Évreux is a commune in and the capital of the department of Eure, in the French region of Normandy. The city is on the Iton river. In late Antiquity, the town, attested in the fourth century CE, was named Mediolanum Aulercorum, "the central town of the Aulerci", the Gallic tribe inhabiting the area. Mediolanum was a small regional centre of the Roman province of Gallia Lugdunensis. Julius Caesar wintered eight legions in this area after his third campaigning season in the battle for Gaul: Legiones VII, VIII, IX, X, XI, XII, XIII and XIV; the present-day name of Évreux originates from the Gallic tribe of Eburovices Those who overcome by the yew?, from the Gaulish root eburos. The first known members of the family of the counts of Évreux were descended from an illegitimate son of Richard I, duke of Normandy; the county passed in right of Agnes, William's sister, wife of Simon de Montfort-l'Amaury to the house of the lords of Montfort-l'Amaury. Amaury VI de Montfort-Évreux ceded the title in 1200 to King Philip Augustus, whose successor Philip the Fair presented it in 1307 to his brother Louis d'Évreux, for whose benefit Philip the Long raised the county of Évreux into a peerage of France in 1317.
Philip d'Évreux, son of Louis, became king of Navarre by his marriage to Joan II of Navarre, daughter of Louis the Headstrong, their son Charles the Bad and their grandson Charles the Noble were kings of Navarre. The latter ceded his counties of Évreux and Brie to King Charles VI of France in 1404. In 1427 the county of Évreux was bestowed by King Charles VII on Sir John Stuart of Darnley, the commander of his Scottish bodyguard, who in 1423 had received the seigniory of Aubigny, in February 1427/8 he was granted the right to quarter the royal arms of France for his victories over the English. On Stuart's death the county reverted to the crown, it was again temporarily alienated as an appanage for Duke François of Anjou, in 1651 was given to Frédéric Maurice de La Tour d'Auvergne, duc de Bouillon, in exchange for the Principality of Sedan. The most famous holder of the title is son of Marie Anne Mancini. Évreux was damaged during the Second World War, most of its centre was rebuilt. The nearby Évreux-Fauville Air Base was used by the United States Air Force until 1967, since by the French Air Force.
Évreux Cathedral has been the seat of the bishops of Évreux since its traditional founder, Saint Taurin of Évreux, most working between 375 and 425. The earliest parts of the present building, Gothic, date from the eleventh century; the west façade and its two towers are from the late Renaissance. Of especial note are the Lady chapel and its stained glass, the rose windows in the transepts and the carved wooden screens of the side chapels; the church of the former abbey of St-Taurin is in part Romanesque. It has a choir of the 14th century and other portions of date, contains the thirteenth-century shrine of Saint Taurin; the episcopal palace, a building of the fifteenth century, adjoins the south side of the cathedral. The belfry facing the hôtel de ville dates from the fifteenth century. In the Middle Ages, Évreux was one of the centres of Jewish learning, its scholars are quoted in the medieval notes to the Talmud called the Tosafot; the following rabbis are known to have lived at Évreux: Samuel ben Shneor, praised by his student Isaac of Corbeil as the "Prince of Évreux", one of the most celebrated tosafists.
Its inhabitants are called Ébroïciens. Évreux is situated in the pleasant valley of arms of which traverse the town. It is the seat of a bishop, its cathedral is one of the largest and finest in France; the first cathedral was built in 1076, but destroyed in 1119 when the town was burned at the orders of Henry I of France to put down the Norman insurrection. He rebuilt the cathedral as an act of atonement to the Pope. Between 1194 and 1198, the conflict between Philippe Auguste and Richard the Lion-hearted damaged the new cathedral; the architecture of the present edifice shows this history, with its blend of Romanesque and Gothic styles. As did many towns in the regions of Nord and Normandy, Évreux and its cathedral suffered from Second World War. At Le Vieil-Évreux, the Roman Gisacum, 5.6 kilometres southeast of the town, the remains of a Roman theatre, a palace, baths and an aqueduct have been discovered, as well as various relics, notably the bronze of Jupiter Stator, which are now deposited in the museum of Évreux.
Évreux Cathedral Hôtel de ville Église Saint-Taurin The communauté d'agglomération Évreux Portes de Normandie has 62 communes. Since 2015, Évreux is part of three cantons: The canton of Évreux-1 includes a part of Évreux and the communes of: Arnières-sur-Iton and Saint-Sébastien-de-Morsent.
The White Horse Inn
White Horse Inn, is an operetta or musical comedy by Ralph Benatzky and Robert Stolz in collaboration with a number of other composers and writers, set in the picturesque Salzkammergut region of Upper Austria. It is about the head waiter of the White Horse Inn in St. Wolfgang, in love with the owner of the inn, a resolute young woman who at first only has eyes for one of her regular guests. Sometimes classified as an operetta, the show enjoyed huge successes both on Broadway and in the West End and was filmed several times. In a way similar to The Sound of Music and the three Sissi movies, the play and its film versions have contributed to the saccharine image of Austria as an alpine idyll—the kind of idyll tourists have been seeking for a century now. Today, Im weißen Rößl is remembered for its songs, many of which have become popular classics. In the last decade of the 19th century, Oscar Blumenthal, a theatre director from Berlin, was on holiday in Lauffen, a small town in the vicinity of St. Wolfgang.
There, at the inn where he was staying, Blumenthal happened to witness the head waiter's painful wooing of his boss, a widow. Amused, Blumenthal used the story as the basis of a comedy—without music—which he co-authored with actor Gustav Kadelburg; however and Kadelburg relocated the action from Lauffen to the much more prominent St. Wolfgang, where the Gasthof Weißes Rößl had existed since 1878. Having thus chanced upon a suitable title, the authors went to work, Im weißen Rößl premiered in Berlin in 1897; the play was an immediate success. The Berlin audience would laugh at the comic portrayal of well-to-do city dwellers such as Wilhelm Giesecke, a producer of underwear, his daughter Ottilie, who have travelled all the way from Berlin to St. Wolfgang and now, on holiday, cannot help displaying many of the characteristics of the nouveaux-riches. "Wär' ick bloß nach Ahlbeck jefahren"—"If only I had gone to Ahlbeck", Giesecke sighs as he considers his unfamiliar surroundings and the strange dialect spoken by the wild mountain people that inhabit the Salzkammergut.
At the same time the play promoted tourism in Austria in and around St. Wolfgang, with a contemporary edition of the Baedeker praising the natural beauty of the region and describing the White Horse Inn as nicely situated at the lakefront next to where the steamboat can be taken for a romantic trip across the Wolfgangsee; the White Horse Inn was awarded a Baedeker star. Sydney Rosenfeld, a prolific American adapter of foreign plays, debuted an English version of the play titled At the White Horse Tavern at Wallack's Theatre in 1899, with a cast including Amelia Bingham and Leo Ditrichstein. Just as the play was about to be forgotten—a silent film The White Horse Inn directed by Richard Oswald and starring Liane Haid had been made in Germany in 1926—it was revived, again in Berlin, this time as a musical comedy. During a visit to the Salzkammergut, the actor Emil Jannings told Berlin theatre manager Erik Charell about the comedy. Charell was interested and commissioned a group of prominent authors and composers to come up with a musical show based on Blumenthal and Kadelburg's libretto.
They were Ralph Benatzky, Robert Stolz and Bruno Granichstaedten, Robert Gilbert, Hans Müller-Einigen and Charell himself. The show premiered in Berlin on November 8, 1930. Afterwards it became a success around the world, with long runs in cities like London, Vienna and New York. During the Third Reich the comedy was marginalized and not performed, whereas people in the 1950s, keen on harmony and shallow pleasures, eagerly greeted revivals of the show. German-language films based on the musical comedy were made in 1935, 1952 and 1960, it is summertime at the Wolfgangsee. Josepha Vogelhuber, the young, attractive but resolute owner of the White Horse Inn, has been courted for some time by her head waiter, Leopold Brandmeyer. While appreciating his aptness for the job, she mistrusts all men as potential gold-diggers, rejects Leopold's advances and longingly waits for the arrival of Dr Siedler, a lawyer, one of her regular guests for many years; this year, Josepha hopes, Siedler might propose to her.
When Siedler arrives, he finds himself in the same place with Wilhelm Giesecke, his client Sülzheimer's business rival, falls in love with Giesecke's beautiful daughter Ottilie. As it happens, Sülzheimer's son Sigismund, a would-be beau arrives at the White Horse Inn. Angry at first about that person's presence at the same inn, Giesecke soon has the idea of marrying off his daughter to Sigismund Sülzheimer, thus turning a pending lawsuit into an advantageous business merger. However, Siedler's love is reciprocated by Ottilie, who adamantly refuses to marry Sigismund, while Sigismund himself has fallen for Klärchen Hinzelmann, a naive beauty who accompanies her professorial father on a tour through the Salzkammergut. Seeing all this, Leopold Brandmeyer decides that he quits his job. Josepha has done a lot of thinking in the meantime, reconsiders her head waiter's proposal of marriage, can persuade him to stay—not just as an employee but as boss. Love gets its way with the other two couples as well, the play ends with the prospect of a triple marriage.
"Im weißen Rössl am Wolfgangsee" "Was kann der Sigismund dafür, dass er so schön ist" "Im Salzkammergut, da kann man gut lustig sein" "Es muss was Wunde
Tours is a city in the centre-west of France. It is the administrative centre of the Indre-et-Loire department and the largest city in the Centre-Val de Loire region of France. In 2012, the city of Tours had 134,978 inhabitants, the population of the whole metropolitan area was 483,744. Tours stands between Orléans and the Atlantic coast; the surrounding district, the traditional province of Touraine, is known for its wines, for the alleged perfection of its local spoken French, for the Battle of Tours. The historical center of Tours is a UNESCO World Heritage Site; the city is the end-point of the annual Paris–Tours cycle race. In Gallic times the city was important as a crossing point of the Loire. Becoming part of the Roman Empire during the 1st century AD, the city was named "Caesarodunum"; the name evolved in the 4th century when the original Gallic name, became first "Civitas Turonum" "Tours". It was at this time that the amphitheatre of Tours, one of the five largest amphitheatres of the Empire, was built.
Tours became the metropolis of the Roman province of Lugdunum towards 380–388, dominating the Loire Valley and Brittany. One of the outstanding figures of the history of the city was Saint Martin, second bishop who shared his coat with a naked beggar in Amiens; this incident and the importance of Martin in the medieval Christian West made Tours, its position on the route of pilgrimage to Santiago de Compostela, a major centre during the Middle Ages. In the 6th century Gregory of Tours, author of the Ten Books of History, made his mark on the town by restoring the cathedral destroyed by a fire in 561. Saint Martin's monastery benefited from its inception, at the start of the 6th century from patronage and support from the Frankish king, which increased the influence of the saint, the abbey and the city in Gaul. In the 9th century, Tours was at the heart of the Carolingian Rebirth, in particular because of Alcuin abbot of Marmoutier. In 732 AD, Abdul Rahman Al Ghafiqi and a large army of Muslim horsemen from Al-Andalus advanced 500 kilometres deep into France, were stopped at Tours by Charles Martel and his infantry igniting the Battle of Tours.
The outcome was defeat for the Muslims, preventing France from Islamic conquest. In 845, Tours repulsed the first attack of the Viking chief Hasting. In 850, the Vikings settled at the mouths of the Loire. Still led by Hasting, they went up the Loire again in 852 and sacked Angers and the abbey of Marmoutier. During the Middle Ages, Tours consisted of competing centres; the "City" in the east, successor of the late Roman'castrum', was composed of the archiepiscopal establishment and of the castle of Tours, seat of the authority of the Counts of Tours and of the King of France. In the west, the "new city" structured around the Abbey of Saint Martin was freed from the control of the City during the 10th century and became "Châteauneuf"; this space, organized between Saint Martin and the Loire, became the economic centre of Tours. Between these two centres remained Varennes and fields, little occupied except for the Abbaye Saint-Julien established on the banks of the Loire; the two centres were linked during the 14th century.
Tours became the capital of the county of Tours or Touraine, territory bitterly disputed between the counts of Blois and Anjou – the latter were victorious in the 11th century. It was the capital of France at the time of Louis XI, who had settled in the castle of Montils and Touraine remained until the 16th century a permanent residence of the kings and court; the rebirth gave Tours and Touraine many private mansions and castles, joined together to some extent under the generic name of the Châteaux of the Loire. It is at the time of Louis XI that the silk industry was introduced – despite difficulties, the industry still survives to this day. Charles IX passed through the city at the time of his royal tour of France between 1564 and 1566, accompanied by the Court and various noblemen: his brother the Duke of Anjou, Henri de Navarre, the cardinals of Bourbon and Lorraine. At this time, the Catholics returned to power in Angers: the intendant assumed the right to nominate the aldermen; the Massacre of Saint-Barthelemy was not repeated at Tours.
The Protestants were imprisoned by the aldermen -- a measure. The permanent return of the Court to Paris and Versailles marked the beginning of a slow but permanent decline. Guillaume the Metayer, known as Rochambeau, the well known counter-revolutionary chief of Mayenne, was shot there on Thermidor 8, year VI. However, it was the arrival of the railway in the 19th century which saved the city by making it an important nodal point; the main railway station is known as Tours-Saint-Pierre-des-Corps. At that time, Tours was expanding towards the south into a district known as the Prébendes; the importance of the city as a centre of communications contributed to its revival and, as the 20th century progressed, Tours became a dynamic conurbation, economically oriented towards the service sector. The city was affected by the First World War. A force of 25,000 American soldiers arrived in 1917, setting up textile factories for the manufacture of uniforms, repair shops for military equipment, munitions dumps, an army post office and an Americ
Théâtre du Châtelet
The Théâtre du Châtelet is a theatre and opera house, located in the place du Châtelet in the 1st arrondissement of Paris, France. One of two theatres built on the site of a châtelet, a small castle or fortress, it was designed by Gabriel Davioud at the request of Baron Haussmann between 1860 and 1862. Named the Théâtre Impérial du Châtelet, it has undergone remodeling and name changes over the years, it seats 2,500 people. The theatre is one of two apparent twins constructed along the quays of the Seine, facing each other across the open Place du Châtelet; the other is the Théâtre de la Ville. Their external architecture is Palladian entrances under arcades, although their interior layouts differ considerably. At the centre of the plaza is an ornate, sphinx-endowed fountain, erected in 1808, which commemorates Napoleon's victory in Egypt; the Théâtre Impérial du Châtelet was built for Hippolyte Hostein's equestrian company, the Théâtre Impérial du Cirque, whose previous theatre, the Cirque Olympique on the Boulevard du Temple, was slated for demolition by Baron Haussmann to allow the construction of the Boulevard du Prince-Eugène.
The site for the new theatre was acquired by the City of Paris in October 1859, construction took place between 1860 and 1862. The interior designers included Eugène Carrières and Armand Cambon, the curtain was created by Charles Cambon; the theatre seated 2,200 people, although Haussmann claimed it held 3,600. The repertory, fixed by a decree of 20 September 1862, included military works and féeries in one or several acts, as well as dramas and vaudevilles. Hostein left as director in September 1868. Nestor Roqueplan ran the theatre from 1 July 1869 to April 1870; the theatre was closed from September 1870 to July 1871 due to the Franco-Prussian War. The war brought about the fall of the Second French Empire, under the succeeding French Third Republic, the appellation impérial was dropped. Hippolyte Hostein returned as the theatre's director in 1873–1874. Notably, beginning in April 1876, the stage version of Jules Verne's Around the World in Eighty Days, adapted by Verne and Adolphe d'Ennery, began a run spanning sixty-four years and 2,195 performances.
It was only the Nazi occupation of Paris in May 1940. Into the 20th Century, the theatre was used for operettas and ballet performances, for classical and popular music concerts, it was for a time, a cinema. Regular seasons of opera and ballet were presented by a variety of impresarios, among them Gabriel Astruc, who introduced Diaghilev's Ballets Russes here. Igor Stravinsky’s Petrouchka received its premiere in the theatre on 13 June 1911, as did Erik Satie and Jean Cocteau’s Parade on 18 May 1917. In addition, many foreign composers and conductors made appearances in the theatre, including Tchaikovsky, Gustav Mahler and Richard Strauss. Since 1979, it has been operated by the City of Paris, after undergoing a major restoration, re-opened under the name of Théâtre Musical de Paris in 1980, it was acoustically reverted to the Théâtre du Châtelet name. Shirley Horn recorded her 1992 live album I Love Paris at the Théâtre du Châtelet. For a time it was used for opera performances and concerts; the Orchestre de Paris and the Orchestre Philharmonique de Radio France have played there.
In 1993 the Philharmonia Orchestra of London began an annual residency period. Under the direction of Stéphane Lissner for four years from 1995, the theatre received additional improvements in acoustics and sightlines. In 2004, Jean-Luc Choplin became artistic director of the theatre, he de-emphasized classical music and dance performances and introduced more lucrative productions of Broadway musicals, including Kiss Me, Singin' in the Rain, 42nd Street, An American in Paris. In 2017, Choplin was succeeded by Ruth Mackenzie, appointed artistic director alongside general director Thomas Lauriot dit Prévost, who worked at the theatre with Choplin from 2006 to 2013. Allison, John, ed.. Great Opera Houses of the World, supplement to Opera Magazine, London. Wild, Nicole. Dictionnaire des théâtres parisiens au XIXe siècle: les théâtres et la musique. Paris: Aux Amateurs de livres. ISBN 978-0-8288-2586-3. ISBN 978-2-905053-80-0. Official website Floormic Profile
Roland Petit was a French ballet company director and dancer. He trained at the Paris Opéra Ballet school, became well known for his creative ballets; the son of shoe designer Rose Repetto, Petit was born near Paris. He trained at the Paris Opéra Ballet school under Gustave Ricaux and Serge Lifar and began to dance with the corps de ballet in 1940, he founded the Ballets des Champs-Élysées in 1945 and the Ballets de Paris in 1948, at Théâtre Marigny, with Zizi Jeanmaire as star dancer. Petit collaborated with Henri Dutilleux, Serge Gainsbourg, Yves Saint-Laurent and César Baldaccini and participated in several French and American films, he returned to the Paris Opéra in 1965 to mount a production of Notre Dame de Paris. He continued to direct ballets for the largest theatres of France, Germany, Great Britain and Cuba. In 1968, his ballet Turangalîla provoked a small revolution within the Paris Opéra. Four years in 1972, he founded the Ballet National de Marseille with the piece “Pink Floyd Ballet”.
He directed the Ballet National de Marseille for the next 26 years. For the décor of his ballets, he would work in close collaboration with the painter Jean Carzou, but with other artists such as Max Ernst; the creator of more than 50 ballets across all genres, he choreographed for a plethora of famed international dancers. He refused the free technical effects, he collaborated with the nouveaux réalistes including Martial Raysse, Niki de Saint Phalle and Jean Tinguely. Le jeune homme et la mort of 1946 is considered his magnum opus and it is his most well-known work. In his 1949 ballet Carmen, he made an unusual use of the en dedans, while he gave a non-figurative treatment to Turangalîla. Among the films to which he contributed are Symphonie en blanc by René Chanas and François Ardoin in which he appeared as a dancer. In 1994, he was awarded the Prix Benois de la Danse as choreographer. In 1954, Petit married the dancer Zizi Jeanmaire, his memoirs were published in 1993 under the title J'ai dansé sur les flots.
He and Jeanmaire had Valentine Petit, a dancer and actress. Petit died in Geneva, aged 87, of leukemia. During his career, Petit choreographed 176 works, including: Guernica Les forains Le jeune homme et la mort Carmen Ballabile Le loup The Lady in the Ice Notre-Dame de Paris Paradise Lost Kraanerg Pink Floyd Ballet Roland Petit Ballet Proust, ou Les intermittences du coeur L'Arlésienne Coppélia La symphonie fantastique Cyrano de Bergerac Le fantôme de l’Opéra Les amours de Frantz The Four Seasons The Blue Angel Clavigo Duke Ellington Les chemins de la création Official website CMI ABT
Moret-sur-Loing is a former commune in the Seine-et-Marne department in the Île-de-France region in north-central France. On 1 January 2015, Moret-sur-Loing and Écuelles merged becoming one commune called Orvanne, which merged into the new commune Moret-Loing-et-Orvanne on 1 January 2016; the town was a source of inspiration for Monet and Sisley. Inhabitants of Moret-sur-Loing are called Morétains. Moret-sur-Loing is twinned with: Kilkenny, Co. Kilkenny, Ireland Külsheim, Baden-Württemberg, Germany Château de Moret Communes of the Seine-et-Marne department Official site 1999 Land Use, from IAURIF French Ministry of Culture list for Moret-sur-Loing Map of Moret-sur-Loing on Michelin
Les Deux Pigeons (ballet)
Les Deux Pigeons is a ballet choreographed in two acts by Louis Mérante to music by André Messager. The libretto by Mérante and Henri de Régnier is based on the fable The Two Pigeons by Jean de La Fontaine; the work was first performed at the Paris Opéra on 18 October 1886. The premiere cast included Rosita Mauri as Marie Sanlaville as Pépio. Frederick Ashton created a new ballet to Messager's music under the title The Two Pigeons; the score is dedicated to Camille Saint-Saëns, whose influence helped gain Messager the commission for the ballet, following three ballets which the younger composer had written for the Folies Bergère, Fleur d’oranger, Vins de France and Odeurs et Parfums. Les Deux pigeons was first performed on the same evening as a performance of La Favorite. Messager introduced the ballet to London in 1906, with choreography by François Ambroisiny and a shortened score by Messager himself, who conducted, he used this shortened version when the piece was revived at the Paris Opéra in 1912, it was published as a final version.
A one-act version was choreographed by Albert Aveline at the Opéra in 1919 and it was not until 1942 that the role of Pépio was danced by a man. The discovery of the shortened score used at Covent Garden prompted Frederick Ashton to make his own version of the ballet, set in Paris at the time of the music's composition; as the 1912 version didn't provide a return to the opening scene at the end, John Lanchbery constructed a closing reconciliation scene from earlier music and a passage from Messager's operetta Véronique, as well as revising the orchestration in favour of a richer sound. Ashton's version in two acts was premiered on 14 February 1961 at the Royal Opera House Covent Garden, with Lynn Seymour and Christopher Gable; as well as being performed by the Royal Ballet touring company, the ballet has been staged by several other dance companies around the world, including CAPAB and Australian Ballet. In the original scenario, set in 18th-century Thessaly, the hero Pépio is discontented with life at home and with the company of his fiancée Gourouli.
Their relationship is symbolised by their pas de deux at the start in imitation of two pigeons they have been observing, quarrelling with small irritated movements of the head and coming together to make up. When a group of gypsies visit their village, Pépio is seduced by the energetic czardas that they dance and flirts with the dusky Djali leaving his love behind to join in their wanderings. Gourouli's grandmother advises her to follow him disguised as a gypsy, thus providing the ballerina with a dual role. In the first act she had appeared in a pink wig. By such means, this elemental Gourouli makes all the men fall in love with her, she bribes one of them to make Pépio's life miserable; when a storm breaks, the gypsies rob flee. He returns home must ask for forgiveness. Ashton's version of the ballet is set with anonymous leading roles. At the start, a French painter is revealed trying to paint a restless model, his lover, sitting on an ornate cast-iron chair; the session is interrupted by the entry of the model's friends and his responsiveness to other female company underlines his restless spirit.
A troupe of gypsies that he sees through the garret window, misunderstanding a gesture of his, now crowd in and a quarrel develops over possession of the chair between the model and a hot-blooded Carmen with whom the painter is flirting. Perceiving that they are not welcome, the gipsy leader leaves the studio and the painter dashes off to join them, bewitched by their unfamiliar and exotic lifestyle. However, his intrusion into their community is resented and he is thrown out of the encampment. Returning to the lover he had left behind, they are reconciled and sit together on the ornate chair that has dominated the room. Two live pigeons are used to represent the lovers. Seen together during the first act, while the artist and his lover dance together, the young man's dissatisfaction and temporary desertion of the girl are represented by one pigeon flying alone off stage before the interval; the painter's return in the next act is prompted by a pigeon coming to land on his shoulder. When the lovers are reunited both pigeons perch above them on the chair.
Premiere cast list: Gourouli – Rosita Mauri Pépio – Marie Sanlaville Gertrude – Mlle Montaubry Djali – Mlle Hirsch Reine des Tziganes – Mlle Monnier Zarifa – M. Pluque Franca-Trippa – M. de Soria Un tzigane – Louis Mérante Le capitaine – M. Ajas Un serviteur – M. Ponçot In 1991, the Orchestra of Welsh National Opera conducted by Richard Bonynge were recorded at a performance in Cardiff playing Messager's 1906 score. John Lanchbery recorded his version of the ballet music for EMI in 1984 with the Bournemouth Symphony Orchestra. A suite of movements from the ballet has been recorded several times, for example by the Orchestre Colonne conducted by Jean Fournet, the Orchestra of the Royal Opera House, Covent Garden conducted by Hugo Rignold, the orchestra of the Opéra-Comique, Paris conducted by Richard Blareau and by Charles Mackerras with the Orchestra of the Royal Opera House