Contenu

Find out more about the work: table of contents

Part 1. Historical models of the Paris Opera (1669-1994)

Chapter 1. The Royal Academy of Music: the success of Lully and appearance of the state administration control

• The institutional foundations defined in 1669 and 1672
• The artistic success of works composed by Lully for the Royal Academy of Music
• A clear economic success

Chapter 2. The Imperial Academy of Music: The semi-autocratic guardianship of Napoleon

• State inspired artistic activity
• An action framework defined by Napoleon aids and personally followed up by the Emperor
• Subsidies cover more than half of the budget
• The balance between the roles of the State, the Opera management, artists and staff between 1800 and 1815

Chapter 3. "Concession" of the Academy of Music. Between liberalism and constraints imposed by the state administration

• The foundations of "concession" of the Paris Opera
• The indicators of success
• The "concession", financially balanced up until the first world war, coming to an end at the end of the 1930s
• The golden age of the Opera directors' statute
• The number of artists and staff at the Opera grows
• The State and the Opera, an unfinished political debate
• Overview of the concession

Chapter 4. 1944-1993 : The Paris Opera between success, failure and impasse

• The weakening of lyrical production
• The State, overwhelmed guardian of the Paris Opera
• The Paris Opera growing financial requirements
• The State, alternates voluntary and default strategies
• Managing the Paris Opera becomes a weakened and unstable position
• Tension, disorder and progress in staff management between 1944 and 1993
• 1989 to 1995: between crisis and progress
• The elimination of the reorganization project proposed by Raymond Soubie
• The conditions placed by Hugues Gall for accepting the responsability of the Paris Opera