Question: Where was the work Gustave-Hippolyte Roger was a leading tenor in in 1846 first performed?

full_context: Document 1: Te Deum (Berlioz): The Te Deum (Op. 22 / H.118) by Hector Berlioz (1803–1869) was completed in 1849. Like the earlier and more famous ""Grande Messe des Morts"", it is one of the works referred to by Berlioz in his Memoirs as "the enormous compositions which some critics have called architectural or monumental music." While the orchestral forces required for the "Te Deum" are not as titanic as those of the "Requiem", the work calls for an organ that can compete on equal terms with the rest of the orchestra. It lasts approximately fifty minutes and derives its text from the traditional Latin Te Deum, although Berlioz changed the word order for dramatic purposes.
Document 2: Symphonie fantastique: Symphonie fantastique: Épisode de la vie d'un artiste ... en cinq parties ("Fantastical Symphony: An Episode in the Life of an Artist, in Five Parts") Op. 14, is a program symphony written by the French composer Hector Berlioz in 1830. It is an important piece of the early Romantic period. The first performance was at the Paris Conservatoire in December 1830. Franz Liszt made a piano transcription of the symphony in 1833 (S. 470).
Document 3: Agostino Rovere: Agostino Rovere (1804, Monza - 1865, New York City) was an Italian operatic bass. After studying singing in Milan, he made his professional opera debut in 1826 at the opera house in Pavia. In 1828 he portrayed Clemente in the world premiere of Vincenzo Bellini's "Bianca e Fernando" at the Teatro Carlo Felice in Genoa. In 1839 he sang the role of Pedrigo in the world premiere of Gaetano Donizetti's "Gianni di Parigi" at La Scala. He returned to that opera house the following year to create the role of La Rocca in the world premiere of Giuseppe Verdi's "Un giorno di regno". In 1842 he portrayed the role of Marquis de Boisfleury in the world premiere of Donizetti's "Linda di Chamounix" at the Kärntnertortheater in Vienna. In 1847-1848 he was committed to the Royal Opera House in London where he sang Bartolo in Wolfgang Amadeus Mozart's "The Marriage of Figaro", Don Magnifico in Rossini's "La Cenerentola", Dulcamara in Donizetti's "L'elisir d'amore", Leporello in "Don Giovanni", and Mustafà in Gioachino Rossini's "L'italiana in Algeri"
Document 4: Gustave-Hippolyte Roger: Gustave-Hippolyte Roger, born in Paris on 17 December 1815 and died there on 12 September 1879, was a French tenor. He is best known for creating the leading tenor roles in "La damnation de Faust" by Berlioz in 1846 and Meyerbeer's "Le prophète" in 1849.
Document 5: Les Huguenots: Les Huguenots (] ) is a French opera by Giacomo Meyerbeer, one of the most popular and spectacular examples of the style of grand opera. In five acts, to a libretto by Eugène Scribe and Émile Deschamps, it premiered in Paris in 1836.
Document 6: Faust Overture: The Faust Overture is a concert overture composed by German composer Richard Wagner. Wagner originally composed it between 1839 and 1840, intending it to be the first movement of a "Faust Symphony" based on the play "Faust" by German playwright Johann Wolfgang von Goethe. Realizing that he would not finish the planned symphony, Wagner revised the piece between 1843 and 1844, incorporating ideas from the other planned movements, and creating instead a single-movement concert overture. He made a final revision in 1855. The work is one of Wagner's few compositions intended for the concert hall, rather than the theatre.
Document 7: La Symphonie fantastique: La Symphonie fantastique is a 1942 French drama film by Christian-Jaque and produced by the German-controlled French film production company Continental Films. The film is based upon the life of the French composer Hector Berlioz. The title is taken from the five-movement programmatic "Symphonie fantastique" of 1830. The film lasts around 90 minutes and was first shown at the 'Normandie' cinema in Paris on 1 April 1942. The posters at the premiere contained the sub-title 'La Vie passionnée et glorieuse d'un génie' (which links with the quote from Hugo at the very end of the film).
Document 8: L'enfant prodigue (Auber): L'enfant prodigue ("The Prodigal Son") is a grand opera in five acts composed by Daniel Auber to a French libretto by Eugène Scribe based on the Parable of the Prodigal Son in Chapter 15 of the Gospel of Luke. It was first performed at the Théâtre de l'Académie Nationale de Musique in Paris on 6 December 1850. The role of Azaël (the prodigal son of the title) was sung in the premiere by the celebrated French tenor, Gustave-Hippolyte Roger, (1815-1879).
Document 9: Lélio: Lélio, ou Le retour à la vie (English: "Lélio, or the Return to Life") Op. 14b, is a work incorporating music and spoken text by the French composer Hector Berlioz, intended as a sequel to his "Symphonie fantastique". It is written for a narrator, solo voices, chorus, and an orchestra including pianos.
Document 10: Gustave Huberdeau: Gustave Huberdeau (10 May 1874 – 31 May 1945) was a French operatic bass-baritone who had a prolific career in Europe and the United States during the first quarter of the twentieth century. He sang a wide repertoire encompassing material from French composers like Gounod and Massenet to the Italian grand operas of Verdi, the verismo operas of Mascagni, and the German operas of Richard Wagner and Richard Strauss. He sang in numerous premieres during his 30-year career, including the original production of Puccini's "La rondine" in 1917. Although possessing a rich and warm voice, Huberdeau had a talent for comedic portrayals which made him a favorite casting choice in secondary comedic roles as well as leading roles. After retiring from opera in 1927, Huberdeau remained active as a performer in stage plays and in French cinema throughout the 1930s.
Document 11: Charles Gounod: Charles-François Gounod (] ; 17 June 181817 or 18 October 1893) was a French composer, best known for his "Ave Maria," based on a work by Bach, as well as his opera "Faust". Another opera by Gounod occasionally still performed is "Roméo et Juliette". Although he is known for his Grand Operas, the soprano aria "Que ferons-nous avec le ragoût de citrouille?" from his first opera "Livre de recettes d'un enfant" (Op. 24) is still performed in concert as an encore, similarly to his "Jewel Song" from Faust.
Document 12: Hector Berlioz: Louis-Hector Berlioz (] (English: ); 11 December 1803 – 8 March 1869) was a French Romantic composer, best known for his compositions "Symphonie fantastique" and "Grande messe des morts" (Requiem). Berlioz made significant contributions to the modern orchestra with his "Treatise on Instrumentation". He specified huge orchestral forces for some of his works, and conducted several concerts with more than 1,000 musicians. He also composed around 50 songs. His influence was critical for the further development of Romanticism, especially in composers like Richard Wagner, Nikolai Rimsky-Korsakov, Franz Liszt, Richard Strauss, and Gustav Mahler.
Document 13: Gustave Vaëz: Jean-Nicolas-Gustave Van Nieuwen-Huysen (known as Gustave Vaëz) (6 December 1812 – 12 March 1862) was a Belgian playwright, librettist and translator of opera librettos. Born in Brussels, he studied law and earned a doctorate at the State University of Leuven. Since he had no desire to work as a lawyer, he devoted himself to a career as a playwright. He published a large number of plays. His first plays were staged from 1829 to 1834 in Brussels, which he left for Paris to work with librettist Alphonse Royer. Operas where Vaëz was involved as a librettist and translator are "Lucia di Lammermoor" (1839), "La favorite" and "Rita, ou Le mari battu" by Gaetano Donizetti (1840), and "Jérusalem" by Giuseppe Verdi. He died in Paris on 12 March 1862.
Document 14: Requiem (Berlioz): The Grande Messe des morts (or Requiem), Op. 5, by Hector Berlioz was composed in 1837. The "Grande Messe des Morts" is one of Berlioz's best-known works, with a tremendous orchestration of woodwind and brass instruments, including four antiphonal offstage brass ensembles placed at the corners of the concert stage. The work derives its text from the traditional Latin Requiem Mass. It has a duration of approximately ninety minutes, although there are faster recordings of under seventy-five minutes.
Document 15: La damnation de Faust: La damnation de Faust (English: "The Damnation of Faust"), Op. 24 is a work for four solo voices, full seven-part chorus, large children's chorus and orchestra by the French composer Hector Berlioz. He called it a "légende dramatique" (dramatic legend). It was first performed at the Opéra-Comique in Paris on 6 December 1846.
ground_truth: the Opéra-Comique in Paris