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64-477: The opera is an adaptation of Charles Lecocq 's La Jolie Persane , with a liberal adaptation of the libretto by Sydney Rosenfeld , and script doctoring by J. Cheever Goodwin . Wilson originally planned to debut the play at the Casino Theatre (where Wilson had been a performer), but other obligations for that venue and contractual disputes caused delay and eventual failure. Thus, The Oolah opened at

128-534: A "morality" based on a play by Aristophanes , was presented at the Opéra-Comique. After the premiere the Paris correspondent of The Era called it "the most unsuccessful and insignificant of his works … utterly devoid of originality, altogether wanting in inspiration, and without a genuine sparkle from end to end". The run closed after eight performances. In 1899, Lecocq composed a ballet, Le Cygne , for

192-406: A 2017 study, Laurence Senelick comments that whereas Offenbach's operas are frequently revived, Lecocq's are "the stuff of occasional antiquarian revivals" ... "sporadic productions of curiosity value". For the eight seasons from 2012 to 2020, the international Operabase archive records ten staged or planned productions of four pieces by Lecocq: six productions of La fille de Madame Angot , two of

256-584: A cliché. The failure led to the break-up of Lecocq's association with Koning and the Renaissance. He transferred his allegiance to the Théâtre des Nouveautés where five of his next operas were staged. His choice caused some surprise, as the theatre, run by the actor-manager Jules Brasseur , had no reputation for opérette or opéra-bouffe , and was distinguished by the sometimes indelicate content of its productions. The most successful of Lecocq's works for

320-401: A composer he was one of the happiest of melodists, but never attained the heights of fascinating vulgarity and bustling originality of his more famous contemporary". Lamb writes that much of Lecocq's music is characterised by a light touch, although "he could also adopt a more lyrical and elevated style than Offenbach". Traubner comments that Lecocq consciously sought to elevate comic opera from

384-637: A decade director of the European Academy of Music (French: Académie européenne de musique ) at the Aix-en-Provence Festival , was appointed as the Conservatoire's first woman director on 14 December 2019. Currently, the conservatories train more than 1,200 students in structured programs, with 350 professors in nine departments. A concert hall, designed by the architect François-Jacques Delannoy  [ fr ] ,

448-539: A diploma. Historically, students who failed to pass the exam on the first attempt would return for another one to two years additional study and try a second time. A student failing to earn either level diploma after two additional attempts would be terminated from the program. CNSMDP moved to its new facilities in the Cité de la Musique in September 1990. After over two centuries of male directors, Émilie Delorme , for

512-441: A hundred and fifteen times and not once deceived. I have known men who have been married but once, but who were deceived a hundred and fifteen times." Charles Lecocq Alexandre Charles Lecocq (3 June 1832 – 24 October 1918) was a French composer, known for his opérettes and opéras comiques . He became the most prominent successor to Jacques Offenbach in this sphere, and enjoyed considerable success in

576-687: A productive partnership with Victor Koning , co-librettist of La fille de Madame Angot and now the proprietor of the Théâtre de la Renaissance . Lecocq consolidated his reputation as a composer of comic opera with two more long-running pieces, La petite mariée (The Little Bride, 1875) and Le petit duc (The Little Duke, 1878); they have remained in the French, though not the international, operetta repertory. For Le petit duc he worked with Offenbach's favoured librettists, Henri Meilhac and Ludovic Halévy, which, in Traubner's words, "left no doubt that

640-590: A success without parallel!" On the first night in Paris every number was encored. The work ran for 411 performances in Paris and was given in 103 cities and towns in France, and theatres in other countries: its London premiere was within three months of the first Paris performances. In 1874 the London paper The Morning Post commented that twelve months earlier scarcely anyone in England had heard of Lecocq, but now it

704-422: A year's break from composition as a result of illness and domestic problems. He returned with the opéra comique Janot (1881), which was a failure. Lecocq had Meilhac and Halévy as his librettists, but all three collaborators were hampered by Koning's insistence on a plot revolving around his star singer, Jeanne Granier , in a breeches role as a wandering minstrel boy, a hackneyed device which audiences regarded as

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768-560: Is an independent thinker: that is to say, there is much we can expect from him, and it is with joy that we welcome his nomination." Fauré appointed forward-thinking representatives (such as Debussy, Paul Dukas , and André Messager ) to the governing council, loosened restrictions on repertoire, and added conducting and music history to the courses of study. Widor's composition students during this period included Darius Milhaud , Arthur Honegger , and Germaine Tailleferre . Other students included Lili Boulanger and Nadia Boulanger . New to

832-609: Is perhaps this lack of very obvious colouring that has led to his works being disproportionately neglected in modern times where only La fille de Madame Angot and, to a lesser extent, Le petit duc remain in the repertoire in France. As well as his works for the stage, Lecocq composed around a hundred songs, including some set to fables by La Fontaine and a set of twenty 'Les chansons d'amour', and four volumes of piano pieces (including mazurkas dedicated to Bizet). Conservatoire de Paris The Conservatoire de Paris ( French: [kɔ̃sɛʁvatwaʁ də paʁi] ), also known as

896-574: The 19th arrondissement of Paris as part of the Cité de la Musique , designed by Christian de Portzamparc . The new facilities were inaugurated in 1990. The organ on site was built in 1991 by the Austrian Rieger Orgelbau firm . It has 53 stops on 3 manuals and pedals. A larger organ of over 7,000 pipes with 91 stops was made in 2015 by the same company for the symphony hall of the nearby Philharmonie de Paris . A list of former students can be found at List of former students of

960-466: The Menus-Plaisirs du Roi , proposed that Niccolò Piccinni should be appointed director of a future École Royale de Chant (Royal School of Singing). The school was instituted by a decree of 3 January 1784 and opened on 1 April with the composer François-Joseph Gossec as the provisional director. Piccinni refused the directorship, but did join the faculty as a professor of singing. The new school

1024-538: The Paris Conservatoire , Lecocq shared the first prize with Georges Bizet in an operetta-writing contest organised in 1856 by Offenbach. Lecocq's next successful composition was an opéra-bouffe , Fleur-de-Thé (Tea-flower), twelve years later. His comic operas Les cent vierges (The Hundred Virgins, 1872), La fille de Madame Angot (1872) and Giroflé-Girofla (1874) were all successes and established his international reputation. Critics remarked on

1088-604: The Paris Conservatory , is a college of music and dance founded in 1795. Officially known as the Conservatoire National Supérieur de Musique et de Danse de Paris ( CNSMDP ), it is situated in the avenue Jean Jaurès in the 19th arrondissement of Paris , France. The Conservatoire offers instruction in music and dance, drawing on the traditions of the 'French School'. Formerly the conservatory also included drama, but in 1946 that division

1152-459: The concours , has required students, at the end of their course of study, to perform in public a prepared set of musical pieces for a jury consisting of the professors and internationally renowned professionals on the particular instrument, the composer of the solo de concours, and the Director. Behind closed doors, the candidates would be given additional tasks to perform such as sight-reading. In

1216-617: The "Belle Epoque" of Messager. Like the Observer reviewer, he remarks on the elegance of Lecocq's best music. He also criticises Lecocq for abusing his compositional talent, particularly in his early works, by setting libretti of little merit. This, in Letellier's view, led to the oblivion of much excellent music, lost when works with bad libretti failed. Traubner observes that many critics rate Lecocq higher than Offenbach as an orchestrator and harmonist, although melodically he did not rival

1280-453: The "startling immediacy" of Offenbach's tunes. Lecocq disliked being compared to Offenbach, and went out of his way to avoid rhythmic devices familiar from the older composer's works. Kurt Gänzl 's study of the composer concludes: His work did not in any way lack comical strains, but his musical turn of phrase in comic situations was always more genteel than the cheerfully vulgar and belly-laugh burlesque effects of such musicians as Hervé. It

1344-486: The 1870s and early 1880s, before the changing musical fashions of the late 19th century made his style of composition less popular. His few serious works include the opera Plutus (1886), which was not a success, and the ballet Le cygne (1899). His only piece to survive in the regular modern operatic repertory is his 1872 opéra comique La fille de Madame Angot (Mme Angot's Daughter). Others of his more than forty stage works receive occasional revivals. After study at

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1408-466: The 1887 three-act opéra comique Ali-Baba and one each of Le docteur Miracle and Le petit duc . For the same period, Operabase records more than five hundred productions of nearly forty different operas by Offenbach. Several writers have discussed why Lecocq's music is neglected. In 1911 an anonymous critic in The Observer wrote, "Lecocq succeeded in being a formidable rival to Offenbach. As

1472-587: The 20th century, the candidates were judged against a standard, and those who demonstrated outstanding mastery and artistry receive the Premier Prix , the equivalent of a diploma with high honor. Those who earned Deuxieme Prix, also received a diploma but could elect to remain to try again a year later for the top prize. Two lesser levels of distinction existed, the Premier Accessit and Deuxieme Accessit , equivalent to Honorable Mentions but without

1536-619: The Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP). Delvincourt was succeeded by Dupré in 1954, Raymond Loucheur in 1956, Raymond Gallois-Montbrun in 1962, Marc Bleuse in 1984, and Alain Louvier in 1986. Plans to move CNSMDP to more modern facilities in the Parc de la Villette were initiated under Bleuse and completed under Louvier. The tradition of the final or exit examination,

1600-565: The Conservatoire de Musique under the direction of Sarrette . The combined organization remained in the facilities on the rue Bergère. The first 351 pupils commenced their studies in October 1796. By 1800, the staff of the Conservatory included some of the most important names in music in Paris, including, besides Gossec, the composers Luigi Cherubini , Jean-François Le Sueur , Étienne Méhul , and Pierre-Alexandre Monsigny , as well as

1664-561: The Conservatoire de Paris on the rue du Conservatoire at rue Sainte-Cécile in the 9th arrondissement of Paris . Free public performances by students at the CNSAD are given frequently in the Conservatory of Music's former theatre. The music and dance divisions of the Conservatoire de Paris are now officially known as the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP) (National Superior Conservatory of Paris for Music and Dance). The French government built its new campus in

1728-508: The Conservatoire was ruled by Nazi Germany and the collaborationist Vichy government during the Occupation of France of 1940–1944. Under the regime's antisemitic policies , Conservatoire administrators alternated between actively collaborating to purge the school of Jewish students (in the case of Rabaud) or working to conceal and protect Jewish students and faculty (in the case of Rabaud's successor, Claude Delvincourt ). Delvincourt

1792-795: The Far East. The piece was successfully given in London and New York in 1871. The Franco-Prussian War in 1870–1871 temporarily interrupted Lecocq's rise, and he was gloomy about his prospects after it. In the longer term the war worked to his advantage, as it brought about the fall of the Second Empire , with which Offenbach had been closely identified in the popular mind, and in the aftermath of France's crushing defeat by Prussia, Offenbach's German birth made him unpopular in some quarters. While Offenbach struggled to re-establish himself in Parisian theatres, Lecocq began to occupy his place. After

1856-764: The Nouveautés were the opéra bouffe Le jour et la nuit (Day and Night, 1881) and the opéra comique Le coeur et la main (The Heart and the Hand, 1882), both variations on his familiar theme of wedding nights disrupted by farcical complications. In Grove's Dictionary of Music and Musicians , Andrew Lamb describes these as Lecocq's last real successes. Unlike his predecessor, Offenbach, and his successor, André Messager , Lecocq could not, or would not, alter his style to meet changing public tastes. Lamb writes that he accepted that fashion in comic opera had changed, and he turned to other genres. In 1886, his opera, Plutus ,

1920-552: The Opéra-Comique, to a scenario by Catulle Mendès . His last important operetta, in Lamb's view, was the three-act opéra comique La belle au bois dormant (Sleeping Beauty, 1900); after which he wrote one more full-length work ( Yetta , 1903) for Brussels and four short pieces for Paris. Lecocq was appointed a Chevalier of the Légion d'honneur in 1900 and promoted to Officier in 1910. He died in his home city of Paris, aged 85. In

1984-680: The Pennsylvania 'Limited' train... he handed the manuscript to messenger awaiting him at Pittsburg, who hurried back to New York and placed it in our hands." And then it was performed the next evening. The popular songs of the show included "A Little Peach in an Orchard Grew" or "Listen to My Tale of Woe", a Wilson-Jansen duet which had previously been used in Nadjy . The lyrics which originated from Eugene Field and music and alterations by Hubbard T. Smith. Other popular songs included "Nobody Knows", as well as "Be Good", which Jansen performed, and

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2048-432: The changes worked, and the play had a successful run of 154 performances over 22 weeks, closing on October 12, and then went on tour. A letter opener souvenir was given out to ticket holders at the 100th performance, a number of which are still extant. The next season Wilson and Jansen had success with another French adaptation, The Merry Monarch . John Philip Sousa likely orchestrated the music for Wilson, though this

2112-409: The composer had succeeded Offenbach". Nonetheless, by this time Offenbach had recovered much of his pre-war popularity with Parisian audiences, and Lecocq's pre-eminence was briefly threatened by the older composer's successful Madame Favart (1878) and La fille du tambour-major (1879), but the latter was Offenbach's last completed work and he died in 1880. At the turn of the decade Lecocq had

2176-539: The curator of the museum in 1871 and did much to expand and upgrade the collection. The collection is now located in the Musée de la Musique . The dramatics arts were separated from music and dance in 1946 and are now in the Conservatoire National Supérieur d'Art Dramatique (CNSAD) (National Superior Conservatory of the Dramatic Arts), a school for acting, drama. It is located in the original historic building of

2240-453: The elegance of the music in Lecocq's best works. His other popular pieces in the 1870s included La petite mariée (The Little Bride, 1875) and Le petit duc (The Little Duke, 1878). Although a few of his works in the early 1880s were well-received, and he continued composing for more than two decades afterwards, his later works never achieved the same admiration. Lecocq was born in Paris,

2304-634: The first female student to win a prize on violin. In the Franco-Prussian War , during the siege of Paris (September 1870 – January 1871), the Conservatory was used as a hospital. On 13 May 1871, the day after Auber's death, the leaders of the Paris Commune appointed Francisco Salvador-Daniel as the director. Daniel was shot to death ten days later by troops of the French Army. He was replaced by Ambroise Thomas, who remained in

2368-443: The five short-listed entrants were all asked to set a libretto, Le docteur miracle , written by Ludovic Halévy and Léon Battu . The joint winners were Bizet and Lecocq. Richard Traubner comments in his history of operetta that Bizet's version has survived better than Lecocq's, which is forgotten. Bizet became, and remained, a friend of Offenbach; Lecocq and Offenbach took a dislike to one another, and their rivalry in later years

2432-450: The former Broadway Theatre on 41st Street on May 13, 1889. The show marked Wilson's debut as a manager of his own company and as a Broadway star. The opening night did not go very well. Wilson had risked much of his money on the production, and was distraught. Rosenfeld refused to make changes without a new contract and a cut of the profits. This led to Godwin's immediate work to revise the text (including expanding Wilson's parts, as he

2496-473: The genre of popular musical theatre known as opérette was becoming popular. It had been introduced by the composer Hervé and its principal exponent was Jacques Offenbach , who presented his works at the Théâtre des Bouffes-Parisiens from 1855. In 1856 he organised an open competition for aspiring composers. A jury of French composers and playwrights including Daniel Auber , Halévy, Ambroise Thomas , Charles Gounod and Eugène Scribe considered 78 entries;

2560-410: The hall almost continuously until 1945, when it moved to the Théâtre des Champs-Élysées . The French composer Hector Berlioz premiered his Symphonie Fantastique in the conservatory's hall on 5 December 1830 with an orchestra of more than a hundred players. The concert hall is now part of CNSAD . The original library was created by Sarrette in 1801. After the construction of the concert hall,

2624-428: The latter's death in 1896. Professors included Charles-Marie Widor , Gabriel Fauré , and Charles Lenepveu for composition, Alexandre Guilmant for organ, Paul Taffanel for flute, and Louis Diémer for piano. Lenepveu had been expected to succeed Dubois as director, but after the " Affaire Ravel " in 1905, Ravel 's teacher Gabriel Fauré became director. Le Courrier Musical (15 June 1905) wrote: "Gabriel Fauré

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2688-401: The lessons he himself was taking in harmony. He was admitted into the Paris Conservatoire in 1849, studying harmony under François Bazin , organ with François Benoist and composition with Fromental Halévy . Among his classmates were Georges Bizet and Camille Saint-Saëns ; the latter became his lifelong friend. At the end of his second year he gained the second prize in counterpoint and

2752-403: The library moved to a large room above the entrance vestibule. In the 1830s, Berlioz became a part-time curator in the library and was the librarian from 1852 until his death in 1869, when he was succeeded by Félicien David . The Conservatory Instrument Museum, founded in 1861, was formed from the instrument collection of Louis Clapisson . The French music historian Gustave Chouquet became

2816-513: The outbreak of the war Lecocq moved temporarily to Brussels, where he premiered Les cent vierges (The Hundred Virgins, 1872), La fille de Madame Angot (Madame Angot's Daughter, 1872) and Giroflé-Girofla (1874), all great successes there and then in Paris and elsewhere. La fille de Madame Angot was most conspicuous of these successes. At the Parisian premiere in February 1873, Saint-Saëns said, "It's much more serious than you think; it's

2880-499: The post until 1896. Thomas's rather conservative directorship was vigorously criticized by many of the students, including Claude Debussy . During this period César Franck was ostensibly the organ teacher, but was actually giving classes in composition. His classes were attended by several students who were later to become important composers, including Ernest Chausson , Guy Ropartz , Guillaume Lekeu , Charles Bordes , and Vincent d'Indy . Théodore Dubois succeeded Thomas after

2944-526: The satirical and zany opéra-bouffe of his predecessors to the supposedly loftier genre of opéra-comique. Florian Bruyas in his Histoire de l'opérette en France makes a similar point. When Giroflé-Girofla opened at the Théâtre de la Renaissance in 1874, the reviewer in the Chronique Musicale wrote that the music seemed to him superior to that of Offenbach – or even of earlier pieces by Lecocq, including La fille de Madame Angot – but that it

3008-551: The son of a copyist at the Commercial Court of the Seine. His father was not highly paid, but supported a family of five children. As a boy Lecocq suffered from a hip condition that obliged him to use crutches throughout his life. His first musical instrument was the flageolet ; a music teacher, discerning his talent, persuaded his parents to buy a piano. By the age of 16 Lecocq was giving private piano lessons which funded

3072-674: The staff were Alfred Cortot for piano and Eugène Gigout for organ. In 1911 the Conservatory moved to 14 rue de Madrid, into facilities that were formerly the collège of the École Saint-Ignace of the Jesuits , whose building had been purchased by the French state in 1905. Henri Rabaud succeeded Fauré in 1920 and served until April 1941. Notable students were Olivier Messiaen , Jean Langlais , and Jehan Alain . Staff included Dukas and Jean Roger-Ducasse for composition, Marcel Dupré for organ, Marcel Moyse for flute, and Claire Croiza for singing. Like all institutions in Paris,

3136-706: The violinists Pierre Baillot , Rodolphe Kreutzer , and Pierre Rode . Sarrette was dismissed on 28 December 1814, after the Bourbon Restoration , but was reinstated on 26 May 1815, after Napoleon 's return to power during the Hundred Days . After his fall, Sarrette was compelled to retire on 17 November. The school was closed in the first two years of the Bourbon Restoration, during the reign of Louis XVIII , but reopened in April 1816 as

3200-482: The École Royale de Musique, with François-Louis Perne as its director. In 1819, François Benoist was appointed professor of organ. Probably the best known director in the 19th century was Luigi Cherubini, who took over on 1 April 1822 and remained in charge until 8 February 1842. Cherubini maintained high standards and his staff included teachers such as François-Joseph Fétis , Habeneck, Fromental Halévy , Le Sueur, Ferdinando Paer , and Anton Reicha . Cherubini

3264-515: Was premier accessit in Benoist's organ class. He thought little of Halévy as a teacher, and was not inspired to pursue the top musical prize, the Prix de Rome . He would not, in the event, have been able to do so, because in 1854 he had to leave the Conservatoire prematurely to help support his parents, by giving lessons and playing for dance classes. At the time when Lecocq left the Conservatoire,

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3328-603: Was also installed in the facilities of the former Menus-Plaisirs on the rue Bergère and was responsible for the training of musicians for the National Guard bands , which were in great demand for the enormous, popular outdoor gatherings put on by the revolutionary government after the Reign of Terror . On 3 August 1795, the government combined the École Royale with the Institut National de Musique, creating

3392-459: Was clearly an audience favorite), and to radical changes in the music, including three new songs from Woolson Morse , and two from John Braham , and likely the scoring by Sousa mentioned below. One periodical commenting on the revisions noted Steele MacKaye 's observation that "Plays are not written; they are rewritten," and concluded that "this seems to apply to comic operas especially." Rosenfeld later sued Wilson over song rights. In any event,

3456-403: Was composed in a style that was possibly too refined to appeal to operetta audiences. This style came into its own in the 1870s and 1880s, but went out of fashion before the turn of the century. In a 2015 study, Robert Letellier divides the genre of opérette by chronology and type, with the "imperial" operetta of Offenbach followed by the "bourgeois" operetta of Lecocq, which was superseded by

3520-634: Was considered too suggestive by some. The play is set in Persia , where it is claimed that the marriage laws require a divorced wife who wishes to return to a husband must first marry another man, and then divorce that second spouse. "The Oolah" is the person who performs that role. However, the Oolah seeks to retire from his job to marry for real, yet he has one more professional marriage to accomplish first. The Oolah's most popular comedic lines included "think twice about divorcing once", and "I have been married

3584-508: Was director from 1941 until his death in an automobile accident in 1954. Delvincourt was a progressive administrator, adding classes in harpsichord , saxophone, percussion, and the Ondes Martenot . Staff included Milhaud for composition and Messiaen for analysis and aesthetics. In 1946, the dramatic arts were transferred to a separate institution, the Conservatoire National Supérieur d'Art Dramatique (CNSAD). Music and dance became

3648-480: Was doubtful if there was anyone "who has not played sung or whistled one or more of Lecocq's charming melodies". So great was the composer's popularity as a composer of operétte that he felt obliged to use a pen-name ("Georges Stern") for his serious music such as his Miettes musicales , Op. 21 ( Musical crumbs ). The 1870s were Lecocq's most fruitful decade. Sheet-music sales of arrangements from his operettas sold prodigiously. Settling once again in Paris, he formed

3712-459: Was engaged by Fromental Halévy's nephew William Busnach at the Théâtre de l'Athénée , for which Lecocq wrote the music for his first two-act piece, an opéra-bouffe called L'amour et son carquois (Cupid and His Quiver) presented in January 1868. In April of that year he had his first substantial success with Fleur-de-Thé (Tea-flower) a three-act bouffe playing on the fashionable interest in

3776-622: Was inaugurated on 7 July 1811. It is in the shape of a U (with the orchestra at the straight end). It holds an audience of 1055. The French composer and conductor Antoine Elwart described it as the Stradivarius of concert halls. In 1828 François Habeneck , a professor of violin and head of the conservatory's orchestra, founded the Société des Concerts du Conservatoire (forerunner of the Orchestre de Paris ). The society held concerts in

3840-477: Was located in buildings adjacent to the Hôtel des Menus-Plaisirs at the junction of the rue Bergère and the rue du Faubourg Poissonnière . In June, a class in dramatic declamation was added, and the name was modified to École Royale de Chant et de Déclamation. In 1792, Bernard Sarrette created the École Gratuite de la Garde Nationale, which in the following year became the Institut National de Musique. The latter

3904-506: Was moved into a separate school, the Conservatoire National Supérieur d'Art Dramatique (CNSAD), for acting, theatre and drama. Today the conservatories operate under the auspices of the Ministry of Culture and Communication and are associate members of PSL University . The CNSMDP is also associated with the Conservatoire National Supérieur de Musique et de Danse de Lyon (CNSMDL). On 3 December 1783 Papillon de la Ferté , intendant of

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3968-417: Was not advertised. Wilson did not say in his autobiography who provided "the infusion of some whistlish and hummable melodies that set the audience in fine humor and their feet to keeping time," or who prepared "the orchestral arrangement to which had just come to hand as a performance began." Yet, Wilson claimed that some of the new music "was written by a composer while he was being whirled away to Chicago on

4032-582: Was not altogether friendly. Lecocq's setting of Le Docteur Miracle , was given eleven performances at Offenbach's theatre, but this early success was followed by eleven years of obscurity and routine work as a teacher, accompanist and répétiteur . Between 1859 and 1866, Lecocq wrote six one-act works, which were presented at the Folies-Nouvelles , the Théâtre des Folies-Marigny , the Théâtre du Palais-Royal and elsewhere, without making any great impression. The composer's fortunes improved when he

4096-477: Was succeeded by Daniel-François-Esprit Auber in 1842. Under Auber, composition teachers included Adolphe Adam , Halévy, and Ambroise Thomas ; piano teachers, Louise Farrenc , Henri Herz , and Antoine François Marmontel ; violin teachers, Jean-Delphin Alard and Charles Dancla ; and cello teachers, Pierre Chevillard and Auguste Franchomme . In 1852, Camille Urso , who studied with Lambert Massart , became

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