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{{Short description|Italian-language theatre and opera performed in France}}
{{For|the current theatre with this name|La Comédie Italienne}}
{{Use dmy dates|date=August 2017}}

[[File:Les acteurs de la Comédie italienne - Nicolas Lancret - Louvre.jpg|thumb|upright=1.14|''The actors of the Comédie-Italienne'' by [[Nicolas Lancret]], early 18th century]]
'''Comédie-Italienne''' or '''Théâtre-Italien''' are French names which have been used to refer to Italian-language theatre and opera when performed in France.

The earliest recorded visits by Italian players were ''[[commedia dell'arte]]'' companies employed by the French court under the Italian-born queens [[Catherine de' Medici]] and [[Marie de' Medici]]. These troupes also gave public performances in Paris at the [[theatre of the Hôtel de Bourgogne]], probably the earliest public theatre to be built in France.

The first official use of the name Comédie-Italienne was in 1680, when it was given to the ''commedia dell'arte'' troupe at the Hôtel de Bourgogne, to distinguish it from the French troupe, the [[Comédie-Française]], which was founded that year,<ref>Hartnoll 1983, p. 168; Roy 1995, p. 233.</ref> and just as the name Théâtre-Français was commonly applied to the latter, Théâtre-Italien was used for the Italians. Over time French phrases, songs, whole scenes, and eventually entire plays were incorporated into the Comédie-Italienne's performances. By 1762 the company was merged with the [[Opéra-Comique]], but the names Comédie-Italienne and Théâtre-Italien continued to be used, even though the repertory soon became almost exclusively French ''[[opéra comique]]''. The names were dropped completely in 1801, when the company was merged with the [[Théâtre Feydeau]].

From 1801 to 1878, Théâtre-Italien was used for a succession of Parisian opera companies performing Italian opera in Italian. In 1980 the name [[La Comédie-Italienne]] was used for a theatre in the [[Montparnasse]] district of Paris, which presents Italian ''commedia dell'arte'' plays in French translation.<ref name= Maggiulli>"Historique du Théâtre" at [http://www.comedie-italienne.fr La Comédie Italienne] website.</ref><ref>Forman 2010, p. 82.</ref>

== The Comédie-Italienne in the 17th century ==
[[File:Mohammed Tenim Ambassadeur du Maroc a la Comedie Italienne 1682 Antoine Coypel 1661-1722 Versailles.jpg|thumb|left|''[[Mohammed Temim]], Ambassadeur du Maroc, à la Comédie Italienne'' (1682), [[Antoine Coypel]] (1661–1722), Versailles]]

In the 17th century, the historical Comédie-Italienne was supported by the king. At that time, a distinction was made between so-called legitimate theatre, which could be performed in royally-sanctioned theatres, and the more lowbrow street theatre, which did not undergo the scrutiny of royal censors. Italian troupes performed in the [[Hôtel de Bourgogne (theatre)|Hôtel de Bourgogne]] up to 1645, at which time they moved to [[Petit Bourbon]]. In 1660 they moved to the [[Théâtre du Palais-Royal (rue Saint-Honoré)|Palais-Royal]], where they performed in alternation with the [[troupe of Molière]]. It was during this period that [[Tiberio Fiorillo]], who was to have a strong influence on [[Molière]], was the head of the Italian company. Both troupes, evicted from the Palais-Royal by Lully's [[Académie royale de Musique]] in 1673, moved to the [[Théâtre Guénégaud]], where they continued to perform in alternation until the establishment of the [[Comédie-Française]] in 1680, at which time the Italians, now officially the Comédie-Italienne, returned to the Hôtel de Bourgogne, where they performed until the company was disbanded in 1697.<ref name=Wild>Wild 1989, pp. 100–101.</ref>

The historical Comédie-Italienne presented to the French-speaking public spectacles performed by professional Italian actors. At first, these actors performed ''[[commedia dell'arte]]'' in their native Italian. ''Commedia dell'arte'' is an improvisational type of theatre; there were no scripts. They had multiple scenarios that they would pick from to perform, but inside that scenario they really did not have anything else planned out. They did however have specific character types, called "stock characters", that became famous and loved by the theatre goers.

[[File:Depart Comediens italiens.jpg|thumb|upright=1.5|''Départ des comédiens italiens en 1697'', engraving by Louis Jacob of the painting by [[Antoine Watteau|Watteau]]]]

After moving to the Hôtel de Bourgogne in 1680 the troupe began presenting scripted plays by dramatists such as [[Jean-François Regnard|Regnard]], [[Charles Rivière Dufresny|Dufresny]], and [[Jean Palaprat|Palaprat]].<ref name=Roy234>Roy 1995, p. 234.</ref> Around the same time the troupe became widely popular, King Louis XIV gave the newly formed national theatre of France, the Comedie Francaise, a monopoly on spoken French drama. The royalty saw the troupe's cooperation with French playwrights as a threat and began to consider refusing the troupe their annual pension.

In 1697, a single event caused the King to finalize his decision. The actors had just announced upcoming performances of the play ''La fausse prude'', or ''The False Hypocrite'', a play that directly ridiculed King [[Louis XIV of France]]'s wife, [[Françoise d'Aubigné, Marquise de Maintenon|Madame de Maintenon]]. There is a debate among scholars as to whether or not the play was actually performed or if the play was simply advertised and the King learned of its existence. Regardless, upon his knowledge of the play's existence, the king had the actors sent away and the theatre shut down.

=={{Anchor|Nouveau Théâtre Italien}} The Comédie-Italienne in the 18th century ==
After the period of mourning following the death of Louis XIV in 1715, the oppressive atmosphere of religious devotion characteristic of the latter part of his reign began to lift. [[Philippe II, Duke of Orléans|Philippe d'Orléans]], the [[Regent]], was particularly desirous of restoring pleasure and amusement to the capital. He and his friends fondly remembered the Théâtre-Italien from twenty years previous. The main options for theatre in Paris at the time were the highly refined productions of the [[Comédie-Française]] or the "crude and tasteless" performances of the [[Théâtre de la foire|fair theatres]]. There was a need for theatrical comedy somewhere in between, with greater popular appeal than the Comédie-Française, but higher production values than those of the theatres at the fairs. In the spring of 1716 Philippe asked his cousin, the [[Francesco Farnese, Duke of Parma|Duke of Parma]], to send him a troupe of Italian actors to revive the Comédie-Italienne in Paris, which had been disbanded nearly twenty years previous. To avoid some of the difficulties of the earlier troupe, he specified that its leader should be a man of good character and manners. [[Luigi Riccoboni]] was chosen, and in a few weeks he assembled a group of ten actors, all of whom were devout Christians.<ref>Brenner 1961, pp. 1–2.</ref>

[[File:Antoine Watteau 026.jpg|thumb|''L'amour au théâtre italien'' by [[Antoine Watteau|Watteau]]]]

Riccoboni's troupe performed at the [[Théâtre du Palais-Royal (rue Saint-Honoré)|Palais-Royal]] from 18 May 1716 until the Hôtel de Bourgogne had been renovated. Their first performance in the renovated Bourgogne theatre was on 1 June, when they performed ''La Folle supposée'' (''La Finta Pazza'') in Italian.<ref>Brenner 1961, pp. 2–3, 47.</ref> After an initial period of success, audiences dwindled, and the new company was also forced to begin performing more and more plays in French. Between 1720 and 1740 the company presented around 20 plays of [[Marivaux]] with great success.<ref name=Roy234/> The actress [[Silvia Balletti]] was particularly famous for her portrayals of Marivaux's heroines. As the competition from the [[Théâtre de la Foire|fair theatres]] increased, the company began presenting similar fare, including French ''[[comédies-en-vaudevilles]]'' and ''[[opéras-comiques]]''.<ref name=Roy234/>

In 1762, the company merged with the [[Opéra-Comique]] of the [[Théâtre de la Foire]]. The combined company opened at the Bourgogne on 3 February 1762 and continued to perform in the theatre until 4 April 1783, after which they moved to the new Salle Favart.<ref name=Wild/> By this time all the Italian players had either retired or returned to Italy, and the traditional Comédie-Italienne had in effect ceased to exist.<ref name=Roy234/> The name Comédie-Italienne was used less and less and was completely abandoned in 1801, when the company merged with the [[Théâtre Feydeau]].<ref>Hartnoll 1983, pp. 169–170.</ref>

==Italian opera in Paris in the 17th and 18th centuries ==
The first operas shown in Paris were Italian and were given in the mid-17th century (1645–1662) by Italian singers invited to France by the regent [[Anne d'Autriche]] and her Italian-born first minister, [[Cardinal Mazarin]]. The first was really a play with music, a ''comédie italienne'', which may have been [[Marco Marazzoli]]'s ''Il giudito della ragione tra la Beltà e l'Affetto'', although this has been disputed. It was presented at [[Cardinal Richelieu]]'s theatre, the [[Salle du Palais-Royal]], on 28 February 1645.<ref>Powell 2000, pp. 21–22; Anthony 1992.</ref> Francesco Sacrati's opera ''[[La finta pazza]]'' was presented at the [[Salle du Petit-Bourbon]] on 14 December 1645,<ref>Powell 2000, p. 22; Anthony 1992.</ref> and ''Egisto'' (previously thought to be a version of ''[[Egisto (opera)|Egisto]]'' with music by Francesco Cavalli,<ref>Powell 2000, p. 22; Anthony 1992; Isherwood 1973, p. 121.</ref> but now believed to be the 1639 comic opera ''[[Egisto ovvero Chi soffre speri]]'', with music by [[Virgilio Mazzocchi]] and Marco Marazzoli) was given at the Palais-Royal on 13 February 1646.<ref>Nestola 2007, pp. 125–146.</ref><ref>Naudeix 2022, pp. 219–220.</ref> A new Italian opera, ''[[Orfeo (Rossi)|Orfeo]]'', with music composed by Luigi Rossi, premiered at the Palais-Royal on 2 March 1647.<ref>Powell 2000, pp. 22–23; Anthony 1992.</ref>

During the [[Fronde]], Mazarin was in exile and no Italian works were performed, but after his return to Paris, [[Carlo Caproli]]'s ''[[Le nozze di Peleo e di Theti]]'' was produced at the Petit-Bourbon on 14 April 1654. Cavalli's ''[[Xerse]]'' was given in the Salle du Louvre on 22 November 1660, and his ''[[Ercole amante]]'' premiered at the new [[Salle des Machines]] in the [[Tuileries Palace]] on 7 February 1662. These early Paris productions of Italian operas were usually tailored to French taste. Ballets with music by French composers were often interpolated between acts. They were also highly elaborate visual spectacles, several with numerous set changes and scenic effects accomplished with stage machinery designed by [[Giacomo Torelli]]. The visual spectacle enhanced their popularity with the French, who mostly did not understand Italian.<ref>Powell 2000, pp. 57, 148; Anthony 1992.</ref>

Italian opera was abandoned in favour of [[French opera]], not long after [[Louis XIV]] assumed power, as witnessed by the creation of the [[Académie d'Opéra]] in 1669. Despite this, over the course of the 18th century, Italian musical performers came to Paris. In particular, in 1752, performances of the ''[[opera buffa]]'' ''[[La serva padrona]]'' led to the [[Querelle des Bouffons]], a debate about the relative superiorities of French and Italian musical traditions.

In 1787, after the particular success of one troupe of Italian singers, came the idea of establishing a resident theatrical company for ''opera buffa''. This initiative became reality in January 1789 with the founding of the [[Théâtre de Monsieur]] company, which was soon put under the auspices of the [[Louis XVIII of France|Count of Provence]], the king's brother, known at court as Monsieur. They first performed at the Tuileries Palace theatre, before moving to the [[Théâtre Feydeau]]. However, in 1792, the Italian troupe departed due to the upheaval of the [[French Revolution]], but the theatre continued presenting French plays and opéra-comique.

=={{Anchor|Théâtre-Italien (1801–1878)}}The Théâtre-Italien in the 19th century ==
[[File:La Comédie Italienne, drawing by Lallemand – Gallica 2013 (adjusted).jpg|thumb|The original Salle Favart (drawing by [[Jean-Baptiste Lallemand]])]]
[[File:Théâtre Louvois facade elevation - Donnet 1821 plate12 - GB Princeton.jpg|thumb|Facade of the [[Salle Louvois]], home of the Théâtre-Italien from 1804 to 1808 and 1819 to 1825, designed by [[Alexandre-Théodore Brongniart]]<ref>Wild 1989, pp. 229–232.</ref>]]

A new Théâtre-Italien, performing Italian opera in Italian, was formed by [[Mademoiselle Montansier]] in 1801, when it was officially known as the Opera Buffa, but more familiarly as the Bouffons.<ref>Charlton 1992.</ref> The company first performed at the Théâtre Olympique on the rue de la Victoire, but moved to the [[Salle Favart]] on 17 January 1802. Montansier retired on 21 March 1803.<ref>Wild 1989, p. 195.</ref> From 9 July 1804 the company performed at the [[Théâtre Louvois]], and from 16 June 1808, at the [[Odéon|Théâtre de l'Odéon]], at that time called the "Théâtre de l'Impératrice". They stayed there until 1815.<ref>Wild 1989, p. 196.</ref>

During this early period the Théâtre-Italien first presented ''[[opera buffa]]'' by [[Domenico Cimarosa]] and [[Giovanni Paisiello]], later adding those by [[Ferdinando Paër]] and [[Simone Mayr]]. The theatre commissioned [[Valentino Fioravanti]]’s ''I virtuosi ambulanti'', first presented on 26 September 1807. Several of Mozart's operas were first presented in Italian in Paris by the company, including ''[[The Marriage of Figaro|Figaro]]'' (23 December 1807), ''[[Così fan tutte|Così]]'' (28 January 1809), and ''[[Don Giovanni]]'' (2 September 1811), the last under [[Gaspare Spontini]], who served as director from 1810 to 1812. Spontini also added ''[[opera serie]]'' by [[Niccolò Antonio Zingarelli]] and others.<ref>Johnson 1992; Loewenberg 1978, cols 426 (''Figaro''), 452 (''Don Giovanni''), 478 (''Così''), 603 (''I virtuosi ambulanti'').</ref>

At the time of the [[Bourbon Restoration in France|Bourbon Restoration]], [[Louis XVIII of France|King Louis XVIII]] wanted to entrust the theatre to the [[soprano]] [[Angelica Catalani]]. Almost everything was set for the transfer, when the return of [[Napoleon]] and his reign of a [[Hundred Days]] disrupted the King's plans. The actors therefore stayed a little longer at the Théâtre de l'Impératrice. Upon the restoration of King Louis XVIII to power, Madame Catalani joined the troupe. However, she soon went on a tour across Europe, leaving control of the theatre to Paër, who presented the first Rossini opera to be performed in Paris, ''[[L'Italiana in Algeri]]'' on 1 February 1817 in the first Salle Favart, although the production was so inferior, he was accused of "attempting to sabotage Rossini's reception in Paris".<ref>Johnson 1992; Loewenberg 1978, col 633; Simeone 2000, p. 186.</ref>

In 1818, Madame Catalani's ''privilège'', or royal permission to perform, was revoked, and the theatre shut down. It was then decided to hand over administration of the theatre, now known as the Théâtre Royal Italien, to the Academie Royale de Musique (as the [[Paris Opéra]] was known at that time), while maintaining the autonomy of each establishment.<ref>Wild 1989, p. 197.</ref> Paër again served as director from 1819 to 1824 and 1826 to 1827. From 1819 to 1825 the company performed at the Salle Louvois, which only accommodated 1100 spectators.<ref name=Johnson1992>Johnson 1992.</ref> Several Paris premieres of Rossini operas were given there: ''[[Il barbiere di Siviglia]]'' (26 October 1819),<ref>The libretto, listed at WorldCat ({{OCLC|456913691}}), gives the date as 23 September 1819, but Loewenberg 1978, col 643, says this is erroneous, rather it was actually performed on 26 October 1819.</ref> ''[[Torvaldo e Dorliska]]'' (21 November 1820),<ref>Libretto of ''Torvaldo e Dorliska'' at WorldCat. {{OCLC|461200086}}; Loewenberg 1978, col 642.</ref> ''[[Otello (Rossini)|Otello]]'' (5 June 1821),<ref>Although the printed libretto of ''Otello'' (WorldCat {{OCLC|79827616}}) gives the date of the Paris premiere as 31 May 1821, Loewenberg 1978, col 649, gives 5 June 1821.</ref> and ''[[Tancredi]]'' (23 April 1822).<ref>The printed libretto listed at WorldCat ({{OCLC|458651003}}) gives the date as 20 April 1822, but Loewenberg 1978, col 629, gives 23 April 1822.</ref> His operas were so popular, that some of his Paris premieres were given at the larger [[Salle Le Peletier]], including ''[[La gazza ladra]]'' (18 September 1821), ''[[Elisabetta, regina d'Inghilterra]]'' (10 March 1822), ''[[Mosè in Egitto]]'' (20 October 1822), and ''[[La donna del lago]]'' (7 September 1824, produced under Rossini's supervision).<ref>Johnson 1992; Loewenberg 1978, cols 641 (''Elisabetta, regina d'Inghilterra''), 654 (''La gazza ladra''), 657 (''Mosè in Egitto''), 665 (''La donna del lago''); Gossett 2001.</ref>

Rossini himself had come to Paris by 1 August 1824<ref>Gossett 2001.</ref> and became director of the Théâtre-Italien on 1 December 1824.<ref name=Wild1989p198>Wild 1989, p. 198.</ref> He revived eight of his earlier works, including ''Il barbiere di Siviglia'' and ''Tancredi''. His last Italian opera, ''[[Il viaggio a Reims]]'', was premiered by the company on 19 June 1825 but was not a success.<ref>Johnson 1992; Loewenberg 1978, col 696.</ref> He also produced the first opera by [[Giacomo Meyerbeer]] to be performed in Paris, ''[[Il crociato in Egitto]]'', on 25 September 1825. On 12 November 1825 the company moved from the Salle Louvois to the refurbished first Salle Favart,<ref name=Wild1989p198/> where Rossini staged ''[[Semiramide]]'' (18 December 1825) and ''[[Zelmira]]'' (14 March 1826).<ref>Johnson 1992; Loewenberg 1978, cols 682 (''Zelmira''), 686 (''Semiramide''); Simeone 2000, p. 186 (''Semiramide'' at the first Salle Favart).</ref> Under Rossini the troupe's singers included [[Giuditta Pasta]], [[Laure Cinti-Damoreau]], [[Ester Mombelli]], [[Nicolas Levasseur]], [[Carlo Zucchelli]], [[Domenico Donzelli]], [[Felice Pellegrini]], and [[Vincenzo Graziani]].<ref name=Johnson1992/> Paer resumed the directorship in November 1826,<ref name=Wild1989p198/> and Rossini's attention turned to creating French operas at the Opéra. The Théâtre-Italien's association with the Opéra only lasted until October 1827, when it regained its independence from the crown and lost the appellation "Royal". Paër was replaced as director by Émile Laurent on 2 October.<ref>Wild 1989, pp. 198–199.</ref>

[[File:Illustrirte Zeitung (1843) 03 012 1 Theater Ventadour in Paris – Eine Scene aus dem zweiten Acte des Don Pasquale (cropped).jpg|thumb|Premiere of Donizetti's ''[[Don Pasquale]]'' in 1843 by the Théâtre-Italien at the [[Salle Ventadour]] in Paris]]

Rossini continued to help the Théâtre-Italien to recruit singers, including [[Maria Malibran]], [[Henriette Sontag]], [[Benedetta Rosmunda Pisaroni]], [[Filippo Galli (bass)|Filippo Galli]], [[Luigi Lablache]], [[Antonio Tamburini]], [[Giovanni Battista Rubini]] and [[Giulia Grisi]], and to commission operas, including Bellini's ''[[I puritani]]'' (25 January 1835 at the first Salle Favart<ref name=Simeone2000p186>Simeone 2000, p. 186.</ref>), Donizetti's ''[[Marino Faliero (opera)|Marino Faliero]]'' (12 March 1835 at the first Salle Favart<ref name=Simeone2000p186/>), and [[Saverio Mercadante]]'s ''[[I briganti (Mercadante)|I briganti]]'' (22 March 1836).<ref>Johnson 1992; Loewenberg 1978, cols 764 (''I puritani''), 779 (''I briganti'').</ref>

The Théâtre-Italien settled permanently in the [[Salle Ventadour]] in 1841. It saw the premiere of Rossini's ''[[Stabat Mater (Rossini)|Stabat Mater]]'' there in 1842. The Théâtre-Italien also produced popular works by [[Gaetano Donizetti]] and [[Giuseppe Verdi]], but the theatre was later forced to close in 1878.

Despite the closing of the Théâtre-Italien, operas continued to be performed in Italian in Paris, sometimes at the [[Théâtre de la Gaîté (rue Papin)|Théâtre de la Gaîté]] or the [[Théâtre du Châtelet]], but especially at the [[Paris Opera|Opéra]].

=== Venues of the 19th-century Théâtre-Italien ===
{| class=wikitable align="center"
! Theatre<ref>The information in the table is from Wild 1989, pp. 194–209; Charlton, 1992, pp. 867, 870&ndash;871.</ref>
! Dates used
! Notes
|-
| [[Salle Olympique (rue de la Victoire)|Salle Olympique]]
| 31 May 1801 &ndash; 13&nbsp;January&nbsp;1802
| Located on the rue de la Victoire.<ref>Barbier (1995), pp. 174&ndash;175.</ref>
|-
| [[Salle Favart]] (1st)
| 17 January 1802 &ndash; 19&nbsp;May&nbsp;1804
| 
|-
| [[Salle Louvois]]
| 9 July 1804 &ndash; 12&nbsp;June&nbsp;1808<ref>Charlton, 1992, p. 867, gives the date 4 August 1808.</ref>
| 
|-
| {{nowrap begin}}[[Salle de l'Odéon]] (2nd){{nowrap end}}
| 16 June 1808 &ndash; 30&nbsp;September&nbsp;1815
| 
|-
| Salle Favart (1st)
| 2 October 1815 &ndash; 20&nbsp;April&nbsp;1818&nbsp;&nbsp;
| 
|-
| Salle Louvois
| 20 March 1819 &ndash; 8&nbsp;November&nbsp;1825
| 
|-
| Salle Favart (1st)
| 12 November 1825 &ndash; 14&nbsp;January&nbsp;1838
| Destroyed by fire 14 January 1838.
|-
| [[Salle Ventadour]]
| 30 January 1838 &ndash; 31&nbsp;March&nbsp;1838
| 
|-
| {{nowrap begin}}Salle de l'Odéon (3rd){{nowrap end}}
| October 1838 &ndash; 31&nbsp;March&nbsp;1841
| 
|-
| Salle Ventadour
| 2 October 1841 &ndash; 28&nbsp;June&nbsp;1878
| Final performance 28 June 1878.
|}

== The modern Comédie-Italienne ==
The present-day theatre is [[La Comédie Italienne]], situated on the {{Interlanguage link multi|rue de la Gaîté|fr}}, where it was established in 1980 by the director Attilio Maggiulli.

== Notes ==
{{Reflist|20em}}

== Bibliography ==
* Anthony, James R. (1992). "Mazarin, Cardinal Jules", vol. 3, p.&nbsp;287, in ''[[The New Grove Dictionary of Opera]]'', 4 volumes, edited by [[Stanley Sadie]]. London: Macmillan. {{ISBN|9781561592289}}. 
* Baschet, Armand (1882). ''Les comédiens italiens à la cour de France sous Charles IX, Henri III, Henri IV et Louis XIII''. Paris: Plon. [https://books.google.com/books?id=_ekIAAAAQAAJ&pg=PP7 Copy] at [[Google Books]]; Copies [https://archive.org/stream/lescomdiensital00bascgoog#page/n9/mode/2up 1] & [https://archive.org/stream/lescomdiensita00bascuoft#page/n5/mode/2up 2] at [[Internet Archive]].
* {{cite journal|title=La Comédie Italienne sous la Régence: Arlequin poli par Paris (1716-1725)|language=fr|first=Guy|last=Boquet|journal=Revue d'histoire moderne et contemporaine|volume=24|issue=2|date=April–June 1977|pages=189–214|jstor=20528392|doi=10.3406/rhmc.1977.973}}
* {{cite journal|title=Les comédiens Italiens a Paris au temps de Louis XIV|language=fr|first=Guy|last=Boquet|journal=Revue d'histoire moderne et contemporaine|volume=26|issue=3|date=July–September 1979|pages=422–438|jstor=20528534|doi=10.3406/rhmc.1979.1065}}
* Boudet, Micheline (2001). ''La Comédie Italienne: Marivaux et Silvia''. Paris: Albin Michel. {{ISBN|9782226130013}}.
* Brenner, Clarence D. (1961). ''The Théâtre Italien: Its Repertory, 1716–1793''. Berkeley: University of California Press. {{OCLC|2167834}}.
* {{cite journal|title=Louis XIV's Dismissal of the Italian Actors: The Episode of 'La Fausse Prude'|first=William|last=Brooks|journal=The Modern Language Review|volume=91|issue=4|date=October 1996|pages=840–847|doi=10.2307/3733512|jstor=3733512}}
* Campardon, Émile (1880). ''Les comédiens du roi de la troupe italienne'' (2 volumes). Paris: Berger-Levrault. [https://archive.org/search.php?query=campardon%20italienne Copies] at Internet Archive.
* [[Castil-Blaze]] (1856). ''L'Opéra italien de 1645 à 1855''. Paris: Castil-Blaze. [https://archive.org/search.php?query=castil%20blaze%20italien Copies] at Internet Archive.
* Charlton, David (1992). "Paris. 4. 1789–1870. (v) The Théâtre Italien", vol. 3, pp.&nbsp;870–871, in ''[[The New Grove Dictionary of Opera]]'', 4 volumes, edited by [[Stanley Sadie]]. London: Macmillan. {{ISBN|9781561592289}}. 
* Di Profio, Alessandro (2003). ''La révolution des Bouffons. L'opéra italien au Théâtre de Monsieur, 1789–1792''. Paris: Éditions du [[CNRS]]. {{ISBN|9782271060174}}.
* Forman, Edward (2010). ''Historical Dictionary of French Theater''. Lanham: The Scarecrow Press. {{ISBN|9780810849396}}.
*Gherardi, Evaristo, editor (1721). ''Le Théâtre Italien de Gherardi ou le Recueil général de toutes les comédies et scènes françoises jouées par les Comédiens Italiens du Roy ...'' 6 vols. Amsterdam: Michel Charles le Cène. Vols. [https://books.google.com/books?id=vDg0AAAAMAAJ&pg=PP9 1], [https://books.google.com/books?id=AzM0AAAAMAAJ&pg=PP9 2], [https://books.google.com/books?id=ZDM0AAAAMAAJ&pg=PP11 3], [https://books.google.com/books?id=6jM0AAAAMAAJ&pg=PP9 4], [https://books.google.com/books?id=UzQ0AAAAMAAJ&pg=PP9 5], and [https://books.google.com/books?id=zDQ0AAAAMAAJ&pg=PP9 6] at Google Books.
* [[Gossett, Philip]] (2001).『Rossini, Gioachino, §5: Europe and Paris, 1822–9』in ''[[The New Grove Dictionary of Music and Musicians]]'', 2nd edition, edited by [[Stanley Sadie]]. London: Macmillan. {{ISBN|9781561592395}} (hardcover). {{OCLC|419285866}} (eBook). Also at [http://www.oxfordmusiconline.com/subscriber/article/grove/music/23901pg5 Oxford Music Online] (subscription required).
* Hartnoll, Phyllis, editor (1983). ''The Oxford Companion to the Theatre'' (fourth edition). Oxford: Oxford University Press. {{ISBN|9780192115461}}.
* Isherwood, Robert M. (1973). ''Music in the Service of the King. France in the Seventeenth Century''. Ithaca: Cornell University Press. {{ISBN|9780801407345}}.
* Johnson, Janet (1992). "Paris, 4: 1789–1870 (v) Théâtre-Italien", vol. 3, pp.&nbsp;870–871, in ''[[The New Grove Dictionary of Opera]]'', edited by [[Stanley Sadie]]. New York: Grove. {{ISBN|9781561592289}}. Also at [http://www.oxfordmusiconline.com/subscriber/article/grove/music/O005519#O985134 Oxford Music Online] (subscription required).
* Loewenberg, Alfred (1978). ''Annals of Opera 1597&ndash;1940'' (third edition, revised). Totowa, New Jersey: Rowman and Littlefield. {{ISBN|9780874718515}}.
* Naudeix, Laura (2022). "Opera in France c. 1640 – c. 1710", pp. 215–239, in ''The Cambridge Companion to Seventeenth-Century Opera'', edited by Jacqueline Waeber. Cambridge University Press ({{doi|10.1017/9781139033077}}). Paperback: {{ISBN|9780521530460}}.
* Nestola, Barbara (2007). "L{{'}}''Egisto'' fantasma di Cavalli: nuova luce sulla rappresentazione parigina dell ''Egisto ovvero Chi soffre speri'' di Mazzocchi e Marazzoli (1646)", ''Ricercare'', vol. 19, no. 1/2 (2007), pp. 125–126. {{JSTOR|41701476}}.
* Origny, Antoine d' (1788). ''Annales du théâtre italien depuis son origine jusqu'à ce jour'' (3 volumes). Paris: Veuve Duchesne. Reprint: Geneva: Slatkine (1970). Vols. [https://books.google.com/books?id=UjMDIaX9Z4kC&pg=PP7 1], [https://books.google.com/books?id=y6cWAAAAQAAJ&pg=PP7 2], and [https://books.google.com/books?id=3acWAAAAQAAJ&pg=PP7 3] at Google Books.
* Powell, John S. (2000). ''Music and Theatre in France 1600–1680''. Oxford: Oxford University Press. {{ISBN|9780198165996}}.
* Roy, Donald (1995). "Comédie-Italienne", pp.&nbsp;233–234, in ''The Cambridge Guide to the Theatre'', edited by Martin Banham. Cambridge: Cambridge University Press. {{ISBN|9780521434379}}.
* Scott, Virginia (1990). ''The Commedia dell'Arte in Paris, 1644–1697''. Charlottesville: University Press of Virginia. {{ISBN|9780813912554}}.
* Simeone, Nigel (2000). ''Paris – A Musical Gazetteer'', p.&nbsp;239. New Haven: Yale University Press. {{ISBN|9780300080537}}.
* Soubiès, Albert (1913). ''Le théâtre italien de 1801 à 1913''. Paris: Fischbacher. [https://archive.org/stream/lethtreitali00soub#page/n9/mode/2up Copy] at Internet Archive.
* Wild, Nicole ([1989]). ''Dictionnaire des théâtres parisiens au XIXe siècle: les théâtres et la musique''. Paris: Aux Amateurs de livres. {{ISBN|9780828825863}}. {{ISBN|9782905053800}} (paperback). [https://www.worldcat.org/formats-editions/20954302 View formats and editions] at [[WorldCat]].

== External links ==
{{Commons category|Comédie-Italienne}}
*[http://www.italieaparis.net/theatre.php Le théâtre italien à Paris]
*List of all the performances at the [https://cesar.huma-num.fr/cesar2/places/places.php?fct=edit&location_UOID=200627 Comédie-Italienne from 1783 to 1800] on the site [http://cesar.huma-num.fr CÉSAR]

{{DEFAULTSORT:Comedie-Italienne}}
[[Category:Opera houses in Paris]]
[[Category:Buildings and structures in Paris]]
[[Category:Opera history]]

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