Abstract: The subject of the article is the socio-cultural and religious-philosophical views of the greatest French tenor of the XIX century, Adolphe Nurrit (1802-1839). His stage work was carried out at the Paris Opéra, and during the July Revolution of 1830 he performed revolutionary songs, supporting and inspiring compatriots to fight for freedom. Considering Nurrit's creative portrait and revolutionary agitator activity in the 1830s, the author focuses on his commitment to the ideas of sentimonism, in particular, on the desire to deepen the religious and moral role of theater in society. The singer's spiritual quest can be characterized by relying on various historical evidence – doctrinal positions of the sentimonists, comments from eyewitnesses, articles in newspapers, letters from Nurrit himself. The methodological strategy of the research is based on socio-historical and socio-cultural approaches.  A large array of historical sources attracted by the author consists of literature in foreign languages, work with which involves linguistic research methods. The combination of different approaches and reliance on reliable historical sources makes it possible to achieve scientific novelty: Nurrit was first described as a singer of the Revolution, which left a deep imprint on his artistic appearance, religious and moral views and plans for practical implementation. The presented portrait of Nurri as an adept of the sentimonistic idea of the sacred mission of the artist and the religious and educational function of the theater is new for musicology.
As a result of the undertaken research, Nurrit's deep involvement in the socio-cultural life of France becomes obvious, and his artistry stands out as a special artistic phenomenon due to the unprecedented emotional impact of the artist on his contemporaries. The materials, observations and conclusions presented in the article will find application in historical musicology and will be useful to modern opera performers.