See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

CHARLES See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

LOUIS AMBROISE See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• CHARLES LOUIS AMBROISE THOMAS (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

THOMAS (1811-1896)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• METZ

Metz on the 5th of See also:

• AUGUST (originally Sextilis)

August 1811 . He studied at the See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire, and won the See also:

• GRAND

Grand Prix de See also:

• ROME
• ROME (Roma)

Rome in 1832 . Five years later (in 1837) his first See also:

• OPERA (Italian for " work ")

opera, La See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

Double echelle, was produced at the Opera Comique . For the next five-and-twenty years See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas's productivity was incessant, and most of his operatic See also:

• WORKS

works belonging to this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period enjoyed an ephemeral popularity . A few of these are still occasionally heard on the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent, such as Le Caid (1849), Le Songe d'une nuit d'ete (1850), See also:

• PSYCHE (//vxi7)

Psyche (1857) . The See also:

• OVERTURE (Fr. ouverture, opening)

overture to See also:

• RAYMOND, HENRY JARVIS (1820-1869)

Raymond (1851) has remained popular . So far the composer's operatic career had not been marked by any overwhelming success . He occupied a See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place among the recognized purveyors of operas in the French See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital, but could scarcely claim to having achieved See also:

• EUROPEAN

European renown . The See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of See also:

• MIGNON, ABRAHAM (1640-1697)

Mignon at the Opera Comique in 1866, however, at once raised Ambroise Thomas to the position of one of the foremost French composers . See also:

• GOETHE, JOHANN WOLFGANG VON (1749-1832)

Goethe's touching See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

tale had very happily inspired the musician; Mme Galli See also:

• MARIE

Marie, the See also:

• ORIGINAL

original interpreter of the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title-role, had modelled her conception of the See also:

• PART

part upon the well-known picture by Ary See also:

• SCHEFFER, ARY (1795-1858)

Scheffer, and Mignon at once took the See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy of the public, its success being repeated all over the continent . It has since remained one of the most popular operas belonging to the second See also:

• HALF

half of the 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . Thomas now attempted to turn See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare's See also:

• HAMLET

Hamlet to operatic See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account .

His opera of that name was produced with success at the Paris Opera in r868, where it enjoyed a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue . If the See also:

• MUSIC

music is scarcely adequate to the subject, it nevertheless contains some of the composer's best See also:

• WORK

work . The See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene of the esplanade is genuinely dramatic, the part of Ophelia is poetically conceived, and the See also:

• BALLET

ballet music is very brilliant . Ambroise Thomas's last opera, Fran4oise de See also:

• RIMINI

Rimini, was given at the Opera in 1882, but has not maintained itself in the repertoire . Seven years later La See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple, a ballet founded on Shakespeare's See also:

• PLAY

play, was produced at the same See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre . Ambroise Thomas succeeded See also:

• AUBER, DANIEL FRANCOIS ESPRIT (1782-1871)

Auber as director of the Paris Conservatoire in 187r . His music is often distinguished by refined touches which reveal a sensitive mind, and there is a distinct See also:

• ELEMENT (Lat. elementum)

element of See also:

• POETRY

poetry in his Mignon and Hamlet, two operas that should suffice to keep the composer's memory See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green for some See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time to come . He died on the 12th of See also:

• FEBRUARY

February 1806 . (A .