Photo: Pierre Petit (1832 – 1909) · Public domain · credits
Tier 3 · vertical & regionalfull biography
Charles Lecocq
Person · male · France · Paris · born 1832 · died 1918 · recording since 2002
French composer (1832–1918)
Also known as Alexandre Charles Lecocq · Charles Le Cocq · 夏尔·勒科克
Timeline
7 events▣ Album 3◦ Birth 1✦ Award 1† Death 1★ Debut release 1
1830s
1910s
2000s
· Debut release
Debut release: La Fille de Madame Angot
First documented Album in the MusicBrainz discography.
source: musicbrainz
2020s
Biography
English biography1,586 words · 5 sectionssource: wikipedia-en · licence CC BY-SA 4.0 · revision 1349918462
Biography
Alexandre Charles Lecocq (French pronunciation: [alɛksɑ̃dʁ ʃaʁl ləkɔk]; 3 June 1832 – 24 October 1918) was a French composer, known for his opérettes and opéras comiques. He became the most prominent successor to Jacques Offenbach in this sphere, and enjoyed considerable success in the 1870s and early 1880s, before the changing musical fashions of the late 19th century made his style of composition less popular. His few serious works include the opera Plutus (1886), which was not a success, and the ballet Le Cygne (1899). His only piece to survive in the regular modern operatic repertory is his 1872 opéra comique La Fille de Madame Angot (Mme Angot's Daughter). Others of his more than forty stage works receive occasional revivals.
After study at the Paris Conservatoire, Lecocq shared the first prize with Georges Bizet in an operetta-writing contest organised in 1856 by Offenbach. Lecocq's next successful composition was an opéra-bouffe, Fleur-de-Thé (Tea-flower), twelve years later. His comic operas Les Cent Vierges (The Hundred Virgins, 1872), La Fille de Madame Angot (1872) and Giroflé-Girofla (1874) were all successes and established his international reputation. Critics remarked on the elegance of the music in Lecocq's best works. His other popular pieces in the 1870s included La Petite Mariée (The Little Bride, 1875) and Le Petit Duc (The Little Duke, 1878). Although a few of his works in the early 1880s were well-received, and he continued composing for more than two decades afterwards, his later works never achieved the same admiration.
Early years
Lecocq was born in Paris, the son of a copyist at the Commercial Court of the Seine. His father was not highly paid, but supported a family of five children. As a boy Lecocq suffered from a hip condition that obliged him to use crutches throughout his life. His first musical instrument was the flageolet; a music teacher, discerning his talent, persuaded his parents to buy a piano. By the age of 16 Lecocq was giving private piano lessons which funded the lessons he himself was taking in harmony.
He was admitted into the Paris Conservatoire in 1849, studying harmony under François Bazin, organ with François Benoist and composition with Fromental Halévy. Among his classmates were Georges Bizet and Camille Saint-Saëns; the latter became his lifelong friend. At the end of his second year he gained the second prize in counterpoint and was premier accessit in Benoist's organ class. He thought little of Halévy as a teacher, and was not inspired to pursue the top musical prize, the Prix de Rome. He would not, in the event, have been able to do so, because in 1854 he had to leave the Conservatoire prematurely to help support his parents, by giving lessons and playing for dance classes.
First success
At the time when Lecocq left the Conservatoire, the genre of popular musical theatre known as opérette was becoming popular. It had been introduced by the composer Hervé and its principal exponent was Jacques Offenbach, who presented his works at the Théâtre des Bouffes-Parisiens from 1855. In 1856 he organised an open competition for aspiring composers. A jury of French composers and playwrights including Daniel Auber, Halévy, Ambroise Thomas, Charles Gounod and Eugène Scribe considered 78 entries; the five short-listed entrants were all asked to set a libretto, Le Docteur Miracle, written by Ludovic Halévy and Léon Battu. The joint winners were Bizet and Lecocq. Richard Traubner comments in his history of operetta that Bizet's version has survived better than Lecocq's, which is forgotten. Bizet became, and remained, a friend of Offenbach; Lecocq and Offenbach took a dislike to one another, and their rivalry in later years was not altogether friendly. Lecocq's setting of Le Docteur Miracle, was given eleven performances at Offenbach's theatre, but this early success was followed by eleven years of obscurity and routine work as a teacher, accompanist and répétiteur.
Between 1859 and 1866, Lecocq wrote six one-act works, which were presented at the Folies-Nouvelles, the Théâtre des Folies-Marigny, the Théâtre du Palais-Royal and elsewhere, without making any great impression. The composer's fortunes improved when he was engaged by Fromental Halévy's nephew William Busnach at the Théâtre de l'Athénée, for which Lecocq wrote the music for his first two-act piece, an opéra-bouffe called L'Amour et Son Carquois (Cupid and His Quiver) presented in January 1868. In April of that year he had his first substantial success with Fleur-de-Thé (Tea-flower) a three-act bouffe playing on the fashionable interest in the Far East. The piece was successfully given in London and New York in 1871.
1870s
The Franco-Prussian War in 1870–1871 temporarily interrupted Lecocq's rise, and he was gloomy about his prospects after it. In the longer term the war worked to his advantage, as it brought about the fall of the Second Empire, with which Offenbach had been closely identified in the popular mind, and in the aftermath of France's crushing defeat by Prussia, Offenbach's German birth made him unpopular in some quarters. While Offenbach struggled to re-establish himself in Parisian theatres, Lecocq began to occupy his place.
After the outbreak of the war Lecocq moved temporarily to Brussels, where he premiered Les Cent Vierges (The Hundred Virgins, 1872), La Fille de Madame Angot (Madame Angot's Daughter, 1872) and Giroflé-Girofla (1874), all great successes there and then in Paris and elsewhere. La Fille de Madame Angot was most conspicuous of these successes. At the Parisian premiere in February 1873, Saint-Saëns said, "It's much more serious than you think; it's a success without parallel!" On the first night in Paris every number was encored. The work ran for 411 performances in Paris and was given in 103 cities and towns in France, and theatres in other countries: its London premiere was within three months of the first Paris performances. In 1874 the London paper The Morning Post commented that twelve months earlier scarcely anyone in England had heard of Lecocq, but now it was doubtful if there was anyone "who has not played sung or whistled one or more of Lecocq's charming melodies". So great was the composer's popularity as a composer of operétte that he felt obliged to use a pen-name ("Georges Stern") for his serious music such as his Miettes musicales, Op. 21 (Musical Crumbs).
The 1870s were Lecocq's most fruitful decade. Sheet-music sales of arrangements from his operettas sold prodigiously. Settling once again in Paris, he formed a productive partnership with Victor Koning, co-librettist of La Fille de Madame Angot and now the proprietor of the Théâtre de la Renaissance. Lecocq consolidated his reputation as a composer of comic opera with two more long-running pieces, La Petite Mariée (The Little Bride, 1875) and Le Petit Duc (The Little Duke, 1878); they have remained in the French, though not the international, operetta repertory. For Le Petit Duc he worked with Offenbach's favoured librettists, Henri Meilhac and Ludovic Halévy, which, in Traubner's words, "left no doubt that the composer had succeeded Offenbach". Nonetheless, by this time Offenbach had recovered much of his pre-war popularity with Parisian audiences, and Lecocq's pre-eminence was briefly threatened by the older composer's successful Madame Favart (1878) and La Fille du tambour-major (1879), but the latter was Offenbach's last completed work and he died in 1880.
Later years
At the turn of the decade Lecocq had a year's break from composition as a result of illness and domestic problems. He returned with the opéra comique Janot (1881), which was a failure. Lecocq had Meilhac and Halévy as his librettists, but all three collaborators were hampered by Koning's insistence on a plot revolving around his star singer, Jeanne Granier, in a breeches role as a wandering minstrel boy, a hackneyed device which audiences regarded as a cliché. The failure led to the break-up of Lecocq's association with Koning and the Renaissance. He transferred his allegiance to the Théâtre des Nouveautés where five of his next operas were staged. His choice caused some surprise, as the theatre, run by the actor-manager Jules Brasseur, had no reputation for opérette or opéra-bouffe, and was distinguished by the sometimes indelicate content of its productions. The most successful of Lecocq's works for the Nouveautés were the opéra bouffe Le Jour et la Nuit (Day and Night, 1881) and the opéra comique Le Cœur et la Main (The Heart and the Hand, 1882), both variations on his familiar theme of wedding nights disrupted by farcical complications. In Grove's Dictionary of Music and Musicians, Andrew Lamb describes these as Lecocq's last real successes.
Unlike his predecessor, Offenbach, and his successor, André Messager, Lecocq could not, or would not, alter his style to meet changing public tastes. Lamb writes that he accepted that fashion in comic opera had changed, and he turned to other genres. In 1886, his opera, Plutus, a "morality" based on a play by Aristophanes, was presented at the Opéra-Comique. After the premiere the Paris correspondent of The Era called it "the most unsuccessful and insignificant of his works … utterly devoid of originality, altogether wanting in inspiration, and without a genuine sparkle from end to end". The run closed after eight performances.
In 1899, Lecocq composed a ballet, Le Cygne, for the Opéra-Comique, to a scenario by Catulle Mendès. His last important operetta, in Lamb's view, was the three-act opéra comique La Belle au bois dormant (Sleeping Beauty, 1900); after which he wrote one more full-length work (Yetta, 1903) for Brussels and four short pieces for Paris.
Lecocq was appointed a Chevalier of the Légion d'honneur in 1900 and promoted to Officier in 1910. He died in his home city of Paris, aged 85.
Discography & profile
Normalised profile
Percentiles are computed over every artist in the database, so a tier-3 artist can still sit in the 95th percentile on a single axis.
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 21 | 82.6th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 3 | 77.1th |
| Studio albums | 3 | 80.9th |
| Awards recorded | 1 | 89th |
| Timeline events | 7 | 82.6th |
| Recording span (years) | -84 | 5.3th |
| Genres | 4 | 84.7th |
Percentiles are computed at render time; missing values mean the artist has no data on that axis.
Discography (3 release groups · 3 studio albums)
Albums · 3
2002 · studio album
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Tracklist · 29 tracks · 1:46:31
Disc 11La fille de madame Angot : Ouverture4:182La fille de madame Angot : Acte I. Bras dessus bras dessous (Choeur)1:473La fille de madame Angot : Acte I. Couplets de Pomponnet3:354La fille de madame Angot : Acte I. Romance de Clairette3:245La fille de madame Angot : Acte I. Dialogue1:336La fille de madame Angot : Acte I. Marchande de maree (Amarante)4:357La fille de madame Angot : Acte I. Certainement jamais clairette (Pitou)2:418La fille de madame Angot : Acte I. Pour être fort on se rassemble (Clairette et Pitou)3:269La fille de madame Angot : Acte I. Dialogue7:1810La fille de madame Angot : Acte I. Chanson politique et final de l'acte I5:4711La fille de madame Angot : Acte II. Non, personne ne pourra croire (Choeur)3:0612La fille de madame Angot : Acte II. Les soldats d'Augereau (Mlle Lange)2:3313La fille de madame Angot : Acte II. Dialogue2:2314La fille de madame Angot : Acte II. Elle est tellement innocente (Pomponnet)2:1215La fille de madame Angot : Acte II. Ddialogue2:3616La fille de madame Angot : Acte II. Jours fortunes de notre enfance (Mlle Lange et Clairette)7:0317La fille de madame Angot : Acte II. Voyons, monsieur, raisonnons politique (Mlle Lange et Pitou)3:06Disc 21La fille de madame Angot : Acte II. Dialogue1:322La fille de madame Angot : Acte II. C'est l'avis de la police (Ensemle)3:043La fille de madame Angot : Acte II. Dialogue3:144La fille de madame Angot : Acte II. Choeur des conspirateurs - "Tournez, tournez, qu'a la valse" (Mlle Lange)9:425La fille de madame Angot : Acte III (dialogue1:086La fille de madame Angot : Acte III. Place, place (Choeur et ensemble) de mme angot, je suis la fille (Clairette)3:137La fille de madame Angot : Acte III. Dialogue2:598La fille de madame Angot : Acte III. Duo des deux forts (Pomponnet et Larivaudière)2:109La fille de madame Angot : Acte III. Dialogue2:1610La fille de madame Angot : Acte III. Trio je trouve mon futur charmant (Clairette, Pomponet et Larivaudière)4:4911La fille de madame Angot : Acte III. Dialogue1:4812La fille de madame Angot : Acte III. Duo des lettres (Mlle Lange, Pitou), couplets de la dispute et final de l'acte III9:132002 · studio album
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Tracklist · 52 tracks · 1:58:37
Disc 11La Fille de madame Angot: Ouverture5:052La Fille de madame Angot: Acte I. Chœur de scène "Bras dessus, bras dessous" (Chœur)2:043La Fille de madame Angot: Acte I. Couplets de Pomponnet "Aujourd'hui, prenons bien garde" (Pomponnet)2:254La Fille de madame Angot: Acte I. Entrée de la mariée "Beauté, grâce et décence" (Chœur, tous)1:205La Fille de madame Angot: Acte I. Romance de Clairette "Je vous dois tout" (Clairette)2:506La Fille de madame Angot: Acte I. Récit et reprise du chœur "Eh bien, partons" (Ange Pitou, chœur)1:177La Fille de madame Angot: Acte I. Dialogue "Eh bien mes enfants, nous sommes dans de beaux draps" (Pomponnet, Javotte, Amaranthe, Buteux, Cadet)0:458La Fille de madame Angot: Acte I. Légende de la mere angot "Marchande de marée" (Amaranthe, Chœur)2:169La Fille de madame Angot: Acte I. Dialogue "Qu'est-ce qui se passe" (Babet, Ange Pitou, Pomponnet, Buteux, Cadet, Guillaume)1:3410La Fille de madame Angot: Acte I. Rondeau "Certainement j'aimais Clairette" (Ange Pitou)2:1611La Fille de madame Angot: Acte I. Dialogue "Que vois-je?" (Ange Pitou, Clairette)0:2912La Fille de madame Angot: Acte I. Duo "Pour être fort on se rassemble" (Clairette, Ange Pitou)3:5513La Fille de madame Angot: Acte I. Dialogue "Eh, eh, nous effarouchons les tourtereaux" (Louchard, Ange Pitou, Larivaudière)1:0914La Fille de madame Angot: Acte I. Duo Bouffe "Eh quoi? C'est Larivaudière" (Ange Pitou, Larivaudière)3:0715La Fille de madame Angot: Acte I. Dialogue "Voyons, monsieur le chancelier" (Buteux, Amaranthe, Clairette, Ange Pitou, Babet, Cadet, Pomponnet, Un Incroyable)1:0716La Fille de madame Angot: Acte I. Chœur "Tu l'as promis" (Chœur)1:5617La Fille de madame Angot: Acte I. Chanson politique "Jadis les rois" (Clairette, Chœur)3:0118La Fille de madame Angot: Acte I. Récit et chœur "Arretz cette femme... Quoi? La laisserons-nous?" (Louchard, Clairette, Pomponnet, Ange Pitou)2:1819La Fille de madame Angot: Acte II. Entracte0:4120La Fille de madame Angot: Acte II. Chœur "Non personne ne voudrait croire" (Chœur)1:3421La Fille de madame Angot: Acte II. Dialogue "Hersilie... Voyez si le citoyen Pomponnet est ici" (Cydalise, Hersilie, Mlle Lange, Larivaudière)0:5522La Fille de madame Angot: Acte II. Couplets "Les soldats d'Augereau" (Mlle Lange)2:4823La Fille de madame Angot: Acte II "Le citoyen Trenitz... C'est lui, c'est lui..." (Un Incroyable, Pomponnet, Mlle Lange, Trénitz)0:4324La Fille de madame Angot: Acte II. Romance "Elle est tellement innocente" (Pomponnet)2:3125La Fille de madame Angot: Acte II. Dialogue "Cette chanson, l'avez-vous?" (Mlle Lange, Pomponnet, Trénitz, Larivaudière, Clairette)1:3826La Fille de madame Angot: Acte II. Duo "Jours fortunés" (Clairette, Mlle Lange)5:5227La Fille de madame Angot: Acte II. Dialogue "Pardon, citoyen!" (Clairette, Mlle Lange, Ange Pitou, Louchard, Hersilie, Un Domestique)1:2028La Fille de madame Angot: Acte II. Duettino "Voyons, Monsieur, raisonnons politique" (Mlle Lange, Ange Pitou)3:19Disc 21La Fille de madame Angot: Acte II. Dialogue "Clairette, Clairette, accours vite" (Mlle Lange, Clairette, Larivaudière)0:562La Fille de madame Angot: Acte II. Quintette "Oui je vous le dis" (Clairette, Mlle Lange, Ange Pitou, Larivaudière, Louchard)3:283La Fille de madame Angot: Acte II. Dialogue "Mais, j'y pense" (Larivaudière, Mlle Lange, Pomponnet, Louchard, Ange Pitou)2:214La Fille de madame Angot: Acte II, Finale. Chœur des conspirateurs "Quand on conspire" (Chœur)3:055La Fille de madame Angot: Acte II, Finale. Scène "Ah! Je te trouve" (Clairette, Mlle Lange, Trénitz, Chœur)2:486La Fille de madame Angot: Acte II, Finale. Valse "Tournez, tournez" (Mlle Lange, Chœur)5:287La Fille de madame Angot: Acte III. Entracte1:448La Fille de madame Angot: Acte III. Dialogue "Eh bien, est-ce que nous ne les suivons pas?" (Babet, Cadet, Javotte, Amaranthe, Thérèse, Guillaume, Le Caberetier)0:219La Fille de madame Angot: Acte III. Chœur "Place! Place! Place sur son passage!" (Chœur)1:0110La Fille de madame Angot: Acte III. Couplets "Vous aviez fait de la depense" (Clairette, Chœur)2:3011La Fille de madame Angot: Acte III, Ballet. Allegro vivo4:0812La Fille de madame Angot: Acte III, Ballet. Gavotte2:1613La Fille de madame Angot: Acte III, Ballet. Pantomime et pas comique2:2614La Fille de madame Angot: Acte III, Ballet. Ensemble1:5915La Fille de madame Angot: Acte III. Dialogue "Celui qui t'aime, c'est Ange" (Amaranthe, Cadet, Clairette, Un Incroyable)0:3316La Fille de madame Angot: Acte III. Chœur "De la mère Angot, c'est la fille" (Chœur)0:2317La Fille de madame Angot: Acte III. Dialogue "M'y voila! Comment? Personne?" (Larivaudière, Pomponnet)1:4118La Fille de madame Angot: Acte III. Duo "Prenez donc garde" (Pomponnet, Larivaudière)3:1619La Fille de madame Angot: Acte III. Dialogue "Mais comment se fait-il?" (Pomponnet, Clairette, Larivaudière)1:1620La Fille de madame Angot: Acte III. Trio "Je trouve mon futur charmant" (Clairette, Pomponnet, Larivaudière)5:3821La Fille de madame Angot: Acte III "Le bal de Calypso" (Ange Pitou, Mlle Lange)0:4822La Fille de madame Angot: Acte III. Duo des lettres "Cher ennemi que je devrais haïr" (Ange Pitou, Mlle Lange, Chœur)3:5323La Fille de madame Angot: Acte III. Couplets de la dispute "Ah! C'est donc toi" (Clairette, Mlle Lange, Chœur)4:1624La Fille de madame Angot: Acte III. Finale "Oui, je ferai" (Clairette, Tous, Chœur)2:072021 · studio album
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Tracklist · 46 tracks · 1:50:26
Disc 11La fille de Madame Angot: Ouverture1:422La fille de Madame Angot, Act I: I. Choeur. Bras dessus, bras dessous tous ensemble5:253La fille de Madame Angot, Act I: II. Couplets et scène. Aujourd’hui, prenons bien garde1:084La fille de Madame Angot, Act I: III. Romance et scène. Je vous dois tout, moi l’enfant de la Halle3:215La fille de Madame Angot, Act I: IV. Dialogue. Arrêtez ! Arrêtez !1:156La fille de Madame Angot, Act I: V. Légende. Marchande de marée0:307La fille de Madame Angot, Act I: VI. Dialogue. Comment ! le Grand-Turc2:228La fille de Madame Angot, Act I: VII. Sortie et dialogue. Très jolie, peu polie2:429La fille de Madame Angot, Act I: VIII. Rondeau. Certainement j’aime Clairette1:0310La fille de Madame Angot, Act I: IX. Dialogue. Que vois-je ?5:0111La fille de Madame Angot, Act I: X. Duo. Pour être fort on se rassemble3:2312La fille de Madame Angot, Act I: XI. Dialogue. Eh ! eh ! Nous effarouchons3:0113La fille de Madame Angot, Act I: XII. Duo bouffe. C’est lui ! C’est moi !6:2914La fille de Madame Angot, Act I: XIII. Dialogue. Les voilà !0:5115La fille de Madame Angot, Act I: XIV. Final. Tu l’as promis, tu chanteras0:4316La fille de Madame Angot, Act I: XV. Chanson politique et suite du final. Jadis les rois, race proscrite4:5417La fille de Madame Angot, Act II: I. Entr'acte1:5318La fille de Madame Angot, Act II: II. Choeur des Merveilleuses. Non, personne3:4519La fille de Madame Angot, Act II: III. Dialogue. Oui, mesdames !3:5420La fille de Madame Angot, Act II: IV. Couplets. Les soldats d’Augereau1:4821La fille de Madame Angot, Act II: V. Dialogue. Le citoyen Trénitz !2:1722La fille de Madame Angot, Act II: VI. Romance. Elle est tellement innocente0:5023La fille de Madame Angot, Act II: VII. Dialogue et sortie. Cette chanson, je veux la connaître0:3624La fille de Madame Angot, Act II: VIII. Duo. Jours fortunés de notre enfance2:1125La fille de Madame Angot, Act II: IX. Dialogue. Citoyenne, puis-je vous parler ?0:1826La fille de Madame Angot, Act II: X. Couplets. La République a maint défaut3:5427La fille de Madame Angot, Act II: XI. Dialogue. Madame !1:30Disc 21La fille de Madame Angot, Act II: XII. Quintette. Hein !3:392La fille de Madame Angot, Act II: XIII. Dialogue et mélodrame. Et quand bien même1:143La fille de Madame Angot, Act II: XIV. Final - Choeur des Conspirateurs. Quand on conspire2:034La fille de Madame Angot, Act II: XV. Final - suite. Ah ! je te trouve !5:035La fille de Madame Angot, Act II: XVI. Final - Valse. Tournez, tournez !0:396La fille de Madame Angot, Act III: I. Entr'acte1:427La fille de Madame Angot, Act III: II. Dialogue. Ah ! c’est si bon de danser0:458La fille de Madame Angot, Act III: III. Choeur. Place, place, sur son passage !2:369La fille de Madame Angot, Act III: IV. Couplets. Vous aviez fait de la dépense1:2710La fille de Madame Angot, Act III: V. Dialogue. Comment ! c’était pour ça ?2:0911La fille de Madame Angot, Act III: VI. Sortie et dialogue. De la mère Angot1:5312La fille de Madame Angot, Act III: VII. Duo des deux Forts. Prenez donc garde !5:2013La fille de Madame Angot, Act III: VIII. Dialogue. Je suis trop heureux1:0914La fille de Madame Angot, Act III: IX. Trio. Je trouve mon futur charmant1:2515La fille de Madame Angot, Act III: X. Dialogue. Le bal de Calypso1:0816La fille de Madame Angot, Act III: XI. Final - Duo des lettres. Cher ennemi que je devrais haïr3:2317La fille de Madame Angot, Act III: XII. Final - Duo de la dispute et suite du final. Ah ! c’est donc toi, Madam’ Barras1:5418La fille de Madame Angot, Act I: Duo. Eh quoi, c’est Larivaudière ! (Version de Paris) [Bonus Track]3:3119La fille de Madame Angot, Act II: Duo. Voyons, Monsieur, raisonnons politique (Version de Paris) [Bonus Track]2:40
Stats & PK
Percentile within all 23,672 published artists.Put Charles Lecocq head-to-head →
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 21 | 82.6th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 3 | 77.1th |
| Studio albums | 3 | 80.9th |
| Awards recorded | 1 | 89th |
| Timeline events | 7 | 82.6th |
| Recording span (years) | -84 | 5.3th |
| Genres | 4 | 84.7th |
Awards & honours
| Year | Award | Category | Result |
|---|---|---|---|
| 1913 | Officer of the Legion of Honour | won |
Where this record comes from
portrait—Wikimedia Commons · Public domain · retrieved 11 October 2026
https://commons.wikimedia.org/wiki/File:Charles_Lecoq.jpgaliases/urls—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/0bec85d3-db59-4683-a8a1-16c6ceac1ea9discography—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/0bec85d3-db59-4683-a8a1-16c6ceac1ea9core—wikidata · CC0 · retrieved 10 October 2026
https://www.wikidata.org/wiki/Q538894genre—wikidata · CC0 · retrieved 11 October 2026
https://www.wikidata.org/wiki/Q538894seed-list—wikipedia · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Charles_Lecocqbiography—wikipedia-en · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Charles_Lecocq
Why this artist is in the database
- List of composers by name
Tier rule: curated genre/region list
Image: Pierre Petit (1832 – 1909) · Public domain · Wikimedia Commons
Wikidata: Q538894 · MusicBrainz: 0bec85d3-db59-4683-a8a1-16c6ceac1ea9
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