Françoise d'Aubigné, Marquise de Maintenon
Françoise d'Aubigné, Marquise de Maintenon was the second wife of King Louis XIV of France. She was known during her first marriage as Madame Scarron, subsequently as Madame de Maintenon, her marriage to the king was never announced or admitted, as it was morganatic, thus she was never considered Queen Consort of France. So, she was influential at court, was one of the king's closest advisers, she founded the Maison royale de Saint-Louis, a school for girls from poorer noble families, in 1684. Françoise d'Aubigné was born on 27 November 1635. A plaque suggests her birthplace was at the Hotel du Chaumont in western France; some sources indicate she may have been born in or just outside the prison at Niort because her father, the Huguenot Constant d'Aubigné, was incarcerated there for conspiring against Cardinal Richelieu. Her mother, Jeanne de Cardilhac, was the daughter of Constant's jailer, her grandfather was Agrippa d'Aubigné, a well-known Protestant General, a former intimate servant of Henry IV, an epic poet.
Jeanne had her child baptised in her own Catholic religion. Suzanne would go to serve Anne of Austria and Maria Theresa, the first wife of Louis XIV. In 1639, Françoise's father was released from prison and went with his family to the island of Martinique in the West Indies. Jeanne was a strict mother, allowed her children few liberties, gave them a Protestant education, despite their Catholic baptism. Constant returned to France. Jeanne was forever trying to be "mother and father" to her children, she made it back to France, to join her husband in 1647. Within months of her return to France Jeanne's husband died and Françoise returned to the care of her beloved aunt, Madame de Villette, her father's sister; the Villettes' house, became a happy memory for Françoise, in the care of her aunt and uncle before leaving for Martinique. The de Villettes were wealthy and took good care of the child, but they were ardent Protestants and they continued to school Françoise in their beliefs; when this became known to her godmother's family, an order was issued that Françoise had to be educated in a convent.
Françoise disliked convent life, but she grew to love one of the nuns there, Sister Céleste, who persuaded Françoise to take her First Communion. "I loved her more than I could say. I wanted to sacrifice myself for her service."Madame de Neuillant, the mother of Françoise's godmother Suzanne, brought her to Paris and introduced her to sophisticated women and men, who became vital links that she would use in the future. In her excursion with Madame de Neuillant, Françoise met Paul Scarron, 25 years her senior, began to correspond with him. Scarron was an accomplished poet and novelist, who counted Marie de Hautefort, a favourite of King Louis XIII, among his patrons, he offered her marriage. Although Scarron suffered from chronic and crippling pain from polio, she accepted his proposal and became Madame Scarron in 1652; the match permitted her to gain access to the highest levels of Paris society, something that would have otherwise been impossible for a girl from an impoverished background. For nine years, she was a fixture in his social circle.
On the death of Scarron in 1660, the queen dowager, Anne of Austria, continued his pension to his widow increasing it to 2,000 livres a year, thus enabling her to remain in literary society. After Anne's death in 1666, Louis XIV suspended the pension. Once again in straitened circumstances, having spent several years living off the charity of her friends, Mme Scarron prepared to leave Paris for Lisbon as a lady-in-waiting to the new Queen of Portugal, Marie-Françoise de Nemours. Before setting off, she met Madame de Montespan, secretly the king's lover. Madame de Montespan took such a fancy to Mme Scarron that she had the king reinstate her pension, which enabled Françoise to stay in Paris. In 1669, when Madame de Montespan's first child by Louis XIV was born, she placed the baby with Madame Scarron in a house on Rue de Vaugirard, provided her with a large income and staff of servants. Françoise took care to keep the house well guarded and discreet doing the domestic duties herself, her care for the infant Louis Auguste, Duke of Maine first brought her to the attention of Louis XIV, though he was put off by her strict religious practice.
When Louis Auguste and his siblings were legitimized on 20 December 1673, she became the royal governess at Saint-Germain. As governess, she was one of few people permitted to speak with the king as an equal, without holding back. Madame de Sévigné observed. Due to her hard work, the King rewarded her with 200,000 livres, she purchased the property at Maintenon in 1674. Saint-Simon was told by his father-in-law that the King had disliked Madame Scarron, but, as he tired of Madame de Montespan's bad temper, began to find her rival sympathetic. In 1675, the king gave her the title of Marquise de Maintenon after the name of her estate; such favours incurred Madame de Montespan's jealousy. At court, she was now known as Madame de Maintenon. Madame de Montespan and Françoise sparred over the children and their care."Madame de Maintenon knows how to love. There would be great pleasure i
Isabelle Druet is a French operatic coloratura mezzo-soprano who has performed internationally. She co-founded a theatre company, La Carotte, she has recorded with the ensemble Le Poème Harmonique. On stage, she has performed at opera houses in Paris, Lyon and Düsseldorf, among others. Born in Niort, Druet started as an actress, taking theatre courses in high school in Salins-les-Baths, she pursued a Diplôme d'études universitaires scientifiques et techniques degree in Besançon, studying at the University of Franche-Comté. Though she sang in the university choir, her musical preferences were for Indian music. In 2000, she co-founded a theatre company based in Besançon, La Carotte, where theatre, music and storytelling performances were mixed. Torn between theatre and music, she moved to Paris and studied music for two years in the 7th arrondissement before entering the National Conservatoire. Studying voice at the Conservatoire de Paris, Druet graduated summa cum laude in 2007, she obtained a master's degree, writing a thesis, La construction du personnage à l'opéra, attending masterclasses with René Jacobs and Agnès Mellon, among others.
In June 2007 she won a first prize in singing with unanimous praise from the jury at the Conservatoire in Isabelle Guillaud's class. That same year, she was elected in the category "Révélation classique lyrique" of the Adami. With her final two years at the Conservatoire, Druet performed in the Opéra-Comique, Théâtre des Champs-Élysées, Théâtre du Châtelet, as well as at regional festivals. Among her roles were Zaïde in Europa Galante by André Campra under the direction of William Christie, which toured in 2005. In 2008, she was awarded second place in the Queen Elisabeth Competition in Brussels and sang at Carnegie Hall in New York City with the baroque ensemble, Les Arts Florissants under the direction of William Christie; the following year, she co-created with Marc Mauillon a presentation for the Emergence Festival. Premiering together, they performed La Valse perdue by Jacques Offenbach at the Musical Theater of Besançon; the duo continued to perform together, singing at the concert of the Revelations of Victories in 2010, when each of them were awarded the distinction of "laureate" in the Victoires de la musique classique.
After touring throughout Europe, performing both operatic roles and singing baroque lyric concert music, Druet made her US orchestral debut performing with the Detroit Symphony Orchestra in 2015. Combining music from two different composers, Argentine Alberto Ginastera and French Maurice Ravel, the concert under the direction of Leonard Slatkin was praised for the thoughtful presentation. Druet was praised for her passionate performance in Ravel's Two Hebraic Melodies, based upon an Aramaic version of the Kaddish. Noted was her performance in Ravel's Sheharazade, for her "intelligent phrasing, attuned to every nuance embedded in the text". In 2010, Druet performed the role of Arcabonne in Lully's Amadis. In 2011, she appeared in the title role of Bizet's Carmen at both the opéra national de Lorraine in Nancy and at the Deutsche Oper am Rhein in Düsseldorf, she sang the title role of Rossini's L'italiana in Algeri in Metz. She Aeneas. Druet made her debut at the Paris Opera in 2011 as the Page in Salome by Richard Strauss.
In 2013, she was Orphée in Gluck's Orphée et Eurydice in the revised version by Hector Berlioz at the Opéra de Limoges, alongside Marion Tassou as Eurydice. She appeared as Concepción in Ravel's L'heure espagnole in Lyon, recorded, as Baba Turk in Britten's The Rake's Progress, she has appeared at the Paris Opera as Tisbe in Rossini's La Cenerentola, as Annina in Verdi's La traviata, as Ciesca in Puccini's Gianni Schicchi. Druet began performing with the ensemble Le Poème Harmonique, as the group allowed her to explore her interest in a variety of music styles. In 2010, she was featured in a production of Cadmus et Hermione by Lully at the Opéra Comique accompanied by Le Poème Harmonique and Vincent Dumestre. Druet appeared in concert with Le Poème Harmonique and recording rarities such as music by Luis de Briceño and his contemporaries. In Firenze 1616, they focused on Domenico Belli's Orfeo dolente, music of his time by Claudio Saracini, Giulio Caccini and Cristofano Malvezzi, she recorded Shakespeare Songs with pianist Anne Le Bozec, works inspired by characters from plays such as Juliet and Desdemona, including songs by Schubert, Castelnuovo-Tedesco, the ballad "La mort d'Ophélie" by Saint-Saëns and Five Ophelia Songs by Brahms.
A review notes her "cultured voice", in four languages. 2007: Révélation Adami of the Société civile pour l'administration des droits des artistes et musiciens interprètes, Paris 2008: Second prize of the Queen Elisabeth Competition, Brussels 2010: Victoires de la musique classique – Laureate in the category "Lyric artist revelation" 2004 Plaisir d'amour with Le Poème Harmonique 2008 Queen Elisabeth Competition in singing 2007 Firenze 1616 with Le Poème Harmonique 2008 Lully's Cadmus et Hermione with Le Poème Harmonique 2010 Monteverdi & Marazzoli: Combattimenti! – Poème Harmonique with Le Poème Harmonique 2010 Mozart: Die Zauberflöte, with René Jacobs 2011
Nouvelle-Aquitaine is the largest administrative region in France, located in the southwest of the country. The region was created by the territorial reform of French Regions in 2014 through the merger of three regions: Aquitaine and Poitou-Charentes, it covers 84,061 km2 – or 1⁄8 of the country – and has 5,800,000 inhabitants.. The new region was established on 1 January 2016, following the regional elections in December 2015, it is the largest region in France by area, with a territory larger than that of Austria. Its largest city, together with its suburbs and satellite cities, forms the 7th-largest metropolitan area of France, with 850,000 inhabitants; the region has 25 major urban areas, among which the most important after Bordeaux are Bayonne, Poitiers, La Rochelle, as well as 11 major clusters. The growth of its population marked on the coast, makes this one of the most attractive areas economically in France. After Île-de-France, New Aquitaine is the premier French region in research and innovation, with five universities and several Grandes Ecoles.
The agricultural region of Europe with the greatest turnover, it is the French region with the most tourism jobs, as it has three of the four historic resorts on the French Atlantic coast:, as well as several ski resorts, is the fifth French region for business creation. Its economy is based on agriculture and viticulture, tourism, a powerful aerospace industry, digital economy and design and pharmaceutical industries, financial sector, industrial ceramics. Many companies specializing in surfing and related sports have located along the coast; the new region includes major parts of Southern France, marked by Basque, Oïl cultures. It is the "indirect successor" to medieval Aquitaine, extends over a large part of the former Duchy of Eleanor of Aquitaine; the region's interim name Aquitaine-Limousin-Poitou-Charentes was a hyphenated placename, known as ALPC, created by hyphenating the merged regions' names – Aquitaine and Poitou-Charentes – in alphabetical order. In June 2016, a working group headed by historian Anne-Marie Cocula, a former vice president of Aquitaine, proposed the name "Nouvelle Aquitaine".
The decision came after the popular favorite, "Aquitaine", faced resistance by regional politicians from Limousin and Poitou-Charentes. The other popular favorite, "Grande Aquitaine," was rejected for its connotation with a feeling of superiority. Alain Rousset, president of the region, concurred with the working group's conclusion, reaffirming that he considered the acronym "ALPC" no choice at all. For those deploring the loss of "Limousin" and "Poitou-Charentes", he noted that the predecessor region of Aquitaine subsumed the identities of the Périgord or the Pays Basque, which did not disappear during its 40 years of operation. On 27 June 2016, just a few days ahead of the 1 July deadline, the Regional council unanimously adopted Nouvelle-Aquitaine as the region's permanent name. France's Conseil d'État approved Nouvelle-Aquitaine as the new name of the region on 28 September 2016, effective two days later. For the recent history of each former administrative regions and departments before 2016, For the history of past entities covering much of the area of the region before the French revolution, At 84,061 square kilometers, the region Nouvelle-Aquitaine is larger than French Guiana, which makes it the largest region in France.
Nouvelle-Aquitaine is delimited by four other French regions, three autonomous communities in Spain to the south, the North Atlantic Ocean to the west. Nouvelle-Aquitaine comprises twelve departments: Charente, Charente-Maritime, Corrèze, Dordogne, Landes, Lot-et-Garonne, Pyrénées-Atlantiques, Deux-Sèvres and Haute-Vienne, its largest city and only metropolis is Bordeaux, in the heart of an urban agglomeration of nearly one million inhabitants. Taking into consideration the urban area, the new region is home to six of the fifty largest metropolitan areas of French territory: Bordeaux Bayonne Limoges Poitiers Pau La Rochelle. In addition, the region has a network of medium towns scattered throughout its territory, including: Angoulême Agen Brive-la-Gaillarde Niort Périgueux Bergerac Villeneuve-sur-Lot Dax Mont-de-Marsan The region covers a large part of the Aquitaine Basin and a small portion of the Paris Basin and the Limousin plate and the western part of the Pyrenees, it is part of five watersheds facing the Atlantic Ocean: Loire, Charente and Dordogne (and their extension, the
Opéra comique is a genre of French opera that contains spoken dialogue and arias. It emerged from the popular opéras comiques en vaudevilles of the Fair Theatres of St Germain and St Laurent, which combined existing popular tunes with spoken sections. Associated with the Paris theatre of the same name, opéra comique is not always comic or light in nature; the term opéra comique is complex in meaning and cannot be translated as "comic opera". The genre originated in the early 18th century with humorous and satirical plays performed at the theatres of the Paris fairs which contained songs, with new words set to existing music; the phrase opéra comique en vaudevilles or similar was applied to these early stage works. In the middle of the 18th century, composers began to write original music to replace the vaudevilles, under the influence of the lighter types of Italian opera; this form of opéra comique was known as comédie mêlée d'ariettes, but the range of subject matter it covered expanded beyond the comic.
By the 19th century, opéra comique meant little more than works with spoken dialogue performed at the Opéra-Comique theatre, as opposed to works with recitative delivery which appeared at the Paris Opéra. Thus, the most famous of all opéras comiques, Georges Bizet's Carmen, is on a tragic subject; as Elizabeth Bartlet and Richard Langham Smith note in their Grove article on the subject and librettists rejected the use of the umbrella term opéra comique in favour of more precise labels. Opéra comique began in the early eighteenth century in the theatres of the two annual Paris fairs, the Foire Saint Germain and the Foire Saint Laurent. Here plays began to include musical numbers called vaudevilles, which were existing popular tunes refitted with new words; the plays were humorous and contained satirical attacks on the official theatres such as the Comédie Française. In 1715 the two fair theatres were brought under the aegis of an institution called the Théâtre de l'Opéra-Comique. In spite of fierce opposition from rival theatres the venture flourished and leading playwrights of the time, including Alain René Lesage and Alexis Piron, contributed works in the new form.
The Querelle des Bouffons, a quarrel between advocates of French and Italian music, was a major turning-point for opéra comique. Members of the pro-Italian faction, such as the philosopher and musician Jean-Jacques Rousseau, attacked serious French opera, represented by the tragédies en musique of Jean-Philippe Rameau, in favour of what they saw as the simplicity and "naturalness" of Italian comic opera, exemplified by Pergolesi's La serva padrona, performed in Paris by a travelling Italian troupe. In 1752, Rousseau produced a short opera influenced by Pergolesi, Le devin du village, in an attempt to introduce his ideals of musical simplicity and naturalness to France, its success attracted the attention of the Foire theatres. The next year, the head of the Saint Laurent theatre, Jean Monnet, commissioned the composer Antoine Dauvergne to produce a French opera in the style of La serva padrona; the result was Les troqueurs, which Monnet passed off as the work of an Italian composer living in Vienna, fluent in French, thus fooling the partisans of Italian music into giving it a warm welcome.
Dauvergne's opera, with a simple plot, everyday characters, Italianate melodies, had a huge influence on subsequent opéra comique, setting a fashion for composing new music, rather than recycling old tunes. Where it differed from opéras comiques, was that it contained no spoken dialogue. In this, Dauvergne was following the example of Pergolesi's La serva padrona; the short, catchy melodies which replaced the vaudevilles were known as ariettes and many opéras comiques in the late 18th century were styled comédies mêlées d'ariettes. Their librettists were playwrights, skilled at keeping up with the latest trends in the theatre. Louis Anseaume, Michel-Jean Sedaine and Charles Simon Favart were among the most famous of these dramatists. Notable composers of opéras comiques in the 1750s and 1760s include Egidio Duni, Pierre-Alexandre Monsigny and François-André Danican Philidor. Duni, an Italian working at the francophile court of Parma, composed Le peintre amoureux de son modèle in 1757 with a libretto by Anseaume.
Its success encouraged the composer to move to Paris permanently and he wrote 20 or so more works for the French stage. Monsigny collaborated with Sedaine in works which mixed comedy with a serious social and political element. Le roi et le fermier contains Enlightenment themes such as the virtues of the common people and the need for liberty and equality, their biggest success, Le déserteur, concerns the story of a soldier, condemned to death for deserting the army. Philidor's most famous opéra comique was Tom Jones, based on Henry Fielding's novel of the same name, it is notable for its many ensembles. The most important and popular composer of opéra comique in the late 18th century was André Ernest Modeste Grétry. Grétry blended Italian tunefulness with a careful setting of the French language, he was a versatile composer who expanded the range of opéra comique to cover a wide variety of subjects from the Oriental fairy tale Zémire et Azor to the musical satire of Le jugement de Midas and the domestic farce of L'amant jaloux.
His most famous work was the historical "rescue opera", Richard Coeur-de-lion, which achieved international popularity, reachin
Aurélien Capoue is a French former footballer who played as a midfielder. Capoue made his debut for Guadeloupe at the CONCACAF Gold Cup Finals in June 2007 against Haiti, he has been called up to the Guadeloupe squad for the 2009 CONCACAF Gold Cup. His younger brother is Étienne Capoue, a professional footballer. Aurélien Capoue – French league stats at LFP Aurélien Capoue at L'Équipe Football Player profile – FC Nantes at the Wayback Machine
Nantes is a city in Loire-Atlantique on the Loire, 50 km from the Atlantic coast. The city is the sixth-largest in France, with a population of 303,382 in Nantes and a metropolitan area of nearly 950,000 inhabitants. With Saint-Nazaire, a seaport on the Loire estuary, Nantes forms the main north-western French metropolis, it is the administrative seat of the Loire-Atlantique department and the Pays de la Loire région, one of 18 regions of France. Nantes belongs and culturally to Brittany, a former duchy and province, its omission from the modern administrative region of Brittany is controversial. Nantes was identified during classical antiquity as a port on the Loire, it was the seat of a bishopric at the end of the Roman era before it was conquered by the Bretons in 851. Although Nantes was the primary residence of the 15th-century dukes of Brittany, Rennes became the provincial capital after the 1532 union of Brittany and France. During the 17th century, after the establishment of the French colonial empire, Nantes became the largest port in France and was responsible for nearly half of the 18th-century French Atlantic slave trade.
The French Revolution resulted in an economic decline, but Nantes developed robust industries after 1850. Deindustrialisation in the second half of the 20th century spurred the city to adopt a service economy. In 2012, the Globalization and World Cities Research Network ranked Nantes as a Gamma world city, it is the fourth-highest-ranking city in France, after Paris and Marseille. The Gamma category includes cities such as Algiers, Porto and Leipzig. Nantes has been praised for its quality of life, it received the European Green Capital Award in 2013; the European Commission noted the city's efforts to reduce air pollution and CO2 emissions, its high-quality and well-managed public transport system and its biodiversity, with 3,366 hectares of green space and several protected Natura 2000 areas. Nantes is named after a tribe of Gaul, the Namnetes, who established a settlement between the end of the second century and the beginning of the first century BC on the north bank of the Loire near its confluence with the Erdre.
The origin of the name "Namnetes" is uncertain, but is thought to come from the Gaulish root *nant- or from Amnites, another tribal name meaning "men of the river". Its first recorded name was by the Greek writer Ptolemy, who referred to the settlement as Κονδηούινκον and Κονδιούινκον —which might be read as Κονδηούικον —in his treatise, Geography; the name was latinised during the Gallo-Roman period as Condevincum, Condevicnum and Condivincum. Although its origins are unclear, "Condevincum" seems to be related to the Gaulish word condate "confluence"; the Namnete root of the city's name was introduced at the end of the Roman period, when it became known as Portus Namnetum "port of the Namnetes" and civitas Namnetum "city of the Namnetes". Like other cities in the region, its name was replaced during the fourth century with a Gaulish one. Nantes' name continued to evolve, becoming Nanetiæ and Namnetis during the fifth century and Nantes after the sixth via syncope. "Nantes" is pronounced, the city's inhabitants are known as Nantais.
In Gallo, the oïl language traditionally spoken in the region around Nantes, the city is spelled "Naunnt" or "Nantt". Gallo pronunciation is identical to French. In Breton, Nantes is known as Naoned or an Naoned, the latter of, less common and reflects the more-frequent use of articles in Breton toponyms than in French ones. Nantes' historical nickname was "Venice of the West", a reference to the many quays and river channels in the old town before they were filled in during the 1920s and 1930s; the city is known as la Cité des Ducs "city of the dukes " for its castle and former role as a ducal residence. The first inhabitants of what is now Nantes settled during the Bronze Age than in the surrounding regions, its first inhabitants were attracted by small iron and tin deposits in the region's subsoil. The area exported tin, mined in Piriac, as far as Ireland. After about 1,000 years of trading, local industry appeared around 900 BC. Nantes may have been the major Gaulish settlement of Corbilo, on the Loire estuary, mentioned by the Greek historians Strabo and Polybius.
Its history from the seventh century to the Roman conquest in the first century BC is poorly documented, there is no evidence of a city in the area before the reign of Tiberius in the first century AD. During the Gaulish period it was the capital of the Namnetes people, who were allied with the Veneti in a territory extending to the northern bank of the Loire. Rivals in the area included the Pictones, who controlled the area south of the Loire in the city of Ratiatum until the end of the second century AD. Ratiatum, founded under Augustus, developed more than Nantes and was a major port in the region. Nantes began to grow; because tradesmen favoured inland roads rather than Atlantic routes, Nantes never became a large city under Roman occupa
The Gare Montparnasse Paris-Montparnasse, is one of the six large Paris railway termini, is located in the 14th and 15th arrondissements of Paris. The station opened in 1840, was rebuilt in 1852 and was relocated in 1969 to a new station just south of the original location — where subsequently the prominent Montparnasse Tower was constructed; the original station is noted for the Montparnasse derailment, where a steam train crashed through the station in 1895, an event captured in known photographs — and reproduced in full scale in several locations. The station serves intercity TGV trains to the west and south-west of France including Tours, Bordeaux and Nantes, suburban and regional services on the Transilien Paris – Montparnasse routes. There is a metro station; the station opened in 1840 as Gare de l'Ouest being renamed. A second station was built between 1848 and 1852. On 25 August 1944, the German military governor of Paris, General von Choltitz, surrendered his garrison to the French General Philippe Leclerc at the old station, after disobeying Adolf Hitler's direct order to destroy the city.
During the 1960s, a newer station integrated into a complex of office buildings was built. In 1969, the old station was torn down and the Tour Montparnasse built on its site. An extension was built in 1990 to host the TGV Atlantique; the Gare Montparnasse became famous for the derailment on 22 October 1895, of the Granville–Paris Express, which overran the buffer stop. The engine careered across 30 metres of the station concourse, crashed through a 60-centimetre thick wall, shot across a terrace and smashed out of the station, plummeting onto the Place de Rennes 10 metres below, where it stood on its nose. Two of the 131 passengers sustained injuries, along with two conductors; the only fatality was a woman on the street below, Marie-Augustine Aguilard, temporarily taking over her husband's work duty while he went out to get the newspapers. She was killed by falling masonry; the railway company paid for her funeral and provided a pension to look after her two children. The accident was caused by a faulty Westinghouse brake and the engine driver, trying to make up lost time.
A conductor was given the engine driver a 50-franc fine. Replicas of the train crash are recreated outside the Mundo a Vapor museum chain buildings in Brazil, in the southernmost state, Rio Grande do Sul, in the city of Canela. From Paris Montparnasse train services depart to major French cities such as: Le Mans, Saint-Brieuc, Saint-Malo, Lorient, Angers, Saint-Nazaire, Poitiers, La Rochelle, Angoulême, Toulouse and Granville; the station is served by suburban trains heading to the west and south-west of Paris. High speed services Paris – Bordeaux – Dax – Lourdes – Tarbes High speed services Paris – Bordeaux – Dax – Bayonne – Biarritz – Hendaye – Irun High speed services Paris – Bordeaux – Agen – Toulouse High speed services Paris – Bordeaux – Arcachon High speed services Paris – Tours – Poitiers – Angoulême – Bordeaux High speed services Paris – Poitiers – La Rochelle High speed services Paris – Tours High speed services Paris – Le Mans – Rennes – St Brieuc – Brest High speed services Paris – Le Mans – Vannes – Lorient – Quimper High speed services Paris – Rennes – St Malo High speed services Paris – Le Mans – Rennes High speed services Paris – Nantes – St-Nazaire – Le Croisic High speed services Paris – Le Mans – Angers – Nantes Discount High Speed Services Paris - Poitiers - Saint-Pierre-des-Corps- Angoulême - Bordeaux Discount High Speed Services Paris - Le Mans Discount High Speed Services Paris - Le Mans - Laval - Rennes Intercity services Paris – Dreux – Argentan – Granville Regional Services Paris to Granville with numerous stops Regional services Paris – Versailles – Rambouillet – Chartres – Le Mans Regional services Paris – Versailles – St-Quentin-en-Yvelines – Rambouillet Regional services Paris – Versailles – Plaisir – Dreux Regional services Paris – Versailles – Plaisir – Mantes-la-Jolie Regional services Paris – Versailles – Plaisir Adjacent metro station: Montparnasse – BienvenüeNearby station: Pasteur Transportation in France List of stations of the Paris RER List of stations of the Paris Métro Gare d'Austerlitz Gare de l'Est Gare de Lyon Gare du Nord Gare Saint-Lazare Gare Montparnasse at Transilien, the official website of SNCF Gare Montparnasse at "Gares & Connexions", the official website of SNCF Gare Montparnasse – current photographs and of the years 1900.
Satellite image from Google Maps Mundo a Vapor Museum The Brazilian museum which contains the 1895 derailment accident replica