Nineteenth-century France was at the center of the development of the oboe, both physically and conceptually. Until recently, study of solo oboe repertoire from this period has been confined to a few exceptional pieces, neglecting the numerous competition works created for the Conservatoire's tradition of the Prix de Concours. The oboe professors at the Conservatoire composed much of the solo literature from the period, and sponsored the Triébert firm in their quest to perfect the instrument. These same professors participated in much of the musical life in the city, most notably as members of the orchestra at the Opéra.

Louis-Stanislas-Xavier Verroust's career as principal oboist at the Opéra, 1839–1863, came at a time when the early triumphs of French Grand Opera were still solidly in the repertoire and when the later masterpieces were being premiered. Verroust's professorship at the Conservatoire, 1853–1863, yielded twelve solo pieces for use at the annual Concours competition. The most popular works of the Opéra during Verroust's tenure were examined alongside his twelve solos. The influence of the operas on these solos is evident in their structure, their figurations, and, most important, in their characterizations of the oboe.

As a result of this study, we are able to obtain a clear musical profile of the oboe during Verroust's lifetime. The understanding of the musical characterizations, especially, allows us to better understand the history and development of the instrument, and the musical styles associated with it. Exposure to solos that have been otherwise overlooked allow for an understanding of their valuable place in the repertoire. A greater understanding of the instrument and the composers' intentions will better our performances of both Verroust's solos and the operas included in this study, as well as the later repertoire which was undoubtedly influenced by both.