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Opéra-Comique
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.〔Opéra-Comique website accessed on 26 November 2010.〕 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.〔Wolff 1953.〕
==Origins==
Since the Middle Ages popular light theatrical entertainments had been a part of the seasonal Parisian fairs, especially the Foire Saint-Germain and the Foire Saint-Laurent. They included farces, tightrope acts, acrobatics, and marionettes, and also included music, such as ''vaudevilles'' and popular songs. The audiences were diverse, from all levels of society, and the presentations were given on makeshift stages. However, with the establishment in 1672 of King Louis XIV's Académie royale de Musique (popularly known as the Opéra) under Jean-Baptiste Lully, the use of music by fair troupes was significantly curtailed.〔Harris-Warrick 1992, pp. 858–860.〕〔Pitou 1983, vol. 1, pp. 24–25.〕
When the Italian players at the Hôtel de Bourgogne were banished from Paris in 1697 for performing their comedy ''La fausse prude'' ("The False Prude"), which satirized the King's mistress, Madame de Maintenon, the fair theatres were quick to adopt much of the Italians' repertory, which included parodies of operas and tragedies. The fair theatres were soon viewed as competition by the Opéra and the Comédie-Française, and restrictions were again more strictly enforced. The troupes at the Foire Saint-Germain and the Foire Saint-Laurent received warnings from the police in 1699 and 1706. Although in 1708 the fairground entrepreneurs Charles Alard and Maurice were able to purchase from the Opéra's director Pierre Guyenet the right to use singers, dancers, musicians, and sets, this did not last as Guyenet died in 1712, leaving the Opéra with a debt in the neighborhood of 400,000 livres. Alard resorted to giving silent performances with the actors' speeches displayed to the audience on large cue cards. The players next tried including vaudeville airs via audience participation: the musicians would play a popular tune, and the spectators would sing, while the actors remained silent. This was further enhanced when the words began to be displayed to the audience on a large banner.〔〔〔Johnson 2008, p. 162–163.〕〔Wild 1992, p. 586.〕
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