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Music Drama at the Paris Odéon, 1824–1828$
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Mark Everist

Print publication date: 2002

Print ISBN-13: 9780520234451

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520234451.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 23 October 2019

L'obligation de jouer le répertoire du premier ordre—Repertory and Management at the Odéon

L'obligation de jouer le répertoire du premier ordre—Repertory and Management at the Odéon

Chapter:
(p.44) Chapter 2 L'obligation de jouer le répertoire du premier ordre—Repertory and Management at the Odéon
Source:
Music Drama at the Paris Odéon, 1824–1828
Author(s):

Mark Everist

Publisher:
University of California Press
DOI:10.1525/california/9780520234451.003.0003

This chapter discusses repertory and management at the Odeon. During the 1820s, when the theater was mounting productions of music drama, comedy, and tragedy, it boasted up to three directors, two of whom, 1825, were responsible for the branches of spoken theater, and one for music drama. As the Odéon's financial crisis rolled out of control in 1828, the number of directors was cut to two: one each for music and spoken drama. In addition to the directors, the administrative staff of the theater consisted of secretaries to the directors and to the administration, and a secretary responsible for the library, who was also the prompt. Although the administrative structure changed from year to year as directors came and went, individuals remained associated with the institution. The arrival of Claude Bernard at the Odéon marked a radical change in the contractual relationship between the manager and the maison du Roi.

Keywords:   Odeon, management, Claude Bernard, music drama, directors, administrative staff

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