A Dictionary of Music and Musicians/Véron, Louis

VÉRON, Louis Désiré, born in Paris, April 5, 1798, died there Sept. 27, 1867; the son of a stationer, studied medicine on leaving school, and took his doctor's degree in 1823. He had been intimate with the chemist Regnauld, and on his death bought the patent of his 'Pâte Regnauld,' and made a fortune. In 1828 he gave up doctoring, and took to writing for the press. In 1829 he founded the 'Revue de Paris,' and became a personage of importance. In spite of this, however, he gave up journalism, and became (March 2, 1831) director of the Opéra for five years, with a subsidy of 810,000 francs for the first year, 760,000 francs for the second, and 710,000 francs (respectively £32,500, £30,500, and £28,500) for the last three. Thus at his ease in money matters, with an excellent body of artists, and an able coadjutor in Edmond Duponchel (born 1795, died 1868), who looked after the mise-en-scène, his usual luck did not fail him, for the first work he produced was 'Robert le Diable' (Nov. 21, 1831). The success of Meyerbeer's first masterpiece is well known, but it is not so well-known that the manager of the Opéra exacted from the composer a large sum in consideration of the expenses of mounting the opera. With much energy and tact, Véron at once set to work to vary and renew the répertoire, as the following list of the works produced for the first time under his administration will show:—In 1832 'La Sylphide,' with Taglioni; the opéra-ballet 'La Tentation,' with a very original march-past of demons; Auber's opera 'Le Serment,' of which all that remains is the lively overture, and a coquettish air sung to perfection by Mme. Damoreau; and 'Nathalie,' a ballet for Taglioni. In 1833 'Gustave III,' with its masked ball; Cherubini's last opera 'Ali Baba'; and 'La Révolte au Serail,' a smart and witty ballet. In 1834 'Don Juan'; and 'La Tempete,' in which Fanny Elssler made her début. And finally, Feb. 23, 1835, 'La Juive,' with Falcon, Nourrit and Levasseur—his greatest success after 'Robert,' and a greater aid to his reputation than any other work. Content with his enormous gains, and unwilling to risk losing them, Dr. Véton relinquished his licence to Duponchel, and took to politics. Failing to secure his election as a Deputy in 1838 he returned to journalism, and became in turn manager, editor, and sole proprietor (1844) of the 'Constitutional.' This is not the place in which to dilate on the important part played by this paper till Dr. Véron gave it up in 1862, but it admirably served the interests of its proprietor, who was twice elected a member of the Corps Législatif. While attending the Chamber he found time to write his own life under the title of 'Mémoires d'un Bourgeois de Paris' (Paris 1854, 6 vols. 8vo.), which obtained a succès de curiosité, and encouraged its author to further works, 'Cinq cent mille francs de rente' (1855, 2 vols. 8vo.) a novel of manners; a sequel to the 'Mémoires' (1856); a political treatise, 'Quatre ans de règne. Où allons-nous?' (1857); and, finally, one coming more within the scope of this Dictionary, 'Les Théâtres de Paris, from 1806 to 1860' (1860, 8vo.). These books are all forgotten, but 'Mimi Véron' (his nickname at the Opéra balls), the man of business and purveyor of pleasures under Louis Philippe, was a characteristic personage in his day, and a typical 'Bourgeois de Paris,' both in his industry and his vanity.

[ G. C. ]