepublik Deutschland, pronounced [ˈbʊndəsʁepuˌbliːk ˈdɔʏtʃlant] ( listen)), is a federal parliamentary republic in Europe. The country consists of 16 states while the capital and largest city is Berlin. Germany covers an area of 357,021 km² and has a largely temperate seasonal climate. With 81.8 million inhabitants, it is the most populous member state and the largest economy in the European Union. It is one of the major political powers of the European continent and a technological leader in many fields.
  A region named Germania, inhabited by several Germanic peoples, was documented before AD 100. During the Migration Period, the Germanic tribes expanded southward, and established successor kingdoms throughout much of Europe. Beginning in the 10th century, German territories formed a central part of the Holy Roman Empire. During the 16th century, northern German regions became the centre of the Protestant Reformation while southern and western parts remained dominated by Roman Catholic denominations, with the two factions clashing in the Thirty Years' War, marking the beginning of the Catholic–Protestant divide that has characterized German society ever since. Occupied during the Napoleonic Wars, the rise of Pan-Germanism inside the German Confederation resulted in the unification of most of the German states into the German Empire in 1871 which was Prussian dominated. After the German Revolution of 1918–1919 and the subsequent military surrender in World War I, the Empire was replaced by the Weimar Republic in 1918, and partitioned in the Treaty of Versailles. Amidst the Great Depression, the Third Reich was proclaimed in 1933. The latter period was marked by Fascism and World War II. After 1945, Germany was divided by allied occupation, and evolved into two states, East Germany and West Germany. In 1990 Germany was reunified.
  
  wn.com/Germany
• 
  Montmartre Cemetery
  Montmartre Cemetery (French: Cimetière de Montmartre) is a cemetery in the 18th arrondissement of Paris, France.
  Cemeteries had been banned from Paris since the shutting down of the Cimetière des Innocents in 1786, as they presented health hazards. Several new cemeteries replaced all the Parisian ones, outside the precincts of the capital, in the early 19th century: Montmartre in the north, Père Lachaise Cemetery in the east, Passy Cemetery in the west and Montparnasse Cemetery in the south.
  Located west of the Butte, near the beginning of Rue Caulaincourt in Place de Clichy, the cemetery in the Montmartre quarter of Paris is built below street level in the hollow of an old quarry with its entrance on Avenue Rachel under Rue Caulaincourt.
  A popular tourist destination, it is the final resting place of many famous artists who lived and worked in the Montmartre area.
  
  
  
  Coordinates: 48°53′16″N 2°19′49″E / 48.88778°N 2.33028°E / 48.88778; 2.33028
  
  wn.com/Montmartre_Cemetery
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  Opéra-Comique
  Coordinates: 48°52′15″N 2°20′16″E / 48.870962°N 2.337703°E / 48.870962; 2.337703
  The Opéra-Comique is a Parisian 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 (the third on this site), 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.
  
  wn.com/Opéra-Comique
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  Opéra-comique
  Opéra comique (plural: opéras comiques) is a genre of French opera that contains spoken dialogue and arias. It emerged out of the popular opéra comiques en vaudevilles of the Fair Theatres of St Germain and St Laurent (and to a lesser extent the Comédie-Italienne), which combined existing popular tunes with spoken sections. Associated with the Paris theatre of the same name, the Opéra-Comique, opéra comique is not always comic or light in nature — indeed, Carmen, perhaps the most famous opéra comique, is a tragedy.
  The term opéra comique is complex in meaning and cannot simply be translated as "comic opera". It originated in the early 18th century when it was applied to humorous and satirical plays performed at the theatres of the Paris fairs which contained songs with new words set to already existing music (vaudevilles). In the middle of the 18th century, composers began to write original music to replace the vaudevilles, under the influence of the lighter types of Italian opera (especially Giovanni Battista Pergolesi's La serva padrona). This form of opéra comique was often known as comédie mêlée d'ariettes, but the range of subject matter it covered expanded far beyond the merely comic. By the 19th century, opéra comique often meant little more than works with spoken dialogue performed at the Opéra-Comique theatre, as opposed to works with recitative which appeared at the Paris Opéra. Thus the most famous of all opéras comiques, Georges Bizet's Carmen, is on a tragic subject. As Elizabeth Bartlet and Richard Langham Smith note in their Grove article on the subject, composers and librettists frequently rejected the use of the umbrella term opéra comique in favour of more precise labels.
  
  wn.com/Opéra-comique
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  Philadelphia
  Philadelphia ( /ˌfɪləˈdɛlfiə/) is the largest city in the Commonwealth of Pennsylvania and the county seat of Philadelphia County, with which it is coterminous. The city is located in the Northeastern United States along the Delaware and Schuylkill rivers. It is the fifth-most-populous city in the United States, with a population of 1,526,006 as of the 2010 U.S. Census. Philadelphia is also the commercial, cultural, and educational center of the Delaware Valley, home to 6 million people and the country's fifth-largest metropolitan area. The Philadelphia metropolitan division consists of five counties in Pennsylvania and has a population of 4,008,994. Popular nicknames for Philadelphia are Philly and The City of Brotherly Love, the latter of which comes from the literal meaning of the city's name in Greek (Greek: Φιλαδέλφεια ([pʰilaˈdelpʰeːa], Modern Greek: [filaˈðelfia]) "brotherly love", compounded from philos (φίλος) "loving", and adelphos (ἀδελφός) "brother").
  
  wn.com/Philadelphia
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  San Sebastián
  San Sebastián (Spanish: [san seβasˈtjan]) or Donostia (Basque: [doˈnos̺tia]) is a city and municipality located in the north of Spain, on the coast of the Bay of Biscay and 20 km away from the French border. The city is the capital of Gipuzkoa, in the autonomous community of the Basque Country. The municipality’s population is 186,122 (2011), and its metropolitan area reaches 413,617 (2010). Locals call themselves donostiarras, in Spanish, and donostiarrak, in Basque.
  The main economic activities are commerce and tourism, being one of the most famous tourism destinations in Spain. Despite the city’s small size, international events such as the San Sebastián International Film Festival have given it an international dimension. San Sebastián, along with Wrocław, Poland, will be the European Capital of Culture in 2016.
  In spite of the apparent difference, both the Basque form Donostia and the Spanish form San Sebastián share the same meaning of Saint Sebastian. The dona/dono/doni element in Basque place-names signifies "saint" and is derived from Latin domine; the second part of Donosti(a) contains a shortened form of the saint's name.
  
  wn.com/San_Sebastián
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  Second French Empire
  The Second French Empire (French: Le Second Empire Français) was the Imperial Bonapartist regime of Napoleon III from 1852 to 1870, between the Second Republic and the Third Republic, in France.
  Although the machinery of government was almost the same under the Second Empire as it had been under the First, its founding principles were different. The function of the Empire, as Emperor Napoleon III often repeated, was to guide the people internally towards justice and externally towards perpetual peace. Holding his power by universal male suffrage, and having frequently, from his prison or in exile, reproached previous oligarchical governments with neglecting social questions, he set out to solve them by organising a system of government based on the principles of the "Napoleonic Idea", i.e. of the emperor, the elect of the people as the representative of the democracy, and as such supreme; and of himself, the representative of the great Napoleon I of France, "who had sprung armed from the French Revolution like Minerva from the head of Jove", as the guardian of the social gains of the revolutionary period.
  
  wn.com/Second_French_Empire
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  Théâtre des Variétés
  The Théâtre des Variétés is a theatre and "salle de spectacles" at 7, boulevard Montmartre, 2nd arrondissement, in Paris. It was declared a monument historique in 1975.
  It owes its creation to the theatre director Mademoiselle Montansier (Marguerite Brunet). Imprisoned for debt in 1803 and frowned upon by the government, a decree of 1806 ordered her company to leave the Théâtre du Palais-Royal which then bore the name of "Variétés". The decree's aim was to move out Montansier's troupe to make room for the company from the neighbouring Théâtre-Français, which had stayed empty even as the Variétés-Montansier had enjoyed immense public favour. Strongly unhappy about having to leave the theatre by 1 January 1807, the 77 year old Montansier gained an audience with Napoleon himself and received his help and protection. She thus reunited the "Société des Cinq", which directed her troupe, in order to found a new theatre, the one which stands at the side of the passage des Panoramas. It was inaugurated on 24 June 1807. The theatre plays a prominent role in Émile Zola's novel of 1880, Nana, as the theatre in which Nana achieves celebrity in the opening chapters.
  
  wn.com/Théâtre_des_Variétés
• Théâtre Déjazet
  The Théâtre Dejazet is a theatre on the boulevard du Temple (popularly known as the 'boulevard du crime’) in the 3rd arrondissement of Paris. It was originally founded in 1770 by Comte d'Artois who later was crowned Charles X, but it was then closed down and not reopened until 1851. At that time it became a café-concert called the Folies-Mayer, on the site of a former jeu de paume (tennis court). It was converted into the Folies-Concertantes in 1853, and reopened as the Folies-Nouvelles on 21 October 1854.
  Under the direction of the operetta composer Hervé from 1854 to 1856, it became a theatre for one-act spectacles-concerts with premieres of Hervé's La perle de l'Alsace (1854), Un compositeur toqué (1854), La fine fleur de l'Andalousie (1854), Agamemnon, ou Le chameau à deux bosses (1856), and Vadé au cabaret (1856).
  One of Jacques Offenbach's first works, the anthropophagie musicale Oyayaye, ou La reine des îles was also performed there (1855), and two opérettes, Delibes's Deux sous de charbon (1856), and Lecocq's Huis-Clos (1859). The mime Paul Legrand also regularly performed there between 1853 and 1859. The Folies-Nouvelles closed on 1 September 1859.
  
  wn.com/Théâtre_Déjazet
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  Vienna State Opera
  The Vienna State Opera (Wiener Staatsoper) is an opera house – and opera company – with a history dating back to the mid-19th century. It is located in the centre of Vienna, Austria. It was originally called the Vienna Court Opera (Wiener Hofoper). In 1920, with the replacement of the Habsburg Monarchy by the First Austrian Republic, it was renamed the Vienna State Opera. The members of the Vienna Philharmonic are recruited from its orchestra.
  The building was the first major building on the Vienna Ringstraße commissioned by the controversial Viennese "city expansion fund". Work commenced on the building in 1861 and was completed in 1869, following plans drawn up by architects August Sicard von Sicardsburg and Eduard van der Nüll, who lived together in the 6. Bezirk. It was built in the Neo-Renaissance style.
  The Ministry of the Interior had commissioned a number of reports into the availability of certain building materials, with the result that stones long not seen in Vienna were used, such as Wöllersdorfer Stein, for plinths and free-standing, simply-divided buttresses, the famously hard stone from Kaisersteinbruch, whose colour was more appropriate than that of Kelheimerstein, for more lushly decorated parts. The somewhat coarser-grained Kelheimerstein (also known as Solnhof Plattenstein) was intended as the main stone to be used in the building of the opera house, but the necessary quantity was not deliverable. Breitenbrunner stone was suggested as a substitute for the Kelheimer stone, and stone from Jois was used as a cheaper alternative to the Kaiserstein. The staircases were constructed from polished Kaiserstein, while most of the rest of the interior was decorated with varieties of marble.
  
  wn.com/Vienna_State_Opera
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  West End theatre
  West End theatre is a popular term for mainstream professional theatre staged in the large theatres of London's 'Theatreland', the West End. Along with New York's Broadway theatre, West End theatre is usually considered to represent the highest level of commercial theatre in the English-speaking world. Seeing a West End show is a common tourist activity in London.
  Total attendances first surpassed 12 million in 2002 and 13 million in 2007, setting a new record for the West End. Since the late 1990s there has been an increase in the number of famous screen actors on the London stage.
  The Theatre in London flourished after the English Reformation. The first permanent public playhouse, known simply as The Theatre, was constructed in 1576 in Shoreditch by James Burbage. It was soon joined by The Curtain. Both are known to have been used by William Shakespeare's company. In 1599, the timber from The Theatre was moved to Southwark, where it was used in building the Globe Theatre in a new theatre district formed, beyond the controls of the City corporation. These theatres were closed in 1642 during the interregnum.
  
  wn.com/West_End_theatre
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  Windsor Castle
  Windsor Castle is a medieval castle and royal residence in Windsor in the English county of Berkshire, notable for its long association with the British royal family and for its architecture. The original castle was built after the Norman invasion by William the Conqueror. Since the time of Henry I it has been used by a succession of monarchs and is the longest-occupied palace in Europe. The castle's lavish, early 19th-century State Apartments are architecturally significant, described by art historian Hugh Roberts as "a superb and unrivalled sequence of rooms widely regarded as the finest and most complete expression of later Georgian taste". The castle includes the 15th-century St George's Chapel, considered by historian John Robinson to be "one of the supreme achievements of English Perpendicular Gothic" design. More than five hundred people live and work in Windsor, making it the largest inhabited castle in the world.
  Originally designed to protect Norman dominance around the outskirts of London, and to oversee a strategically important part of the River Thames, Windsor Castle was built as a motte and bailey, with three wards surrounding a central mound. Gradually replaced with stone fortifications, the castle withstood a prolonged siege during the First Barons' War at the start of the 13th century. Henry III built a luxurious royal palace within the castle during the middle of the century, and Edward III went further, rebuilding the palace to produce an even grander set of buildings in what would become "the most expensive secular building project of the entire Middle Ages in England". Edward's core design lasted through the Tudor period, during which Henry VIII and Elizabeth I made increasing use of the castle as a royal court and centre for diplomatic entertainment.
  
  wn.com/Windsor_Castle

• Alexander Faris
  Alexander "Sandy" Faris (born 11 June 1921) is an Irish composer, conductor and writer, known for his television theme tunes. He has composed and recorded many operas and musicals, and has composed film scores and orchestral works.
  Faris was born in Caledon, County Tyrone, Northern Ireland. He attended Oxford University and served in World War II with the Irish Guards. After the war, still stationed in Europe, he was involved with the restoration of damaged German opera houses. He then attended the Royal College of Music. Faris first conducted in London for a 1949 revival of Song of Norway at the Palace Theatre.
  Faris was first associated with the works of Gilbert and Sullivan when he conducted excerpts from The Mikado, The Gondoliers and The Pirates of Penzance with the Linden Singers and the North German Radio Symphony Orchestra for World Record Club in Hamburg in February-March 1961. Then in 1962 for Sadler's Wells Opera he conducted both Iolanthe and The Mikado. He was engaged by the D'Oyly Carte Opera Company to conduct its last season in 1981–82, and he was one of the conductors for the company's last night at the Adelphi Theatre on 27 February 1982. He was the conductor for twelve of the Savoy operas in the 1982 series of videos by Brent Walker productions. Four years later, with the Scottish Chamber Orchestra in Glasgow, he conducted ten Sullivan overtures (Nimbus CD, NI 5066).
  
  wn.com/Alexander_Faris
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  Alfred Tennyson
  Alfred Tennyson, 1st Baron Tennyson, FRS (6 August 1809 – 6 October 1892) was Poet Laureate of the United Kingdom during much of Queen Victoria's reign and remains one of the most popular poets in the English language.
  Tennyson excelled at penning short lyrics, such as "In the Valley of Cauteretz", "Break, Break, Break", "The Charge of the Light Brigade", "Tears, Idle Tears" and "Crossing the Bar". Much of his verse was based on classical mythological themes, such as Ulysses, although In Memoriam A.H.H. was written to commemorate his best friend Arthur Hallam, a fellow poet and fellow student at Trinity College, Cambridge, who was engaged to Tennyson's sister, but died from a brain haemorrhage before they could marry. Tennyson also wrote some notable blank verse including Idylls of the King, "Ulysses," and "Tithonus." During his career, Tennyson attempted drama, but his plays enjoyed little success.
  A number of phrases from Tennyson's work have become commonplaces of the English language, including "Nature, red in tooth and claw", "'Tis better to have loved and lost / Than never to have loved at all", "Theirs not to reason why, / Theirs but to do and die", "My strength is as the strength of ten, / Because my heart is pure", "Knowledge comes, but Wisdom lingers", and "The old order changeth, yielding place to new". He is the ninth most frequently quoted writer in The Oxford Dictionary of Quotations.
  
  wn.com/Alfred_Tennyson
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  Ambroise Thomas
  Charles Louis Ambroise Thomas (5 August 1811, Metz – 12 February 1896, Paris) was a French composer, best known for his operas Mignon (1866) and Hamlet (1868, after Shakespeare) and as Director of the Conservatoire de Paris from 1871 till his death.
  "There is good music, there is bad music, and then there is Ambroise Thomas." - Emmanuel Chabrier
  Thomas's parents were music teachers. By the age of 10, he was already an experienced pianist and violinist. In 1828, he entered the Paris Conservatoire, where he studied with Jean-François Le Sueur (who also taught Berlioz) while at the same time taking piano lessons privately from the famous virtuoso Frédéric Kalkbrenner. In 1832, his cantata Hermann et Ketty won the Conservatory's prestigious composition prize, the Grand Prix de Rome, which allowed him to travel to and study in that city for three years. He took with him a love for Mozart and Beethoven; but once in Rome, he became an ardent admirer of the Italian cantilena and melodic tradition. It was during his Italian sojourn that he wrote all of his chamber music: namely, a piano trio, a string quintet and a string quartet.
  
  wn.com/Ambroise_Thomas
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  Andrew Lamb
  Andrew Lamb (1565? – 1634), bishop of Brechin and bishop of Galloway, was probably son or relative of Andrew Lamb of Leith, a lay member of the general assembly of 1560. He became minister of Burntisland, Fife, in 1593, was translated to Arbroath in 1596, and to South Leith in 1600.
  The same year he was appointed one of the members of the standing commission of the church, and in 1601 was made a royal chaplain, and in that capacity accompanied the Earl of Mar when he went as ambassador to the English court. He received a pension from the abbey of Arbroath for "service done to the king, and for his earnest care in discharging his ministerial functions, and in the common affairs of the kirk tending to the establishment of discipline", and in 1607 was made titular bishop of Brechin.
  He was a member of the assembly of 1610 which allowed spiritual jurisdiction to the bishops, and was one of the three Scottish prelates who were consecrated at London in October of that year. In 1615 he presented a beautiful brass chandelier to the cathedral of Brechin, still to be seen there.
  
  wn.com/Andrew_Lamb
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  André Gill
  André Gill (17 October 1840—1 May 1885) was a French caricaturist. Born Louis-Alexandre Gosset de Guînes at Paris, the son of the Comte de Guînes and Sylvie-Adeline Gosset, he studied at this city's Academy of Fine Arts. He adopted the pseudonym André Gill in homage to his hero, James Gillray.[1] Gill began illustrating for Le Journal Amusant. Gill, however, became known for his work for the weekly four-sheet newspaper La Lune, edited by Francis Polo, in which he drew portraits for a series entitled The Man of the Day. He worked for La Lune from 1865 to 1868. When La Lune was banned, he worked for the periodical L'Éclipse from 1868 to 1876. Gill also drew for famous periodical Le Charivari.
  Gill's style, subsequently much imitated, was noted for the enlargement of his subjects' heads, which sat upon undersized bodies. His caricatures, in the form of large hand-colored, lithographic portraits, were considered very accurate and not very cruel. Thus, many of Gill's famous contemporaries wished to be drawn by him. Gill drew portrait caricatures of Sarah Bernhardt, Otto von Bismarck, Émile Zola, Victor Hugo, Nadar, Giuseppe Garibaldi, Adelina Patti, Charles Dickens, and Richard Wagner.
  
  wn.com/André_Gill
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  André Messager
  André Charles Prosper Messager (30 December 1853 – 24 February 1929) was a French composer, organist, pianist, conductor and administrator. His stage compositions included ballets and 30 opéra comiques and operettas, among which Véronique had lasting success, with Les p'tites Michu and Monsieur Beaucaire also enjoying international success.
  Despite financial obstacles, Messager pursued studies in piano and composition, with teachers including Camille Saint-Saëns and Gabriel Fauré. He became a major figure in the musical life of London as well as Paris, both as a conductor and a composer. Most of his Parisian works were produced in London, where several of them had long runs and numerous revivals, and he wrote two operatic works in English. He was the only French composer to write an original Savoy opera. Towards the end of his career, he composed musical comedies for Sacha Guitry and Yvonne Printemps.
  As a conductor, Messager held prominent positions in Paris and London, at the head of the Opéra-Comique, the Paris Opéra, the Orchestre de la Société des Concerts du Conservatoire, and of the Royal Opera House, Covent Garden. Although as a composer he is known chiefly for his light works, as a conductor he presented a wide range of operas, from Mozart to Richard Strauss, and he acquired a reputation as a conductor of Wagner. In Paris he conducted the world premieres of Debussy's Pelléas et Mélisande, Massenet's Grisélidis and Charpentier's Louise. At Covent Garden, he gave the British premieres of operas by Saint-Saëns and Massenet.
  
  wn.com/André_Messager
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  Anton Rubinstein
  Anton Grigorevich Rubinstein (Russian: Анто́н Григо́рьевич Рубинште́йн, tr. Anton Grigor'evič Rubinštejn) (November 28 [O.S. November 16] 1829 – November 20 [O.S. November 8] 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. This, together with the Moscow Conservatory founded by his brother Nikolai, were the first music schools of their type in Russia. This proved no less controversial than other aspects of Rubinstein's career, as Russian culture was deeply divided and the nation itself was going through an identity crisis that would last for the rest of the 19th century. Rubinstein drew a tremendous amount of criticism about the conservatory from nationalistically minded individuals such as critic Vladimir Stassov and members of the group of composers known collectively as The Five.
  
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  Arsène Houssaye
  Arsène Houssaye (28 March 1815 - 26 February 1896), French novelist, poet and man of letters, was born at Bruyères (Aisne), near Laon. His real surname was Housset.
  In 1832 he found his way to Paris, and in 1836 he published two novels, La Couronne de bluets and La Pécheresse. He had many friends in Paris, among them Jules Janin and Théophile Gautier, and he wrote in collaboration with Jules Sandeau. He produced art criticism in L'Histoire de la peinture flamande et hollandaise (1846); semi-historical sketches in Mlle de la Vallière et Mme de Montespan (1860) and Galerie de portraits du XVIII siècle (1844); literary criticism in Le Roi Voltaire (1858) and his famous satirical Histoire du quarante et unième fauteuil de l'Académie française (1855); drama in his Comédiennes (1857); poetry in his Symphonie de vingt ans (1867), Cent et un sonnets (1873), etc.; and novels, Les Filles d'Eve (1852) and many others. He was long editor of L'Artiste and for some years was editor and proprietor of La Presse.
  
  wn.com/Arsène_Houssaye
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  Arthur Sullivan
  Sir Arthur Seymour Sullivan MVO (13 May 1842 – 22 November 1900) was an English composer of Irish and Italian ancestry. He is best known for his series of 14 operatic collaborations with the dramatist W. S. Gilbert, including such enduring works as H.M.S. Pinafore, The Pirates of Penzance and The Mikado. Sullivan composed 23 operas, 13 major orchestral works, eight choral works and oratorios, two ballets, incidental music to several plays, and numerous hymns and other church pieces, songs, and piano and chamber pieces. The best known of his hymns and songs include "Onward Christian Soldiers" and "The Lost Chord".
  The son of a military bandmaster, Sullivan composed his first anthem at age eight. He was selected as soloist in the boys' choir of the Chapel Royal. The Reverend Thomas Helmore, the choirmaster, encouraged Sullivan and arranged for the publication and performance of his early compositions. In 1856, the Royal Academy of Music awarded the first Mendelssohn Scholarship to the 14-year-old Sullivan, allowing him to study first at the Academy and then in Germany, at the Leipzig Conservatoire. His graduation piece was a suite of incidental music to Shakespeare's The Tempest. When it was performed in London in 1862, it was an immediate sensation. Sullivan began his composing career with a series of ambitious works, interspersed with hymns, parlour ballads and other light pieces. Among his best received early pieces were a ballet, L'Île Enchantée (1864), and his Irish Symphony, Cello Concerto and Overture in C (In Memoriam) (all in 1866). From 1861 to 1872, he supplemented his income by working as a church organist and as a music teacher.
  
  wn.com/Arthur_Sullivan
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  Baldassare Galuppi
  Baldassare Galuppi (18 October 1706 – 3 January 1785) was an Italian composer, born on the island of Burano in the Venetian Republic. He achieved international success, spending periods of his career in London and Saint Petersburg, but his main base remained Venice, where he held a succession of leading appointments.
  In his early career Galuppi made a modest success in opera seria, but from the 1740s, together with the playwright and librettist Carlo Goldoni, he became famous throughout Europe for his comic operas in the new dramma giocoso style. To the succeeding generation of composers he was known as "the father of comic opera". Some of his mature opere serie, for which his librettists included the poet and dramatist Metastasio, were also widely popular.
  Throughout his career Galuppi held official positions with charitable and religious institutions in Venice, the most prestigious of which was head of music at the Doge's chapel, St Mark's Basilica. In these various capacities he composed a large amount of religious music. He was also highly regarded as a virtuoso performer on and composer for keyboard instruments.
  
  wn.com/Baldassare_Galuppi
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  Camille Erlanger
  Camille Erlanger (25 May 1863 – 24 April 1919) was a Parisian-born French opera composer. He studied at the Paris Conservatory under Léo Delibes and Émile Durand, and in 1888 won the Prix de Rome for his cantata Velléda. His most famous opera, Le Juif polonais, was produced at the Opéra-comique in 1900.
  Erlanger died in Paris and was buried in the Père Lachaise Cemetery.
  
  wn.com/Camille_Erlanger
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  Carl Maria von Weber
  Carl Maria Friedrich Ernst von Weber (18 or 19 November 1786 – 4–5 June 1826) was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school.
  Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantic opera in Germany. Der Freischütz came to be regarded as the first German "nationalist" opera, Euryanthe developed the Leitmotiv technique to a hitherto-unprecedented degree, while Oberon anticipated Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an Asian tune that was not of the pseudo-Turkish kind popularized by Mozart and others.
  A brilliant pianist himself, Weber composed four sonatas, two concertos and the Konzertstück (Concert Piece) in F minor, which influenced composers such as Chopin, Liszt and Mendelssohn. The Konzertstück provided a new model for the one-movement concerto in several contrasting sections (such as Liszt's, who often played the work), and was acknowledged by Stravinsky as the model for his Capriccio for Piano and Orchestra. Weber's shorter piano pieces, such as the Invitation to the Dance, was later orchestrated by Berlioz, while his Polacca Brillante was later orchestrated by Liszt.
  
  wn.com/Carl_Maria_von_Weber
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  Charles Gounod
  Charles-François Gounod (French pronunciation: [ʃaʁl fʁɑ̃swa ɡuno]; 17 June 1818 – 17 October or 18 October 1893) was a French composer, known for his Ave Maria as well as his operas Faust and Roméo et Juliette.
  Gounod was born in Paris, the son of a pianist mother and an artist father. His mother was his first piano teacher. Under her tutelage, Gounod first showed his musical talents. He entered the Paris Conservatoire, where he studied under Fromental Halévy and Pierre Zimmermann (he later married Zimmermann's daughter). In 1839, he won the Prix de Rome for his cantata Fernand. He was following his father; François-Louis Gounod (d. 1823) had won the second Prix de Rome in painting in 1783. During his stay of four years in Italy, Gounod studied the music of Palestrina and other sacred works of the sixteenth century; these he never ceased to cherish. Around 1846-47 he gave serious consideration to joining the priesthood, but he changed his mind before actually taking holy orders, and went back to composition. During that period, he was attached to the Church of Foreign Missions in Paris.
  
  wn.com/Charles_Gounod
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  Charles Lecocq
  Alexandre Charles Lecocq (June 3, 1832, Paris – October 24, 1918, Paris) was a French musical composer. He was admitted into the Conservatoire in 1849, being already an accomplished pianist. He studied under François Bazin, François Benoist, and Fromental Halévy, winning the first prize for harmony in 1850, and the second prize for fugue in 1852. He first gained notice by sharing with Georges Bizet the first prize for an operetta in a competition instituted by Jacques Offenbach.
  His opéra comique, Le Docteur Miracle, was performed at the Théâtre des Bouffes Parisiens in 1857. After that he wrote constantly for theatres, but produced nothing especially successful until Fleur-de-thé (1868), which ran for more than a hundred nights. Les cent vierges (1872) was also favorably received.
  Yet all his previous successes were cast into the shade by La fille de Madame Angot (Brussels, 1872), which in Paris in 1873 was performed for more than 400 nights consecutively, and which has since gained and retained enormous popularity. After 1873, Lecocq produced a large number of operettas, though he never equalled his early triumph in La fille de Madame Angot. Camille Saint-Saëns was a friend of Lecocq's, and never ceased to admire the latter's music.
  
  wn.com/Charles_Lecocq
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  Claude Debussy
  Claude-Achille Debussy (French pronunciation: [klod aʃil dəbysi]) (22 August 1862 – 25 March 1918) was a French composer. Along with Maurice Ravel, he was one of the most prominent figures working within the field of impressionist music, though he himself intensely disliked the term when applied to his compositions. In France, he was made Chevalier of the Legion of Honour in 1903. A crucial figure in the transition to the modern era in Western music, he remains one of the most famous and influential of all composers.
  His music is noted for its sensory component and for not often forming around one key or pitch. Often Debussy's work reflected the activities or turbulence in his own life. In French literary circles, the style of this period was known as symbolism, a movement that directly inspired Debussy both as a composer and as an active cultural participant.
  
  wn.com/Claude_Debussy
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  Daniel Auber
  Daniel François Esprit Auber (French pronunciation: [daɲɛl fʁɑ̃swa ɛspʁi obɛːʁ]) (29 January 1782 – 12/13 May 1871) was a French composer.
  The son of a Paris print-seller, Auber was born in Caen in Normandy. Though his father expected him to continue in the print-selling business, he also allowed his son to learn how to play several musical instruments. His first teacher was the Tirolean composer, Josef Alois Ladurner (1769–1851). At the age of 20 Auber was sent to London for business training, but he was obliged to leave England in 1804 when the Treaty of Amiens was breached.
  Auber had already attempted musical composition, and at this period produced several concertos pour basse, modeled after violoncellist Lamarre, in whose name they were published. The praise given to his concerto for the violin, which was played at the Paris Conservatoire by Mazas, encouraged him to undertake a resetting of an old comic opera, Julie (1811). He also began to study with the renowned Luigi Cherubini.
  In 1813 the unfavourable reception of his one-act debut opera Le Séjour militaire put an end for some years to his attempts as composer. But his failure in business, and the death of his father in 1819, compelled him once more to turn to music. He produced another opera, Le Testament et les billets-doux (1819), which was no better received than the former. But he persevered, and the next year was rewarded by the complete success of La Bergère châtelaine, an opera in three acts.
  
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  Eduard Hanslick
  Eduard Hanslick (11 September 1825 – 6 August 1904) was a Bohemian-Austrian music critic.
  Hanslick was born in Prague, the son of Joseph Adolph Hanslick, a bibliographer and music teacher from a German-speaking family, and one of his piano pupils, the daughter of a Jewish merchant from Vienna. At the age of 18 Hanslick went to study music with Václav Tomášek, one of Prague's renowned musicians. He also studied law at Prague University and obtained a degree in that field, but his amateur study of music eventually led to writing music reviews for small town newspapers, then the Wiener Musik-Zeitung and eventually the Neue Freie Presse, where he was music critic until retirement. Whilst still a student, in 1845, he met with Richard Wagner in Marienbad; the composer, noting the young man's enthusiasm, invited him to Dresden to hear his opera Tannhäuser; here Hanslick also met with Robert Schumann.
  In 1854 he published his influential book On the Beautiful in Music. By this time his interest in Wagner had begun to cool; he had written a disparaging review of the first Vienna production of Lohengrin. From this point on, Hanslick found his sympathies moving away from the so-called 'music of the Future' associated with Wagner and Liszt, and more towards music he conceived as directly descending from the traditions of Mozart, Beethoven and Schumann — in particular the music of Johannes Brahms (who dedicated to him his set of waltzes opus 39 for piano duet). In 1869, in a revised edition of his essay Jewishness in Music, Wagner attacked Hanslick as 'of gracefully concealed Jewish origin', and asserted that his Jewish style of criticism was anti-German. It is sometimes claimed that Wagner caricatured Hanslick in his opera Die Meistersinger von Nürnberg as the carping critic Beckmesser.
  
  wn.com/Eduard_Hanslick
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  Edvard Grieg
  Edvard Hagerup Grieg /ˈɛdʋɑɖ ˈhɑːgəɾʉːp gɾiːg/ (15 June 1843 – 4 September 1907) was a Norwegian composer and pianist. He is best known for his Piano Concerto in A minor, for his incidental music to Henrik Ibsen's play Peer Gynt (which includes Morning Mood and In the Hall of the Mountain King), and for his collection of piano miniatures Lyric Pieces.
  Edvard Hagerup Grieg was born in Bergen, Norway on 15 June 1843. His parents were Alexander Grieg (1806–1875), a merchant and vice consul in Bergen, and Gesine Judithe Hagerup (1814–1875), a music teacher and daughter of Edvard Hagerup. The family name, originally spelled Greig, has Scottish origins. After the Battle of Culloden in 1746, Grieg's great-grandfather traveled widely, settling in Norway about 1770, and establishing business interests in Bergen.
  Edvard Grieg was raised in a musical area. His mother was his first piano teacher and taught him to play at the age of 6. Grieg studied in several schools,^{[clarification needed]} including Tank's School. He often brought in samples of his music to class.^{[citation needed]}
  
  wn.com/Edvard_Grieg
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  Ernest Guiraud
  Ernest Guiraud (26 June 1837 – 6 May 1892) was a French composer and music teacher born in New Orleans, Louisiana. He is best known for writing the traditional orchestral recitatives used for Bizet's opera Carmen and for Offenbach's opera Les contes d'Hoffmann (The Tales of Hoffmann).
  Guiraud began his schooling in Louisiana under the tutelage of his father, Jean-Baptiste-Louis Guiraud, who had won the Prix de Rome in 1827. At age 15, he set a full-length libretto about King David to music that he and his father had found on a trip to Paris. The result was David, an opera in three-acts, which had a resounding success at the Théâtre d'Orléans in New Orleans in 1853, sealing his future.
  In December of the same year, Guiraud sailed back to France to continue his musical education. He studied piano under Marmontel and composition under Halévy at the Paris Conservatoire. Remarkably gifted as a student, he was awarded first prize for piano in 1858. He won the Prix de Rome the next year, notably, the only instance of both father and son obtaining this prize. He became close friends with Camille Saint-Saëns, Emile Paladilhe, Théodore Dubois, and especially Georges Bizet.
  
  wn.com/Ernest_Guiraud
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  Eugène Scribe
  Augustin Eugène Scribe (pronounced [ɔɡystin‿øʒɛn skʁib]; 24 December 1791 – 20 February 1861) was a French dramatist and librettist. He is known for the perfection of the so-called "well-made play" (pièce bien faite), a mainstay of popular theatre for over 100 years, and as the librettist of many of the most successful grand operas.
  Scribe was born in Paris and died there. His father was a silk merchant, and he was well educated, being destined for the law. However, he soon began to write for the stage. His first piece, Le Prétendu sans le savoir, was produced anonymously at the Variétés in 1810, and was a failure. Numerous other plays, written in collaboration with various authors, followed; but Scribe achieved no distinct success till 1815, when he wrote Une Nuit de la garde nationale (Night of the National Guard, 1815), a collaboration with Delestre Poirson. Much of his later work was also written in collaboration with others. His debut in serious comedy was made at the Théâtre Français in 1822 with Valérie. Among the actors he wrote starring roles for are Mlle Mars and Rachel. Scribe was elected to the Académie française in 1834.
  
  wn.com/Eugène_Scribe
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  Felix Mendelssohn
  Jakob Ludwig Felix Mendelssohn Bartholdy (German pronunciation: [ˈjaːkɔp ˈluːtvɪç ˈfeːlɪks ˈmɛndl̩szoːn baʁˈtɔldi]), born, and generally known in English-speaking countries, as Felix Mendelssohn (3 February 1809 – 4 November 1847) was a German composer, pianist, organist and conductor of the early Romantic period.
  The grandson of the philosopher Moses Mendelssohn, Felix Mendelssohn was born into a prominent Jewish family, although initially he was raised without religion and was later baptised as a Lutheran Christian. Mendelssohn was recognised early as a musical prodigy, but his parents were cautious and did not seek to capitalise on his talent.
  Early success in Germany, where he also revived interest in the music of Johann Sebastian Bach, was followed by travel throughout Europe. Mendelssohn was particularly well received in Britain as a composer, conductor and soloist, and his ten visits there – during which many of his major works were premiered – form an important part of his adult career. His essentially conservative musical tastes, however, set him apart from many of his more adventurous musical contemporaries such as Franz Liszt, Richard Wagner and Hector Berlioz. The Leipzig Conservatoire (now the University of Music and Theatre Leipzig), which he founded, became a bastion of this anti-radical outlook.
  
  wn.com/Felix_Mendelssohn
• Francis Hueffer
  Francis Hueffer, born Franz Hüffer (22 May 1845 – 19 January 1889), was a German-English writer on music, music critic, and librettist.
  Hueffer was born in Münster, Germany on 22 May 1845. He studied modern philology and music in London, Paris, Berlin, and Leipzig. He earned a Ph.D. from the University of Göttingen in 1869 for a critical edition of the works of Guillem de Cabestant, a 12th-century troubadour.
  He moved to London in 1869 as a writer on music, and from 1878 worked as music critic for The Times, succeeding James William Davison. He wrote a number of books on music, especially on music history and biography, edited the Great Musicians series for Novello & Co, and translated the correspondence of Richard Wagner and Franz Liszt to English. He also wrote the libretti for several English operas: Alexander Mackenzie's Colomba and The Troubadour, and Frederic Hymen Cowen's Sleeping Beauty.
  Hueffer's wife, Catherine (1850–1927), was the daughter of painter Ford Madox Brown and Emma Hill. Their sons, Ford Madox Hueffer--better known as Ford Madox Ford--and Oliver Madox Hueffer were writers.
  
  wn.com/Francis_Hueffer
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  Franz Lehár
  Franz Lehár (30 April 1870 – 24 October 1948) was an Austro-Hungarian composer. He is mainly known for his operettas of which the most successful and best known is The Merry Widow (Die lustige Witwe).
  Lehár was born in the northern part of Komárom, Kingdom of Hungary, Austria-Hungary (now Komárno, Slovakia), the eldest son of an Austrian bandmaster in the Infantry Regiment No. 50 of the Austro-Hungarian Army and a Hungarian woman from a family of German descent. He grew up speaking only Hungarian until the age of 12. Later he put a diacritic above the "a" of his father's name "Lehar" to indicate the long vowel in Hungarian phonology.
  While his younger brother Anton entered cadet school in Vienna to become a professional officer, Franz studied violin and composition at the Prague Conservatory, where his violin teacher was Antonín Bennewitz, but was advised by Antonín Dvořák to focus on composing music. After graduation in 1899 he joined his father's band in Vienna, as assistant bandmaster. In 1902 he became conductor at the historic Vienna Theater an der Wien, where his first opera Wiener Frauen was performed in November of that year.
  
  wn.com/Franz_Lehár
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  Franz Liszt
  Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc) (October 22, 1811 – July 31, 1886) was a 19th-century Hungarian composer, pianist, conductor, and teacher.
  Liszt became renowned in Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age. In the 1840s he was considered by some to be perhaps the greatest pianist of all time. He was also a well-known composer, piano teacher, and conductor. He was a benefactor to other composers, including Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg and Alexander Borodin.
  As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony. He also played an important role in popularizing a wide array of music by transcribing it for piano.
  
  wn.com/Franz_Liszt
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  Franz Schubert
  Franz Peter Schubert (German pronunciation: [ˈfʁants ˈʃuːbɛɐ̯t]; 31 January 1797 – 19 November 1828) was an Austrian composer.
  Although he died at the age of 31, Schubert was a prolific composer, having written some 600 Lieder, nine symphonies (including the famous "Unfinished Symphony"), liturgical music, operas, some incidental music, and a large body of chamber and solo piano music. Appreciation of Schubert's music during his lifetime was limited, but interest in his work increased significantly in the decades following his death. Franz Liszt, Robert Schumann, Johannes Brahms and Felix Mendelssohn, among others, discovered and championed his works in the 19th century. Today, Schubert is seen as one of the leading exponents of the early Romantic era in music and he remains one of the most frequently performed composers.
  Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna, on 31 January 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elisabeth Vietz, was the daughter of a Silesian master locksmith, and had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor's fourteen children (one illegitimate child was born in 1783), nine died in infancy; five survived. Their father was a well-known teacher, and his school in Lichtental, a part of Vienna's 9th district, was well attended. He was not a musician of fame or with formal training, but he taught his son some elements of music.
  
  wn.com/Franz_Schubert
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  Franz von Suppé
  Franz von Suppé or Francesco Suppé Demelli (April 18, 1819 – May 21, 1895) was an Austrian composer of light operas who was born in what is now Croatia during the time his father was working in this outpost of the Austro-Hungarian Empire. A composer and conductor of the Romantic period, he is notable for his four dozen operettas.
  Franz von Suppé's parents named him Francesco Ezechiele Ermenegildo Cavaliere di Suppé-Demelli when he was born on April 18, 1819, in Split, Dalmatia, Austrian Empire. His Belgian ancestors may have emigrated there in the 18th century. His father – a man of Italian and Belgian ancestry – was a civil servant in the service of the Austrian Empire, as was his father before him; Suppé's mother was Viennese by birth. He was a distant relative of Gaetano Donizetti. He simplified and Germanized his name when in Vienna, and changed "cavaliere di" to "von". Outside Germanic circles, his name may appear on programs as Francesco Suppé-Demelli.
  He spent his childhood in Zadar, where he had his first music lessons and began to compose at an early age. As a boy he had no encouragement in music from his father, but was helped by a local bandmaster and by the Spalato cathedral choirmaster. His Missa dalmatica dates from this early period. As a teenager in Cremona, Suppé studied flute and harmony. His first extant composition is a Roman Catholic Mass, which premiered at a Franciscan church in Zadar in 1832. At the age of 16, he moved to Padua to study law – a field of study not chosen by him – but continued to study music. Suppé was also a singer, making his debut as a basso profundo in the role of Dulcamara in Donizetti's L'elisir d'amore at the Sopron Theater in 1842.
  
  wn.com/Franz_von_Suppé
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  Frederick Delius
  Frederick Theodore Albert Delius, CH (29 January 1862 – 10 June 1934) was an English composer. Born in the north of England to a prosperous mercantile family of German extraction, he resisted attempts to recruit him to commerce. He was sent to Florida in the United States in 1884 to manage an orange plantation, where he neglected his managerial duties; influenced by African-American music, he began composing. After a brief period of formal musical study in Germany beginning in 1886, he embarked on a full-time career as a composer in Paris and then in nearby Grez-sur-Loing, where he and his wife Jelka lived (except during the First World War) for the rest of their lives.
  Delius's first successes came in Germany, where Hans Haym and other conductors promoted his music from the late 1890s. In Delius's native Britain, it was 1907 before his music made regular appearances in concert programmes, after Thomas Beecham took it up. Beecham conducted the full premiere of A Mass of Life in London in 1909 (he had premiered Part II in Germany in 1908); he staged the opera A Village Romeo and Juliet at Covent Garden in 1910; and he mounted a six-day Delius festival in London in 1929, as well as making gramophone recordings of many of Delius's works. After 1918 Delius began to suffer the effects of syphilis, contracted during his earlier years in Paris. He became paralysed and blind, but completed some late compositions between 1928 and 1932 with the aid of an amanuensis, Eric Fenby.
  
  wn.com/Frederick_Delius
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  Friedrich Nietzsche
  Friedrich Wilhelm Nietzsche ( /ˈniːtʃə/;German pronunciation: [ˈfʁiːdʁɪç ˈvɪlhɛlm ˈniːtsʃə]; October 15, 1844 – August 25, 1900) was a German philosopher, poet, cultural critic and classical philologist. He wrote critical texts on religion, morality, contemporary culture, philosophy and science, displaying a fondness for metaphor, irony and aphorism.
  Nietzsche's influence remains substantial within and beyond philosophy, notably in existentialism, nihilism and postmodernism. His style and radical questioning of the value and objectivity of truth have resulted in much commentary and interpretation, mostly in the continental tradition. His key ideas include the death of God, the Übermensch, the eternal recurrence, the Apollonian and Dionysian dichotomy, perspectivism and the will to power. Central to his philosophy is the idea of "life-affirmation", which involves an honest questioning of all doctrines that drain life's expansive energies, however socially prevalent and radical those views might be.
  
  wn.com/Friedrich_Nietzsche
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  Friedrich von Flotow
  Friedrich Adolf Ferdinand, Freiherr von Flotow (27 April 1812 – 24 January 1883) was a German composer. He is chiefly remembered for his opera Martha, which was popular in the 19th century.
  Flotow was born in Teutendorf, in Mecklenburg, into an aristocratic family. He studied at the Conservatoire de Paris and came under the influence of Auber, Rossini, Meyerbeer, Donizetti, Halévy, and later Gounod and Offenbach. These influences are reflected in his operas, where a distinctive French opéra comique flavour exists.
  He completed his first opera in 1835, Pierre et Cathérine, but his breakthrough came with Le naufrage de la Méduse (1839), based on the wreck of the warship Méduse. The three-act romantic opera Alessandro Stradella of 1844 is recognized as one of Flotow's finer works. Martha was first staged in Vienna at the Theater am Kärntnertor on 25 November 1847.
  Between 1856 and 1863 Flotow served as Intendant of the court theatre at Schwerin. He spent his last years in Paris and Vienna and had the satisfaction of seeing his operas mounted as far away as Saint Petersburg and Turin. He died in Darmstadt at the age of 70.
  
  wn.com/Friedrich_von_Flotow
• Fritz Spiegl
  Fritz Spiegl (27 January 1926 - 23 March 2003) was born at Zurndorf, Austria, the son of an agricultural merchant and his Jewish wife. He became a musician, journalist, broadcaster, humorist and collector who lived and worked in England from 1939.
  Spiegl was born near the Hungarian border in the village of Zurndorf, Burgenland, Austria, where his father was a businessman manufacturing among other things carbonated water. Spiegl attended the Gymnasium in Eisenstadt but, as the family were Jewish, they soon found themselves being persecuted by the Nazis in the wake of the Anschluss of 1938. All their property having been confiscated, Fritz's parents succeeded in leaving the country in 1939, eventually escaping to Bolivia while sending Fritz and his older sister Hanny (born 1923) to England, where, in Northamptonshire, they received a warm welcome.
  On arrival in Britain, Spiegl was sent to a public school, where he learned little beyond "rugger, plane-spotting and a bit of Latin". Eventually he went to London to work for an advertising agency. But he soon switched to music, taught himself to play the flute, enrolled at the Royal Academy of Music and, within a short time, became principal flautist with the Royal Liverpool Philharmonic Orchestra, a position he kept for more than a decade. Ear damage appears to have played a part in his exit from professional playing, as in later years he would occasionally refer to having been "invalided out by the brass section".
  
  wn.com/Fritz_Spiegl
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  Fromental Halévy
  Jacques-François-Fromental-Élie Halévy, usually known as Fromental Halévy (pronounced [fʁɔmɑ̃tal alevi]) (27 May 1799 – 17 March 1862), was a French composer. He is known today largely for his opera La Juive.
  Halévy was born in Paris, the son of a cantor, Élie Halfon Halévy, who was the secretary of the Jewish community of Paris, a writer and a teacher of Hebrew, and a French Jewish mother. The name Fromental, by which he was generally known, reflects that he was born on the feast-day of that name in the French Revolutionary calendar, which was still operative at that time. He entered the Conservatoire de Paris at the age of nine or ten (accounts differ), in 1809, becoming a pupil and later protégé of Cherubini. After two second-place attempts, he won the Prix de Rome in 1819: his cantata subject was Herminie.
  As he had to delay his departure to Rome because of the death of his mother, he was able to accept the first commission that brought him to public attention - a Marche Funèbre et De Profundis en Hébreu for three part choir, tenor and orchestra, which was commissioned by the Consistoire Israélite du Département de la Seine, for a public service in memory of the assassinated duc de Berry, performed on 24 March 1820. Later, his brother Léon recalled that the De Profundis, "infused with religious fervor, created a sensation, and attracted interest to the young laureate of the institute."
  
  wn.com/Fromental_Halévy
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  Gaetano Donizetti
  Domenico Gaetano Maria Donizetti (Italian pronunciation: [doˈmeːniko ɡaeˈtaːno maˈɾia doniˈdzetti]; 29 November 1797 – 8 April 1848) was an Italian composer from Bergamo, Lombardy. His best-known works are the operas L'elisir d'amore (1832), Lucia di Lammermoor (1835), and Don Pasquale (1843), all in Italian, and the French operas La favorite and La fille du régiment (both from 1840). Along with Vincenzo Bellini and Gioachino Rossini, he was a leading composer of bel canto opera.
  The youngest of three sons, Donizetti was born in 1797 in Bergamo's Borgo Canale quarter located just outside the city walls. His family was very poor with no tradition of music, his father being the caretaker of the town pawnshop. Nevertheless, Donizetti received some musical instruction from Simon Mayr, a German composer of internationally successful operas who had become maestro di cappella at Bergamo's principal church in 1802.
  
  wn.com/Gaetano_Donizetti
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  Georges Bizet
  Georges Bizet (French pronunciation: [ʒɔʁʒ bizɛ]) formally Alexandre César Léopold Bizet, (25 October 1838 – 3 June 1875) was a French composer, mainly of operas. In a career cut short by his early death, he achieved few successes before his final work, Carmen, became one of the most popular and frequently performed works in the entire opera repertory.
  During a brilliant student career at the Conservatoire de Paris, Bizet won many prizes, including the prestigious Prix de Rome in 1857. He was recognised as an outstanding pianist, though he chose not to capitalise on this skill and rarely performed in public. Returning to Paris after almost three years in Italy, he found that the main Parisian opera theatres preferred the established classical repertoire to the works of newcomers. His keyboard and orchestral compositions were likewise largely ignored; as a result, his career stalled, and he earned his living mainly by arranging and transcribing the music of others. Restless for success, he began many theatrical projects during the 1860s, most of which were abandoned. Neither of the two operas that reached the stage—Les pêcheurs de perles and La jolie fille de Perth—was immediately successful.
  
  wn.com/Georges_Bizet
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  Giacomo Meyerbeer
  Giacomo Meyerbeer (5 September 1791 – 2 May 1864) was a noted German opera composer, and the first great exponent of "grand opera." At his peak in the 1830s and 1840s, he was the most famous and successful composer of opera in Europe, yet he is rarely performed today.
  He was born to a Jewish family in Tasdorf (now a part of Rüdersdorf), near Berlin with the name Jacob Liebmann Beer. His father was the enormously wealthy financier Jacob Judah Herz Beer (1769-1825) and his much-beloved mother, Amalia Liebmann Meyer Wulff (1767-1854) also came from the wealthy elite. Their other children included the astronomer Wilhelm Beer and the poet Michael Beer.
  Beer's first keyboard instructor was Franz Lauska, a pupil of Johann Georg Albrechtsberger and a favoured teacher at the Berlin court. Beer also became one of Muzio Clementi's pupils while Clementi was in Berlin, and old Clementi himself, although he had long given up teaching, was so much struck, during a visit to Berlin, with the promise displayed in the boy's performance as to consent to give Beer lessons. Beer made his public debut in 1801 playing Mozart's D minor Piano Concerto in Berlin. The Allgemeine musikalische Zeitung reported: 'The amazing keyboard playing of young Bär (a Jewish lad of 9), who carried off the difficult passages and other solo parts with aplomb, and has fine powers of rendition even more rarely found in one of his age, made the concert even more interesting'.
  
  wn.com/Giacomo_Meyerbeer
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  Giacomo Puccini
  Giacomo Antonio Domenico Michele Secondo Maria Puccini (Italian pronunciation: [ˈdʒaːkomo putˈtʃiːni]; 22 December 1858 – 29 November 1924) was an Italian composer whose operas, including La bohème, Tosca, Madama Butterfly, and Turandot, are among the most frequently performed in the standard repertoire. Some of his arias, such as "O mio babbino caro" from Gianni Schicchi, "Che gelida manina" from La bohème, and "Nessun dorma" from Turandot, have become part of popular culture.
  Described by Encyclopædia Britannica Online as "one of the greatest exponents of operatic realism", he is regarded as one of the last major Italian opera composers. His repertoire is essentially rooted in verismo, or a post-Romantic operatic tradition and literary style. Whilst his work is essentially based on traditional late-19th century Italian opera, his music shows some influences from then-contemporary composers and movements such as Igor Stravinsky and Impressionism. Common themes within his operas include the important role, yet usually tragic end, of his heroines, as well as love; furthermore, there is a strong presence of exoticism in his operas, with several being set in faraway locations.
  
  wn.com/Giacomo_Puccini
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  Gioachino Rossini
  Gioachino Antonio Rossini (Italian pronunciation: [dʒoaˈkiːno anˈtɔːnjo rosˈsiːni] (Giovacchino Antonio Rossini in the baptismal certificate) (29 February 1792 – 13 November 1868) was an Italian composer who wrote 39 operas as well as sacred music, chamber music, songs, and some instrumental and piano pieces. His best-known operas include the Italian comedies Il barbiere di Siviglia (The Barber of Seville) and La Cenerentola and the French-language epics Moïse et Pharaon and Guillaume Tell (William Tell). A tendency for inspired, song-like melodies is evident throughout his scores, which led to the nickname "The Italian Mozart". Until his retirement in 1829, Rossini had been the most popular opera composer in history.
  Gioachino Antonio Rossini was born into a family of musicians in Pesaro, a town on the Adriatic coast of Italy which was then part of the Papal States. His father, Giuseppe, was a horn player and inspector of slaughterhouses. His mother, Anna, was a singer and a baker's daughter. Rossini's parents began his musical training early, and by the age of six he was playing the triangle in his father's musical group.
  
  wn.com/Gioachino_Rossini
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  Gustave Doré
  Paul Gustave Doré (French pronunciation: [pɔl ɡystav dɔʁe]; January 6, 1832 – January 23, 1883) was a French artist, engraver, illustrator and sculptor. Doré worked primarily with wood engraving and steel engraving.
  Doré was born in Strasbourg and his first illustrated story was published at the age of fifteen. His talent was evident even earlier, however. At age five he had been a prodigy troublemaker, playing pranks that were mature beyond his years. Seven years later, he began carving in cement. Subsequently, as a young man, he began work as a literary illustrator in Paris, winning commissions to depict scenes from books by Rabelais, Balzac, Milton and Dante.
  In 1853, Doré was asked to illustrate the works of Lord Byron. This commission was followed by additional work for British publishers, including a new illustrated English Bible. A decade later, he illustrated a French edition of Cervantes's Don Quixote, and his depictions of the knight and his squire, Sancho Panza, have become so famous that they have influenced subsequent readers, artists, and stage and film directors' ideas of the physical "look" of the two characters. Doré also illustrated an oversized edition of Edgar Allan Poe's "The Raven", an endeavor that earned him 30,000 francs from publisher Harper & Brothers in 1883.
  
  wn.com/Gustave_Doré
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  Hector Berlioz
  Hector Berlioz (pronounced: [ɛktɔʁ bɛʁˈljoːz]; 11 December 1803 – 8 March 1869) was a French Romantic composer, best known for his compositions Symphonie fantastique and Grande messe des morts (Requiem). Berlioz made significant contributions to the modern orchestra with his Treatise on Instrumentation. He specified huge orchestral forces for some of his works; as a conductor, he performed several concerts with more than 1,000 musicians. He also composed around 50 songs. His influence was critical for the further development of Romanticism, especially in composers like Richard Wagner, Nikolai Rimsky-Korsakov, Franz Liszt, Richard Strauss, Gustav Mahler and many others.
  Hector Berlioz was born in France at La Côte-Saint-André in the département of Isère, near Grenoble. His father, a respected provincial physician and scholar, was responsible for much of the young Berlioz's education. His father, Louis-Joseph Berlioz, was an atheist, with a liberal outlook; his mother, Marie-Antoinette, was an orthodox Roman Catholic. He had five siblings in all, three of whom did not survive to adulthood. The other two, Nanci and Adèle, remained close to Berlioz throughout his life.
  
  wn.com/Hector_Berlioz
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  Hervé (composer)
  Hervé (French pronunciation: [ɛʁve]), real name Louis Auguste Florimond Ronger, (30 June 1825 – 4 November 1892) was a French singer, composer, librettist, conductor and scene painter, whom Ernest Newman, following Reynaldo Hahn, credited with inventing the genre of operetta in Paris.
  Hervé was born in Houdain near Arras. Part Spanish by birth, he became a choirboy at the Church of Saint-Roch, Paris. His musical promise was noted, and he was enrolled in the Conservatoire and studied with Daniel Auber, and by the age of fifteen was serving as organist at Bicêtre Hospital and a stage vocalist in provincial theatres, where he trained his fine tenor voice. He won a competition in 1845 for the prestigious Paris post of organist at the Church of Saint-Eustache, while he doubled with his theatrical music career, a situation that he turned to advantage years later, in his most famous work, 'Mam'zelle Nitouche.
  Before he became musical director of the Théâtre du Palais Royal in 1851, he composed a one-act tableau grotesque, a burlesque on Don Quixote titled Don Quichotte et Sancho Pança. It was conceived as a vehicle for the actor Desiré, who was short and plump, accompanied by the tall and gangling Hervé, as he was now calling himself, in order to distance his two personas. It was staged at Adolphe Adam's Opéra-National, and achieved a great success in 1848, in spite of the distracting revolution: furthermore, according to the composer Reynaldo Hahn, the farcical pot-pourri was "simply the first French operetta". He had also composed musical entertainments to keep the patients entertained at the Bicêtre Hospital, and these gained the notice of producers.
  
  wn.com/Hervé_(composer)
• Hippolyte Belhomme
  Hippolyte-Adolphe Belhomme, (2 December 1854, Paris - 16 January 1923) was a prominent French bass or bass-baritone and long-term member of the Opéra-Comique company in Paris. He also made some important early opera recordings, displaying on them a lyrical voice of great flexibility.
  As a pupil of Boulanger and Ponchard he won second prize for singing and opéra comique at the Paris Conservatoire. Belhomme made his debut as Baskir in Lalla-Roukh at the Opéra-Comique on 11 November 1879; although of short stature his vocal authority was impressive.
  Belhomme sang much of the repertoire for the basses chantantes at the Opéra-Comique up to June 1886 and then again from 1891 to 1916: he sang in Carmen (Escamillo and Dancaïre), Cendrillon (Pandolphe), La fille du régiment (Sulpice) Madama Butterfly (the Bonze), Mignon (Lothario), Tosca (Sacristan) and Werther (Le bailli), as well as roles in many other French and Italian operas in the Opéra-Comique repertory. Belhomme created the following roles at the Opéra-Comique:
  
  wn.com/Hippolyte_Belhomme
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  Hortense Schneider
  Hortense Catherine Schneider, La Snédèr, (30 April 1833 – 6 May 1920) was a French soprano, one of the greatest operetta stars of the 19th century, particularly associated with the works of composer Jacques Offenbach.
  Born in Bordeaux, where she studied with Schaffner, she made her debut in Agen in 1853, as Inés in La favorite.
  She came to Paris and was turned down by the director of the Théâtre des Variétés but was noticed by Jacques Offenbach who invited her to the Théâtre des Bouffes Parisiens, where she made her debut in 1855 in Le violoneux. She enjoyed immediate success and created for Offenbach the role of Boulotte in Barbe-bleue and the title roles in La belle Hélène, La Grande-Duchesse de Gérolstein and La Périchole, all resounding triumphs. She also appeared in London and Saint Petersburg, to great acclaim.
  An accomplished singer and actress, she was much admired for her brio and verve on stage, was the toast of the Second Empire and a favourite of royal visitors to Paris. La Snédèr was reputedly one of King Edward VII's mistresses (because of the favours which she liberally granted to the members of the nobility, she was known as Le Passage des Princes.). She retired in 1878, after her marriage, and died in Paris over forty years later at age 87.
  
  wn.com/Hortense_Schneider
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  Irving Berlin
  Irving Berlin (May 11, 1888 – September 22, 1989) was an American composer and lyricist of Jewish heritage, widely considered one of the greatest songwriters in American history. He published his first song, "Marie from Sunny Italy", in 1907 and had his first major international hit, "Alexander's Ragtime Band" in 1911.
  "Alexander's Ragtime Band" sparked an international dance craze in places as far away as Berlin's native Russia, which also "flung itself into the ragtime beat with an abandon bordering on mania." Over the years he was known for writing music and lyrics in the American vernacular: uncomplicated, simple and direct, with his aim being to "reach the heart of the average American" whom he saw as the "real soul of the country."
  He wrote hundreds of songs, many becoming major hits, which made him "a legend" before he turned thirty. During his 60-year career he wrote an estimated 1,500 songs, including the scores for 19 Broadway shows and 18 Hollywood films, with his songs nominated eight times for Academy Awards. Many songs became popular themes and anthems, including "Easter Parade", "White Christmas", "Happy Holiday", "This is the Army, Mr. Jones", and "There's No Business Like Show Business". His Broadway musical and 1942 film, This is the Army, with Ronald Reagan, had Kate Smith singing Berlin's "God Bless America" which was first performed in 1938. Smith still performed the song on her 1960 CBS television series, The Kate Smith Show. After the September 11 attacks in 2001, Celine Dion recorded it as a tribute, making it #1 on the charts.
  
  wn.com/Irving_Berlin
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  Jacques Offenbach
  Jacques Offenbach (20 June 1819 – 5 October 1880) was a German-born French composer, cellist and impresario of the romantic period. He is remembered for his nearly 100 operettas of the 1850s–1870s and his uncompleted opera The Tales of Hoffmann. He was a powerful influence on later composers of the operetta genre, particularly Johann Strauss, Jr. and Arthur Sullivan. His best-known works were continually revived during the 20th century, and many of his operettas continue to be staged in the 21st. The Tales of Hoffman remains part of the standard opera repertory.
  Born in Cologne, the son of a synagogue cantor, Offenbach showed early musical talent. At the age of 14, he was accepted as a student at the Paris Conservatoire but found academic study unfulfilling and left after a year. From 1835 to 1855 he earned his living as a cellist, achieving international fame, and as a conductor. His ambition, however, was to compose comic pieces for the musical theatre. Finding the management of Paris's Opéra-Comique company uninterested in staging his works, in 1855 he leased a small theatre in the Champs-Élysées. There he presented a series of his own small-scale pieces, many of which became popular.
  
  wn.com/Jacques_Offenbach
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  Jean de La Fontaine
  Jean de La Fontaine (IPA: [ʒɑ̃ də la fɔ̃tɛn]; July 8, 1621, Château-Thierry – April 13, 1695, Paris) was the most famous French fabulist and one of the most widely read French poets of the 17th century. He is known above all for his Fables, which provided a model for subsequent fabulists across Europe and numerous alternative versions in France, and in French regional languages.
  According to Flaubert, he was the only French poet to understand and master the texture of the French language before Hugo. A set of postage stamps celebrating La Fontaine and the Fables was issued by France in 1995.
  La Fontaine was born at Château-Thierry in France. His father was Charles de La Fontaine, maître des eaux et forêts - a kind of deputy-ranger - of the duchy of Château-Thierry; his mother was Françoise Pidoux. Both sides of his family were of the highest provincial middle class; though they were not noble, his father was fairly wealthy.
  Jean, the eldest child, was educated at the collège (grammar school) of Reims, and at the end of his school days he entered the Oratory in May 1641, and the seminary of Saint-Magloire in October of the same year; but a very short sojourn proved to him that he had mistaken his vocation. He then apparently studied law, and is said to have been admitted as avocat (lawyer).
  
  wn.com/Jean_de_La_Fontaine
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  Johann Strauss II
  Johann Strauss II (October 25, 1825 – June 3, 1899), also known as Johann Baptist Strauss or Johann Strauss, Jr., the Younger, or the Son (German: Sohn), was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as "The Waltz King", and was largely then responsible for the popularity of the waltz in Vienna during the 19th century.
  Strauss was born in St. Ulrich (now a part of Neubau), the son of Johann Strauss I, another composer of dance music. His father did not wish him to become a composer, but rather a banker; however, the son defied his father's wishes, and went on to study music with the composer Joseph Drechsler and the violin with Anton Kollmann, the ballet répétiteur of the Vienna Court Opera. Strauss had two younger brothers, Josef and Eduard Strauss, who became composers of light music as well, although they were never as well known as their elder brother.
  
  wn.com/Johann_Strauss_II
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  Johann Strauss, Jr.
  Johann Strauss II (October 25, 1825 – June 3, 1899), also known as Johann Baptist Strauss or Johann Strauss, Jr., the Younger, or the Son (German: Sohn), was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as "The Waltz King", and was largely then responsible for the popularity of the waltz in Vienna during the 19th century.
  Strauss was born in St. Ulrich (now a part of Neubau), the son of Johann Strauss I, another composer of dance music. His father did not wish him to become a composer, but rather a banker; however, the son defied his father's wishes, and went on to study music with the composer Joseph Drechsler and the violin with Anton Kollmann, the ballet répétiteur of the Vienna Court Opera. Strauss had two younger brothers, Josef and Eduard Strauss, who became composers of light music as well, although they were never as well known as their elder brother.
  
  wn.com/Johann_Strauss,_Jr.
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  John Hollingshead
  John Hollingshead (9 September 1827 – 9 October 1904) was an English theatrical impresario, journalist and writer during the latter half of the 19th century. He is best remembered as the first manager of the Gaiety Theatre, London. An innovative producer, Hollingshead brought Gilbert and Sullivan together in 1871 to produce their first joint work, a musical extravaganza called Thespis.
  Hollingshead was born in Hoxton, London, the son of Henry Randall Hollingshead. He was educated at Homerton. He first worked as a bookkeeper for a soft goods company in London in the early 1850s while publishing political essays on finance and social reform. He soon entered into a partnership as a clothing merchant. During this time, Hollingshead and his friend Moy Thomas began publishing a penny paper called The Mail that proved unsuccessful. In 1854, he decided to close his clothing business and begin working as a writer full time. By 1855, Hollingshead was married with two children. He died in London at the age of 77.
  
  wn.com/John_Hollingshead
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  Joseph Joachim
  Joseph Joachim (28 June 1831 – 15 August 1907) was a Hungarian violinist, conductor, composer and teacher. A close collaborator of Johannes Brahms, he is widely regarded as one of the most significant violinists of the 19th century.
  Joseph Joachim was born in Kittsee (Kopčany / Köpcsény), near Bratislava and Eisenstadt, in what is today's Burgenland area of Austria. He was the seventh of eight children born to Julius, a wool merchant, and Fanny Joachim who were of Hungarian Jewish origin. His infancy was spent as a member of the Kittsee Kehilla (Jewish community), one of Hungary's prominent Siebengemeinden ('Seven Communities') under the protectorate of the Esterházy family. He was a first cousin of Fanny Wittgenstein, the mother of Karl Wittgenstein and the grandmother of the philosopher Ludwig Wittgenstein and the pianist Paul Wittgenstein.
  In 1833 his family moved to Pest, where he studied violin with Stanislaus Serwaczynski, the concertmaster of the opera in Pest. (Serwaczynski later moved to Lublin, Poland, where he taught Wieniawski). In 1839, Joachim continued his studies at the Vienna Conservatory (briefly with Miska Hauser and Georg Hellmesberger, Sr.; finally — and most significantly — with Joseph Böhm). He was taken by his cousin, Fanny Wittgenstein to live and study in Leipzig, where he became a protégé of Felix Mendelssohn. In his début performance in the Leipzig Gewandhaus he played the Otello Fantasy by Heinrich Wilhelm Ernst. The twelve-year-old Joachim's 1844 performance of Beethoven's Violin Concerto in London (under Mendelssohn's baton) was a triumph, and helped to establish that work in the repertory. Joachim remained a favorite with the English public for the rest of his career.
  
  wn.com/Joseph_Joachim
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  Jules Barbier
  Paul Jules Barbier (8 March 1825 – 16 January 1901) was a French poet, writer and opera librettist who often wrote in collaboration with Michel Carré. He was a noted Parisian bon vivant and man of letters.
  His libretti for extant operas (those co-written with Carré are shown with an asterisk) include:
  He also wrote the libretto for La Guzla de l'Émir, a one-act comic opera by Georges Bizet. This was never performed and probably destroyed.
  He wrote the scenario for Léo Delibes' ballet Sylvia.
  Gounod wrote incidental music to Barbier's play Jeanne d'Arc, and the libretto to Pyotr Ilyich Tchaikovsky's opera The Maid of Orleans was partially based on it.
  
  
  
  wn.com/Jules_Barbier
• Kurt Gänzl
  Kurt Gänzl (born 15 February 1946) is an award-winning writer, musicologist, casting director and singer best known for his books about musical theatre.
  After a long acting and singing career and a career as a casting director of West End shows, Gänzl has become one of the world's most important chroniclers of the history of musical theatre. According to Canal Académie, "Kurt Gänzl is an institution. No one interested in musicals and operetta can ignore that. He is the world reference – with some few others, like Gerald Bordman, Ken Bloom, or Andrew Lamb – for that subject".
  Gänzl was born Brian Roy Gallas in Wellington, New Zealand and is of Austrian descent, the son of Frederick, an educator, and Nancy Gallas, née Welsh. He studied law and classics at University of Canterbury in New Zealand, receiving a masters degree in 1967 while performing as a radio and concert vocalist.
  Early in his career, Gänzl wrote plays. His one-act plays Elektra and The Women of Troy were produced in New Zealand in 1966 and 1967 by Elmwood Players. The latter play won the British Drama League (now British Theatre Association/Drama Magazine) award in 1967. The next year, Ganzl joined the New Zealand Opera Company as a bass soloist. After the company closed, he moved to London and studied for a year at the London Opera Centre. For twenty years, he worked as a performer, including a long run in London's hit show, The Black and White Minstrels. His last show was Harold Fielding's Hans Andersen at the London Palladium. He then worked as a talent agent and as a casting director for over a dozen musicals and plays in London's West End theatres and for musical and operatic productions in Europe and America.
  
  wn.com/Kurt_Gänzl
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  Louis Philippe I
  Louis Philippe I (6 October 1773 – 26 August 1850) was King of the French from 1830 to 1848 in what was known as the July Monarchy. His father was a duke who supported the French Revolution but was nevertheless guillotined. Louis Philippe fled France as a young man and spent 21 years in exile. He was proclaimed king in 1830 after King Charles X was forced to abdicate. Louis Philippe himself was forced to abdicate in 1848 and lived out his life in exile in England. He was the last king to rule France, although Emperor Napoleon III would serve as its last monarch.
  Louis Philippe d'Orléans was born on the Palais-Royal, the Orléans family residence in Paris, to Louis Philippe Joseph, Duke of Chartres, who became Louis Philippe II, Duke of Orléans (also known as "Philippe Égalité" during the French Revolution), and Louise Marie Adélaïde de Bourbon. As a member of the reigning House of Bourbon, he was a prince du sang.
  Louis Philippe was the eldest of three sons and a daughter, a family that was to have erratic fortunes from the beginning of the French Revolution to the Bourbon Restoration.
  
  wn.com/Louis_Philippe_I
• Louis-Pierre Norblin
  Louis Norblin (1781 – 1854) was a French musician. He taught cello at the Paris Conservatoire, where his students included Charles Lebouc.
  
  wn.com/Louis-Pierre_Norblin
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  Ludwig van Beethoven
  Ludwig van Beethoven (ⁱ/ˈlʊdvɪɡ væn ˈbeɪt.hoʊvən/; German pronunciation: [ˈluːtvɪç fan ˈbeːt.hoːfən] ( listen); baptized 17 December 1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers.
  Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven moved to Vienna in his early 20s, studying with Joseph Haydn and quickly gaining a reputation as a virtuoso pianist. His hearing began to deteriorate in his late twenties, yet he continued to compose, conduct, and perform, even after becoming completely deaf.
  Beethoven was the grandson of a musician of Flemish origin named Lodewijk van Beethoven (1712–73) who moved at the age of twenty to Bonn. Lodewijk (Ludwig is the German cognate of Dutch Lodewijk) was employed as a bass singer at the court of the Elector of Cologne, eventually rising to become Kapellmeister (music director). Lodewijk had one son, Johann (1740–1792), who worked as a tenor in the same musical establishment, and gave lessons on piano and violin to supplement his income. Johann married Maria Magdalena Keverich in 1767; she was the daughter of Johann Heinrich Keverich, who had been the head chef at the court of the Archbishopric of Trier.
  
  wn.com/Ludwig_van_Beethoven
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  Luigi Cherubini
  Luigi Cherubini (Italian pronunciation: [luˈiːdʒi keruˈbiːni]) (8 or 14 September 1760 – 15 March 1842) was an Italian composer who spent most of his working life in France. His most significant compositions are operas and sacred music. Beethoven regarded Cherubini as the greatest of his contemporaries.
  Cherubini was born Maria Luigi Carlo Zenobio Salvatore Cherubini in Florence. There is uncertainty about his exact date of birth. Although 14 September is sometimes stated, evidence from baptismal records and Cherubini himself suggests the 8th is correct. Perhaps the strongest evidence is his first name, Maria, which is traditional for a child born on 8 September, feast-day of the Nativity of the Virgin. His instruction in music began at the age of six with his father, Bartolomeo, maestro al cembalo ("Master of the harpsichord" i.e. ensemble leader from the harpsichord). Considered a child prodigy, Cherubini studied counterpoint and dramatic style at an early age. By the time he was thirteen, he had composed several religious works.
  
  wn.com/Luigi_Cherubini
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  Léon Carvalho
  Léon Carvalho (January 18, 1825 – December 29, 1897) was a French impresario and stage director.
  Born Léon Carvaille in Port-Louis, Mauritius, he came to France at an early age. He studied at the Paris Conservatory and sang as a baritone at the Opéra-Comique (1850-55), where he met the soprano Marie Caroline Miolan, whom he married in 1853.
  He then gave up singing and took on the direction of the Théâtre Lyrique in 1856, where he presented works by Beethoven, Mozart, Rossini, Weber, but most importantly opened his doors to new French composers turned down by the Opéra and the Opéra-Comique, such as Berlioz, Gounod, Bizet, Saint-Saëns and Delibes.
  In early 1868 Carvalho started another operatic venture at the Théâtre de la Renaissance. However he was declared bankrupt on 6 May 1868, forcing him out from both theatres.
  Carvalho then moved to manage the Théâtre du Vaudeville. Although the principal focus was straight plays, he revived the melodrama – a play with incidental music. He commissioned Bizet to write music for a production of Daudet’s L'Arlésienne on 1 October 1872.
  
  wn.com/Léon_Carvalho
• Manuel Rosenthal
  Manuel Rosenthal (18 June 1904 – 5 June 2003) was a French composer and conductor who held leading positions with musical organizations in France and America. He was friends with many of his contemporary composers, and despite a considerable list of compositions is mostly remembered for having created the popular ballet score Gaîté Parisienne and left a varied legacy of recordings.
  Rosenthal was born in Paris to Anna Devorsosky, of Russian Jewish descent, and to a French father, whom he never met. His surname was taken from his stepfather, Bernard Rosenthal.
  Rosenthal began violin studies at age 6; after his stepfather's death in 1918, Rosenthal played the violin to support his mother and his sisters, working in cafés and cinemas. In 1920, Rosenthal entered the Conservatoire in Paris, although he had to leave the institution after failing to win an expected first prize. In addition to continuing his violin studies with Alterman and Boucherit and playing in theatre and cinema bands, he also studied composition. Around this time Rosenthal met Léo Sir, inventor of the dixtuor of string instruments; he was persuaded to play the sursoprano (a 4th higher than the violin) but also to find composers to write for this new medium. Through this Rosenthal met Milhaud, Honegger and others, and also contributed his own music to a recital in Paris in October 1921.
  
  wn.com/Manuel_Rosenthal
• Marguerite Ugalde
  Marguerite Ugalde (née Marie Varcollier) (1862–1940) was a French mezzo-soprano. She was the daughter of the singer and theatre manager Delphine Ugalde.
  After studies in Paris with her mother, her first professional engagement was in 1879 at Étretat; she made her debut at the Opéra Comique on 19 April 1880 as Marie in La fille du régiment. She created the roles of Mnazile in Le Bois (11 October 1880) and Nicklausse in the first performance of Les contes d'Hoffmann by Offenbach in 1881. On the 18 November 1881, before the unveiling of a bust of Offenbach Ugalde and Adèle Isaac sang, and encored, the barcarolle from Hoffmann.
  After this short period at the Opéra Comique Ugalde moved over to operetta, both in Paris and elsewhere. At the Théâtre des Nouveautés she created Manola in Le Jour et la Nuit (5 November 1881), Wladimir in Fatinitza (6 April 1882), Falka in Le droit d'aînesse (27 January 1883), Stenio Strozzi in L’Oiseau bleu (16 January 1884), Denisette in Le Petit Chaperon rouge (1885) and Rosette in Serment d'amour (1886).
  
  wn.com/Marguerite_Ugalde
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  Marie Favart
  Marie-Justine-Benoîte Favart (née Marie Duronceray) (June 15, 1727 – April 22, 1772) was an opera singer, actress, and dancer, the wife of the dramatist, Charles Simon Favart.
  To her is largely due the beginnings of the change in this theatre to performances of a lyric type adapted from Italian models, which developed later into the genuine French comic opera. She was also a bold reformer in matters of stage costume, playing the peasant with bare arms, in wooden shoes and linen dress, and not, as heretofore, in court costume with enormous hoops, diamonds and long white kid gloves. With her husband, and other authors, she collaborated in a number of successful pieces, and one La fille mal gardée she produced alone.
  Maurice, comte de Saxe, a marshal of France and her husband's patron, began to make advances to Mme Favart, and Favart was forced to flee. Mme Favart was established by the marshal in a house at Vaugirard; proving a fickle mistress, she was suddenly arrested and confined in a convent, where she was brought to unconditional surrender in the beginning of 1750. Before the year was out the marshal died, and Mme Favart reappeared at the Comédie Italienne, where for twenty years she was a great favourite. Among the roles created by Mme Favart was the heroine of Egidio Duni's La fée Urgèle.
  
  wn.com/Marie_Favart
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  Michel Carré
  Michel Carré (20 October 1821, Besançon – 27 June 1872, Argenteuil) was a prolific French librettist.
  He went to Paris in 1840 intending to become a painter but took up writing instead. He wrote verse and plays before turning to writing libretti. His libretto for Mirette was never performed in France but was later performed in English adaptation in London. He wrote the text for Charles Gounod's Mireille (1864) on his own, and collaborated with Eugène Cormon on Bizet's Les pêcheurs de perles. However, the majority of his libretti were completed in tandem with Jules Barbier, with whom he wrote the libretti for numerous operas, including Camille Saint-Saëns's Le timbre d'argent (libretto written in 1864, first performed in 1877), Gounod's Faust (1859), Roméo et Juliette (1867), and Offenbach's Les contes d'Hoffmann (1881). As with the other libretti by Barbier and himself, these were adaptations of existing literary masterworks.
  His son, Michel-Antoine (1865–1945), followed in his father's footsteps, also writing libretti, and later directing silent films. His nephew Albert Carré (1852–1938) also wrote libretti.
  
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  Modest Mussorgsky
  Modest Petrovich Mussorgsky (Russian: Моде́ст Петро́вич Мýсoргский; IPA: [mɐˈdʲest ˈmusərkskʲɪj]; 21 March [O.S. 9 March] 1839 – 28 March [O.S. 16 March] 1881) was a Russian composer, one of the group known as "The Five". He was an innovator of Russian music in the romantic period. He strove to achieve a uniquely Russian musical identity, often in deliberate defiance of the established conventions of Western music.
  Many of his works were inspired by Russian history, Russian folklore, and other nationalist themes. Such works include the opera Boris Godunov, the orchestral tone poem Night on Bald Mountain, and the piano suite Pictures at an Exhibition.
  For many years Mussorgsky's works were mainly known in versions revised or completed by other composers. Many of his most important compositions have recently come into their own in their original forms, and some of the original scores are now also available.
  The spelling and pronunciation of the composer's name has been a matter of some controversy.
  
  wn.com/Modest_Mussorgsky
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  Nadar (photographer)
  Félix Nadar was the pseudonym of Gaspard-Félix Tournachon (1 April 1820, Paris – 23 March 1910), a French photographer, caricaturist, journalist, novelist and balloonist. Some photographs by Nadar are marked "P. Nadar" for "Photographie Nadar" (see image below).
  Nadar was born in April 1820 in Paris (though some sources state Lyon). He was a caricaturist for Le Charivari in 1848. In 1849 he created the Revue comique and the Petit journal pour rire. He took his first photographs in 1853 and in 1858 became the first person to take aerial photographs. He also pioneered the use of artificial lighting in photography, working in the catacombs of Paris.
  Around 1863, Nadar built a huge (6000 m³) balloon named Le Géant ("The Giant"), thereby inspiring Jules Verne's Five Weeks in a Balloon. Although the "Géant" project was initially unsuccessful Nadar was still convinced that the future belonged to heavier-than-air machines. Later, "The Society for the Encouragement of Aerial Locomotion by Means of Heavier than Air Machines" was established, with Nadar as president and Verne as secretary. Nadar was also the inspiration for the character of Michael Ardan in Verne's From the Earth to the Moon.
  
  wn.com/Nadar_(photographer)
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  Napoleon III
  Louis-Napoléon Bonaparte (20 April 1808 – 9 January 1873) was the President of the French Second Republic and as Napoleon III, the emperor of the Second French Empire. He was the nephew and heir of Napoleon I, christened as Charles Louis Napoléon Bonaparte. Elected President by popular vote in 1848, he initiated a coup d'état in 1851, before ascending the throne as Napoleon III on 2 December 1852, the forty-eighth anniversary of Napoleon I's coronation. He ruled as Emperor of the French until 4 September 1870. He holds the unusual distinction of being both the first titular president and the last monarch of France.
  Napoleon III is primarily remembered for an energetic foreign policy which aimed to jettison the limitations imposed on France since 1815 by the Concert of Europe and reassert French influence in Europe and abroad. A brief war against Austria in 1859 largely brought an end to the process of Italian unification. In the Near East, Napoleon III spearheaded allied action against Russia in the Crimean War and restored French presence in the Levant, claiming for France the role of protector of the Maronite Christians. A French garrison in Rome likewise secured the Papal States against annexation by Italy, defeating the Italians at Mentana and winning the support of French Catholics for Napoleon's regime.
  
  wn.com/Napoleon_III
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  Otto von Bismarck
  Otto Eduard Leopold, Prince of Bismarck, Duke of Lauenburg (1 April 1815 – 30 July 1898), simply known as Otto von Bismarck, was a conservative German statesman who dominated European affairs from the 1860s to his dismissal in 1890. After a series of short victorious wars he unified numerous German states into a powerful German Empire under Prussian leadership, then created a "balance of power" that preserved peace in Europe from 1871 until 1914.
  As Minister President of Prussia 1862–90, Bismarck provoked wars that made Prussia dominant over Austria and France, and lined up the smaller German states behind Prussia. In 1867 he also became Chancellor of the North German Confederation. Bismarck designed and created the German Empire in 1871, becoming its first Chancellor and largely controlling its affairs until he was removed by Kaiser (Emperor) William II in 1890. His diplomacy of Realpolitik and powerful rule gained him the nickname the "Iron Chancellor". As Henry Kissinger has noted, "The man of 'blood and iron' wrote prose of extraordinary directness and lucidity, comparable in distinctiveness to Churchill's use of the English language."
  
  wn.com/Otto_von_Bismarck
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  Richard D'Oyly Carte
  Richard D'Oyly Carte (3 May 1844 – 3 April 1901) was an English talent agent, theatrical impresario, composer and hotelier during the latter half of the Victorian era. Rising from humble beginnings, Carte built two of London's theatres and a hotel empire, while also establishing an opera company that ran continuously for over a hundred years and a management agency representing some of the most important artists of the day.
  Carte started his career in his father's music publishing and musical instrument manufacturing business. As a young man, he conducted and composed music, but he soon turned to promoting the entertainment careers of others through his management agency. Carte believed that a school of wholesome, well-crafted, family-friendly, English comic opera could be as popular as the risqué French works dominating the London musical stage in the 1870s. To that end, he brought together dramatist W. S. Gilbert and composer Arthur Sullivan and, together with his wife Helen Carte, he nurtured their collaboration on a series of thirteen Savoy Operas. He founded the D'Oyly Carte Opera Company and built the state-of-the-art Savoy Theatre to host the Gilbert and Sullivan operas.
  
  wn.com/Richard_D'Oyly_Carte
• Richard Traubner
  Richard Traubner is an American journalist, author, operetta scholar and historian, and lecturer on theatre and film. His book on the history of operetta was first published in 1983 and won the 17th annual ASCAP-Deems Taylor Award. Traubner is a frequent contributor to Opera News,The New York Times,The Economist and many other publications. He frequently provides notes for recordings and operetta productions. He has translated, directed and designed many European operettas. In 2000 and 2001, he was the designer in residence at Ohio Light Opera and has designed numerous productions for them since then.
  Traubner attended Boston University, where he was president of the B. U. Savoyards. He received his Ph.D. from New York University.
  According to MusicWeb International, Traubner's book Operetta: A Theatrical History, first published in 1983, is "One of the best reference books of the Musical Theatre.... Apart from [Kurt Gänzl]'s The British Musical Theatre and Musicals, there is no better book than this to dip into for acquiring a perspective on shows or the activity surrounding a particular production. Of especial interest... is the valuable detail Traubner gives about composers' backgrounds, training and career structure.... Traubner... writes in an easy style".John Kenrick calls the book "The ultimate love letter to operetta, with superb scholarship throughout." The book "is still the definitive work on the subject".American Record Guide calls it "the standard work on the subject".The Gramophone wrote:
  
  wn.com/Richard_Traubner
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  Richard Wagner
  Wilhelm Richard Wagner ( /ˈvɑːɡnər/; German pronunciation: [ˈʁiçaʁt ˈvaːɡnɐ]; 22 May 1813 – 13 February 1883) was a German composer, conductor, theatre director and polemicist primarily known for his operas (or "music dramas", as he later called them). Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Perhaps the two best-known extracts from his works are the Ride of the Valkyries from the opera Die Walküre, and the Wedding March (Bridal Chorus) from the opera Lohengrin.
  Initially establishing his reputation as a composer of works such as The Flying Dutchman and Tannhäuser which were broadly in the romantic vein of Weber and Meyerbeer, Wagner transformed operatic thought through his concept of the Gesamtkunstwerk ("total work of art"). This would achieve the synthesis of all the poetic, visual, musical and dramatic arts and was announced in a series of essays between 1849 and 1852. Wagner realized this concept most fully in the first half of the monumental four-opera cycle Der Ring des Nibelungen. However, his thoughts on the relative importance of music and drama were to change again, and he reintroduced some traditional operatic forms into his last few stage works, including Die Meistersinger von Nürnberg.
  
  wn.com/Richard_Wagner
• Sacheverell Sitwell
  Sir Sacheverell Sitwell, 6th Baronet CH (15 November 1897 – 1 October 1988) was an English writer, best known as an art critic and writer on architecture, particularly the baroque. He was the younger brother of Dame Edith Sitwell and Sir Osbert Sitwell.
  He was the youngest child of Sir George Sitwell, 4th Baronet of Renishaw Hall. His mother was the former Lady Ida Emily Augusta Denison, a daughter of the Earl of Londesborough and a granddaughter of Henry Somerset, 7th Duke of Beaufort. She claimed a descent through female lines from the Plantagenets. Sitwell was born in Scarborough, Yorkshire and brought up in Derbyshire; he was educated at Eton College and Balliol College, Oxford. In World War I he served from 1916 in the British Army, in the Grenadier Guards.
  After the war he went to Balliol but did not complete a degree, and was heavily involved in Osbert and Edith's projects. In 1925 he married a Canadian, Georgia Doble. Constant Lambert set to music The Rio Grande, one of his poems, and it was performed and broadcast in 1928.
  
  wn.com/Sacheverell_Sitwell
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  Siegfried Kracauer
  Siegfried Kracauer (February 8, 1889 – November 26, 1966) was a German-born writer, journalist, sociologist, cultural critic, and film theorist. He has sometimes been associated with the Frankfurt School of critical theory.
  Born to a Jewish family in Frankfurt am Main, Kracauer studied architecture from 1907 to 1913, eventually obtaining a doctorate in engineering in 1914 and working as an architect in Osnabrück, Munich, and Berlin until 1920.
  Near the end of the First World War, he befriended the young Theodor W. Adorno, to whom he became an early philosophical mentor. In 1964, Adorno recalled that "[f]or years Siegfried Kracauer read the Critique of Pure Reason with me regularly on Saturday afternoons. I am not exaggerating in the slightest when I say that I owe more to this reading than to my academic teachers. [...] If in my later reading of philosophical texts I was not so much impressed with their unity and systematic consistency as I was concerned with the play of forces at work under the surface of every closed doctrine and viewed the codified philosophies as force fields in each case, it was certainly Kracauer who impelled me to do so."
  
  wn.com/Siegfried_Kracauer
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  The Times
  The Times is a British daily national newspaper, first published in London in 1785 under the title The Daily Universal Register (it became The Times on 1 January 1788). The Times and its sister paper The Sunday Times (founded in 1821) are published by Times Newspapers, since 1981 a subsidiary of News International, itself wholly owned by the News Corporation group headed by Rupert Murdoch. The Times and The Sunday Times do not share editorial staff, were founded independently and have only had common ownership since 1967.
  The Times is the first newspaper to have borne that name, lending it to numerous other papers around the world, including The Times of India (1838), The Straits Times (1845), The New York Times (1851), The Irish Times (1859), the Los Angeles Times (1881), The Seattle Times (1891), The Daily Times (Malawi) (1900), The Canberra Times (1926), and The Times (Malta) (1935). For distinguishing purposes it is therefore sometimes referred to, particularly in North America, as the "London Times" or "The Times of London".
  
  wn.com/The_Times
• Theodore Baker
  Theodore Baker (June 3, 1851 – October 13, 1934) was an American musicologist.
  Born in New York, Baker studied business but turned to music as a career, becoming an organist in Concord, Massachusetts. In 1874 he moved to Germany and obtained his doctorate at Leipzig in 1882. His dissertation dealt with the music of the Seneca Indians, and was the first major work published on the music of American Indians. Themes included in the work were used by Edward MacDowell in his Indian Suite. In 1891 Baker returned to the United States, where he took the post of literary editor for Schirmer Publishing in 1892. He worked there until 1926, when he retired and moved back to Germany. He died in Dresden in 1934.
  Baker translated a considerable body of books and libretti into English, and wrote often in the Musical Quarterly, a Schirmer publication. In 1900, he published the first edition of Baker's Biographical Dictionary of Musicians, which was revised after his death by Nicholas Slonimsky and is still in print in its ninth edition.
  
  wn.com/Theodore_Baker
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  Thomas Beecham
  Sir Thomas Beecham, 2nd Baronet, CH (29 April 1879 – 8 March 1961) was an English conductor and impresario best known for his association with the London Philharmonic and the Royal Philharmonic orchestras. He was also closely associated with the Liverpool Philharmonic and Hallé orchestras. From the early 20th century until his death, Beecham was a major influence on the musical life of Britain and, according to the BBC, was Britain's first international conductor.
  Born to a rich industrial family, Beecham began his career as a conductor in 1899. He used his access to the family fortune to finance opera from the 1910s until the start of the Second World War, staging seasons at Covent Garden, Drury Lane and His Majesty's Theatre with international stars, his own orchestra and a wide repertoire. Among the works he introduced to England were Richard Strauss's Elektra, Salome and Der Rosenkavalier and three operas by Frederick Delius.
  Together with his younger colleague Malcolm Sargent, Beecham founded the London Philharmonic, and he conducted its first performance at the Queen's Hall in 1932. In the 1940s, he worked for three years in the United States, where he was music director of the Seattle Symphony and conducted at the Metropolitan Opera. After his return to Britain, he founded the Royal Philharmonic in 1946 and conducted it until his death in 1961.
  
  wn.com/Thomas_Beecham
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  Théophile Gautier
  Pierre Jules Théophile Gautier (pronounced: [pjɛʁ ʒyl teofil ɡotje]; August 30, 1811 – October 23, 1872) was a French poet, dramatist, novelist, journalist, art critic and literary critic.
  While Gautier was an ardent defender of Romanticism, his work is difficult to classify and remains a point of reference for many subsequent literary traditions such as Parnassianism, Symbolism, Decadence and Modernism. He was widely esteemed by writers as diverse as Balzac, Baudelaire, the Goncourt brothers, Flaubert, Proust and Oscar Wilde.
  Gautier was born on August 30, 1811, in Tarbes, capital of Hautes-Pyrénées département in southwestern France. His father, Pierre Gautier, was a fairly cultured minor government official and his mother was Antoinette-Adelaïde Concarde. The family moved to Paris in 1814, taking up residence in the ancient Marais district.
  Gautier's education commenced at the prestigious Collège Louis-le-Grand in Paris (fellow alumni include Voltaire and Charles Baudelaire), which he attended for three months before being brought home due to illness. Although he completed the remainder of his education at Collège Charlemagne (alumni include Charles Augustin Sainte-Beuve), Gautier's most significant instruction came from his father, who prompted him to become a Latin scholar by age 18.
  
  wn.com/Théophile_Gautier
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  Victorien Sardou
  Victorien Sardou (7 September 1831 – 8 November 1908) was a French dramatist. He is best remembered today for his development, along with Eugène Scribe, of the well-made play. He also wrote several plays that were made into popular 19th-century operas such as La Tosca (1887) on which Giacomo Puccini's opera Tosca (1900) is based, and Fedora by Umberto Giordano, a work that popularized the fedora hat as well.
  Victorien was born in Paris on 7 September 1831. The Sardous were settled at Le Cannet, a village near Cannes, where they owned an estate, planted with olive trees. A night's frost killed all the trees and the family was ruined. Victorien's father, Antoine Léandre Sardou, came to Paris in search of employment. He was in succession a book-keeper at a commercial establishment, a professor of book-keeping, the head of a provincial school, then a private tutor and a schoolmaster in Paris, besides editing grammars, dictionaries and treatises on various subjects. With all these occupations, he hardly succeeded in making a livelihood, and when he retired to his native country, Victorien was left on his own resources. He had begun studying medicine, but had to desist for want of funds. He taught French to foreign pupils: he also gave lessons in Latin, history and mathematics to students, and wrote articles for cheap encyclopaedias.
  
  wn.com/Victorien_Sardou
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  Vincenzo Bellini
  Vincenzo Salvatore Carmelo Francesco Bellini (3 November 1801 – 23 September 1835) was a Italian opera composer. A native of Catania in Sicily, his greatest works are I Capuleti ed i Montecchi (1830), La sonnambula (1831), Norma (1831), Beatrice di Tenda (1833), and I puritani (1835). Known for his long-flowing melodic lines, for which he was named "the Swan of Catania", Bellini was the quintessential composer of bel canto opera. He died in Puteaux, France at the age of 33, nine months after the premiere of his last opera, I puritani.
  Born in Catania, Sicily, Bellini was a child prodigy from a highly musical family and legend has it he could sing an aria of Valentino Fioravanti at eighteen months. He began studying music theory at two, the piano at three, and by the age of five could apparently play well. Bellini's first five pieces were composed when he was just six years old. Regardless of the veracity of these claims, it is certain that Bellini grew up in a musical household and that a career as a musician was never in doubt.
  
  wn.com/Vincenzo_Bellini
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  W.S. Gilbert
  Sir William Schwenck Gilbert (18 November 1836 – 29 May 1911) was an English dramatist, librettist, poet and illustrator best known for his fourteen comic operas produced in collaboration with the composer Sir Arthur Sullivan, of which the most famous include H.M.S. Pinafore, The Pirates of Penzance and one of the most frequently performed works in the history of musical theatre, The Mikado. These, as well as most of their other Savoy operas, continue to be performed regularly throughout the English-speaking world and beyond by opera companies, repertory companies, schools and community theatre groups. Lines from these works have become part of the English language, such as "short, sharp shock", "What, never? Well, hardly ever!", and "Let the punishment fit the crime".
  Gilbert also wrote the Bab Ballads, an extensive collection of light verse accompanied by his own comical drawings. His creative output included over 75 plays and libretti, numerous stories, poems, lyrics and various other comic and serious pieces. His plays and realistic style of stage direction inspired other dramatists, including Oscar Wilde and George Bernard Shaw. According to The Cambridge History of English and American Literature, Gilbert's "lyrical facility and his mastery of metre raised the poetical quality of comic opera to a position that it had never reached before and has not reached since".
  
  wn.com/W.S._Gilbert
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  Wenzel Müller
  Wenzel Müller (26 September 1767, Turnov, Bohemia – 3 August 1835) was an Austrian composer and conductor.
  Müller was born in Turnau. He studied with Carl Ditters von Dittersdorf and performed as a theatre musician in his youth. In 1786 he became Kapellmeister at the Theater in der Leopoldstadt in Leopoldstadt, Vienna. After a short spell at the German theatre in Prague from 1807 until 1813 he returned to Leopoldstadt where he worked until 1830. Under his leadership, the theatre became one of the most important venues in Viennese musical life. He died in Baden bei Wien.
  He was a popular and prolific composer producing more than 250 works. Although he wrote several popular stage works (mostly Singspiele), his vocal art songs are his enduring legacy. Often possessing witty music and lyrics or expressing a great deal of tenderness, Müller's songs were immensely popular and some of the works he wrote with Ferdinand Raimund remain in the Viennese repertory.
  His opera Die Schwestern von Prag provided the theme for Beethoven's "Kakadu Variations" for piano trio, Opus 121a. He is said to have composed what is falsely known as Mozart's "Twelfth Mass", the Missa in G major K Anh.232 (C1.04).
  
  wn.com/Wenzel_Müller
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  Zulma Bouffar
  Zulma Madeleine Boufflar, known as Zulma Bouffar, born Nérac 24 May 1841, died Couilly-Pont-aux-Dames 20 January 1909, was a French actress and soprano singer, associated with the opéra-bouffe of Paris in the second half of the 19th century who enjoyed a successful career around Europe.
  Aged only 6 Bouffar appeared in La fille bien gardée in Marseille, and followed this with successful performances in Lyon. Her father then toured with her around western Europe and Scandinavia. After her father’s death in 1854 she continued travelling, bringing into her repertoire some of the contemporary songs of Offenbach, who heard her sing in Hamburg in 1864. The same year Bouffar appeared at Bad Ems in Offenbach's Lischen et Fritzchen, and repeated her success in Paris.
  From this time for about 12 years Bouffar was probably Offenbach's mistress – his longest extra-marital liaison. She created Nani in Les géorgiennes, Jeannet in Les bergers, Gabrielle in La vie Parisienne, Drogan in Geneviève de Brabant, Toto in Le château à Toto, Fragoletto in Les Brigands, Robin Luron in Le Roi Carotte, Ginetta in Les braconniers, Moschetta in Il signor Fagotto and Prince Caprice in Le voyage dans la lune – a range of men's and women's roles.
  
  wn.com/Zulma_Bouffar
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  Émile Zola
  Émile François Zola (French pronunciation: [e.mil zɔ.la]; 2 April 1840 – 29 September 1902) was a French writer, the most important exemplar of the literary school of naturalism and an important contributor to the development of theatrical naturalism. He was a major figure in the political liberalization of France and in the exoneration of the falsely accused and convicted army officer Alfred Dreyfus, which is encapsulated in the renowned newspaper headline J'Accuse.
  Zola was born in Paris in 1840. His father, François Zola (originally Francesco Zolla), was an Italian engineer. With his French wife Émilie Aurélie Aubert, the family moved to Aix-en-Provence in the southeast, when Émile was three years old. Four years later in 1847, his father died leaving his mother on a meager pension. In 1858 the Zolas moved to Paris, where Émile's childhood friend Paul Cézanne soon joined him. Zola started to write in the romantic style. His widowed mother had planned a law career for Émile but he failed his Baccalauréat examination.
  
  wn.com/Émile_Zola

• Orphee aux enfers: Ouverture
• Grand Concerto pour violoncelle et orchestre "Concerto militaire": I. Allegro maestoso
• Grand Concerto pour violoncelle et orchestre "Concerto militaire": II. Andante
• Grand Concerto pour violoncelle et orchestre "Concerto militaire": III. Allegretto
• Les Fees du Rhin: I. Ouverture
• Les Fees du Rhin: II. Ballet
• Les Fees du Rhin: III. Grande valse
• Ballet des Flocons de neige extrait du Voyage dans la lune: I. Introduction. Moderato - Vivo
• Ballet des Flocons de neige extrait du Voyage dans la lune: II. Les hirondelles bleues. Scherzando
• Ballet des Flocons de neige extrait du Voyage dans la lune: III. Le bonhomme de neige. Allegro moderato
• Ballet des Flocons de neige extrait du Voyage dans la lune: IV. Les flocons anim'es. Andante
• Ballet des Flocons de neige extrait du Voyage dans la lune: V. Polka. Allegro
• Ballet des Flocons de neige extrait du Voyage dans la lune: VI. Mazurka. Allegro non troppo
• Ballet des Flocons de neige extrait du Voyage dans la lune: VII. Variations. Maestoso
• Ballet des Flocons de neige extrait du Voyage dans la lune: VIII. Galop final. Allegro vivo

• La vie parisienne : prélude de l'acte I
• La vie parisienne : prélude de l'acte II
• La vie parisienne : prélude de l'acte III
• La vie parisienne : prélude de l'acte IV
• La vie parisienne : mélodrame de l'entrée des masques
• La vie parisienne : prélude de l'acte V
• La vie parisienne : mélodrame de la gantière et du bottier
• Les bergers : prélude de l'acte I
• La Périchole : prélude de l'acte I
• La Périchole : marche indienne
• La Périchole : mélodrame des saltimbanques
• La Périchole : mélodrame de la lettre
• La Périchole : prélude de l'acte II
• La Périchole : mélodrame du couvert du roi
• La Périchole : prélude du troisième tableau et mélodrame de la prison
• La Périchole : mélodrame de la geôle de Piquillo
• La Périchole : mélodrame du vieux prisonnier
• La Périchole : mélodrame de l'évasion
• La Périchole : prélude du quatrième tableau
• Sur un volcan : ouverture
• Orphée aux Enfers : prélude du premier tableau et mélodrame antique
• Orphée aux Enfers : mélodrame de la mort d'Eurydice
• Orphée aux Enfers : mélodrame du départ aux enfers
• Orphée aux Enfers : mélodrame et colère de l'opinion publique
• Orphée aux Enfers : prélude du troisième tableau
• Orphée aux Enfers : prélude du quatrième tableau
• Orphée aux Enfers : mélodrame d'Orphée aux enfers
• Ba-Ta-Clan : ouverture et marche chinoise
• Ba-Ta-Clan : sortie
• Ba-Ta-Clan : mélodrame de la ronde de Florette
• Barbe-Bleue : prélude de l'acte I
• Barbe-Bleue : mélodrame de la réception
• Barbe-Bleue : prélude du troisième tableau (orage)
• Barbe-Bleue : prélude du quatrième tableau
• Barbe-Bleue : mélodrame du dénouement
• Souvenirs d'Aix-les-Bains, suite des valses

• Acte1 - Ouverture
• Acte1 - N° 1A: Choeur En attendant que l'heure sonne
• Acte1 - O Mon Fritz
• Acte1 - N° 1B: Chanson et valse Allez, jeunes filles, dansez et tournez
• Acte1 - Des femmes, dans nos camps!
• Acte1 - N° 1C: Pif, paf, pouf - Couplets A cheval sur la discipline
• Acte1 - Récit Vive le général Boum
• Acte1 - N° 1BIS: Choeur de sortie Et pif, paf, pouf
• Acte1 - N° 2: Duo Me voici! Me voici!
• Acte1 - Récit Ah! Tu es pris!
• Acte1 - N° 3A: Choeur Portez armes
• Acte1 - N° 3B: Récit - Entrée de la Grande-Duchesse Vous aimez le danger
• Acte1 - N° 3C: Rondeau Ah! que j'aime les militaires
• Acte1 - Récit: Vive la Grande-Duchesse
• Acte1 - N° 4: Chanson militaire Ah! c'est un fameux régiment
• Acte1 - Récit Madame... Madame...
• Acte1 - N° 4BIS: Choeur de sortie Sonnez donc la trompette
• Acte1 - Récit Mon Dieu!
• Acte1 - N° 5: Chronique de la gazette de Hollande Pour épouser une princesse
• Acte1 - Récit Et voilà!
• Acte1 - N° 6: Ils vont tous partir pour la guerre
• Acte1 - N° 6: Couplets du sabre Voici le sabre de mon père
• Acte1 - N° 6: Final Vous pouvez sans terreur
• Acte1 - N°6: Marche militaire Adieu... Il part
• Acte 2 - N° 7: Entreacte
• Acte 2 - N° 8: Choeur & Couplets des lettres Enfin la guerre est terminée
• Acte 2 - Récit Mesdemoiselles, mesdemoiselles, bonjour
• Acte 2 - Récit Ah! Messieurs! Enfin! Grog... Je le vois
• Acte 2 - N° 11: Trio bouffe et Ballade Ne devinez-vous pas, c'est une sombre histoire
• Acte 2 - Récit Donc, c'est d'accord!
• Acte 2 - N° 9 Retour de la guerre Après la victoire
• Acte 2 - N° 9: Rondo de Fritz En très bon ordre nous partîmes
• Acte 2 - N° 9BIS: Récit et choeur de sortie Magnifique! Vous parlez comme vous combattez
• Acte 2 - Récit Plus personne

• Les Contes d'Hoffmann: Prélude (Orchestre)
• Les Contes d'Hoffmann: Act I. "Glou, glou, glou" (Chœur)
• Les Contes d'Hoffmann: Act I. "Le conseiller Lindorf, morbleu!" (Lindorf, Andrés)
• Les Contes d'Hoffmann: Act I. "Oui, l'on devient digne d'envie... Dans les rôles d'amoureux langoureux" (Lindorf)
• Les Contes d'Hoffmann: Act I. "Deux heures devant moi" (Lindorf, Luther)
• Les Contes d'Hoffmann: Act I. "Drig, drig, drig" (Chœur, Nathanaël, Hermann, Luther)
• Les Contes d'Hoffmann: Act I. "Vive Dieu, mes amis, la belle créature!" (Nathanaël, Chœur, Hermann, Lindorf, Luther, Hoffmann, Nicklausse)
• Les Contes d'Hoffmann: Act I. "Va pour Kleinzach!" (Hoffmann, Hermann, Chœur, Nathanaël)
• Les Contes d'Hoffmann: Act I. "Peuh! cette bière est détestable!" (Hoffmann, Nathanaël, Hermann, Chœur, Nicklausse, Lindorf)
• Les Contes d'Hoffmann: Act I. "Je vous dis, moi, qu'un malheur me menace" (Hoffmann, Lindorf, Nathanaël, Hermann, Chœur, Nicklausse, Luther)
• Les Contes d'Hoffmann: Act II. Entracte (Menuet) (Orchestre)
• Les Contes d'Hoffmann: Act II. "Là! dors en paix" (Spalanzani, Hoffmann, Cochenille)
• Les Contes d'Hoffmann: Act II. "Allons! courage et confiance... Ah! vivre deux" (Hoffmann)
• Les Contes d'Hoffmann: Act II. "Par Dieu! j'étais bien sûr de te trouver ici!... Une poupée aux yeux d'émail" (Nichlausse, Hoffmann)
• Les Contes d'Hoffmann: Act II. "C'est moi, Coppélius... J'ai des yeux, de vrais yeux" (Coppélius, Nicklausse, Hoffmann)
• Les Contes d'Hoffmann: Act II. "Hein! vous!" (Spalanzani, Coppélius, Hoffmann, Cochenille)
• Les Contes d'Hoffmann: Act II. "Non, aucun hôte vraiment" (Chœur)
• Les Contes d'Hoffmann: Act II. "Vous serez satisfaits, messieurs, dans un moment" (Spalanzani, Nicklausse, Hoffmann, Chœur)
• Les Contes d'Hoffmann: Act II. "Mesdames et messieurs, fière de vos bravos" (Spalanzani, Nicklausse, Cochenille, Une voix de basse, Hoffmann, Olympia, Chœur)
• Les Contes d'Hoffmann: Act II. "Les-ois-eaux-dans-la-char-mille" (Olympia, Chœur)
• Les Contes d'Hoffmann: Act II. "Ah! mon ami! quel accent!" (Hoffmann, Nicklausse, Spalanzani, Chœur, Olympia, Cochenille)
• Les Contes d'Hoffmann: Act II. "Ils se sont éloignés enfin!" (Hoffmann, Olympia)
• Les Contes d'Hoffmann: Act II. "Tu me fuis? qu'ai-je fait?" (Hoffmann, Nicklausse, Coppélius)
• Les Contes d'Hoffmann: Act II. "Voici les valseurs!" (Spalanzani, Cochenille, Hoffmann, Olympia, Chœur, Nicklausse, Coppélius)
• Les Contes d'Hoffmann: Act III. Entracte (Orchestre) - "Belle nuit, o nuit d'amour" (Barcarolle) (Une voix, Giulietta, Chœur)
• Les Contes d'Hoffmann: Act III. "Et moi, ce n'est pas là, pardieu!... Amis, l'amour tendre et rêveur" (Hoffmann, Chœur, Schlemil, Giulietta, Pittichinaccio)

• Orphée aux Enfers: Ouverture
• Orphée aux Enfers: Acte I, Tableau 1 (La campagne aux environs de Thèbes). "Qui je suis ?"
• Orphée aux Enfers: Acte I, Tableau 1 (La campagne aux environs de Thèbes). "La femme dont le cœur rêve"
• Orphée aux Enfers: Acte I, Tableau 1 (La campagne aux environs de Thèbes). "Il est sorti !"
• Orphée aux Enfers: Acte I, Tableau 1 (La campagne aux environs de Thèbes). "Ah ! C'est ainsi !"
• Orphée aux Enfers: Acte I, Tableau 1 (La campagne aux environs de Thèbes). "Oh Vénus, belle déesse"
• Orphée aux Enfers: Acte I, Tableau 1 (La campagne aux environs de Thèbes). "J'ai peur ..."
• Orphée aux Enfers: Acte I, Tableau 1 (La campagne aux environs de Thèbes). Ballet pastoral
• Orphée aux Enfers: Acte I, Tableau 1 (La campagne aux environs de Thèbes). "Moi, je suis Aristée"
• Orphée aux Enfers: Acte I, Tableau 1 (La campagne aux environs de Thèbes). "Voilà! voilà ce que je dis ..."
• Orphée aux Enfers: Acte I, Tableau 1 (La campagne aux environs de Thèbes). "Allons ! Allons !"
• Orphée aux Enfers: Acte I, Tableau 1 (La campagne aux environs de Thèbes). "La mort m'apparaît souriante"
• Orphée aux Enfers: Acte I, Tableau 1 (La campagne aux environs de Thèbes). "Crac ! c'est bon !"
• Orphée aux Enfers: Acte I. Final "Libre ! ô bonheur !"
• Orphée aux Enfers: Acte I. Final "C'est l'Opinion Publique"
• Orphée aux Enfers: Acte I. Final "Viens ! à l'Opinion"
• Orphée aux Enfers: Acte I. Final "Viens ! viens ! c'est l'honneur"
• Orphée aux Enfers: Acte I, Tableau 2 (L'Olympe). Entr'acte / "Dormons, dormons"
• Orphée aux Enfers: Acte I, Tableau 2 (L'Olympe). "Les Heures"
• Orphée aux Enfers: Acte I, Tableau 2 (L'Olympe). "Par Saturne, quel est ce bruit"
• Orphée aux Enfers: Acte I, Tableau 2 (L'Olympe). "Ah ! Pauvre Actéon !"
• Orphée aux Enfers: Acte I, Tableau 2 (L'Olympe). "Eh hop ! Eh hop !"
• Orphée aux Enfers: Acte I, Tableau 2 (L'Olympe). "Et Pluton ?"
• Orphée aux Enfers: Acte I, Tableau 2 (L'Olympe). "Salut au puissant maître"
• Orphée aux Enfers: Acte I, Tableau 2 (L'Olympe). "Heureuses divinités"
• Orphée aux Enfers: Acte I, Tableau 2 (L'Olympe). "As-tu bientôt fini"
• Orphée aux Enfers: Acte I, Tableau 2 (L'Olympe). "Aux armes"
• Orphée aux Enfers: Acte I, Tableau 2 (L'Olympe). "Une sédition !"
• Orphée aux Enfers: Acte I, Tableau 2 (L'Olympe). "Pour séduire Alcmène"
• Orphée aux Enfers: Acte I, Tableau 2 (L'Olympe). "Je suis à bout de force !"
• Orphée aux Enfers: Acte I. Final "Il approche ! Il s'approche !"
• Orphée aux Enfers: Acte I. Final "Gloire ! gloire à Jupiter"

• La Belle Hélène : Deuxième Acte. Entracte
• La Belle Hélène : Deuxième Acte. "Ô reine, en ce jour"
• La Belle Hélène : Deuxième Acte. "Mais enfin, Madame, vous n'allez pas rester comme ça !"
• La Belle Hélène : Deuxième Acte. "On me nomme Hélène la blonde"
• La Belle Hélène : Deuxième Acte. "Voilà, ça va mieux !"
• La Belle Hélène : Deuxième Acte. "Le voici, le roi des rois"
• La Belle Hélène : Deuxième Acte. "Alors qu'est-ce que nous jouons"
• La Belle Hélène : Deuxième Acte. "À ce Calchas qui tremblote"
• La Belle Hélène : Deuxième Acte. "Tout ça est d'un désagréable !"
• La Belle Hélène : Deuxième Acte. "Je la vois, elle dort"
• La Belle Hélène : Deuxième Acte. "C'est la ciel qui m'envoie"
• La Belle Hélène : Deuxième Acte. "Ciel ! Mon mari !"
• La Belle Hélène : Deuxième Acte. "À moi ! Rois de la Grèce, à moi !"
• La Belle Hélène : Deuxième Acte. "Ne criez pas, notre cher hôte"
• La Belle Hélène : Deuxième Acte. "Va-t'en, va-t'en, mon amour te suivra !"
• La Belle Hélène : Troisième Acte. Entracte
• La Belle Hélène : Troisième Acte. "Dansons, aimons, buvons, chantons !"
• La Belle Hélène : Troisième Acte. "L'eau est-elle bonne, bouillant Achille ?"
• La Belle Hélène : Troisième Acte. "Là, vrai, je ne suis pas coupable"
• La Belle Hélène : Troisième Acte. "Mais, ma Nénène..."
• La Belle Hélène : Troisième Acte. "Lorsque la Grèce est un champ de carnage"
• La Belle Hélène : Troisième Acte. "Allons ! Immolez-vous !"
• La Belle Hélène : Troisième Acte. "Quand les dieux commandent"
• La Belle Hélène : Troisième Acte. Chor "La galère de Cythère"
• La Belle Hélène : Troisième Acte. "Et tout d'abord, ô vile multitude"
• La Belle Hélène : Troisième Acte. "Quelle tenue pour un augure !"
• La Belle Hélène : Troisième Acte. "Elle vient ! C'est elle !"

• Es war einmal am Hofe von Eisenack
• Meine Geliebte
• Phöbus stolz im Sonnenwagen
• Du entfliehst - Was hab'ich getan
• Schöne Nacht, Du Liebesnacht
• Genug! Nicht süße Tändelei - Die Liebe für's Leben ist nur ein Wahn
• Geh nur! Du entrinnst mir nicht - Leuchte, heller Spiegel, mir
• Ha,wie ist meine Seele
• Leise klingt mir im Gemüt
• Mit meinem Vater ist er wohl im Bunde - Du wirst nicht mehr singen - Leise tön'meiner Stimme Klang
• Meine drei Liebesgeschichten habt nun gehört
• Ouvertüre - Die schöne Helena
• Ouvertüre - Blaubart
• Intermezo und Barcarole - Instrumental
• Ja geht! - Der Kampf mag beginnen - Leuchte heller Spiegel mir

• Gabriel Bacquier - Dans les roles d'amoureux langoureux
• Roland Jacques, Paul Guigue, Pedro Di Proenza & Choeur - Allons, allons mes enfants!... Dring, dring, dring
• Placido Domingo, Pedro Di Proenza & Choeur - Va pour Kleinzach! Il etait une fois a la cour d'Eisenach
• Placido Domingo & Joan Sutherland - Entr'acte
• Placido Domingo - Allons! Courage et confiance
• Placido Domingo & Huguette Tourangeau - Une poupee aux yeux d'email
• Gabriel Bacquier - J'ai des yeux, de vrais yeux
• Joan Sutherland, Jacques Charon & Choeur - Les oiseaux dans la charmille
• Placido Domingo, Joan Sutherland, Huguette Tourangeau, Charon, Cuenod, Bacquier & Choeur - Voici les valseurs !
• Joan Sutherland, Huguette Tourangeau & Choeur - Belle nuit, o nuit d'amour (Barcarolle)
• Placido Domingo & Choeur - Amis! L'Amour tendre et reveur
• Gabriel Bacquier - Scintille, diamant
• Placido Domingo & Joan Sutherland - Malheureux, tu ne comprends donc pas... O Dieu! De quelle ivresse
• Joan Sutherland - Elle a fui, la tourterelle
• Hugues Cuenod - Jour et nuit je me mets en quatre
• Placido Domingo & Joan Sutherland - Viens la, comme autrefois .... C'est une chanson d'amour
• Joan Sutherland, Gabriel Bacquier & Margarita Lilowa (La voix de la mere d'Antonia) - Non, ne me tente plus! ... Chere enfant
• Placido Domingo & Joan Sutherland - Entr'acte
• Placido Domingo, Joan Sutherland, Gabriel Bacquier, Huguette Tourangeau & Choeur - Adieu! Je ne veux pas te suivre

• Gaité Parisienne : Ouverture
• Gaité Parisienne : I. Allegro brillante
• Gaité Parisienne : II. Polka
• Gaité Parisienne : III. Poco allegro - A tempo de Landler
• Gaité Parisienne : IV. Mazurka
• Gaité Parisienne : V. Valse
• Gaité Parisienne : VI. Allegro
• Gaité Parisienne : VII. Polka
• Gaité Parisienne : VIII. Valse lente
• Gaité Parisienne : IX. Tempo di marcia
• Gaité Parisienne : X. Valse moderato
• Gaité Parisienne : XI. Vivo
• Gaité Parisienne : XII. Valse
• Gaité Parisienne : XIII. Allegro molto
• Gaité Parisienne : XIV. Valse
• Gaité Parisienne : XV. Allegro
• Gaité Parisienne : XVI. Cancan
• Gaité Parisienne : XVII. Quadrille
• Gaité Parisienne : XVIII. Allegro
• Gaité Parisienne : XIX. Allegro moderato
• Gaité Parisienne : XX. Allegro
• Gaité Parisienne : XXI. Allegro
• Gaité Parisienne : XXII. Vivo
• Gaité Parisienne : XXIII. Barcarolle
• Offenbachiana : Ouverture Barbe-Bleu
• Offenbachiana : I. La Grande-Duchesse de Gerolstein
• Offenbachiana : II. Barbe-Bleu / La Fille du Tambour-Majeur
• Offenbachiana : III. La Vie Parisienne / La Grande-Duchesse de Gerolstein / Barbe-Bleu

• Prélude
• Les contes D'hoffmann: Acte I, scène I: "Glou! Glou"
• Les contes D'hoffmann: Acte I, scène I: Couplets de la muse: "La vérité, dit-on, sortait D'un puits"
• Les contes D'hoffmann: Acte I, scène I: "Elle est sur la scène, un peuple l'acclame"
• Les contes D'hoffmann: Acte I, scène II: "Le conseiller lindorf, morbleu!"
• Les contes D'hoffmann: Acte I, scène III: "Voyons? Pour hoffmann!"
• Les contes D'hoffmann: Acte I, scène III: Couplets: "Dans les rôles D'amoureux"
• Les contes D'hoffmann: Acte I, scène III: Récitatif: "Deux heures devant moi" / Scène IV: "Vite, vite, qu'on se remue!"
• Les contes D'hoffmann: Acte I, scène V: Chœur des étudiants "Drig, drig"
• Les contes D'hoffmann: Acte I, scène V: "Vrai dieu! Mes amis"
• Les contes D'hoffmann: Acte I, scène V: "Eh! Luther! Ma grosse tonne"
• Les contes D'hoffmann: Acte I, scène VI: "Bonjour, amis!"
• Les contes D'hoffmann: Acte I, scène VI: Couplets & Andante: "Va pour kleinzach!"
• Les contes D'hoffmann: Acte I, scène VI: "Peuh! Cette bière est détestable"
• Les contes D'hoffmann: Acte I, scène VI: Duo: "Et par où votre diablerie"
• Les contes D'hoffmann: Acte I, scène VI: "Simple échange de politesse"
• Les contes D'hoffmann: Acte I, scène VI: "Je vous dis, moi"
• Les contes D'hoffmann: Acte I, scène VI: "Ma maîtresse?"
• Les contes D'hoffmann: Acte I, scène VI: Final: "Messieurs, on va lever rideau!"
• Les contes D'hoffmann: Acte II: Entracte
• Les contes D'hoffmann: Acte II, scène I: "Là! Dors en paix" / Scène II: "Ah! Bonjour! Enchanté!" / Scène III: "Fais allumer partout!"
• Les contes D'hoffmann: Acte II, scène IV: "Allons! Courage et confiance!"
• Les contes D'hoffmann: Acte II, scène IV: "Pardieu! J'en étais bien sûr"
• Les contes D'hoffmann: Acte II, scène IV: Couplets: "Une poupée aux yeux D'émail"
• Les contes D'hoffmann: Acte II, scène V: "C'est moi, coppélius!"
• Les contes D'hoffmann: Acte II, scène V: "Je me nomme coppélius"
• Les contes D'hoffmann: Acte II, scène V: "J'ai des yeux, de beaux yeux"
• Les contes D'hoffmann: Acte II, scène V: "Serviteur"
• Les contes D'hoffmann: Acte II, scène V: "Ah! Ange du ciel, est-ce bien toi?"
• Les contes D'hoffmann: Acte II, scène VI: "Hein! Vous!"
• Les contes D'hoffmann: Acte II, scène VII: Chœur des invités: "Non aucun hôte vraiment"
• Les contes D'hoffmann: Acte II, scène VII: "Vous serez satisfaits, messieurs"
• Les contes D'hoffmann: Acte II, scène VIII: "Mesdames et messieurs"
• Les contes D'hoffmann: Acte II, scène VIII: "Mesdames et messieurs, fière de vos bravos"
• Les contes D'hoffmann: Acte II, scène VIII: Air: "Les oiseaux dans la charmille"
• Les contes D'hoffmann: Acte II, scène VIII: "Ah! Mon ami! Quel accent!"
• Les contes D'hoffmann: Acte II, scène IX: "Ils se sont éloignés! Enfin!"
• Les contes D'hoffmann: Acte II, scène IX: "Ah! Vivre deux!"
• Les contes D'hoffmann: Acte II, scène IX: "Tu me fuis?" / Scène X: "Eh! Morbleu! Modère ton zêle!"
• Les contes D'hoffmann: Acte II, scène XI: "Voleur! Brigand! Quelle déroute!"
• Les contes D'hoffmann: Acte II, scène XII: "En place les danseurs"
• Les contes D'hoffmann: Acte II, scène XII: "Voilà! Assez, assez ma fille"
• Les contes D'hoffmann: Acte II, scène XII: "Ah! Quoi? L'homme aux lunettes, là!"

• Cancan (Orphée aux enfers)
• La belle Hélène
• La périchole
• Daphnis et Chloé
• Madame l'archiduc
• La chanson de Fortunio
• Le Fifre enchanté
• Belle Lurette
• La princesse de Trebizonde
• La créole
• Orphée aux enfers

• La fille du tambour-major
• Orphée aux enfers
• La belle Hélène
• Barbe-bleue
• La Grande-Duchesse de Gérolstein
• Monsieur et Madame Denis
• La vie parisienne
• Vert-Vert

• Overture
• La femme dont le coeur reve
• Ah! C'est ainsi!
• Mois, je suis aristee
• La morte m'apparait souriante
• Par saturne
• Aux armes, Dieux et Demi-Dieux
• Pour seduire alcmene
• Il approche! Il s'avance
• Quand j'etais roi de beotie
• Il m'a semble sur mon epaule
• J'ai vu le Dieu Bacchus
• Maintenant je vuex, moi qui suis mince et fluet

• La Périchole : Acte 1, scène 1 : "Du vice-roi c'est aujourd'hui la fête"
• La Périchole : Acte 1, scène 1 : "Promptes à servir la pratique"
• La Périchole : Acte 1, scène 1 : "Ah ! Qu'on y fait gaîment glouglou"
• La Périchole : Acte 1, scène 2 : "C'est lui, c'est notre vice-roi !"
• La Périchole : Acte 1, scène 2 : "Dis-moi, Piquillo ?"
• La Périchole : Acte 1, scène 4 : "Le conquérant dit à la jeune indienne"
• La Périchole : Acte 1, scène 6 : "Vous a-t-on dit souvent..."
• La Périchole : Acte 1, scène 6 :" Levez-vous et prenez vos rangs"
• La Périchole : Acte 1, scène 7 : "Ô mon cher amant, je te jure"
• La Périchole : Acte 1, scène 7bis : "Ah ! Mon Dieu !"
• La Périchole : Acte 1, scène 8 : "Holà, hé ! ..."

• Prélude et Introduction
• "Glou! glou! glou! glou!"
• Récitatif et Couplets - "Le conseiller Lindorf, morbleu"
• "Dans les rôles d'amoureux langoureux"
• Scène et Choeur - "Deux heures devant moi!"
• "Drig! drig! drig! maître Luther!"
• Scène et Chanson - "Vive Dieu! mes amis, Ia belle créature!"
• "Il était une fois à Ia cour d'Eisenach"
• Finale - "Peuh! Cette biere est détestable!"
• "Simple échange de politesses!"
• "Ha! ha! ha! Monsieur aime donc quelquefois?"
• Entr'acte
• " Là! dors en paix"
• "Allons! Courage et confiance"
• "Voyez-la sous son éventail"
• "C'est moi, Coppélius"
• "Je me nomme Coppélius"
• "Hein! Vous?"
• Scène avec choeur, Couplets et Recitatif - "Non, aucun hôte vraiment"
• "Les oiseaux dans Ia charmille"
• "Ah! Mon ami! quel accent!"
• Récitatif et Romance - "Ils se sont éloignés enfin!
• "Ah! Vivre deux"
• Finale: Scène et Valse - "Tu me fuis?"
• "Voici les valseurs!"

• Ouverture
• Acte 1 - Le cor dans la montagne
• Acte 1 - Déjà depuis une grande heure
• Acte 1 - Qui est celui qui par les plaines
• Acte 1 - Strette
• Acte 1 - Voila donc ce qu'il faut
• Acte 1 - Au chapeau je porte une aigrette
• Acte 1 - Eh bien, qu'est-ce que vous avez
• Acte 1 - Nous avons pris ce petit homme
• Acte 1 - Est-ce que l'on va devenir plus sage
• Acte 1 - Quand tu me fis l'insigne honneur
• Acte 1 - Eh voilà ce qui devait arriver
• Acte 1 - Choeur de sortie : Nous avons pris ce petit homme
• Acte 1 - Fiorella, tu as beaucoup changé
• Acte 1 - Après avoir pris à droite
• Acte 1 - Eh bien, ce jeune homme
• Acte 1 - Ce petit est un vrai luron
• Acte 1 - Il faut savoir ce qu'il y a dans cette valise
• Acte 1 - Pour cette cérémonie

• Orpheus in the Underworld: Act One, Prelude
• Orpheus in the Underworld: Act One, Hello, i'm Public Opinion
• Orpheus in the Underworld: Act One, Eurydice is all a-flutter
• Orpheus in the Underworld: Act One, So that's the game
• Orpheus in the Underworld: Act One, I feel a cool intoxication
• Orpheus in the Underworld: Act One, We, the watchdog of the people
• Orpheus in the Underworld: Act Two, Tzing!, tzing!, tzing!, tzing
• Orpheus in the Underworld: Act Two, A night on the town
• Orpheus in the Underworld: Act Two, Remember what you did to Leda
• Orpheus in the Underworld: Act Two, Look out, look out, move over there!
• Orpheus in the Underworld: Act Two, He is coming, oh, how boring
• Orpheus in the Underworld: Act Two, Oh, oh, look at that look he's giving me
• Orpheus in the Underworld: Act Three, Though I was king of all Beotia
• Orpheus in the Underworld: Act Three, We can tell she's in Hell
• Orpheus in the Underworld: Act Three, My little spies uncover
• Orpheus in the Underworld: Act Three, There you are, you look so neat
• Orpheus in the Underworld: Act Three, It's strange, but a touch seemed to wake...
• Orpheus in the Underworld: Act Four, Do not look back or all will be lost!
• Orpheus in the Underworld: Act Four, ... He is the only God
• Orpheus in the Underworld: Act Four, Infernal Galop (Can can)

• Ouverture
• Acte 1: Chanson des trois cousines - 'Promptes à servir la pratique'
• Acte 1: Choeur et couplets de l'incognito: 'C'est lui notre vice-roi... sans en rien souffler à personne'
• Acte 1: Complainte de l'Espagnol et de la jeune indienne: 'Le conquérant dit à la jeune indienne'
• Acte 1: Séguedille: Le muletier et la jeune personne: 'Vous a-t-on dit souvent'
• Acte 1: Lettre de la Périchole: 'O mon cher amant'
• Acte 1: Choeur et duetto des notaires: 'Holà, oh! Holà'
• Acte 1: Griserie-ariette: 'Ah! quel dîner'
• Acte 1: Duetto du mariage: 'Je dois vous prévenir madame'
• Acte 1: Final et marche des Palanquins: 'Qu'on se hête'
• Acte 2: Choeur des dames de la cour: 'Cher seigneur'
• Acte 2: Cancans-couplets: 'On vante partout'
• Acte 2: Couplets: Et là, maintenant que nous sommes seuls'
• Acte 2: Choeur de la présentation: 'Nous allons donc voir un mari'
• Acte 2: Couplets: 'Que veulent dire ces colères'
• Acte 2: Rondo de bravoure: 'Ecoute ô Roi'
• Acte 2: Galop de l'arrestation: 'Sautez dessus'
• Acte 2: Rondo des maris ré...
• Acte 3, 1er tableau: Couplets-boléro: 'les maris courbaient la tête'
• Acte 3, 1er tableau: Air: 'On me proposait d'être infâme'
• Acte 3, 1er tableau: Duo et couplets de l'aveu: 'Dans ces couloirs obscurs'
• Acte 3, 1er tableau: Trio du joli geôlier: 'Je suis le joli geôlier'
• Acte 3, 1er tableau: Trio de la prison: 'Roi pas plus haut qu'une botte'
• Acte 3, 1er tableau: Final: 'Je t'adore, si je suis folle'
• Acte 3, 1er tableau: Choeurs des patrouilles et ariette-valse des trois cousines: 'En avant... Pauvres gens où sont-ils?'
• Acte 3, 1er tableau: Complainte des amoureux: Ecoutez, peuple d'Amérique'
• Acte 3, 1er tableau: Final: 'Tous deux au temps de peine et de misère'

• La vie parisienne : Ouverture / Acte I "Nous sommes employés de la ligne de l'Ouest" (Chœur)
• La vie parisienne : Acte I. Chœur et Quatuor "Le ciel est noir, il va pleuvoir" (Bobinet, Gontran, Gardefeu, Métella, Chœur)
• La vie parisienne : Acte I. Couplets "Elles sont tristes les marquises" (Bobinet, Gardefeu)
• La vie parisienne : Acte I. Triolet "Ce que c'est pourtant que la vie" (Gardefeu)
• La vie parisienne : Acte I. Trio "Jamais, foi de cicérone" (Gardefeu, le Baron, la Baronne)
• La vie parisienne : Acte I. Finale "A Paris, nous arrivons en masse" (Gardefeu, le Baron, la Baronne, le Brésilien, Chœur)
• La vie parisienne : Acte II. Duo "Entrez, entrez, jeune fille à l'œil bleu" (Frick, Gabrielle) - Rondo "Autrefois, plus d'un amant tendre et galant" (Gabrielle)
• La vie parisienne : Acte II. Couplets "Dans cette ville toute pleine de plaisirs" (le Baron)
• La vie parisienne : Acte II. Rondo "Vous souvient-il ma belle" (Métella)
• La vie parisienne : Acte II. Couplets du Major "Pour découper adroitement" (Frick)
• La vie parisienne : Acte II. Finale "Nous entrons dans cette demeure" (Gardefeu, Gabrielle, Frick, le Baron, la Baronne, Alphonse, Chœur)

• Pariser Leben: Ouvertüre (feat. conductor: Pinchas Steinberg)
• Pariser Leben: Finale I "Auftritt des Brasilianers" (feat. conductor: Pinchas Steinberg)
• Pariser Leben: Finale II "Ich bin Witwe des Colonel" (feat. conductor: Pinchas Steinberg)
• Hoffmanns Erzählungen: Arie der Olympia (feat. conductor: Pinchas Steinberg)
• Hoffmanns Erzählungen: Arie des Dapertutto "Leuchte, heller Spiegel, mir" (feat. conductor: Pinchas Steinberg)
• Hoffmanns Erzählungen: Barcarole (feat. conductor: Pinchas Steinberg)
• Die Großherzogin von Gerolstein: Ouvertüre (feat. conductor: Pinchas Steinberg)
• Die schöne Helena: Urteil des Paris (feat. conductor: Pinchas Steinberg)
• Die schöne Helena: Arie der Helena "Ich, schuldbewusst" (feat. conductor: Pinchas Steinberg)
• Die schöne Helena: Finale I "Reise nach Kreta" (feat. conductor: Pinchas Steinberg)
• Die schöne Helena: Couplets des Orest "Venus mit heißen Liebesflammen" (feat. conductor: Pinchas Steinberg)
• Die schöne Helena: Finale II "Entflieh ihrer Wut" (feat. conductor: Pinchas Steinberg)
• Orpheus in der Unterwelt: Ouvertüre (feat. conductor: Pinchas Steinberg)
• Orpheus in der Unterwelt: Couplets der Götter (feat. conductor: Pinchas Steinberg)
• Orpheus in der Unterwelt: Duett Jupiter - Eurydike (feat. conductor: Pinchas Steinberg)
• Orpheus in der Unterwelt: Finale II "Die Götter fahren zur Hölle" (feat. conductor: Pinchas Steinberg)
• Orpheus in der Unterwelt: Höllengalopp (feat. conductor: Pinchas Steinberg)

• Suite pour 2 violoncelles, Op. 54 N° 1 : I. Allegro ma non troppo
• Suite pour 2 violoncelles, Op. 54 N° 1 : II. Adagio religioso
• Suite pour 2 violoncelles, Op. 54 N° 1 : III. Rondo - Allegro
• Suite pour 2 violoncelles, Op. 54 N° 2 : I. Allegro
• Suite pour 2 violoncelles, Op. 54 N° 2 : II. Andante
• Suite pour 2 violoncelles, Op. 54 N° 2 : III. Polonaise

• The Tales of Hoffman: Prologue. "Glou! glou! glou! je suis le vin!" (Choeur, La Muse, Lindorf, Andrès)
• The Tales of Hoffman: Prologue. "Dans les rôles d'amoureux langoureux" (Lindorf)
• The Tales of Hoffman: Prologue. "Allons, allons mes enfants! Préparez cette salle" (Luther, Etudiants, Hermann, Nathanaël)
• The Tales of Hoffman: Prologue. "Eh! Luther! Ma grosse tonne" (Nathanaël, Hermann, Etudiants, Lindorf, Luther, Hoffmann, Nicklausse)
• The Tales of Hoffman: Prologue. "Il était une fois à la cour d'Eisenach" (Hoffmann, Etudiants, Nathanaël)
• The Tales of Hoffman: Prologue. "Peuh! cette bière est détestable!" (Hoffmann, Etudiants, Nicklausse, Nathanaël, Lindorf)
• The Tales of Hoffman: Prologue. "Et par où votre diablerie" (Hoffmann, Lindorf, Nicklausse, Etudiants, Nathanaël, Hermann)
• The Tales of Hoffman, Prologue: Entr'acte / "Là, là, là! Encore cette boucle à friser" (Spalanzani, Cochenille, Hoffmann)
• The Tales of Hoffman: Act I. "Allons! Courage et confiance" (Hoffmann)
• The Tales of Hoffman: Act I. "Pardieu! J'étais bien sûr de te trouver ici!" (Nicklausse, Hoffmann, Coppélius)
• The Tales of Hoffman: Act I. "J'ai des yeux, de vrais yeux" (Coppélius, Hoffmann, Nicklausse, Spalanzani, Cochenille)
• The Tales of Hoffman: Act I. "Non, aucun hôte, vraiment" (Les invités, Spalanzani, Nicklausse, Hoffmann, Cochenille, Une voix, Olympia)
• The Tales of Hoffman: Act I. "Les oiseaux dans la charmille" (Olympia, Spalanzani, Les invités, Hoffmann, Nicklausse, Cochenille)
• The Tales of Hoffman: Act I. "Ils se sont éloingés enfin" (Hoffmann, Olympia)
• The Tales of Hoffman: Act I. "Tu me fuis? qu'ai-je fait?" (Hoffmann, Nicklausse, Coppélius)
• The Tales of Hoffman: Act I. "Voici les valseurs!" (Spalanzani, Cochenille, Hoffmann, Olympia, Les invités, Nicklausse, Coppélius)
• The Tales of Hoffman: Act II. "Belle nuit, ô nuit d'amour" (Nicklausse, Giulietta, Les invités, Hoffmann, Schlemil)
• The Tales of Hoffman: Act II. "Amis! l'Amour tendre et rêveur" (Hoffmann, Les invités, Schlemil, Pitichinaccio, Giulietta, Un laquais)
• The Tales of Hoffman: Act II. "Au jeu, au jeu, messieurs!" (Giulietta, Les invités, Hoffmann, Nicklausse, Dapertutto)

• La Belle Hélène: Act I. No. 1a Chorus "Vers tes autels"
• La Belle Hélène: Act I. No. 1b Chorus of girls "C'est le devoir des jeunes filles"
• La Belle Hélène: Act I. No. 2a Aria "Amours divins"
• La Belle Hélène: Act I. No. 2b Text "Entrez, entrez vite grande reine"
• La Belle Hélène: Act I. No. 3a Verses "Au cabaret du labyrinthe"
• La Belle Hélène: Act I. No. 3b Text "Tzing la la"
• La Belle Hélène: Act I. No. 4 Background music "Quoi?... Là-bas dans l'azur" / No. 5 Background music "Homme de 20 ans"
• La Belle Hélène: Act I. No. 6 The judgement of Paris "Au mont Ida"
• La Belle Hélène: Act I. Text "Mon compliment"
• La Belle Hélène: Act I. No. 7a March "Voici les rois de la Grèce
• La Belle Hélène: Act I. No. 7b Kings' verses "Ces rois remplis de vaillance" / No. 7c Repeat of the chorus "Voici tous les rois..."
• La Belle Hélène: Act I. No. 7d Text "Nous commençons..."
• La Belle Hélène: Act I. No. 7e Text "Fanfare!..." / No. 8 Finale "Gloire"
• La Belle Hélène: Act II. No. 9 Entr'acte
• La Belle Hélène: Act II. No. 10 Chorus "Ô Reine, en ce jour..."
• La Belle Hélène: Act II. Text "Je garderai cette toilette"
• La Belle Hélène: Act II. No. 11 Invocation to Venus "On me nomme Hélène la blonde"
• La Belle Hélène: Act II. Text "Bonsoir, Prince..."
• La Belle Hélène: Act II. No. 12 March of the goose "Le voici le Roi des Rois"

• The Sorcerer's Apprentice
• Danse macabre, Op. 40 (David Nadien, violin solo)
• "Bacchanale" (from Samson and Delilah)
• España (Spanish Rhapsody)
• Pavane pour une infante defunte
• Orpheus in the Underworld Overture

• La belle Hélène
• La fille du tambour-major
• Orphée aux enfers
• La Grande-Duchesse de Gerolstein
• La Périchole
• Les deux aveugles
• Barbe-bleue
• La vie parisienne

• Ophée aux enfers
• Barbe-bleue
• La Grande-Duchese de Gerolstein
• La Belle Hélène
• Vert-vert
• Les Contes d'Hoffmann

• Acte 1 - Ouverture
• Acte 1 - Dans la nature tout se réveille
• Acte 1 - Y'a des bergers dans le village
• Acte 1 - Sur la place il faut nous rendre
• Acte 1 - Ah ! Prends mon nom
• Acte 1 - V'là z'encor' de drôl's
• Acte 1 - Boulotte ! Saperlotte !
• Acte 1 - Montez sur ce palanquin
• Acte 1 - Ma première femme
• Acte 1 - Honneur ! Honneur à Monseigneur !
• Acte 2 - C'est un métier difficile
• Acte 2 - On prend un ange d'innocence
• Acte 2 - C'est mon berger
• Acte 2 - Ran, plan, plan

• Overture
• Allegro Brillante
• Polka
• Allegro: Valse
• Mazurka
• Valse
• Peruvian Dance (Allegro)
• Polka
• Valse Lente
• Tempo Di Marcia
• Valse
• Vivo - Valse
• Allegro Molto
• Valse
• Allegro - Cancan
• Quadrille - Cancan
• Allegro Moderato
• Allegro
• Leggiero
• Vivo
• Barcarolle

• Gaîté Parisienne - Overture (La Vie Parisienne)
• Gaîté Parisienne - Allegro Brilliante (Mesdames de la Halle)
• Gaîté Parisienne - Polka (La Voyage dans la Lune)
• Gaîté Parisienne - Galop (La Vie Parisienne)
• Gaîté Parisienne - Waltz ( Orphee aux Enfers)
• Gaîté Parisienne - March (Trombalcazar)
• Gaîté Parisienne - Waltz (La Perichole)
• Gaîté Parisienne - Introduction and Can-Can No.1 (Robinson Crusoe)
• Gaîté Parisienne - Can-Can No.3 (La Vie Parisienne)
• Gaîté Parisienne - Can-Can No.4 (Orphee aux Enfers)
• Gaîté Parisienne - Baracolle and Galop (Les Contes d'Hoffman)
• Five Overtures - Orpheus In The Underworld
• Five Overtures - Vert-Vert (Kakadu)
• Five Overtures - La Grande Duchesesse de Gerolstein
• Five Overtures - L'Ile de Tulipatan
• Five Overtures - La Belle Helene

• La vie parisienne - Overture
• Les contes d'Hoffmann - Elle a fui, la tourterelle
• Les contes d'Hoffmann - Barcarolle
• Le Papillion - March
• Le Papillion - Allegretto delicato
• Le Papillion - Waltz
• Genevieve de Brabant - Overture
• Overture for Large Orchestra
• Die Hanni Weint, der Hansi lacht - Overture
• Die Hanni Weint, der Hansi lacht - Hoer ich unser Baechlein rauschen
• Die Hanni Weint, der Hansi lacht - So liebst du mich
• Die Hanni Weint, der Hansi lacht - Warum soll ich es denn verschweigen
• Reverie au bord de la mer
• La Grande-Duchesse de Gerolstein - Overture
• Orphee aux enfers - Overture

• Acte I: Vers tes autels, Jupin
• Acte I: C'est le devoir des jeunes filles
• Acte I: Amours divins
• Acte I: Au cabaret du labyrinthe
• Acte I: Au mont Ida
• Acte I: Voici les Rois... ces Rois remplis de vaillance
• Acte I: Gloire! gloire! gloire au berger
• Acte II: O Reine, en ce jour
• Acte II: On me nomme Hélène la blonde
• Acte II: Le voici, le Roi des Rois
• Acte II: C'est le ciel qui m'envoie
• Acte II: A moi! Rois de la Grèce, à moi!
• Acte III: Dansons! Aimons... Vénus au fond de notre âme
• Acte III: Là! vrai, je ne suis pas coupable
• Acte III: Lorsque la Grèce est un champ de carnage
• Acte III: Et tout d'abord
• Acte III: Elle vient! c'est elle!

• Introduction et choeur "Vers tes autels..."
• Dialogue et choeur des jeunes filles "C'est le devoir des jeunes filles"
• "Amours divins" (Hélène) et dialogue
• Couplets "Au cabaret du labyrinthe" (Oreste, Calchas et choeur)
• Dialogue
• Le jugement de Pâris "Au mont Ida" (Pâris)
• Dialogue
• Marche "Voici les rois de la Grèce" (choeur)
• Couplets des rois "Ces rois remplis de vaillance" (ensemble)
• Dialogue
• Final "Gloire" (ensemble)
• Entracte
• "Ô Reine, en ce jour" (choeur, Bacchis, Hélène)
• Dialogue
• Invocation à Vénus "On me nomme Hélène la blonde" (Hélène)
• Dialogue

• Acte 1 - Prélude
• Acte 1 - Trio : Jamais, foi de Cicérone
• Acte 1 - Choeur : Nous arrivons à Paris en masse - Rondo du Brésilien et Final
• Acte 2 - Duo Gabrielle - Frick et Air du gant
• Acte 2 - Couplets du Baron
• Acte 2 - Rondo de la lettre (Métella)
• Acte 2 - Couplets du Major
• Acte 2 - Ensemble : Nous entrons dans cette demeure et Air de Gabrielle : Je suis veuve d'un colonel
• Acte 2 - Air Tyrolien et Final
• Acte 3 - Couplets de la Parisienne (Gabrielle)
• Acte 3 - Ensemble : Votre habit a craqué dans le dos
• Acte 3 - Chanson à boire : En endossant votre uniforme et Final
• Acte 4 - Couplets d'Urbain : Fermons les yeux
• Acte 4 - Rondo de Métella : C'est ici l'endroit redouté des mères
• Acte 4 - Duo de la Gantière et du Brésilien
• Acte 4 - Final : Des amants

• Acte 1 / Introduction, Choeur et Air d'Hélène : "Amour divin !"
• Acte 1 / Couplets et Cancan
• Acte 1 / Le Jugement de Pâris : "Au Mont Ida"
• Acte 1 / Couplets des rois
• Acte 1 / Final de l'Acte 1
• Acte 2 / Invocation à Vénus (Hélène)
• Acte 2 / Duo (Hélène - Pâris)
• Acte 2 / Final de l'acte 2
• Acte 3 / Ronde (Oreste - choeur)
• Acte 3 / Trio patriotique (Ménélas - Agamemnon - Calchas)
• Acte 3 / Final de l'acte 3

• Prélude
• Le conseiller Lindorf, morbleu !
• Dans les rôles d'amoureux langoureux
• Drig ! drig ! drig ! maître Luther!
• Vive Dieu ! mes amis, la belle créature!
• Il était une fois à la cour d'Eisenach
• Peuh cette bière est détestable !
• Je vous dis, moi, qu'un malheur...
• Je me nomme Coppelius
• Non, aucun hôte vraiment
• Les oiseaux dans la charmille
• Ils se sont eloignés enfin !
• Ah ! Vivre deux
• Voici les valseurs !
• Elle a fuit, la tourterelle
• C'est une chanson d'amour
• Pour conjurer le danger
• Belle nuit, ô nuit d'amour
• Amis, l'amour tendre et rêveur
• Malheureux, tu ne comprends donc pas
• Des cendres de ton cœur

• Barcarolle (Les Contes D'hoffmann)
• Les Oiseaux Dans La Charmille (Les Contes D'hoffmann)
• Ouverture (La Belle Hélène)
• Ballad of Kleinzach
• Pas De Deux (Excerpt From Le Papillon)
• Valse Tyrolienne (Un Mari À La Porte)
• Ouverture (Orphée Aux Enfers)
• Ô Mon Cher Amant (La Perichole)
• Ah Quel Diner (La Perichole)
• Ouverture (La Fille Du Tambour-major)
• Waltz Song (Robinson Crusoé)
• Valse Des Rayons (Le Papillon)
• Ô Dieu Quel Ivresse (Les Contes D'hoffmann)
• Portez Armes-j'aime Les Militaires (La Grande Duchesse De Gérolstein)
• Barcrolle (Vocal)

• Allegro
• Allegro brillante
• Polka
• Länder: Allegro
• Mazurka
• Valse
• Allegro
• Polka
• Valse
• Tempo di marcia
• Valse
• Allegro vivo
• Valse
• Allegro vivace; Misterioso
• Valse
• Allegro vivo
• Cancan
• Quadrille
• Allegro moderato
• Allegro
• Vivo
• Vivo
• Barcarolle

• Gaîté Parisienne (Selections From The Ballet) - Ouverture (La Vie Parisienne)
• Allegro Brilliante (Mesdames de la Halle)
• Polka (La Voyage dans la Lune)
• Galop (La Vie Parisienne)
• Waltz ( Orphée aux Enfers)
• March (Trombalcazar)
• Waltz (La Perichole)
• Introduction and Can-Can No1 (Robinson Crusoe)
• Can-Can No3 (La Vie Parisienne)
• Can-Can No4 (Orphée aux Enfers)
• Baracolle and Galop (Les Contes d'Hoffman)
• 5 Overtures - Orpheus In The Underworld
• Vert-Vert (Kakadu)
• La Grande Duchesse de Gérolstein
• L'Ile de Tulipatan
• La Belle Hélène

Born: 1819-06-20

Died: 1880-10-05