French nineteenth-century stage music studies have blossomed in the last decade, encouraging new productions of nineteenth century works to take their place in the modern repertory. However, this has focused on works produced exclusively for the Paris Opéra at the expense of the vast range of other types of stage music. This book seeks to re-introduce a number of norms to the study of stage music in Paris, and to acknowledge Paris as an importer and exporter of opera, focusing on music of its closest neighbours, the Italian-speaking states. This collection brings together twelve previously published articles and essays, updated for this volume and translated into English for the first time.