She also contributed to the enhancement of these collections by organizing various exhibitions, whose catalogues are valuable working tools: Diaghilev: les Ballets russes (with Jean-Michel Nectoux), 1979; Auber et l'opéra romantique (with Yves Gérard and Anne-Charlotte Rémond[5]), 1982; Wagner et la France (with Martine Kahane), 1983; Les Ballets russes à l'Opéra[6] (with Martine Kahane), 1999.
Then at the University Paris IV-Sorbonne, where in 1987 she obtained a doctorate in literature, prepared under the direction of Jean Mongrédien, with a thesis entitled Musique et théâtres parisiens face au pouvoir (1807-1864) : avec inventaire historique des salles.
Including all Parisian theatres, music having inevitably intervened in each at one time or another, it provides each theatre with a considerable amount of information (origin, assignments, artistic personnel, type of production, operating regime), making it possible, as Joël-Marie Fauquet writes in his preface, "to capture, in its breadth and diversity, the activity of a cultural sector which, having been maintained in close freedom until 1864, is surprisingly intense".
And he concludes, evaluating the enormous documentation contained in this opus: "Nicole Wild has the enviable privilege of proving that a single book can sometimes replace a library."
[8] At the same time, she became interested in the iconography of this lyrical genre and its theatre, publishing in 2002, in collaboration with Raphaëlle Legrand,[9] an illustrated book on their history: Regards sur l'opéra-comique: trois siècles de vie théâtrale.