# A Dictionary of Music and Musicians/Ventadour Théâtre

​VENTADOUR, THÉÂTRE. Ventadour, which has given its name to a street and a lyric theatre in Paris, is a village in the Limousin, created a duchy in 1568 in behalf of Gilbert de Levis, whose descendants have since borne the name of Levis de Ventadour. The Rue ​Ventadour, opened in 1640 as the Rue St. Victor, took the name it still bears in 1672. The Theatre was built to replace the Salle Feydeau, and a new street being planned to run from the Rue des Petits Champs to the Rue Neuve St. Augustin, and to be called the Rue Neuve Ventadour, it was decided to place the theatre in the middle of the street and call it by the same name. The street in which the principal façade stands is now called Rue Méhul, and that at the back Rue Monsigny. The building was erected by the architect Huvé, superintended by M. de Guerchy, and cost, including site, 4,620,000 francs (£184,800) which was paid for out of the Civil List, and it was sold to a company of speculators for 2,000,000 francs (£80,000); a disastrous transaction, in keeping with much of the financial history of the Théâtre Ventadour.
The company of the Opéra Comique left the old Salle Feydeau for its new quarters on Easter Monday, April 20, 1829. The audience, a very distinguished one, expressed great satisfaction with the luxury and comfort which pervaded the new Théâtre Royal. The programme on the opening night included 'Les deux Mousquetaires,' by Berton; Méhul's overture to 'Le jeune Henri,' and 'La Fiancée,' a three-act opera by Scribe and Auber. In spite of this happy commencement the theatre was destined to frequent collapses, and after two years of vicissitudes the company were obliged to move to the Théâtre des Nouveautés in the Place de la Bourse, where they performed for the first time Sept. 22, 1832. During the two years they played a considerable number of new works, such as Boieldieu's last opera, 'Les deux Nuits' (May 20, 1829); 'Fra Diavolo,' first given as 'L'Hôtellerie de Terracine' (Jan. 28, 1830), and 'Zampa' (May 3, 1831). The theatre reopened June 10, 1834, as the Théâtre Nautique, with 'real water' on the stage. The Théâtre Nautique came to an end early in 1835, and the Théâtre Ventadour was resuscitated (Jan. 30, 1838) for an Italian company cast adrift by the burning of the Salle Favart, and comprising Rubini and Zamboni, Lablache, Tamburini, Morelli, Grisi, Persiani and Albertazzi; but only one opera new to the French, 'Parisina,' was given before the season closed (March 31).
With the autumn of 1838 the theatre again changed its name, and entered on a new but still struggling existence as the Théâtre de la Renaissance. Anténor Joly, the new director, aimed at maintaining a third French lyric theatre in Paris, and produced during two years, besides plays by Victor Hugo, Alexandre Dumas, and Casimir Delavigne, 'Lady Melvil' (Nov. 15, 1838), Albert Grisar's first opera; Donizetti's 'Lucie de Lammermoor' (Aug. 6, 1839), translated into French by A. Royer and G. Vaez; and 'La chaste Susanne' (Dec. 27, 1839), the best work of Monpou. The charming Anna Thillon, who had a brilliant career in France before returning to her native England, appeared in all three operas with striking success. [See Thillon.]
From Oct. 2, 1841, to the 'année terrible,' 1870–71, the Théâtre Ventadour became the rendezvous of the Paris plutocracy, as well as of the amateurs of Italian music. The building, rearranged by Charpentier, was perfect and most commodious, the pit was converted into orchestral stalls, and open to ladies as well as gentlemen. Many an impresario looked to making a fortune by this Italian theatre, and among those who made the attempt we may mention Lumley, Calzado, Bagier, and Strakosch. The list of distinguished singers heard here during twenty years of more or less continuous prosperity embraces the great artists of that time almost without exception. Besides the old répertoire, these artists introduced to the Paris world all Verdi's operas, the favourite works of Mercadante, Donizetti, and other modern masters, and a few complete novelties. Among the latter, written or translated expressly for the Théâtre Ventadour, we will only specify Rossini's 'Stabat Mater' (Jan. 7, 1842); 'Don Pasquale' (Jan. 4, 1843; Flotow's 'Marta' (Feb. n, 1858), and 'Stradella' (Feb. 19, 1863). Here, too, Vieux-temps, Sivori, Liszt, Mme. Pleyel, Emile Prudent, and other celebrated artists gave their best concerts; Berlioz produced his 'Harold en Italie,' the 'Francs Juges,' and 'Carnaval Romain' overtures (May 3, 1844). Felicien David conducted the 'Desert' (Dec. 28 [App. p.810 "Dec. 8"], 1844) with enormous success; and Wagner produced fragments from 'Tannhäuser,' 'Tristan und Isolde,' and 'Lohengrin' (Jan. 25 and 31, 1860).
From the war of 1870–71 till its final close on Jan. 11, 1879, the Théâtre Ventadour had a hard struggle against the indifference of the public. Several fruitless attempts were made to resuscitate the taste for Italian music. The most interesting events of this last period were the rival performances by the French Opéra (beginning Jan. 19, 1874) and the Italian artists, after the burning of the Salle Le Peletier; the first performance of 'Aïda' (April 22, 1876); and of Verdi's 'Requiem' (May 30, 1876); the transformation of the Italian theatre into the French Théâtre Lyrique, and the representation of the Marquis d'Ivry's opera 'Les Amants de Vérone' (Oct. 12, 1878). On Jan. 20, 1879, the Théâtre Ventadour was sold to a financial company, and its pediment, still decorated with statues of the Muses, now bears the words 'Banque d'escompte de Paris,' a truly exasperating sight.
[ G. C. ]