1. Fulcher, Nation's Image; Hibberd, French Grand Opera. The Nation's Image may be productively read in conjunction with Huebner, review of Fulcher, Nation's Image; and Macdonald, “… and Politics.”
2. Walton, Rossini in Restoration Paris, 108–53; Hallman, Opera, Liberalism, and Antisemitism; Smart, “Mourning the Duc d'Orléans.”
3. Gerhard, Die Verstädterung der Oper; Newark, Opera in the Novel.
4. This is not to suggest that secondary theaters have been absent from contemporary scholarship. See for example the study of works based on Sir Walter Scott in Paris between the 1820s and 1840s in Hibberd, French Grand Opera, 21–26 and her work on dream phenomena on the Parisian stage (idem, “‘Dormez donc, mes chers amours’”), both of which draw on ballet-pantomime and comédie-vaudeville and the theaters that promoted them, as well as on grand opéra and opéra comique. Other parts of the culture have been studied in their own right: the Théâtre-Italien's history during the Restoration is the subject of Johnson, “Théâtre Italien,” and that of the Opéra-Comique during the same period is examined in Bara, Le Théâtre de l'Opéra-Comique. Beyond the Restoration, Walsh, Second Empire Opera provides a documentary account of the work of the Théâtre-Lyrique from the end of the July Monarchy to the beginning of the Third Republic.
5. The concept of the politics of genre can be traced back to several sources. Here, it finds its point of origin in Wellek and Austin, Theory of Literature, 226, and further adumbrated by Derrida (“Law of Genre”) and Cohen (“History and Genre”) in the 1980s.