It seems historiographically implausible to ascribe the reputation of fin-de-siècle Lyon as France's Bayreuth to the impact of a single middle-ranking soprano, but the Danish singer Louise Janssen's long-term presence, galvanic musical influence and box-office value suggest precisely that conclusion. Part of the explanation lies with the diva-worship of her supporters (‘Janssenistes’), who curated her image both during her career and in her retirement to create an adopted musical heroine whose memory remains guarded by Lyon council policy. That image, selectively constructed from among her Wagner roles, also typecast her as a singer who had much in common with Symbolist art – a potential Mélisande that Lyon never saw. This article brings together archival and press materials to explain how a foreign-born singer's agency and mythification contributed to a double French naturalisation – her own, and that of Wagner(ism).

中文翻译：

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里昂的瓦格纳天后：路易丝·詹森 (Louise Janssen) (1863–1938)

将其名誉归于史学上似乎是不可信的世纪末里昂作为法国的拜罗伊特影响了单一的中级女高音，但丹麦歌手路易丝·詹森的长期存在、原汁原味的音乐影响力和票房价值恰恰表明了这一结论。部分原因在于她的支持者（“Janssenistes”）对女主角的崇拜，他们在她的职业生涯和退休期间策划了她的形象，以创造一个被收养的音乐女主角，她的记忆仍然受到里昂议会政策的保护。这个形象是从她的瓦格纳角色中选择性构建的，也将她塑造成一个与象征主义艺术有很多共同点的歌手——里昂从未见过的潜在的梅丽桑德。这篇文章汇集了档案和新闻材料，解释了一位外国出生的歌手的代理和神话如何促成了双重法国归化——她自己的和瓦格纳（主义）的归化。