View source for Opéra-Comique

{{short description|Opera company in Paris, France}}
{{Other uses|Opera comique (disambiguation){{!}}Opera comique}}
{{Infobox organization
| name                = Opéra-Comique
| native_name         = Théâtre national de l'Opéra-Comique
| native_name_lang    = FR
| named_after = 
| image              = Salle Favart proscenium.jpg
| image_size = 
| alt =              <!-- see [[WP:ALT]] -->
| caption            = Interior of the [[Salle Favart]], 2008
| merged =           [[Comedie-Italienne]] (1762)<br />[[Théâtre Feydeau]] (1801)
| successor = 
| formation =        1714
| founder =          Catherine Baron,<ref name=Wild1989p324>Wild 1989, p. 324.</ref><br />Louis Gaultier de St. Edme<ref name=Wild1989p324/>
| founding_location = [[Foire Saint-Germain]]
| extinction =       <!-- or: | dissolved = -->   <!--e.g. use {{end date and age|YYYY|MM|DD}}-->
| merger =           <!-- Other organizations (if any) merged to constitute the organization -->
| type =             [[Opera]] company
| status =           <!-- Organization's legal status and/or description (company, charity, foundation, etc) -->
| purpose =          <!-- or: | focus = -->       <!--(humanitarian, activism, peacekeeping, etc)-->
| professional_title = <!-- for professional associations -->
| headquarters = 
| location           = Place Boïeldieu, Paris
| coords =           <!-- location's {{coord}}s -->
| region =           <!-- or: | region_served = --> <!--Any particular region or regions associated with or served by the organization-->
| services = 
| membership =       <!-- Usually the number of members -->
| membership_year =  <!-- Year to which membership number/data apply -->
| language =         <!-- or: | languages = --> <!--Any official language or languages used by the organization-->
| sec_gen =          <!-- Name of the organization's Secretary General (if post exists) -->
| leader_title =     <!-- defaults to "Leader" -->
| leader_name        = [[Olivier Mantei]]<ref>{{Cite web|url=https://www.opera-comique.com/en/opera-comique/team|title=A team|date=Mar 22, 2013|website=Opéra Comique|accessdate=Mar 3, 2021}}</ref>
| leader_title2 = 
| leader_name2 = 
| leader_title3 = 
| leader_name3 = 
| leader_title4 = 
| leader_name4 = 
| board_of_directors = 
| key_people =
| main_organ =       <!-- or: | publication = --> <!--Organization's principal body (assembly, committee, board, etc) or publication-->
| parent_organization =  <!-- or: | parent_organisation = -->
| subsidiaries = 
| secessions = 
| affiliations = 
| budget = 
| budget_year = 
| staff =            <!-- Numbers and/or types of staff -->
| staff_year =       <!-- Year to which staff numbers/data apply -->
| volunteers =       <!-- Numbers and/or types of volunteers -->
| volunteers_year =  <!-- Year to which volunteer numbers/data apply -->
| remarks = 
| formerly =         {{Plainlist|
* Nouvel Opéra-Comique de Dominique<ref name=Wild1989p324/>
* Nouvel Opéra-Comique de Baxter et Sorin<ref name=Wild1989p324/>
* Théâtre de la Foire Saint-Germain<ref name=Wild1989p325>Wild 1989, p. 325.</ref>
* Théâtre de la Foire Saint-Laurent<ref name=Wild1989p325/>
* Théâtre de l'Opéra-Comique de la Foire Saint-Germain<ref name=Wild1989p325/>
* [[Comédie-Italienne]]
* Théâtre-Italien
}}
| footnotes = 
| website            = {{url|http://www.opera-comique.com}}
}}

The '''Opéra-Comique''' ({{IPA|fr|ɔpeʁa kɔmik}}) is a Paris opera company which was founded around 1714 by some of the popular [[Théâtre de la foire|theatres of the Parisian fairs]]. In 1762 the company was merged with – and for a time took the name of – its chief rival, the '''[[Comédie-Italienne]]''' at the [[Hôtel de Bourgogne (theatre)|Hôtel de Bourgogne]]. It was also called the '''Théâtre-Italien''' up to about 1793, when it again became most commonly known as the Opéra-Comique. The company's official name is '''Théâtre national de l'Opéra-Comique''', and its theatre, with a capacity of around 1,248 seats, sometimes referred to as the [[Salle Favart]] (the third on this site), is located at Place Boïeldieu in the [[2nd arrondissement of Paris]], not far from the [[Palais Garnier]], one of the theatres of the [[Paris Opéra]]. The musicians and others associated with the Opéra-Comique have made important contributions to operatic history and tradition in France and to French opera. Its mission is to reconnect with its history and discover its unique repertoire to ensure production and dissemination of operas for the wider public.<ref>Opéra-Comique website accessed on 26 November 2010.</ref> Mainstays of the repertory at the Opéra-Comique during its history have included works which have each been performed more than 1,000 times by the company: ''[[Cavalleria Rusticana]]'', ''[[Le chalet]]'', ''[[La dame blanche]]'', ''[[Le domino noir]]'', ''[[La fille du régiment]]'', ''[[Lakmé]]'', ''[[Manon]]'', ''[[Mignon]]'', ''[[Les noces de Jeannette]]'', ''[[Le pré aux clercs]]'', ''[[Tosca]]'', ''[[La bohème]]'', ''[[Werther]]'' and ''[[Carmen]]'', the last having been performed more than 2,500 times.<ref name="Wolff">Wolff 1953.</ref>

==Origins==
[[File:Frontispiece for Le Théâtre de la foire by Lesage vol1 1730 - Hearst 2004 p137.jpg|thumb|The [[Muse]] of Comedy assembles Poetry, Music, and Dance to form Opéra Comique (1722)]]

{{See also|Théâtre de la foire}}
Since the [[Middle Ages]] popular light theatrical entertainments had been a part of the seasonal Parisian fairs, especially the Foire Saint-Germain and the Foire Saint-Laurent. They included farces, tightrope acts, acrobatics, and marionettes, and also included music, such as ''[[Vaudeville (song)|vaudevilles]]'' and popular songs. The audiences were diverse, from all levels of society, and the presentations were given on makeshift stages. However, with the establishment in 1672 of [[King Louis XIV]]'s [[Académie royale de Musique]] (popularly known as the Opéra) under [[Jean-Baptiste Lully]], the use of music by fair troupes was significantly curtailed.<ref name=HW858to60>Harris-Warrick 1992, pp. 858&ndash;860.</ref><ref name=Pitou24to25>Pitou 1983, vol. 1, pp. 24&ndash;25.</ref>

When the [[Comédie-Italienne|Italian players]] at the [[Hôtel de Bourgogne (theatre)|Hôtel de Bourgogne]] were banished from Paris in 1697 for performing their comedy ''La fausse prude'' ("The False Prude"), which satirized the King's wife, [[Madame de Maintenon]], the fair theatres were quick to adopt much of the Italians' repertory, which included parodies of operas and tragedies. The fair theatres were soon viewed as competition by the Opéra and the [[Comédie-Française]], and restrictions were again more strictly enforced. The troupes at the Foire Saint-Germain and the Foire Saint-Laurent received warnings from the police in 1699 and 1706. Although in 1708 the fairground entrepreneurs Charles Alard and Maurice were able to purchase from the Opéra's director [[Pierre Guyenet]] the right to use singers, dancers, musicians, and sets, this did not last as Guyenet died in 1712, leaving the Opéra with a debt in the neighborhood of 400,000 livres. Alard resorted to giving silent performances with the actors' speeches displayed to the audience on large cue cards. The players next tried including vaudeville airs via audience participation: the musicians would play a popular tune, and the spectators would sing, while the actors remained silent. This was further enhanced when the words began to be displayed to the audience on a large banner.<ref name=HW858to60/><ref name=Pitou24to25/><ref name=Johnson>Johnson 2008, p. 162&ndash;163.</ref><ref>Wild 1992, p. 586.</ref>

==Foundation and early history==
[[File:Favart.jpg|thumb|upright=0.7|left|{{center|Favart}}]]
In 1713 and 1714 several of the fair troupes were able to conclude a new series of agreements with the creditors of the deceased Guyenet, who at this point had become the managers of the rather expensive Opéra. For an annual fee the troupes obtained the right to perform light comedies interspersed with songs and dances and to use sets and theatre machines.<ref name=Johnson/> They were also given the right to use the name "Opéra-Comique". The first work officially given that designation was ''Télémaque'' (a parody of the opera by [[André Cardinal Destouches]]), which was first performed by the [[Théâtre de la foire#Foire Saint-Germain|Théâtre de la Foire Saint-Germain]] in 1715. The words were by [[Alain-René Lesage]], the music was arranged by Jean-Claude Gillier, and the orchestra consisted of 15 players. Lesage authored many of the early ''opéras comiques'', and composers like Gillier worked primarily as arrangers of existing music.<ref name=HW858to60/><ref name=WW1996>Warrack and West 1996, p. 376. [https://books.google.com/books?id=WbDbuLJPKBgC&dq=%22opera-comique%22+1714&pg=PA376 Partial view] at [[Google Books]].</ref> In 1716 one of the troupes' leaders, Catherine Vanderberg purchased additional rights and began to present more original works by authors, such as [[Jacques-Philippe d'Orneval]], [[Alexis Piron]], and [[Louis Fuzelier]].<ref name=Pitou24to25/> In these early days the role of librettist for the theatre was more important than that of the composer &ndash; and pre-eminent among them for more than forty years was [[Charles-Simon Favart]], who made his first contribution in 1734 and achieved his first important success with ''La chercheuse d'esprit'' in 1741.<ref name=HW863>Harris-Warrick 1992, vol. 3, p. 863.</ref>

In 1743 the impresario [[Jean Monnet (director)|Jean Monnet]] paid 12,000 livres to the Opéra for the right to run the Opéra-Comique, He renovated the theatre and brought together a group of highly talented creative artists, including, besides Favart, who also worked as a stage director, the comedian [[Préville (actor)|Préville]], the stage designer [[François Boucher]], and the ballet master Dupré and his pupil [[Jean-Georges Noverre]]. [[Jean-Philippe Rameau]] may also have been the leader of the orchestra. The company was, however, too successful, and the Opéra refused to renew Monnet's privilege in 1745. After working briefly in Lyon, and mounting unsuccessful productions in Dijon (1746) and London (1749), he was able to repurchase the Opéra-Comique ''privilège'' in December 1751 and remained its director until 1757.<ref name=Cook>Cook 1992, p. 436.</ref>

[[File:Le diable à quatre - Michel Sedaine - NGO3-863.jpg|thumb|A scene from ''Le diable à quatre'' with text by Michel-Jean Sedaine]]
During his second period as director, Monnet continued to work with Favart and Noverre, and Boucher designed and built a substantial new theatre for the company of the Foire Saint-Laurent in 1752. The theatre was later installed in a wing of the [[Salle des Menus-Plaisirs (rue Bergère)|Hôtel des Menus-Plaisirs]] on the rue Bergère, where it was used by the Opéra in 1781,<ref>Gourret 1985, pp. 81–84</ref> and then as the first concert hall of the [[Paris Conservatory]], which was founded on the same site in 1795.<ref>Simeone 2000, p. 214.</ref>  The new theatre was especially important, as it enabled the company to perform at times when the fair was not in operation. Monnet's friend [[Jean-Joseph Vadé]] wrote the libretto for ''[[Les troqueurs]]'', first staged in July 1753 and advertised as a translation of an Italian work. The music was actually original, composed by [[Antoine Dauvergne]], and began a period of new works in a more Italian style in which music played a much more significant role. Composers for the company during this period included [[Egidio Duni]], [[François-André Danican Philidor]] and [[Pierre-Alexandre Monsigny]].<ref name=HW863/><ref name=Cook/>

The dramatist [[Michel-Jean Sedaine]] wrote the text of his first opera for the company, ''Le diable à quatre'',  in 1756. It premiered at the Fair Saint-Laurent on 19 August with verses for the ''ariettes'' provided by Pierre Baurans and with music parodying a variety of composers including [[Vincenzo Legrenzio Ciampi]], Duni, [[Baldassare Galuppi]], and [[Giuseppe Scarlatti]], and also included music attributed to the French composers Jean-Louis Laurette and Philidor. [[Christoph Willibald Gluck]] was later to compose his own music for the work. [[Le diable à quatre (opera)|His version]] was first given in Laxenburg, Austria, on 28 May 1759. Other settings were later composed for the Opéra-Comique by [[Bernardo Porta]] (14 February 1790)<ref>The music and libretto for Bernardo Porta's version of ''Le diable à quatre'' have not been found.</ref> and [[Jean-Pierre Solié]] (30 November 1809).<ref>Wild and Charlton 2005, p. 221.</ref>

=={{Anchor|1762}}1762 to 1807==
[[File:Salle Favart I - Pugin & Heath 1829 after p24 - IA (adjusted).jpg|thumb|The first ''Salle Favart'' which housed the company between 1783 and 1801]]

On 3 February 1762 the Opéra-Comique was merged into the [[Comédie-Italienne]] and occupied the [[Hôtel de Bourgogne (theatre)|Hôtel de Bourgogne]],<ref>Charlton 1986, p. 6.</ref> gaining in respectability what it lost in independence. The company was renamed to Opéra-Comique by an edict of the king in 1780, although the names Comédie-Italienne and Théâtre Italien were still used frequently by the press and public for many years thereafter. In 1783 the company moved again, into the Salle Favart (architect [[Jean-François Heurtier]]; ca. 1,100 seats) on the site where the current theatre stands. Around that time the works of [[André Grétry|Grétry]] featured strongly.<ref name=HW863/><ref>Opera-Comique website: Historique, accessed 3 April 2009.</ref>

With the proliferation of opera houses after the Law of 1791 which removed restrictions on the opening of theatres, there was competition with the [[Théâtre Feydeau]], which was resolved in 1801 by merger. By 1807 Napoleon had reduced theatrical freedoms, and the Opéra-Comique was named one of four primary theatres in Paris.

==The 19th century==
[[File:Salle Favart Fire 1887 NGOp878.jpg|thumb|Fire at the second ''Salle Favart'' on {{nowrap|25 May 1887}} (engraving).]]

French ''[[opéra comique]]'', in the 19th century at least, was not necessarily "comic" either in the classical sense of ending happily or the modern one of being funny; the term covered a much wider category of work. Notable composers in the history of the Opéra-Comique  include [[Daniel Auber|Auber]], [[Fromental Halévy|Halévy]], [[Hector Berlioz|Berlioz]] and [[Georges Bizet|Bizet]]. After Rossini's arrival in Paris, new works at the Opéra-Comique took in Italian vocal style and techniques, leading to greater virtuosity, although "the repertory as a whole stood as a bulwark against the italianate invasion of Rossini".<ref>David Charlton. Paris §4 (iii) The Opéra-Comique. In: [[The New Grove Dictionary of Opera]], (Ed.) Sadie S., London & New York: Macmillan, 1997.</ref>

In 1840, the Opéra-Comique company settled in the second Salle Favart (architect Louis Charpentier; 1,500 seats), built on the site of the first theatre, destroyed by fire in 1838. The new house was inaugurated with a revival of Hérold's ''[[Le Pré aux clercs]]''. During the 1850s and 1860s the [[Théâtre Lyrique]] offered competition in the type of repertoire staged, being particularly strong in its policy of new commissions.

Performances took place on most evenings of the week except for major festivals. Boxes could be hired for a year at a time, and many subscribers were wealthy. Before 1848 a third of subscribers were of the aristocracy, but after then it became an especially middle class theatre. After 1848 [[Émile Perrin]] sought to revive the repertoire with more literary and ambitious works. Until 1864 its repertoire was still prescribed, by statute, to have spoken dialogue between musical numbers.<ref name=HW1992>Harris-Warrick 1992.</ref>

The Opéra-Comique staged the first performances of such important French works as Berlioz's ''[[The Damnation of Faust]]'' (1846), Thomas' ''[[Mignon]]'' (1866), and Bizet's ''[[Carmen]]'' (1875). In the latter part of the century the theatre revived works it had made its own, restaged works from the repertoire of the Théâtre Lyrique (which had closed in 1872) and premiered new pieces, such as Offenbach's ''[[Les Contes d'Hoffmann]]'' (1881); Delibes' ''[[Lakmé]]'' (1883); Massenet's ''[[Manon]]'' (1884), ''[[Esclarmonde]]'' (1889), and ''[[Werther]]'' (French premiere in 1893); and Charpentier's ''[[Louise (opera)|Louise]]'' (1900).

A fire at the Salle Favart on 25 May 1887 resulted in the death of 84 people by asphyxiation. The building was destroyed and the director [[Léon Carvalho]] was forced to resign, although later he was acquitted of blame and resumed the helm at the company from 1891 to 1897. The third Salle Favart (architect [[Louis Bernier]]) was officially opened in the presence of President [[Félix Faure]] on 7 December 1898.

==The 20th century and beyond==
As the differences between opéra and opéra comique faded, the two main houses in Paris came more into competition, although the Salle Favart saw the premieres of more innovative works: Debussy's ''[[Pelléas et Mélisande (opera)|Pelléas et Mélisande]]'' (1902), Dukas' ''[[Ariane et Barbe-bleue]]'' (1907), Ravel's ''[[L'heure espagnole]]'' (1911), and French premieres of works by Puccini and Falla. Between 1900 and 1950, 401 works by 206 different composers were performed at the Opéra-Comique, of which 222 were either world premieres (136) or the first performance in Paris (86).<ref name=Wolff/>

In June 1936 a broadcast of ''Les Contes d'Hoffmann'' was disrupted by the start of a company sit-in demanding the director's resignation.<ref>Nichols R. ''The Harlequin Years: music in Paris 1917-1929.'' Thames & Hudson, London, 2002.</ref>  In 1939 financial problems resulted in the Opéra-Comique being merged with the Opéra to become the 'Réunion des Théatres Lyriques Nationaux'.<ref>[http://www.opera-comique.com/fr/historique---etape4-2/ "Historique de 1936 à aujourd'hui"] {{webarchive|url=https://web.archive.org/web/20100506030625/http://www.opera-comique.com/fr/historique---etape4-2/ |date=2010-05-06 }} at the Opéra Comique website, accessed 31 March 2010.</ref> Notable premieres during this period included Poulenc's ''[[Les Mamelles de Tiresias]]'' (1947) and ''[[La Voix humaine]]'' (1959). However, by the end of the Second World War, the Opéra-Comique's best artists, assets and repertory had been gradually taken from it to enrich the Opéra.<ref name="wolffopera61">Wolff, Stéphane. The Opéra-Comique of Paris. ''[[Opera (British magazine)|Opera]]'', March 1961, Vol 12 No3, p160-165.</ref>

The Opéra-Comique discovered some fresh energy in 1950s, restaging ''[[Roméo et Juliette]]'', ''[[Orphée et Eurydice]]'', ''[[Le roi malgré lui]]'' and ''[[Les noces de Jeannette]]'' and introducing ''[[Bluebeard's Castle]]'', Landowski's ''Les Adieux'' and [[Dallapiccola]]'s ''[[Volo di Notte]]'' to attract new audiences and keep the attention of the arts establishment.<ref name="wolffopera61"/> At the start of the 1960s Stéphane Wolff, claimed that the theatre could regain its independence: "well-managed, it could again become what it was for so long, the most active and therefore the leading lyric stage in France".<ref name="wolffopera61"/> However, in 1972 the Opéra-Comique company was closed (although the theatre itself received visiting productions) and its government grant added to that of the Opéra.

Although the company of the Opéra-Comique was disbanded (followed 20 years later by the closure of the [[opéra comique]] classes at the [[Paris Conservatoire]]),<ref name="deSP">[[Maryvonne de Saint-Pulgent|de Saint Pulgent, Maryvonne]]. ''L'Opéra-Comique - Le Gavroche de la Musique ([[Découvertes Gallimard]] 567).'' Gallimard, 2010. Chapitre 5 - Une Renaissance, p78-85.</ref> from 1978 works were staged again at the theatre, both from its traditional repertoire (''[[Le médecin malgré lui]]'' and ''[[Werther]]'')<ref>''Lyrica'', October 1978, page 83.</ref> as well as more adventurous repertoire: ''[[The English Cat|La chatte anglaise]]'' in 1984, Denisov's ''L'Écume des Jours'', as well as productions with international stars, including [[Jessye Norman]] as ''[[Dido and Aeneas|Dido]]'' in 1984.<ref name="deSP"/> While still battling for survival the theatre hosted one of the major baroque revivals: ''[[Atys (Lully)|Atys]]'', with [[Les Arts Florissants (ensemble)|Les Arts Florissants]] in 1987.<ref>Sadie, S. William Christie. In: ''The New Grove Dictionary of Opera.'' Macmillan, London and New York, 1997.</ref> The company regained its autonomy and returned, albeit with an inadequate budget, to the Salle Favart in 1990. Although its budget amounted to less than most provincial French opera houses, the first new director of the independent Opéra-Comique, Thierry Fouquet, attempted to run a balanced programme but handed over in 1994 to Pierre Médecin, who was responsible for the centenary season in 1998 with a new production of ''Pelléas et Mélisande''. The loss of private sponsors led to a policy of musical comedy and operetta under Jérôme Savary from 2000.<ref name="deSP"/> A decree of November 2004 put the theatre on a new basis, stressing the variety of productions it should mount: "de l'opéra baroque à la création contemporaine et le patrimoine de l'Opéra-Comique".<ref>{{Cite web|url=https://www.legifrance.gouv.fr/loda/id/LEGITEXT000005874657/|title=Décret n°2004-1232 du 20 novembre 2004 fixant le statut du Théâtre national de l'Opéra-Comique. - Légifrance|website=www.legifrance.gouv.fr}}</ref>

It currently mounts 7 or 8 operas or opéra comiques (some of them co-productions), with complementary concerts, recitals and exhibitions, each season. In common with many other opera houses the Opéra-Comique also offers relayed performances to cinemas (around France and in Europe); ''Carmen'' in June 2009 and ''[[Béatrice et Bénédict]]'' in March 2010.
In 2013 an opera critic was moved to write that of Paris lyric theatres "over the past seven seasons, [the Opéra-Comique] has best succeeded in establishing a particular identity and achieving consistent quality in its productions".<ref>Blamont N. Report from Paris/Review of ''Ciboulette''. ''[[Opera (British magazine)|Opera]]'', June 2013, 758.</ref>

In the summer of 2015 the theatre closed for 18 months for major refurbishment including the costume department, the salle Bizet, and the hall Boieldieu. During the closure a webopera and a fan zone at the [[UEFA Cup]] where spectators were invited to sing well-known opéra-comique songs took place.<ref name="Diap641">News item 'Pendant les travaux'. ''[[Diapason (magazine)|Diapason]]'' No 641, December 2015, p12.</ref> After the works, the theatre reopened in 2017,<ref name="operashaprio"/> with the first stage production since the composer's death of Marais's ''[[Alcyone (opera)|Alcione]]'' (on 25 April 2017) with [[Jordi Savall]] conducting [[Le Concert des Nations]].<ref>Blanmont, Nicolas. Report from Paris. ''[[Opera (British magazine)|Opera]]'', August 2017, Vol.68 No.8, p1018-1019.</ref>

==Theatres used by the Opéra-Comique company==
{| class="wikitable"
|-
! Theatre
! Dates used
! Notes
|-
| at fairs, seasonally
| 1714 &ndash; 1762
| style="font-size:smaller" |operated at the [[Théâtre de la foire|St Germain and St Laurent fairs]]
|-
| [[Hôtel de Bourgogne (theatre)|Hôtel de Bourgogne]]
| 3 February 1762 &ndash; {{nowrap|4 April 1783}}
| style="font-size:smaller" |merged into [[Comédie-Italienne]]; {{nowrap|theatre was built in the late 16th century}}
|-
| Salle Favart (1st)
| 28 April 1783 &ndash; {{nowrap|20 July 1801}}
| style="font-size:smaller" |first Salle Favart destroyed by fire on 13&ndash;14 January 1838<ref name=Pitou56>Pitou 1983, vol. 1, p. 56.</ref>
|-
| [[Salle Feydeau]]
| 16 September 1801 &ndash; {{nowrap|22 July 1804}}
| style="font-size:smaller" |merger with Théâtre Feydeau; {{nowrap|kept company name Opéra-Comique}}
|-
| Salle Favart (1st)
| 23 July 1804 &ndash; {{nowrap|4 July 1805}}
| style="font-size:smaller" |except [[Salle Olympique (rue de la Victoire)|Salle Olympique]] (3&ndash;23 October 1804)
|-
| [[Salle Feydeau]]
| 2 September 1805 &ndash; {{nowrap|12 April 1829}}
| 
|-
| [[Salle Ventadour]]
| 20 April 1829 &ndash; {{nowrap|22 March 1832}}
| style="font-size:smaller" |on the rue Neuve-Ventadour, it was built for the Opéra-Comique
|-
| [[Salle de la Bourse]]
| 24 September 1832 &ndash; {{nowrap|30 April 1840}}
| style="font-size:smaller" |built in 1827 also called the Théâtre des Nouveautés
|-
| Salle Favart (2nd)
| 16 May 1840 &ndash; {{nowrap|25 May 1887}}
| style="font-size:smaller" |except Salle Ventadour (26 June &ndash; 4 July 1853); {{nowrap|second Salle Favart destroyed by fire on 25 May 1887}}
|-
| [[Théâtre de la Ville|Salle du Théâtre Lyrique]]
| 15 October 1887 &ndash; {{nowrap|30 June 1898}}
| style="font-size:smaller" |[[Place du Châtelet]]
|-
| {{nowrap|Théatre du Château-d'Eau}}
| 26 October &ndash; {{nowrap|30 November 1898}}
| 
|-
| [[Salle Favart]] (3rd)
| {{nowrap|7 December 1898 &ndash;}} present
| style="font-size:smaller" | Declared a historic monument in 1977.<ref>Opéra-Comique website, accessed 4 April 2009.</ref> The opening production in 2017, ''[[Fantasio (Offenbach)|Fantasio]]'', was staged at the [[Théâtre du Châtelet]].<ref name="operashaprio">Shapiro, Yehuda. Gâteau Favart. ''Opera'', February 2017, Vol.68 No.2, p168-171.</ref>
|-
| colspan="3" style="font-size:smaller" |''Sources:'' "Opéra-Comique"<ref>Sadie 1992, vol. 3, p. 688.</ref> and "Paris"<ref name=HW1992/> in ''[[The New Grove Dictionary of Opera]]''; Wild and Charlton 2005.<ref>Wild and Charlton 2005, pp. 21, 33, 48, 61, 64, 65, 77, 78, 81, 85, 95, 98.</ref>
|-
| colspan="3" align="center"|[[File:Opéra-Comique - Theatres - 1883 - NGO3p869.jpg|thumb|center|600px|Theatres of the Opéra-Comique (engraving for the centenary of the first Salle Favart on 28 April 1883): 1. Salle de la Foire St Laurent; 2. Hôtel de Bourgogne; 3. Salle Favart (1st); 4. Salle Feydeau; 5. Salle Ventadour; 6. Salle de la Bourse; 7. Salle Favart (2nd)]]
|}

==Notable premieres==
{| class="wikitable sortable" style="border:1px solid darkgray;"
!Date
!Composer
!Work
!Theatre
|-
| align="right"| {{Hs|1753-07-30}} 30 July 1753
| {{Hs|Dauvergne}} [[Antoine Dauvergne]]
| {{Hs|Troqueurs}} ''[[Les troqueurs]]''
| [[Foire Saint-Laurent]]
|-
| align="right"| {{Hs|1757-07-26}} 26 July 1757
| {{Hs|Duni}} [[Egidio Duni]]
| {{Hs|Peintre}} ''[[Le peintre amoureux de son modèle]]''
| [[Foire Saint-Laurent]]
|-
| align="right"| {{Hs|1759-03-09}} 9 March 1759
| {{Hs|Philidor}} [[François-André Danican Philidor]]
| {{Hs|Blaise Le}} ''[[Blaise le savetier]]''
| [[Foire Saint-Germain]]
|-
| align="right"| {{Hs|1761-08-22}} 22 August 1761
| {{Hs|Philidor}} [[François-André Danican Philidor]]
| {{Hs|Marechal}} ''[[Le maréchal ferrant]]''
| [[Foire Saint-Laurent]]
|-
| align="right"| {{Hs|1761-09-14}} 14 September 1761
| {{Hs|Monsigny}} [[Pierre-Alexandre Monsigny]]
| {{Hs|On Ne}} ''[[On ne s'avise jamais de tout]]''
| [[Foire Saint-Laurent]]
|-
| align="right"| {{Hs|1762-11-22}} 22 November 1762
| {{Hs|Monsigny}} [[Pierre-Alexandre Monsigny]]
| {{Hs|Roy Et Le}} ''[[Le roi et le fermier]]''
| {{Hs|Bourgogne}} [[Hôtel de Bourgogne (theatre)|Hôtel de Bourgogne]]
|-
| align="right"| {{Hs|1765-02-27}} 27 February 1765
| {{Hs|Philidor}} [[François-André Danican Philidor]]
| {{Hs|Tom Jones}} ''[[Tom Jones (Philidor)|Tom Jones]]''
| {{Hs|Bourgogne}} [[Hôtel de Bourgogne (theatre)|Hôtel de Bourgogne]]
|-
| align="right"| {{Hs|1768-08-20}} 20 August 1768
| {{Hs|Gretry}} [[André Grétry]]
| {{Hs|Huron}} ''[[Le Huron]]''
| {{Hs|Bourgogne}} [[Hôtel de Bourgogne (theatre)|Hôtel de Bourgogne]]
|-
| align="right"| {{Hs|1769-01-05}} 5 January 1769
| {{Hs|Gretry}} [[André Grétry]]
| ''[[Lucile (opera)|Lucile]]''
| {{Hs|Bourgogne}} [[Hôtel de Bourgogne (theatre)|Hôtel de Bourgogne]]
|-
| align="right"| {{Hs|1769-03-06}} 6 March 1769
| {{Hs|Monsigny}} [[Pierre-Alexandre Monsigny]]
| {{Hs|Deserteur}} ''[[Le déserteur (opera)|Le déserteur]]''
| {{Hs|Bourgogne}} [[Hôtel de Bourgogne (theatre)|Hôtel de Bourgogne]]
|-
| align="right"| {{Hs|1769-09-20}} 20 September 1769
| {{Hs|Gretry}} [[André Grétry]]
| {{Hs|Tableau}} ''[[Le tableau parlant]]''
| {{Hs|Bourgogne}} [[Hôtel de Bourgogne (theatre)|Hôtel de Bourgogne]]
|-
| align="right"| {{Hs|1771-12-16}} 16 December 1771
| {{Hs|Gretry}} [[André Grétry]]
| {{Hs|Zemire}} ''[[Zémire et Azor]]''
| {{Hs|Bourgogne}} {{Nowrap|[[Hôtel de Bourgogne (theatre)|Hôtel de Bourgogne]]}}<ref>First performed at the Théâtre de la Cour at the [[Château Fontainebleau]] on 9 November 1771.</ref>
|-
| align="right"| {{Hs|1776-06-12}} 12 June 1776
| {{Hs|Gretry}} [[André Grétry]]
| {{Hs|Mariages Samnites}} ''[[Les mariages samnites]]''
| {{Hs|Bourgogne}} [[Hôtel de Bourgogne (theatre)|Hôtel de Bourgogne]]
|-
| align="right"| {{Hs|1780-01-03}} 3 January 1780
| {{Hs|Gretry}} [[André Grétry]]
| ''[[Aucassin et Nicolette (opera)|Aucassin et Nicolette]]''
| {{Hs|Bourgogne}} [[Hôtel de Bourgogne (theatre)|Hôtel de Bourgogne]]
|-
| align="right"| {{Hs|1784-10-21}} 21 October 1784
| {{Hs|Gretry}} [[André Grétry]]
| {{Hs|Richard}} ''[[Richard Coeur-de-lion (opera)|Richard Coeur-de-lion]]''
| {{Hs|Favart1}} Salle Favart (1st)
|-
| align="right"| {{Hs|1785-08-04}} 4 August 1785
| {{Hs|Dalayrac}} [[Nicolas Dalayrac]]
| {{Hs|Amant}} ''[[L'amant statue]]''
| {{Hs|Favart1}} Salle Favart (1st)
|-
| align="right"| {{Hs|1786-05-15}} 15 May 1786
| {{Hs|Dalayrac}} [[Nicolas Dalayrac]]
| {{Hs|Nina}} ''[[Nina (Dalayrac)|Nina, ou La folle par amour]]''
| {{Hs|Favart1}} Salle Favart (1st)
|-
| align="right"| {{Hs|1789-01-14}} 14 January 1789
| {{Hs|Dalayrac}} [[Nicolas Dalayrac]]
| {{Hs|Deux Petits}} ''[[Les deux petits savoyards]]''
| {{Hs|Favart1}} Salle Favart (1st)
|-
| align="right"| {{Hs|1790-09-04}} 4 September 1790
| {{Hs|Mehul}} [[Étienne Méhul]]
| {{Hs|Euphrosine}} ''[[Euphrosine]]''
| {{Hs|Favart1}} Salle Favart (1st)
|-
| align="right"| {{Hs|1791-01-15}} 15 January 1791
| {{Hs|Kreutzer}} [[Rodolphe Kreutzer]]
| ''[[Paul et Virginie (opera)|Paul et Virginie]]''
| {{Hs|Favart1}} Salle Favart (1st)
|-
| align="right"| {{Hs|1791-04-09}} 9 April 1791
| {{Hs|Gretry}} [[André Grétry]]
| ''[[Guillaume Tell (Grétry)|Guillaume Tell]]''
| {{Hs|Favart1}} Salle Favart (1st)
|-
| align="right"| {{Hs|1792-05-03}} 3 May 1792
| {{Hs|Mehul}} [[Étienne Méhul]]
| {{Hs|Stratonice}} ''[[Stratonice (opera)|Stratonice]]''
| {{Hs|Favart1}} Salle Favart (1st)
|-
| align="right"| {{Hs|1794-05-06}} 6 May 1794
| {{Hs|Mehul}} [[Étienne Méhul]]
| ''[[Mélidore et Phrosine]]''
| {{Hs|Favart1}} Salle Favart (1st)
|-
| align="right"| {{Hs|1799-10-11}} 11 October 1799
| {{Hs|Mehul}} [[Étienne Méhul]]
| {{Hs|Ariodant}} ''[[Ariodant]]''
| {{Hs|Favart1}} Salle Favart (1st)
|-
| align="right"| {{Hs|1800-10-23}} 23 October 1800
| {{Hs|Dalayrac}} [[Nicolas Dalayrac]]
| ''[[Maison à vendre]]''
| {{Hs|Favart1}} Salle Favart (1st)
|-
| align="right"| {{Hs|1801-09-16}} 16 September 1801
| {{Hs|Boieldieu}} [[Adrien Boieldieu]]
| ''[[Le calife de Bagdad]]''
| {{Hs|Favart1}} Salle Favart (1st)
|-
| align="right"| {{Hs|1806-05-17}} 17 May 1806
| {{Hs|Mehul}} [[Étienne Méhul]]
| ''[[Uthal (opera)|Uthal]]''
| {{Hs|Feydeau}} [[Salle Feydeau]]
|-
| align="right"| {{Hs|1807-02-17}} 17 February 1807
| {{Hs|Mehul}} [[Étienne Méhul]]
| {{Hs|Joseph}} ''[[Joseph (opera)|Joseph]]''
| {{Hs|Feydeau}} [[Salle Feydeau]]
|-
| align="right"| {{Hs|1807-05-09}} 9 May 1807
| {{Hs|Isouard}} [[Nicolas Isouard]]
| {{Hs|Rendez}} ''[[Les rendez-vous bourgeois]]''
| {{Hs|Feydeau}} [[Salle Feydeau]]
|-
| align="right"| {{Hs|1810-02-22}} 22 February 1810
| {{Hs|Isouard}} [[Nicolas Isouard]]
| ''[[Cendrillon (Isouard)|Cendrillon]]''
| {{Hs|Feydeau}} [[Salle Feydeau]]
|-
| align="right"| {{Hs|1812-04-04}} 4 April 1812
| {{Hs|Boieldieu}} [[Adrien Boieldieu]]
| ''[[Jean de Paris (Boieldieu)|Jean de Paris]]''
| {{Hs|Feydeau}} [[Salle Feydeau]]
|-
| align="right"| {{Hs|1821-03-29}} 29 March 1821
| {{Hs|Paer}} [[Ferdinando Paer]]
| {{Hs|Maitre}} ''[[Le maître de chapelle]]''
| {{Hs|Feydeau}} [[Salle Feydeau]]
|-
| align="right"| {{Hs|1825-12-10}} 10 December 1825
| {{Hs|Boieldieu}} [[Adrien Boieldieu]]
| {{Hs|Dame Blanche}} ''[[La dame blanche]]''
| {{Hs|Feydeau}} [[Salle Feydeau]]
|-
| align="right"| {{Hs|1830-01-28}} 28 January 1830
| {{Hs|Auber}} [[Daniel Auber]]
| {{Hs|Fra Diavolo}} ''[[Fra Diavolo (opera)|Fra Diavolo]]''
| {{Hs|Ventadour}} [[Salle Ventadour]]
|-
| align="right"| {{Hs|1831-05-01}} 3 May 1831
| {{Hs|Hérold}} [[Ferdinand Hérold]]
| {{Hs|Zampa}} ''[[Zampa]]''
| {{Hs|Ventadour}} [[Salle Ventadour]]
|-
| align="right"| {{Hs|1832-12-15}} {{nowrap|15 December 1832}}
| {{Hs|Hérold}} [[Ferdinand Hérold]]
| {{Hs|Pre}} ''[[Le Pré aux clercs]]''
| {{Hs|Bourse}} [[Salle de la Bourse]]
|-
| align="right"| {{Hs|1834-09-25}} {{Nowrap|25 September 1834}}
| {{Hs|Adam}} [[Adolphe Adam]]
| {{Hs|Chalet}} ''[[Le chalet]]''
| {{Hs|Bourse}} [[Salle de la Bourse]]
|-
| align="right"| {{Hs|1835-12-16}} 16 December 1835
| {{Hs|Halevy}} [[Fromental Halévy]]
| {{Hs|Eclair}} ''[[L'éclair]]''
| {{Hs|Bourse}} [[Salle de la Bourse]]
|-
| align="right"| {{Hs|1836-10-13}} 13 October 1836
| {{Hs|Adam}} [[Adolphe Adam]]
| {{Hs|Postillon}} ''[[Le postillon de Lonjumeau]]''
| {{Hs|Bourse}} [[Salle de la Bourse]]
|-
| align="right"| {{Hs|1837-12-02}} 2 December 1837
| {{Hs|Auber}} [[Daniel Auber]]
| {{Hs|Domino}} ''[[Le domino noir]]''
| {{Hs|Bourse}} [[Salle de la Bourse]]
|-
| align="right"| {{Hs|1840-02-11}} 11 February 1840
| {{Hs|Donzetti}} [[Gaetano Donizetti]]
| {{Hs|Fille}} ''[[La fille du régiment]]''
| {{Hs|Bourse}} [[Salle de la Bourse]]
|-
| align="right"| {{Hs|1841-03-06}} 6 March 1841
| {{Hs|Auber}} [[Daniel Auber]]
| {{Hs|Diamants}}''[[Les diamants de la couronne]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1846-12-06}} 6 December 1846
| {{Hs|Berlioz}} [[Hector Berlioz]]
| {{Hs|Damnation}} ''[[La damnation de Faust]]''<ref>Concert conducted by Berlioz.</ref>
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1847-12-28}} 28 December 1847
| {{Hs|Auber}} [[Daniel Auber]]
| ''[[Haydée]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1849-01-03}} 3 January 1849
| {{Hs|Thomas}} [[Ambroise Thomas]] 
| {{Hs|Caid}} ''[[Le caïd]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1849-05-18}} 18 May 1849
| {{Hs|Adam}} [[Adolphe Adam]]
| {{Hs|Toreador}} ''[[Le toréador]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1850-04-20}} 20 April 1850
| {{Hs|Thomas}} [[Ambroise Thomas]]
| {{Hs|Songe}} ''[[Le songe d'une nuit d'été]]''
| {{Hs|Favart2}} Salle Favart (2nd)<ref>Based on Wild 2005, p. 410. Performed at the Nouveautés according to Forbes, Elizabeth, "Thomas, Ambroise" in Sadie 1992, vol. 4, p. 727. The Opéra-Comique was not performing at the [[Salle de la Bourse]] (Théâtre des Nouveautés) in 1850, according to Harris-Warrick 1992, p. 867.</ref>
|-
| align="right"| {{Hs|1853-02-04}} 4 February 1853
| {{Hs|Masse}} [[Victor Massé]]
| {{Hs|Noces}} ''[[Les noces de Jeannette]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1854-02-16}} 16 February 1854
| {{Hs|Meyerbeer}} [[Giacomo Meyerbeer]]
| {{Hs|Etoile}} ''[[L'étoile du nord]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1856-02-23}} 23 February 1856
| {{Hs|Auber}} [[Daniel Auber]]
| {{Hs|Manon Lescaut}} ''[[Manon Lescaut (Auber)|Manon Lescaut]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1859-04-04}} 4 April 1859
| {{Hs|Meyerbeer}} [[Giacomo Meyerbeer]]
| {{Hs|Pardon}} ''[[Le pardon de Ploërmel]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1862-05-12}} 12 May 1862
| {{Hs|David}} [[Félicien David]]
| ''[[Lalla-Roukh]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1866-11-17}} 17 November 1866
| {{Hs|Thomas}} [[Ambroise Thomas]]
| {{Hs|Mignon}} ''[[Mignon]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1867-11-23}} 23 November 1867
| {{Hs|Offenbach}} [[Jacques Offenbach]]
| ''[[Robinson Crusoé]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1872-05-22}} 22 May 1872
| {{Hs|Bizet}} [[Georges Bizet]]
| ''[[Djamileh]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1872-06-12}} 12 June 1872
| {{Hs|Saint-Saëns}} [[Camille Saint-Saëns]]
| {{Hs|Princesse}} ''[[La princesse jaune]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1873-05-24}} 24 May 1873
| {{Hs|Delibes}} [[Léo Delibes]]
| {{Hs|Roi L}} ''[[Le roi l'a dit]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1875-03-03}} 3 March 1875
| {{Hs|Bizet}} [[Georges Bizet]]
| ''[[Carmen]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1881-02-10}} 10 February 1881
| {{Hs|Offenbach}} [[Jacques Offenbach]]
| {{Hs|Contes}} ''[[Les contes d'Hoffmann]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1883-04-14}} 14 April 1883
| {{Hs|Delibes}} [[Léo Delibes]]
| {{Hs|Lakmé}} ''[[Lakmé]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1884-01-19}} 19 January 1884
| {{Hs|Massenet}} [[Jules Massenet]]
| {{Hs|Manon 0}} ''[[Manon (opera)|Manon]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1887-05-18}} 18 May 1887
| {{Hs|Chabrier}} [[Emmanuel Chabrier]]
| {{Hs|Roi malgré}} ''[[Le roi malgré lui]]''
| {{Hs|Favart2}} Salle Favart (2nd)
|-
| align="right"| {{Hs|1888-05-07}} 7 May 1888
| {{Hs|Lalo}} [[Édouard Lalo]]
| {{Hs|Roi d'Ys}} ''[[Le roi d'Ys]]''
| {{Hs|Lyrique}} [[Théâtre de la Ville|Théâtre Lyrique]]<ref>Based on Wild 2005, p. 95. Performed at the Salle Favart according to Macdonald, Hugh, "Lalo, Édouard" in Sadie 1992, vol. 2, p. 1086. No Salle Favart existed in 1888 according to Harris-Warrick 1992.</ref>
|-
| align="right"| {{Hs|1889-05-15}} 15 May 1889
| {{Hs|Massenet}} [[Jules Massenet]]
| {{Hs|Esclarmonde}} ''[[Esclarmonde]]''
| {{Hs|Lyrique}} [[Théâtre de la Ville|Théâtre Lyrique]]
|-
| align="right"| {{Hs|1890-05-30}} 30 May 1890
| {{Hs|Messager}} [[André Messager]]
| {{Hs|Basoche}} ''[[La Basoche]]''
| {{Hs|Lyrique}} [[Théâtre de la Ville|Théâtre Lyrique]] 
|-
| align="right"| {{Hs|1891-06-18}} 18 June 1891
| {{Hs|Bruneau}} [[Alfred Bruneau]]
| {{Hs|Reve}} ''Le rêve''
| {{Hs|Lyrique}} [[Théâtre de la Ville|Théâtre Lyrique]]<ref>Based on Wild 2005, p. 96. Performed at the Salle Favart according to Langham Smith, Richard, "Bruneau, Alfred" in Sadie 1992, vol. 1, p. 621. No Salle Favart existed in 1891 according to Harris-Warrick 1992.</ref>
|-
| align="right"| {{Hs|1893-11-23}} 23 November 1893
| {{Hs|Bruneau}} [[Alfred Bruneau]]
| {{Hs|Attaque}} ''[[L'attaque du moulin]]''
| {{Hs|Lyrique}} [[Théâtre de la Ville|Théâtre Lyrique]]
|-
| align="right"| {{Hs|1899-05-24}} 24 May 1899
| {{Hs|Massenet}} [[Jules Massenet]]
| {{Hs|Cendrillon}} ''[[Cendrillon (Massenet)|Cendrillon]]''
| {{Hs|Favart3}} Salle Favart (3rd)
|-
| align="right"| {{Hs|1900-02-02}} 2 February 1900
| {{Hs|Charpentier}} [[Gustave Charpentier]]
| {{Hs|Louise}} ''[[Louise (opera)|Louise]]''
| {{Hs|Favart3}} Salle Favart (3rd)
|-
| align="right"| {{Hs|1901-11-20}} 20 November 1901
| {{Hs|Massenet}} [[Jules Massenet]]
| {{Hs|Griseldis]]}} ''[[Grisélidis]]''
| {{Hs|Favart3}} Salle Favart (3rd)
|-
| align="right"| {{Hs|1902-04-30}} 30 April 1902
| {{Hs|Debussy}} [[Claude Debussy]]
| {{Hs|Pelléas}} ''[[Pelléas et Mélisande (opera)|Pelléas et Mélisande]]''
| {{Hs|Favart3}} Salle Favart (3rd)
|-
| align="right"| {{Hs|1907-05-10}} 10 May 1907
| {{Hs|Dukas}} [[Paul Dukas]]
| ''[[Ariane et Barbe-bleue]]''
| {{Hs|Favart3}} Salle Favart (3rd)
|-
| align="right"| {{Hs|1907-06-05}} 5 June 1907
| {{Hs|Messager}} [[André Messager]]
| ''[[Fortunio (opera)|Fortunio]]''
| {{Hs|Favart3}} Salle Favart (3rd)
|-
| align="right"| {{Hs|1910-11-30}} 30 November 1910
| {{Hs|Bloch}} [[Ernest Bloch]]
| ''[[Macbeth (Bloch)|Macbeth]]''
| {{Hs|Favart3}} Salle Favart (3rd)
|-
| align="right"| {{Hs|1911-05-19}} 19 May 1911
| {{Hs|Ravel}} [[Maurice Ravel]]
| {{Hs|Heure}} ''[[L'heure espagnole]]''
| {{Hs|Favart3}} Salle Favart (3rd)
|-
| align="right"| {{Hs|1914-05-15}} 15 May 1914
| {{Hs|Rabaud}} [[Henri Rabaud]]
| ''[[Mârouf, savetier du Caire]]''
| {{Hs|Favart3}} Salle Favart (3rd)
|-
| align="right"| {{Hs|1914-05-15}} 25 December 1915
| {{Hs|Rabaud}} [[Xavier Leroux]]
| ''[[Les cadeaux de Noël]]''
| {{Hs|Favart3}} Salle Favart (3rd)
|-
| align="right"| {{Hs|1927-12-16}} 16 December 1927
| {{Hs|Milhaud}} [[Darius Milhaud]]
| {{Hs|Pauvre}} ''[[Le pauvre matelot]]''
| {{Hs|Favart3}} Salle Favart (3rd)
|-
| align="right"| {{Hs|1947-06-03}} 3 June 1947
| {{Hs|Poulenc}} [[Francis Poulenc]]
| {{Hs|Mamelles}} ''[[Les mamelles de Tirésias]]''
| {{Hs|Favart3}} Salle Favart (3rd)
|-
| align="right"| {{Hs|1959-02-06}} 6 February 1959
| {{Hs|Poulenc}} [[Francis Poulenc]]
| {{Hs|Voix}} ''[[La voix humaine]]''
| {{Hs|Favart3}} Salle Favart (3rd)
|}
{{See also|Category:Opera world premieres at the Opéra-Comique}}

== Directors ==
The information in the following list is compiled from Wild,<ref>Wild 1989, p. 330</ref> Levin,<ref>Levin 2009, p. 386.</ref> and Wolff.<ref name="Wolff"/><br />
{{Col-begin}}
{{col-break}}
1829–1830 Paul-Auguste Ducis<br />
1830, July – 5 August, Jean-François Boursault, Alexandre Huvé de Garel<br />
1830–1831 Alexandre Singier<br />
1831–1832 Émile Lubbert<br />
1832, 14 January – 1 June, Émile Laurent<br />
1832–1834 Paul Dutreich<br />
1834–1845 [[François-Louis Crosnier]], Alphonse Cerfbeer (administrator)<br />
1845–1848 Alexandre Basset<br />
1848–1857 [[Émile Perrin]]<br />
1857–1860 [[Nestor Roqueplan]]<br />
1860–1862 Alfred Beaumont<br />
1862, 1 February – 20 December, Émile Perrin<br />
1862–1870 [[Adolphe de Leuven]], [[Eugène Ritt]]<br />
1870–1874 Adolphe de Leuven, [[Camille du Locle]]<br />
1874-1876 Camille du Locle<br />
1876-1887 [[Léon Carvalho]]<br />
1887, May to December, [[Jules Barbier]]<br />
{{col-break}}
1888-1891 Louis Paravey <br />
1891-1897 Léon Carvalho<br />
1898-1913 [[Albert Carré]]<br />
1914-1918 [[Pierre-Barthélemy Gheusi]], [[Émile Isola|Émile]] and [[Vincent Isola]]<br />
1919-1925 Albert Carré, Émile and Vincent Isola<br />
1925-1931 Louis Masson and Georges Ricou<br />
1931-1932 Louis Masson<br />
1932-1936 Pierre-Barthélemy Gheusi<br />
1936-1939 14 member committee presided by [[Antoine Mariotte]]<br />
1939-1940 [[Henri Busser]]<br />
1941-1944 [[Max d'Ollone]]<br />
1944 [[Lucien Muratore]]<br />
1944 (Liberation) 4 member committee: [[Roger Désormière]], Pierre Jamin, [[Louis Musy]] and Émile Rousseau<br />
1945-1946 [[Albert Wolff (conductor)|Albert Wolff]]<br />
1946-1948 [[Henry Malherbe]]<br />
1948-1951 [[Emmanuel Bondeville]]<br />
1952-1953 [[Louis Beydts]]<br />
{{col-break}}
1990-1994 Thierry Fouquet <br />
1994-1999 Pierre Médecin<br />
2000-2007 [[Jérôme Savary]]<br />
2007-2015 [[Jérôme Deschamps]]<br />
2015-2021 [[Olivier Mantei]].<ref name="Diap641"/><br />
2021-2026 [[Louis Langrée]]

[[File:Opéra-Comique de Paris 01.JPG|thumb|Main façade of the theatre, 2012]]
{{col-end}}

== Music directors ==
{{Col-begin}}
{{col-break}}
1849-1868 [[Théophile Tilmant]]<br />
1868-1876 [[Adolphe Deloffre]]<br />
1876      [[Charles Constantin (conductor)|Charles Constantin]]<br /> 
1876-1877 [[Charles Lamoureux]]<br />
1877-1898 [[Jules Danbé]]<br />
1898-1904 [[André Messager]]<br />
1904-1906 [[Alexandre Luigini]]<br />
1906-1908 [[François Ruhlmann]]<br />
1909      [[Gustave Doret]]<br />
{{col-break}}
1910-1913 [[François Ruhlmann]]<br />
1914-1919 [[Paul Vidal]]<br />
1919-1921 [[André Messager]]<br />
1921-1924 [[Albert Wolff (conductor)|Albert Wolff]]<br />
1924-1925 [[Désiré-Émile Inghelbrecht]]<br />
1925-1932 [[Maurice Frigara]]<br />
1932-1936 [[Paul Bastide]]<br />
1936-1944 [[Eugène Bigot]]<br />
1947-1953 [[André Cluytens]]<ref>Musical Directors taken from Wolff 1953.</ref>
{{col-end}}

==See also==
[[Frédéric Blasius]]

==References==
===Notes===
{{Reflist}}

===Cited sources===
* Charlton, David (1986). ''Grétry and the Growth of Opéra-Comique''. Cambridge: Cambridge University Press. {{ISBN|978-0-521-25129-7}}.
* Cook, Elisabeth (1992). "Monnet [Monet], Jean" in Sadie 1992, vol. 3, p.&nbsp;436.
* Fauser, Annegret; Everist, Mark, editors (2009). ''Music, Theater, and Cultural Transfer: Paris, 1830–1914''. Chicago: The University of Chicago Press. {{ISBN|978-0-226-23926-2}}.
* Gourret, Jean (1985). ''Histoire des salles de l'Opéra de Paris'', p.&nbsp;83. Paris: Guy Trédaniel. {{ISBN|978-2-85707-180-8}}.
* Harris-Warrick, Rebecca; Charlton, David; Johnson, Janet; Langham Smith, Richard; Pitt, Charles (1992). "Paris" in Sadie 1992, vol. 3, pp.&nbsp;855&ndash;879.
* Johnson, Victoria (2008). ''Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime''. Chicago: University of Chicago Press. {{ISBN|978-0-226-40195-9}}.
* Levin, Alicia (2009). "Appendix: A Documentary Overview of Musical Theaters in Paris, 1830–1900" in Fauser and Everist 2009, pp.&nbsp;379–402.
* Pitou, Spire (1983). ''The Paris Opéra: an encyclopedia of operas, ballets, composers, and performers'' (3 volumes). Westport, Connecticut: Greenwood Press. {{ISBN|978-0-686-46036-7}}.
* Sadie, Stanley, ed. (1992). ''The new Grove dictionary of opera'' (4 volumes). London: Macmillan. {{ISBN|978-1-56159-228-9}}.
* Simeone, Nigel (2000). ''Paris – A Musical Gazetteer''. New Haven: Yale University Press. {{ISBN|978-0-300-08053-7}}.
* Warrack, John; West, Ewan (1992). ''The Oxford Dictionary of Opera''. Oxford: Oxford University Press. {{ISBN|978-0-19-869164-8}}.
* Warrack, John; West, Ewan (1996). ''The Concise Oxford Dictionary of Opera''. Oxford: Oxford University Press. {{ISBN|978-0-19-280028-2}}.
* Wild, Nicole ([1989]). ''Dictionnaire des théâtres parisiens au XIXe siècle: les théâtres et la musique''. Paris: Aux Amateurs de livres. {{ISBN|9780828825863}}. {{ISBN|9782905053800}} (paperback). [https://www.worldcat.org/oclc/20954302 View formats and editions] at [[WorldCat]].
* Wild, Nicole (1992). "Guyenet, Pierre" in Sadie 1992, vol. 2, p.&nbsp;586.
* Wild, Nicole; Charlton, David (2005). ''Théâtre de l'Opéra-Comique Paris: répertoire 1762-1972''. Sprimont, Belgium: Editions Mardaga. {{ISBN|978-2-87009-898-1}}.
* Wolff, Stéphane (1953). ''Un demi-siècle d'Opéra-Comique (1900-1950).'' Paris: André Bonne. {{OCLC|44733987|2174128|78755097}}

===Additional sources===
* [https://web.archive.org/web/20110227142529/http://www.grhis.fr/equipe/permanents/joann-elart/ Élart, Joann] (2004). ''Catalogue des fonds musicaux conservés en Haute-Normandie. Tome I : Bibliothèque municipale de Rouen. Volume 1 : Fonds du Théâtre des Arts (XVIIIe et XIXe siècles)'', coll. Patrimoine musical régional (in French). Rouen: [https://web.archive.org/web/20110430155835/http://www.univ-rouen.fr/irshs/users/purh/ PURH]. {{ISBN|978-2-87775-333-3}}.

==External links==
* [http://www.opera-comique.com Opéra-Comique website]
* [https://artsandculture.google.com/partner/op%C3%A9ra-comique Opéra Comique  at Google Cultural Institute]

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{{DEFAULTSORT:Opera-Comique}}
[[Category:1714 establishments in France]]
[[Category:Opera houses in Paris]]
[[Category:French opera companies]]
[[Category:Buildings and structures in the 2nd arrondissement of Paris]]
[[Category:Opera history]]
[[Category:Organisations based in Paris]]