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=Le Ménestrel=

Le Ménestrel (The Minstrel) was an influential French music journal published weekly from 1833 until 1940. It was founded by Joseph-Hippolyte l'Henry and originally published by Poussièlgue. In 1840 it was acquired by the music publishers Heugel and remained with the company until the journal's demise at the beginning of World War II. With the closure of its chief rival, La Revue et Gazette Musicale de Paris in 1880, Le Ménestrel became France's most prestigious and longest-running music journal.

History
In 1827 François-Joseph Fétis had founded La Revue Musicale, France's first periodical devoted entirely to classical music. By 1834 it had two serious competitors, Le Ménestrel established in 1833 and Maurice Schlesinger's Gazette Musicale established in 1834. Le Ménestrel was founded by Joseph-Hippolyte l'Henry with the first edition (published by Poussièlgue) appearing on 1 December 1833. In 1835, Schlesinger bought La Revue Musicale from Fétis and merged the publications into La Revue et gazette musicale de Paris. Until the Revue et Gazette ceased publication in 1880, Le Ménestrel was to be its main rival in terms of influence and breadth of coverage.

In July 1835 E. D'Arlhac took over the directorship of Le Ménestrel, but relinquished it the following March to the journalist and critic Jules Lovy, who had been a writer for the journal since its foundation. The partnership of Jacques-Léopold Heugel and Jean-Antoine Meissonnier acquired Le Ménestrel in 1840. Heugel became the Director and Jules Lovy stayed on as Editor-in-chief until his death in 1863. When Jacques-Léopold died in 1883, his son Henri-Georges Heugel took over as Director of the journal. He was in turn succeeded by his son Jacques-Paul who remained the Director for the remainder of its existence. Lovy had been succeeded as Editor-in-chief by Joseph d'Ortigue. However, after d'Ortigue's death in 1866, only the Heugel name appeared on the masthead.

Le Ménestrel was published weekly for a period spanning 107 years, initially coming out on Sunday (later changed to Saturday and then Friday). The Franco-Prussian War caused publication to be suspended from late December 1870 through November 1871, and publication was suspended again for the duration of World War I, with the first post-war issue appearing on 17 October 1919. At the outbreak of World War II in 1939, the journal carried on until the invasion of France. The 24 May 1940 issue carried an announcement that the closure of theatres and concert halls in Europe and France as well as the Paris Conservatory had forced them to suspend publication until the following autumn. In the end, it proved to be the last issue of Le Ménestrel. The Heugel company continued to operate as an independent music publisher until 1980 when it was sold to Éditions Alphonse Leduc.

Notes etc.
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Voltaire later observed that attending it was good for the digestion. Otherwise, the great philosopher had no use for opera. "Anything that is too stupid to be spoken," he said, "is sung." 

Xavier Leroux has written music to a new comic opera "L'Ingenu," the boob by Charles Mere and Regis Gignoux, after Voltaire. It has been produced at the ... ACTIVITIES OF MUSICIANS IN TOWN AND AFIELD; NYT March 8, 1931, Sunday Section: Arts & Leisure, Page 115,

RANDOM READINGS: VOLTAIRE'S BITE.  One night Voltaire was enjoying a performance at the opera, when the Due de Lauzun, a favourite of Louis XV., noisily entered the foyer with a crowd of friends, and demanded a box. "Alas, monsieur," said the atten- dant, "the boxes are all gone!" "That may be," said the duke; but I see the scribbler Voltaire over there in a very good box. Turn him out!" - Anxious to please the Court favour- ite, the attendants ejected Voltaire from the box for which he had paid, and the Due de Lauzun took his place. Voltaire, enraged at the injustice of the affair, brought a suit against the duke to recover the price that he had paid for the box. At the opening sess- ion of the court the duke's lawyer rose and, in a scornful voice, said : "What! Is it Monsieur Voltaire, a petty ink-splasher, who dares to plead against the Due de Lauzun, whose great-grandfather was the first to scale the walls of La Rochelle, whose grand- father took twelve cannon from the Dutch at Utrecht,* whose father cap- tured two standards from the English at Fontenoy, whose-" "Excuse me," Voltaire interrupted, I am not pleading against the Due de Lauzun who was first on the walls of La Rochelle, nor against the duke who took twelve cannon from the Dutch at Utrecfit, nor against him who captured two standards from the English at Fon- tenoy . I am pleading against the Due de Lauzun who never captured any- thing in his life except my box at the opera !"

"VOLTAIRE (1694-1118) VOLTAIRE, the towering figure in eighteenth-century French literature and thought, had a divided attitude toward opera. ..." The essence of opera‎ - Page 74 by Ulrich Weisstein - Music - 1964 + ', Gretry: ', 

From Garrick to Gluck: essays on opera in the age of Enlightenment

Tamerlane etc

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Candide
 * 23 Agosto 1784, Burgtheater Vienna Il re Teodoro in Venezia ("Il re Teodoro"), Giovanni Paisiello, libretto di Giovan Battista Casti (da Voltaire: "Candide")
 * 11 December 1956 New York City. Candide by Leonard Bernstein, based on the novella of the same name by Voltaire. The original libretto was written by Lillian Hellman, but since 1974, has been generally performed with a book by Hugh Wheeler

Zaïre
 * Zaira (1797, Venice) composed by Sebastiano Nasolini; libretto by Mattia Butturini
 * La Zaira (1802, Lisbon) composed by Marcos Antônio Portugal; libretto by Mattia Butturini
 * Zaira ossia Il trionfo della religione composed by Vincenzo Federici; libretto by Mattia Butturini
 * Zaira (1805) composed by Peter Winter; libretto by Filippo Pananti
 * Zaira (1829, Parma) composed by Vincenzo Bellini; libretto by Felice Romani
 * Zaira (1829) composed by Alessandro Gandini; libretto by Felice Romani
 * Zaira (1831, Naples) composed by Saverio Mercadante; libretto by Felice Romani
 * Zaira (1845, Modena) composed by Antonio Mami; libretto by Felice Romani
 * Zaïre (1887, Lille) composed by Charles Edouard Lefebvre; libretto by Paul Collin

Sémiramis
 * 27 Marzo 1754, Königliches Opernhaus (Linden) Berlin Semiramide, Carl Heinrich Graun, libretto by Giampietro Tagliazucchi
 * 25 Gennaio 1786, Mercoledì Teatro di via della Pergola di Firenze di "La vendetta di Nino o sia Semiramide", Alessio Prati, libretto di Pietro Giovanni
 * February 3, 1823 Venice Semiramide Gioachino Rossini. The libretto by Gaetano Rossi

Mérope


 * Carl Heinrich Graun Merope (Giampietro Tagliazucchi/Friedrich II. nach Voltaire Mérope), tragedia per musica 3 Akte (27. März 1756 Berlin)

Tancrède
 * 26 Dicembre 1766, Nuovo Teatro Regio di Torino di Tancredi Ferdinando Bertoni, libretto di Silvio Saverio Balbi [Balbis]
 * 6 February 1813'' Teatro La Fenice Venice Tancredi Gioachino Rossini, librettto by Gaetano Rossi

Bélisaire
 * 20 Agosto 1768 Théâtre de la Comédie-Italienne Paris Le huron, André-Ernest-Modeste Grétry, libretto di Jean-François Marmontel "Bélisaire" Voltaire and "L'ingénu, histoire véritable tirée des manuscrits du père Quesnel")

Others


 * 26 Ottobre 1765 première nel Théâtre Royal de la Cour di Fontainebleau di La fée Urgèle ou Ce qui plaît aux dames Egidio Duni, libretto by Charles-Simon Favart e Claude-Henri-François de Fusée de Voisenon after Voltaire Ce qui plaît aux dames and Geoffrey Chaucer: The Wife of Bath's Tale The Canterbury Tales


 * 6 Novembre 1773, Théâtre Royal de la Cour di Fontainebleau di "La belle Arsène" ("Arsène", "Arsenne") by Pierre-Alexandre Monsigny, libretto di Charles-Simon Favart (da Voltaire: La bégueule)


 * 22 Novembre 1774, Martedì Académie Royale de Musique et de Danse Parigi di "Azolan ou Le serment indiscret", opera-balletto eroico in Étienne-Joseph Floquet, libretto di Pierre-René Lemonnier (Le Monnier) "François Antoine Devaux" (da Voltaire)


 * 2 Luglio 1782, Académie Royale de Musique et de Danse Paris "Électre", Jean-Baptiste Lemoyne, libretto di Pierre-Nicolas-François Guillard (da Voltaire: "Oreste")


 * 26 Novembre 1782, Académie Royale de Musique et de Danse Paris "L'embarras des richesses", André-Ernest-Modeste Grétry, libretto di Jean-François Marmontel (da Voltaire: "L'ingénu, histoire véritable tirée des manuscrits du père Quesnel")


 * 26 Agosto 1784, Comédie-Italienne Paris "Memnon", opera comica Louis-Charles Ragué, libretto di Jean-François Guichard e Roger-Timothée Régnard de Pleinchesne (da Voltaire: "Memnon ou La sagesse humaine")


 * 3 Maggio 1785, Académie Royale de Musique et de Danse Paris "Pizarre ou La conquête de Pérou", Pierre Joseph Candeille, libretto di Pierre Duplessis (da Voltaire)


 * 30 Gennaio 1787, Teatro (Gallo) San Benedetto di Venezia di "L'orfano cinese" ("L'orfano della China"), Francesco Bianchi, libretto da Voltaire


 * 13 Novembre 1789,Drury Lane Theatre London "The Island of St.Marguerite", Thomas Shaw, libretto di John St.John (da Voltaire: "L'anedocte sur l'homme au masque de fer"


 * 13 Gennaio 1790, Théâtre-Italien) paris "Pierre le Grand", André-Ernest-Modeste Grétry, libretto di Jean Nicolas Bouilly (da Voltaire: "Histoire de l'empire de Russie sous Pierre le Grand")


 * Teatro San Carlo, Naples, on August 12, 1845 Alzira Giuseppe Verdi to an Italian libretto by Salvadore Cammarano, based on the play Alzire, ou les Américains by Voltaire.

Samson et Dalila (Samson and Delilah), Op. 47, is a grand opera in three acts and four tableaux by Camille Saint-Saëns to a French libretto by Ferdinand Lemaire. It was first performed at the Grossherzogliches (Grand Ducal) Theater (now the Staatskapelle Weimar) in Weimar on 2 December 1877 in a German translation. ???? Rameau