Adolphe Adam et l'Opéra-National (1847-1848). Une éphémère scène lyrique populaire à Paris - Université Paul Valéry Montpellier 3 Accéder directement au contenu
Article Dans Une Revue (Article De Synthèse) Revue musicale de la Suisse romande Année : 2019

Adolphe Adam et l'Opéra-National (1847-1848). Une éphémère scène lyrique populaire à Paris


Long debated under the “monarchie de Juillet”, the question of a third operatic stage in the capital was concretized at the end of the reign, thanks to the entrepreneurship of the composer Adolphe Adam and the manager Mirecour, holder of the concession granted by ministerial decree. The foundation of the Opera-National, located in the popular district of the Boulevard du Temple, is an ephemeral cultural and social adventure (15 November 1847-29 March 1848). It prefigures other relations between art and politics, especially since its short exploitation, on private funds, spans the monarchical and republican regimes. This lyrical scene won its title of "National" by taking into account from the outset the social qualification of its urban location and displaying its artistic ambitions. Indeed, its popular programming by the hybridity of genres (opéra-comique, ballet, parade) sets it apart from its institutional counterparts, but with almost similar resources. Neither Saint-Simonian nor republican, Adam here endorses the function of programmer with a keen sense of the public utility of music, which he drew from his European experiences. By welcoming its confreres of the Institute as young designers (Maillart, Gautier, Hervé, Limnander), and the operas of the “Lumières”, its objective is to sensitize diverse publics. True laboratories anticipating the “quarante-huitards” spirit, the modest creations of the Opera-National are in phase with social realism, an orientation that asserts itself at the proclamation of the Second Republic in February 1848. The news of the insurrections generates the “lever de rideau” Les Barricades of 1848, “mise en abyme” of the sovereignty of the people. From then on, the early closure of the Opera-National seems paradoxical. In spite of its militancy and the crowds of the public, its financial bankruptcy is due to the crisis of the Parisian theaters, affected by the insurrectional climate. Thinking about the historicity of this theater thus makes it possible to account for an untimely rendezvous between a cultural company listening to the social question and the “quarante-huitards” reformers.
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hal-03977646 , version 1 (07-02-2023)


  • HAL Id : hal-03977646 , version 1


Sabine Teulon Lardic. Adolphe Adam et l'Opéra-National (1847-1848). Une éphémère scène lyrique populaire à Paris. Revue musicale de la Suisse romande, 2019, 72 (1 et 2), pp.24-56. ⟨hal-03977646⟩


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