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À la gloire de l'Empereur : l'opéra de Paris sous Napoléon Ier

Abstract : The First Consul’s (and later Emperor’s) interest in the Opéra de Paris was not merely musical. The stage in Paris was a place of propaganda, dedicated to singing the praises of the regime and the sovereign, and so it was carefully regulated by a governing body comprising the Préfet du Palais (later Surintendant de spectacles), a Jury de lecture and a theatrical censor. The repertoire was therefore carefully channelled, providing audiences with ‘œuvres de circonstance’ and other contemporary compositions celebrating the Empire, complete with spectacular theatrical and musical effects, as with the Le triomphe du Mois de Mars ou le berceau d’Achille by Kreutzer (libretto by Dupaty), Ossian ou les Bardes by Le Sueur, La mort d’Adam by Le Sueur (libretto by Guillard), and La Vestale by Spontini.
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David Chaillou. À la gloire de l'Empereur : l'opéra de Paris sous Napoléon Ier. Napoleonica. La Revue, 2010, 1 (7), pp. 88-105. ⟨10.3917/napo.101.0088⟩. ⟨hal-03203796⟩



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