Music, Theatre, and Diplomacy: The Paris Opéra during the Second Empire

Abstract

Abstract One of the first accomplishments of the Second Empire (1852–70) was to bring the Opéra under the control of a committee of the most highly placed politicians in the land. While this had far-reaching consequences for the development of repertory in the capital and beyond, it also opened up the possibility of using the Opéra as a locus of diplomatic activity, and major works and productions were made to work for diplomatic purposes. The Opéra emerged as a site of four types of diplomatic activities: the spectacle of state visits, the celebration and monumentalizing of military victories, the restoration and maintenance of good relations, and the promotion of Napoléon’s imperial project. Occasionally, as at the end of the “Crimean war,” the Opéra served as one of the sites for a series of prolonged negotiations that would lead to formal treaties.