부산대학교 도서관

By the end of the Revolutionary period (1790-1800), the Opera of Paris was no more than the shadow of itself. Journalists regretted the absence of creations and denounced the mediocrity of certain singers and of a part of the orchestra. After the misfortune of several successive administrations, the directors Francœur, Denesle and Baco thought necessary to reorganize completely the different structures of the Opera, and more particularly its orchestra. Not only did Francœur manage to improve the quality of the string desks, but he also invited eight soloists to take regularly part in the performances. The press took notice of these changes immediately: in the Courrier, for instance, one could read that the orchestra benefited from the virtuosi's " solos ". The tout-Paris attended the Opera to hear the horn player Duvernoy, the harpist Cousineau and the violinist Kreutzer executing the most astonishing tours de force. As the artists vied in skill, the overall style of the Opera repertory changed. They played between as well as inside the acts, since composers inserted more and more virtuosic details to make sure their works would meet with success. Concertos and symphonies concertantes became the neuralgic point of certain ballets, whereas numerous surprising combinations of solo instruments were added to the operatic divertissements.