French nineteenth-century stage music studies have blossomed in the last decade, encouraging new productions of nineteenth century works to take their place in the modern repertory. However, this has focused on works produced exclusively for the Paris Opéra at the expense of the vast range of other types of stage music. This book seeks to re-introduce a number of norms to the study of stage music in Paris, and to acknowledge Paris as an importer and exporter of opera, focusing on music of its closest neighbours, the Italian-speaking states. This collection brings together twelve previously published articles and essays, updated for this volume and translated into English for the first time.

Mark Everist is Professor of Music at the University of Southampton. His research focuses on the music of Western Europe in the period 1150-1330, opera in France in the nineteenth century, Mozart, reception theory and historiography. He is the author of Polyphonic Music in Thirteenth-Century France (1989), French Motets in the Thirteenth Century (1994), Music Drama at the Paris Odéon, 1824-1828 (2002), Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris (2005) and Mozart's Ghosts: Haunting the Halls of Musical Culture (2013) as well as the editor of three volumes of the Magnus Liber Organi for Editions de l'Oiseau-Lyre (2001-2003). In addition, he has published over 80 articles in peer-reviewed journals and collections of essays. The recipient of the Solie (2010) and Slim (2011) awards of the American Musicological Society, he was elected a fellow of the Academia Europaea in 2012. Everist was president of the Royal Musical Association from 2011-2017 and was elected a corresponding member of the American Musicological Society in 2014. His monograph Discovering Medieval Song: Latin Poetry and Music in the Conductus was published with Cambridge University Press in 2018, as was The Cambridge History of Medieval Music, co-edited with Thomas Kelly. A monograph on the reception of Gluck in the nineteenth century has just been completed.

Ouverture 1. 'The Music of Power: Parisian Opera and the Politics of Genre, 1806-1864' 2 .'Grand Opéra - Petit Opéra: Parisian Opera and Ballet from the Restoration to the Second Empire' 3. 'Jacques Offenbach: The Music of the Past and the Image of the Present' 4. 'The Operas of François-Auguste Gevaert: The Tour d'horizon' 5. 'Between Opéra-Comique and Opéra-National: Scribe, Vaëz and Boisselot c1850' Premier Entr'acte 6. 'Beethoven and Rossini: Opera and Concert at the End of the Restoration' 7. ''Il n'y a qu'un Paris au monde, et j'y reviendrai planter mon drapeau!': Rossini's Second grand opéra' 8. 'A Transalpine Comedy: L'elisir d'amore and Cultural Transfer' 9. 'Partners in Rhyme: Alphonse Royer, Gustave Vaëz, and Foreign Opera in Paris during the July Monarchy' Second Entr'acte 10. 'Castil-Blaze and the Reception of Weber in Paris, 1824-1857' 11. 'Gluck, Politics, and the Second Empire Press' 12. 'Wagner and Paris: The Case of Rienzi (1869)' Strette