¹ Charlton, David, ed., The Cambridge Companion to Grand Opera (Cambridge, 2003)Google Scholar; Everist, Mark, Music Drama at the Paris Odéon, 1824–1828 (Berkeley, Los Angeles, 2002).Google Scholar One might also refer to recent doctoral studies by Hibberd, Sarah and Drysdale, John, dealing with the Véron era, and at the other end of the century to Steven Huebner's French Opera at the Fin de Siècle: Wagnerism, Nationalism, and Style (Oxford, 1999)Google Scholar.

² Nor I suppose is the music recorded: when it is, can we hope for a period saxophone quartet?

³ The remaining 106 pages includes the aforementioned appendices and biographical sketches of composers.

⁴ The most valuable resource for the study of nineteenth-century operatic criticism is probably the series of “Dossiers de Presse parisienne' in the series Critique de l'opéra français du XIXème siècle (Heilbronn, 1995– ). The area is also being opened up by the Répertoire Internationale de la Presse Musicale, of particular value since few critics other than Berlioz (Critique musicale 1823–1863, ed. Cohen, H. Robert and Gérard, Yves, Paris, 1996– )Google Scholar are likely to be honoured by a complete edition.

⁵ Some of the arguments here can be paralleled to an earlier study, duly acknowledged, by Gerhard, Anselm, The Urbanization of Opera: Music Theatre in Paris in the Nineteenth Century, trans. Whittall, Mary (Chicago, 1998).Google Scholar