Question: Who worked as a composer in the French opera, but was born in Germany?

Context articles: Amadis de Gaule (J.C. Bach)
Opéra-National
Dialogues of the Carmelites
Armida (Sacchini)
Jérusalem
French opera
Giacomo Meyerbeer
Marie Ismaël-Garcin
Marie Antier
Christoph Willibald Gluck

Amadis de Gaule, or Amadis des Gaules ("Amadis of Gaul"), is a French opera in three acts by the German composer Johann Christian Bach.
 The libretto is a revision by Alphonse de Vismes of "Amadis" by Philippe Quinault, originally set by Jean-Baptiste Lully in 1684, which in turn, was based on the knight-errantry romance "Amadis de Gaula" (1508).
 Bach's opera was first performed at the Académie Royale de Musique, Paris on 14 December 1779.
 It followed the contemporary French fashion for resetting libretti by Quinault ("Armide" by Gluck and "Roland" by Piccinni are other examples of this trend).
 The work was not a success with the Parisian public, mainly because it pleased neither the supporters of Gluck nor those of Piccinni, the two leading rival opera composers in France at the time.
 It was the last opera J. C. Bach composed.
The Opéra-National was a Parisian opera company that the French composer Adolphe Adam founded in 1847 to provide an alternative to the two primary French opera companies in Paris, the Opéra and the Opéra-Comique.
 The goals of the new company were to "foster new compositional talent," revive "opéras comiques" from an earlier period, and produce opera at a lower ticket price for a wider public.
Dialogues des Carmélites ("Dialogues of the Carmelites") is a French opera in three acts, divided into twelve scenes with linking orchestral interludes, with music and libretto by Francis Poulenc, completed in 1956.
 The composer's second opera, Poulenc wrote the libretto after the work of the same name by Georges Bernanos.
 The opera tells a fictionalised version of the story of the Martyrs of Compiègne, Carmelite nuns who, in 1794 during the closing days of the Reign of Terror during the French Revolution, were guillotined in Paris for refusing to renounce their vocation.
In "Armida", Sacchini incorporated many elements of French opera, including frequent use of chorus, ballet, and theatrical spectacle on a grand scale.
 Sacchini later wrote two more operas loosely based on the same story from Tasso: the 1780 London work "Rinaldo", and his first French opera, "Renaud", which was dedicated to Marie Antoinette.
Jérusalem is a grand opera in four acts by Giuseppe Verdi.
 The libretto was to be an adaptation and partial translation of the composer's original 1843 Italian opera, "I Lombardi alla prima crociata".
 It was the one opera which he regarded as the most suitable for being translated into French and, taking Eugène Scribe's advice, Verdi agreed that a French libretto was to be prepared by Alphonse Royer and Gustave Vaëz, who had written the libretto for Donizetti's most successful French opera, "La favorite".
 The opera received its premiere performance at the Salle Le Peletier in Paris on 26 November 1847.
 The maiden production was designed by Paul Lormier (costumes), Charles Séchan, Jules Diéterle and Édouard Desplechin (sets of Act I, Act II, scene 1, Act III scene 1, and Act IV), and Charles-Antoine Cambon and Joseph Thierry (sets for Act II, scene 2 and Act III, scene 2).
French opera is one of Europe's most important operatic traditions, containing works by composers of the stature of Rameau, Berlioz, Bizet, Debussy, Poulenc and Messiaen.
 Many foreign-born composers have played a part in the French tradition as well, including Lully, Gluck, Salieri, Cherubini, Rossini, Meyerbeer, Offenbach and Verdi.
Giacomo Meyerbeer (born Jacob Liebmann Beer; 5 September 1791 – 2 May 1864) was a German opera composer of Jewish birth who has been described as perhaps the most successful stage composer of the nineteenth century.
 With his 1831 opera "Robert le diable" and its successors, he gave the genre of grand opera 'decisive character'.
 Meyerbeer's grand opera style was achieved by his merging of German orchestra style with Italian vocal tradition.
 These were employed in the context of sensational and melodramatic libretti created by Eugène Scribe and were enhanced by the up-to-date theatre technology of the Paris Opéra.
 They set a standard which helped to maintain Paris as the opera capital of the nineteenth century.
Marie Ismaël-Garcin (1858-1946), was a French opera singer who specialised in light soprano roles and sang leading roles in several French opera houses during the 1880s.
 She was married to the French baritone, Jean-Vital Jammes.
Marie Antier (1687, Lyon – 1747, Paris), was a French opera singer (soprano).
 She was a student of Marthe Le Rochois and known for her roles in operas by Lully.
 She was a premier actress of the Academie de Musique (1720) and a court singer (1721).
 She played the leading roles of French opera from her debut in 1711 until her retirement in 1741.
Christoph Willibald (Ritter von) Gluck (] ; 2 July 1714 – 15 November 1787) was a composer of Italian and French opera in the early classical period.
 Born in the Upper Palatinate (now part of Germany) and raised in Bohemia, he gained prominence at the Habsburg court at Vienna, where he brought about the practical reform of opera's dramaturgical practices that many intellectuals had been campaigning for over the years.
 With a series of radical new works in the 1760s, among them "Orfeo ed Euridice" and "Alceste", he broke the stranglehold that Metastasian "opera seria" had enjoyed for much of the century.