Paris was the operatic centre of Europe for much of the nineteenth century, producing two of the most importantand most heavily exportedoperatic genres: opéra comique and grand opéra. Theatres were strictly regulated, and many were heavily subsidised by the French state, despite the frequent changes in regime from monarchy and empire to a democratic republic. The city's relative financial strength and abundance of talented artists provided a situation wherein theatres could take creative risks, cultivate new genres, develop new works and mount lavish productions. Many French opera houses boasted a stable company of performers: singers could devote much of their career to a single stage, thereby developing long-term, intimate relationships with other cultural producers (composers, librettists, musicians, etc.), journalists and the public. The expansive newspaper industry along with the professionalisation of music criticism supported the country's cultural production and its artists, at home and abroad, through lively debate and discourse. From the 1850s, moreover, France stood at the forefront of key technological developments, from photography to the phonograph, which significantly affected the dissemination, circulation and reception of opera and its singers. Nevertheless, by the century's end, Paris slipped from its dominant position as opera became a global phenomenon. The changes to the operatic industry were profound, affecting the constitution of the repertoire, the circulation of works and artists and performance aesthetics and traditions. Parisian theatres faced increasing competition for operas and singers not only from far-flung places, but also from cities within France's borders that sought to challenge the capital's cultural pre-eminence.The articles in this special issue explore this vibrant period in the history of French operatic culture from the unique perspective of the singer, bringing into focus specific performing contexts of the French stage as well as the changes to the status of performers brought about by internationalisation. Although the subject matter of all seven articles is rooted in France, and most specifically in Paris, each author approaches the geographical field from a distinct perspective, illustrating the myriad experiences singers faced as they sought fame and fortune, both at home and abroad. Despite the variety in this set of articles, a few common themes thread their way through the volume. Sarah Fuchs and Sean Parr, for example, seek to understand how nuances embedded in bodily and vocal gestures could help singers articulate their uniqueness amongst a sea of competitors, while Kimberly White,
