Prisonniers et prisons sur la scène de l’Opéra-Comique (1789-1801) by Maxime Margollé

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L’Opéra-Comique, 1945-1970 : de nouveaux opéras et leurs livrets ou de l’audace exogène by Frank Langlois

“…Palais Garnier, had become a bastion of musical conservatism. Meanwhile, the Opéra-Comique, the “other” Paris opera house, a.k.a. …”
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Introduction by Jean-Claude Yon

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La Jolie Fille de Perth de Bizet  ou comment trahir et honorer Walter Scott by Gilles Couderc

“…In spite of borrowing freely from French grand opera and opéra-comique, Bizet here attempts to find his own musical expression and his opera reflects aspects of Second Empire French society and the roles it assigned to women, before the appearance of his revolutionary Carmen on the stage.…”
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'Contrafacta': le chant, les timbres, la romance et les conditions de la poésie au tournant des Lumières by Martin Wåhlberg

“…The article first examines the backdrop of the more general tradition of writing new texts to pre-existing music in the eighteenth century, typical for instance in certain literary circles and, most notably, in the genre of opéra-comique en vaudevilles as it develops in Parisian fair theatres from 1715 and up to the late 1750s. …”
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