979:, objecting to the festivities on account of their profane character and of their mingling together the cults of their god and of Cupid. A ballet follows thereupon representing the confrontation between Anacreon's suite and Bacchus' followers, but eventually Anacreon and his guests yield to the priestess' demands and agree to worship Bacchus alone. As the Bacchantes go off the stage and Lycoris, as a symbol of love, is driven away, a ravishing sweet music slowly sends the whole drunken party to sleep. In his dreams Anacreon is visited by Cupid (soprano en travesti) and informed that Lycoris is dying of grief because she has been deserted for Bacchus by the insensitive man she is in love with. As he realises he is such a man, Anacreon throws himself at Cupid's feet imploring the god to return Lycoris to him, for he is willing to forgo everything else for her. Lycoris re-enters the stage accompanied by the
903:) then descends onto the scene assuring the enraged goddess that Venus will return Adonis to her, and the goddess of love re-enters over a cloud accompanied by Cupid and Adonis disguised as Cupid, so that Diana cannot tell them apart. Since Adonis refuses to reveal himself, Diana decides to withdraw for fear of possibly choosing Cupid, her bitterest enemy. The entrée goes on firstly to a ballet celebrating the coming wedding of Venus and Adonis, as in the distance Diana herself (ballerina) is shown to be falling in love with a sleeping
1458:
30:
975:, the local patron god. Anacreon addresses to his beautiful slave girl, Lycoris (ballerina), a warm request that she cheer up the party with the bloom of her youth and that she be the priestess of all gods he adores, including Cupid as well as Bacchus (aria: "Nouvelle Hébé, charmante Lycoris"). As she is dancing and Anacreon singing, however, an inflamed symphony is suddenly heard and the priestess of Bacchus bursts into the scene, followed by the
2099:
2123:
895:, who is in love with him. When Venus (soprano) arrives upon the scene, she easily succeeds in getting the better of Adonis' scruples and, supported by Cupid, they resolve to flee in order to shun Diana's dreadful wrath. When Diana (soprano) enters the scene, she charges Cupid with the abduction of credulous Adonis and entreats vengeance of heaven and hell.
1079:
948:'s (basse-taille) arrival gets to settle the matter: he gives Urania his lyre so as to break the spell and invites the Muses and Sirens to combine their respective talents to form "the sweet chains that lead to pleasures". The entrée closes with a ballet performed by the Muses and Sirens under the guidance of
987:
foretells the return of
Bacchus' followers: they cannot however shrink from bowing down before the present god of love and paying homage to his statue, while Cupid's retinue pay homage to Bacchus' as well, and the two dancing parties mingle together under the guidance of Lycoris. The entrée ends in a
938:
of astrology, urges him to beware of traps of love passions, for gods alone can come through them unharmed, while they will always cost humans their peace of mind. However, after her departure, Linus and
Parthenope meet and confess their mutual love, whereupon the siren proposes taking vengeance on
178:
was performed in its place. The two original entrées were heavily revised: "Adonis" was renamed "L'enlèvement d'Adonis" (The rape of Adonis) and a third entrée, "Anacréon", was added. Its first run lasted until 14 August 1757, but only its second and third entrées were performed after 10 July (the
1217:
of 40 spectators and 40 musicians, with a royal box opposite the scene and privileged boxes on either side. The statutes had been drawn up by Madame de
Pompadour herself, who had secured great privileges for actresses: they alone were entitled to choose programmes and to settle rehearsals and
907:(male dancer), and then to further more elaborate ballets representing Diana and Cupid's(ballerina en travesti) meeting, Cupid's wakening Endymion and eventually Endymon's making love to Diana and his admission onto her cart. The entrée ends in a festive chorus accompanied by a general dance.
943:
behind, so that Urania may fall under its magic spell. The muse re-enters looking for Linus and picks the instrument, a simple touch being enough to immediately make her sing a song of love for him despite herself. Yet, to her great shame, he maintains his love to
Parthenope and only
158:
and was also his first work that was given in the course of its programmes. It was not particularly successful: scenery, costumes, machinery and the new theatre venue were much admired, but the opera itself got the king to openly yawn and to confess he "would like better a comedy".
150:, starring Madame De Pompadour herself in two of the original soprano roles, Urania and Venus. In its first form, the work was composed of an allegorical prologue relating to the Treaty of Aix-la-Chapelle, "Le retour d'Astrée", and of two entrées, "La lyre enchantée" and "Adonis".
1241:
the dance-master. All singers were noble courtiers. The theatre was closed in 1751, at the end of its fourth season, when theatre performances were banned from
Versailles, and Mme de Pompadour had to relocate her theatrical activities to her new
1423:
Histoire généalogique et héraldique des pairs de France, des grands dignitaires de la couronne, des principales familles nobles du royaume, et des maisons princières de l'Europe, précédée de la généalogie de la maison de
89:
The original 1748 version consisted of a prologue and two entrées (acts), "La lyre enchantée" and "Adonis". For its 1757 revival, Rameau cut the prologue and added a third entrée, "Anacréon". The composer had written
2071:
1328:
887:), as a follower of the chaste goddess, abhors love as a terrible monster jeopardizing humans' peace of mind, but at the same time complains about no longer feeling the lure of sylvan life.
218:
that the 1757 version " of old age" (Rameau was by then 73), Sadler believes that "the new and revised music is almost invariably more interesting than that of the original", and that "the
1309:
née Élisabeth-Jeanne (or Élisabeth-Josèphe) de
Laborde, the Baroness of Marchais was a distant cousin-in-law of Madame de Pompadour's as the wife of GĂ©rard Binet, the king's prime
971:'s house, where a feast is being held: the landlord (basse-taille), his guests, Agathocle (haute-contre) and Euricles (haute-contre), and the rest of his suite are celebrating
1686:
1638:
1445:
as the performer of the role of
Mercure. A tenor bearing the same name (although spelled Godard) is generally reported as the first performer of the male title role in
1725:
2102:
1757:
1478:
1298:
Journal et MĂ©moires de
Charles Collé sur les hommes de lettres, les ouvrages dramatiques et les événements les plus mémorables du règne de Louis XV (1748–1772)
2173:
214:
part and the "ravishing, chromatic sommeil" to be "especially fine", and the whole entrée to be the best piece of the opera. Despite the opinion reported by
2183:
193:, first performed in 1753). The different entrées were swapped around at various times for later performances and the "self-sufficiency of each portion of
1854:
1692:
2168:
2148:
206:
1745:
1404:
Louis-Auguste de Rohan-Chabot, Viscount of Rohan, who later got the title of
Viscount of Chabot and Count of Jarnac, used to perform the major
1601:
1564:
1549:
307:
222:
are, as always, amazingly inventive". Spire Pitou partly shared Sadler's appreciation, he states that "Rameau's most striking passage in
1750:
1219:
1205:, had begun its performances in early 1747 and, on account of its success, had had to be completely refitted in 1748 and moved onto the
520:
1718:
1395:
the originally bass-bariton part was transposed for soprano in the 1757 revival; all online sources state Mlle Dubois as the performer
891:
himself (soprano en travesti) descends into the forest and approaches Adonis in order to tear him from Diana and to hand him over to
1667:
1592:
1582:
1140:
2034:
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135:
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1427:
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1168:
2203:
2078:
69:
1798:
29:
1426:, Paris, chez l'auteur & Arthus Bertrand, Libraire, 1827, tome huitième, p. 210 (the page is accessible online in
1048:
107:
2198:
2193:
2158:
1942:
190:
1462:
1575:
The Paris Opéra. An
Encyclopedia of Operas, Ballets, Composers, and Performers – Rococo and Romantic, 1715–1815
1243:
1934:
1830:
1466:
939:
the Muses and on their enduring struggle against love ardour: for such a purpose she will leave her enchanted
1814:
1470:(Vienna, 1764). According to Bruce Alan Brown he "had made his Parisian debut in the title role of Rameau's
1446:
1057:
167:
1231:
1846:
1838:
833:
53:
1967:
1117:
2085:
989:
2027:
619:
838:
403:
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1910:
1734:
1450:
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1028:) The orchestra and chorus of Les Nouveaux Caractères, conducted by Sébastien d'Hérin (Glossa, 2013).
904:
147:
81:
61:
57:
492:
Second (1757: First) entrée: "Adonis" (1748) or "L'enlèvement d'Adonis" (The rape of Adonis) (1757)
1774:
1413:
1409:
1332:
1236:
896:
131:
1782:
1619:
884:
211:
1918:
91:
1218:
revivals, and were even permitted a half an hour delay before being fined for late coming. The
102:
and a completely different plot. Both are linked by the figure of the ancient Greek lyric poet
2008:
1878:
1806:
1597:
1578:
1560:
1545:
1472:
1223:
927:
923:
892:
876:
604:
418:
290:
171:
1355:
1209:: it could be completely taken apart in 14 hours and then re-assembled in another 24 (Lever,
1107:
1790:
1214:
1213:, p. 97), and was rumoured to have cost the incredible sum of two millions livres, having a
1176:
215:
99:
2178:
2143:
1340:
1324:
1271:
1227:
1172:
984:
1959:
44:
1351:
full name: Marie-Louis Caillebot de La Salle; for further biographical information, cf.
2188:
1992:
1061:
111:
2137:
2000:
1926:
1587:
283:
185:
210:, Graham Sadler considers the air "Nouvelle Hébé, charmante Lycoris" for Anacreon's
2127:
1951:
1902:
1697:
919:
900:
394:
1492:
949:
163:
17:
1983:
1975:
1507:
1408:
roles in Madame de Pompadour's theatres (as, for instance, the protagonist of
1162:
245:
1894:
1094:
782:
382:
1822:
1314:
1254:
980:
972:
968:
711:
197:
made the tripartite work a likely source of material for the programs of
175:
103:
72:. According to the usage of the time, it was originally just billed as a
65:
1522:
1886:
1862:
1703:
993:
302:
2122:
342:
First (1757: Second) entrée: "La lyre enchantée" (The enchanted lyre)
1656:
976:
945:
931:
880:
122:
did not appear on disc until SĂ©bastien d'HĂ©rin's recording in 2013.
1327:). After being widowed in 1780, the following year she married the
1088:
888:
28:
174:. The prologue, which was no longer relevant, was cut, and a new
1417:
in 1749). For further biographical information about Rohan, cf.
1100:
964:
940:
935:
1707:
1072:
80:, although its content might more precisely ascribe it to the
1339:, p. 283, note: 18), after having shrewdly come through the
1258:(December 2006): "Le Théâtre des Petits Appartements", and "
867:
1623:
ed L. Macy (Retrieved 3 January 2007), subscription access.
1476:
in 1752". ("Gluck's Rencontre Imprévue and Its Revisions";
142:
for the inauguration of the Theatre's new venue upon the
868:
1st entrée: "L'enlèvement d'Adonis" (The rape of Adonis)
660:
Mlles Louise-Madeleine Lany, Fleury, Morel, Thételingre;
154:
was the first opera specially written by Rameau for the
52:(three or four in later versions) and a prologue by the
1557:
Madame de Pompadour. Passioni e destino di una favorita
1113:
2111:
2072:
Traité de l'harmonie réduite à ses principes naturels
918:
The scene is laid in a country valley at the foot of
201:
growing popular in the years before the Revolution".
911:
2nd entrée: "La lyre enchantée" (The enchanted lyre)
2063:
2045:
2019:
1766:
1596:, Grove (Oxford University Press), New York, 1997,
485:
Melles Lyonois, Fleury, Morel, Armand, Thételingre;
926:Parthenope (soprano) is in love with the musician
983:, but, as Anacreon is singing Cupid's praises, a
805:Mrs Galodier, Hamoche, Feuillade, Gaétan Vestris
269:Prologue: "Le Retour d'Astrée" (Astraea's return)
138:and premiered at the third-season opening of her
76:and was only later classified by scholars as an
1161:cf. the 1757 libretto title page reproduced in
915:Topic: struggle between love and indifference
726:La prĂŞtresse de Bacchus (priestess of Bacchus)
675:Mlles Riquet, Pagés, Chomart, Mopin, Deschamps;
189:, an acte de ballet by Rameau to a libretto by
1700:, A. Durand & Fils, 1913, Internet Archive
831:Mlles Lyonois, Riquet, Dumirey, Morel, Fleury;
487:Mrs Lyonois, Rivet, Trupty, Dupré (fils), Hus
1719:
1479:Journal of the American Musicological Society
875:The scene is laid in a vast forest sacred to
464:Élèves de Terpsichore (Terpsichore's pupils)
8:
1331:and was still alive at the beginning of the
1222:had been appointed director of the theatre,
960:Topic: struggle between love and inebriety
823:Egypans & MĂ©nades (Egypans and Maenads)
677:Mrs Dubois, Hamoche, Beat, Balety, Galodier
98:in 1754. The earlier work has a libretto by
872:Topic: struggle between love and chastity
226:was the 'sleep music' in concluding act".
64:on 27 November 1748. The opera is set to a
1726:
1712:
1704:
1577:, Greenwood Press, Westport/London, 1985,
1382:
1380:
1378:
652:Nymphes et chasseurs (nymphs and hunters)
1693:International Music Score Library Project
1441:A rather obscure Godart is stated by the
1296:"Un ouvrage ... qui sent la vieillesse" (
1201:The theatre, which was also known as the
1141:Learn how and when to remove this message
662:Mrs Laval, Lyonois, Rivet, Trupty, Dupré
477:Sylvains et Dryades (Sylvans and Dryads)
446:Mlles Coupée, Marquise, Chevrier, Riquet
166:in 1757 to inaugurate the new directors,
1521:for the unabridged French libretto, see
1506:for the unabridged French libretto, see
1491:for the unabridged French libretto, see
795:Esclaves d'Anacréon (Anacréon's slaves)
459:Mlles Deschamps, Mopin, Pagés, Chaumart
233:
2118:
1154:
848:Jeux et Plaisirs (Games and Pleasures)
803:Mlles Pagés, Chomart, Mopin, Deschamps;
667:Jeux et Plaisirs (games and pleasures)
557:Suivant de Diane (a follower of Diane)
146:(Ambassadors' Grand Staircase) in the
1283:
1281:
1279:
7:
1368:
1366:
1112:, as they are easily broken. Please
356:Marie-Jeanne Fesch "Mlle Chevalier"
2174:Operas based on classical mythology
1649:. L'Almanacco di Gherardo Casaglia
1016:(1757 version, i.e. three entrées:
856:Mrs Dubois, Lelièvre, Beat, Balety
843:, Laval, Rivet, Hus, Dupré, Trupty
472:Mrs Dubois, Lelièvre, Balety, Beat
2184:Greek and Roman deities in fiction
1855:Les fĂŞtes de l'Hymen et de l'Amour
1166:(Page: "Les surprises de l'amour")
25:
1593:The New Grove Dictionary of Opera
1064:(1 CD, Deutsche Grammophon, 1996)
996:and "other Bacchic instruments".
818:Mlles Marquise, Coupée, Chevrier
647:Mlles Marquise, Coupée, Chevrier
236:Roles, voic types, premiere casts
2121:
2098:
2097:
1461:with the leading role of Ali in
1457:(1755), and is also credited by
1386:Role unperformed at the premiere
1179:'s review of the 1748 premiere (
1077:
682:Third entrée: "Anacréon" (1757)
2169:Ballets by Jean-Philippe Rameau
1421:M. le Chevalier de Courcelles,
1207:Grand Escalier des Ambassadeurs
620:Marie-Françoise-Thérèse Vestris
156:Théâtre des Petits Appartements
144:Grand Escalier des Ambassadeurs
140:Théâtre des Petits Appartements
2149:Operas by Jean-Philippe Rameau
2035:Pièces de clavecin en concerts
1664:Digitized original librettos:
1628:Le magazine de l'opéra baroque
1317:Le magazine de l'opéra baroque
1004:
706:Marie-Jeanne Larrivée Lemière
118:separately. The complete 1757
1:
1300:, Paris, Didot, 1868, p. 93).
1264:Le magazin de l'opéra baroque
1164:Le magazin de l'opéra baroque
1126:), or an abbreviated title.
1108:Knowledge (XXG)'s style guide
521:Marie-Jeanne Larrivée Lemière
183:was replaced by a version of
130:The work was commissioned by
2079:New System of Musical Theory
1051:(1 CD, Harmonia Mundi, 1982)
690:
575:
565:
415:
379:
369:
162:The work was revived at the
60:. It was first performed in
1203:Théâtre des Petits Cabinets
778:Deux convives (two guests)
2220:
1987:(unfinished, date unknown)
1637:Casaglia, Gherardo (2005).
1631:, Retrieved 11 March 2010
1315:"Le Devin du Village", in
2095:
1741:
1661:, Retrieved 11 March 2010
1559:, Mondadori, Cles, 2010,
1496:, "L'Enlèvement d'Adonis"
1432:; consulted 2 April 2010)
681:
626:L'Amour (Cupid) (ballet)
491:
341:
268:
136:Treaty of Aix-la-Chapelle
1871:Les surprises de l'Amour
1688:Les surprises de l'amour
1641:Les surprises de l´Amour
1615:Les surprises de l'Amour
1372:Role unperformed in 1757
1260:Les surprises de l'amour
1014:Les surprises de l'Amour
1006:Les surprises de l'Amour
810:Les Grâces (the Graces)
639:Les Grâces (the Graces)
335:the Marquis of La Salle
316:Un Plaisir (a Pleasure)
224:Les surprises de l'Amour
195:Les surprises de l'Amour
152:Les surprises de l'amour
120:Les surprises de l'Amour
39:Les surprises de l'Amour
1815:La princesse de Navarre
1544:, Perrin, Paris, 2000,
1230:the chorus-master, and
1116:by replacing them with
1058:Les Musiciens du Louvre
863:Synopsis (1757 version)
191:Jean-François Marmontel
114:have recorded the 1757
2154:French-language operas
2054:In convertendo Dominus
1839:Le temple de la Gloire
1443:1757 original libretto
956:3rd entrée: "Anacréon"
563:the Viscount of Rohan
433:Louise-Madeleine Lany
272:cut from 1757 version
34:
2086:Querelle des Bouffons
1935:La naissance d'Osiris
1831:Les fĂŞtes de Polymnie
1698:Full orchestral score
1511:, "La Lyre enchantée"
1467:La rencontre imprévue
1232:Jean-Baptiste Dehesse
1018:L'enlèvement d'Adonis
963:The scene is laid in
32:
1758:List of compositions
1735:Jean-Philippe Rameau
1555:(consulted edition:
1482:, 36, 1983, p. 503).
1323:1 March 2014 at the
1270:1 March 2014 at the
1171:1 March 2014 at the
1114:improve this article
1045:Les Arts Florissants
930:(haute-contre), but
834:Jean-Barthélemy Lany
790:M Poussint; M Robin
691:not in 1748 version
544:basse-taille (1748)/
392:basse-taille (1748)/
148:Palace of Versailles
58:Jean-Philippe Rameau
33:Jean-Philippe Rameau
2204:Mercury (mythology)
1847:Les fĂŞtes de Ramire
1775:Hippolyte et Aricie
1673:1757 second version
1542:Madame de Pompadour
1455:Deucalion et Pyrrha
1329:Count of Angiviller
1220:Duke of La Vallière
1086:Constructs such as
238:
132:Madame de Pompadour
126:Performance history
2028:Pièces de Clavecin
1783:Les Indes galantes
1620:Grove Music Online
1459:GluckGesamtausgabe
596:Endymion (ballet)
262:first performance,
250:dancing character
234:
207:Grove Music Online
35:
2199:Diana (mythology)
2194:Venus (mythology)
2109:
2108:
1911:Acante et CĂ©phise
1647:27 November 1748"
1613:Sadler, Graham, "
1602:978-0-19-522186-2
1565:978-88-04-51762-7
1550:978-2-262-01225-0
1256:Éditorial du mois
1151:
1150:
1143:
1022:La lyre enchantée
860:
859:
760:François Poirier
549:the Duke of Ayen
503:Mme de Pompadour
451:Sirènes (Sirens)
353:Mme de Pompadour
322:Mme de Marchais
255:27 November 1748
181:La lyre enchantée
168:François Francœur
134:to celebrate the
16:(Redirected from
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2117:
2101:
2100:
2064:Related articles
1968:Nélée et Myrthis
1799:Les fêtes d'Hébé
1791:Castor et Pollux
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1691:: Scores at the
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1192:Sadler, op. cit.
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1118:named references
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1080:
1073:
1049:William Christie
988:chorus and in a
842:
698:L'Amour (Cupid)
517:Mme de Marchais
511:L'Amour (Cupid)
404:François Poirier
367:Mme de Marchais
361:L'Amour (Cupid)
329:Le Temps (Time)
239:
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108:William Christie
100:Louis de Cahusac
94:under the title
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1919:Daphnis et Eglé
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1346:
1341:Reign of Terror
1325:Wayback Machine
1308:
1304:
1295:
1291:
1287:Pitou, op. cit.
1286:
1277:
1272:Wayback Machine
1253:
1249:
1244:Bellevue Palace
1234:
1228:Bernard de Bury
1226:the conductor,
1200:
1196:
1191:
1187:
1173:Wayback Machine
1160:
1156:
1147:
1136:
1130:
1127:
1106:discouraged by
1082:
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1002:
992:accompanied by
958:
934:(soprano), the
913:
870:
865:
836:
832:
804:
785:)/basse-taille
676:
661:
611:Diane (ballet)
591:Mlle Lhéritier
546:soprano (1757)
545:
536:Louise Jacquet
533:Mme de Brancas
486:
400:M. de la Salle
393:
281:
263:
254:
249:
235:
232:
128:
83:ballet héroïque
23:
22:
18:Anacréon (1757)
15:
12:
11:
5:
2217:
2215:
2207:
2206:
2201:
2196:
2191:
2186:
2181:
2176:
2171:
2166:
2161:
2159:Opéras-ballets
2156:
2151:
2146:
2136:
2135:
2131:
2130:
2107:
2106:
2096:
2093:
2092:
2090:
2089:
2082:
2075:
2067:
2065:
2061:
2060:
2058:
2057:
2049:
2047:
2043:
2042:
2040:
2039:
2031:
2023:
2021:
2017:
2016:
2014:
2013:
2009:Lisis et DĂ©lie
2005:
1997:
1989:
1980:
1979:(date unknown)
1972:
1971:(date unknown)
1964:
1956:
1948:
1939:
1931:
1923:
1915:
1907:
1899:
1891:
1883:
1875:
1867:
1859:
1851:
1843:
1835:
1827:
1819:
1811:
1803:
1795:
1787:
1779:
1770:
1768:
1764:
1763:
1761:
1760:
1755:
1754:
1753:
1746:List of operas
1742:
1739:
1738:
1733:
1731:
1730:
1723:
1716:
1708:
1702:
1701:
1695:
1682:
1681:External links
1679:
1678:
1677:
1676:
1675:
1670:
1662:
1658:Rameau Le Site
1654:
1635:
1624:
1608:Online sources
1605:
1604:
1588:Sadie, Stanley
1585:
1573:Pitou, Spire,
1571:
1536:
1533:
1530:
1529:
1524:Rameau Le site
1514:
1509:Rameau Le site
1499:
1494:Rameau Le site
1484:
1434:
1397:
1388:
1374:
1362:
1344:
1302:
1289:
1275:
1247:
1224:François Rebel
1194:
1185:
1153:
1152:
1149:
1148:
1085:
1083:
1076:
1070:
1067:
1066:
1065:
1062:Marc Minkowski
1052:
1037:
1031:
1030:
1029:
1009:
1003:
1001:
998:
957:
954:
912:
909:
869:
866:
864:
861:
858:
857:
854:
852:
849:
845:
844:
829:
827:
824:
820:
819:
816:
814:
811:
807:
806:
801:
799:
796:
792:
791:
788:
786:
779:
775:
774:
771:
769:
766:
762:
761:
758:
756:
753:
749:
748:
745:
743:
740:
736:
735:
732:
730:
727:
723:
722:
721:Nicolas GĂ©lin
719:
717:
714:
708:
707:
704:
702:
699:
695:
694:
692:
689:
687:
684:
683:
679:
678:
673:
671:
668:
664:
663:
658:
656:
653:
649:
648:
645:
643:
640:
636:
635:
632:
630:
627:
623:
622:
617:
615:
612:
608:
607:
605:Gaétan Vestris
602:
600:
597:
593:
592:
589:
587:
584:
580:
579:
576:
574:
571:
567:
566:
564:
561:
558:
554:
553:
550:
547:
542:
538:
537:
534:
531:
528:
524:
523:
518:
515:
512:
508:
507:
504:
501:
498:
494:
493:
489:
488:
483:
481:
478:
474:
473:
470:
468:
465:
461:
460:
457:
455:
452:
448:
447:
444:
442:
439:
435:
434:
431:
429:
426:
422:
421:
419:Henri Larrivée
416:
414:
411:
407:
406:
401:
398:
390:
386:
385:
380:
378:
375:
371:
370:
368:
365:
362:
358:
357:
354:
351:
348:
344:
343:
339:
338:
336:
333:
330:
326:
325:
323:
320:
317:
313:
312:
310:
308:Mme de Brancas
305:
300:
296:
295:
293:
287:
278:
274:
273:
270:
266:
265:
256:
253:Premiere cast,
251:
243:
231:
228:
220:airs de ballet
172:François Rebel
127:
124:
112:Marc Minkowski
70:Gentil-Bernard
24:
14:
13:
10:
9:
6:
4:
3:
2:
2216:
2205:
2202:
2200:
2197:
2195:
2192:
2190:
2187:
2185:
2182:
2180:
2177:
2175:
2172:
2170:
2167:
2165:
2162:
2160:
2157:
2155:
2152:
2150:
2147:
2145:
2142:
2141:
2139:
2129:
2124:
2119:
2115:
2104:
2094:
2088:
2087:
2083:
2081:
2080:
2076:
2074:
2073:
2069:
2068:
2066:
2062:
2056:
2055:
2051:
2050:
2048:
2044:
2037:
2036:
2032:
2030:
2029:
2025:
2024:
2022:
2018:
2011:
2010:
2006:
2003:
2002:
1998:
1995:
1994:
1990:
1986:
1985:
1981:
1978:
1977:
1973:
1970:
1969:
1965:
1963:(unperformed)
1962:
1961:
1957:
1954:
1953:
1949:
1945:
1944:
1940:
1937:
1936:
1932:
1929:
1928:
1927:Les sibarites
1924:
1921:
1920:
1916:
1913:
1912:
1908:
1905:
1904:
1900:
1897:
1896:
1892:
1889:
1888:
1884:
1881:
1880:
1876:
1873:
1872:
1868:
1865:
1864:
1860:
1857:
1856:
1852:
1849:
1848:
1844:
1841:
1840:
1836:
1833:
1832:
1828:
1825:
1824:
1820:
1817:
1816:
1812:
1809:
1808:
1804:
1801:
1800:
1796:
1793:
1792:
1788:
1785:
1784:
1780:
1777:
1776:
1772:
1771:
1769:
1765:
1759:
1756:
1752:
1749:
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1747:
1744:
1743:
1740:
1736:
1729:
1724:
1722:
1717:
1715:
1710:
1709:
1706:
1699:
1696:
1694:
1690:
1689:
1685:
1684:
1680:
1674:
1671:
1669:
1668:1748 premiere
1666:
1665:
1663:
1660:
1659:
1655:
1648:
1642:
1636:
1630:
1629:
1625:
1622:
1621:
1616:
1612:
1611:
1610:
1609:
1603:
1599:
1595:
1594:
1589:
1586:
1584:
1583:0-313-24394-8
1580:
1576:
1572:
1566:
1562:
1558:
1551:
1547:
1543:
1539:
1538:
1534:
1527:
1525:
1518:
1515:
1512:
1510:
1503:
1500:
1497:
1495:
1488:
1485:
1481:
1480:
1475:
1474:
1469:
1468:
1464:
1460:
1456:
1452:
1451:Montan-Berton
1448:
1444:
1438:
1435:
1431:
1430:
1425:
1416:
1415:
1411:
1407:
1401:
1398:
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1389:
1383:
1381:
1379:
1375:
1369:
1367:
1363:
1360:
1359:
1348:
1345:
1342:
1338:
1334:
1333:French Empire
1330:
1326:
1322:
1319:
1318:
1312:
1306:
1303:
1299:
1293:
1290:
1284:
1282:
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1257:
1251:
1248:
1245:
1238:
1233:
1229:
1225:
1221:
1216:
1212:
1208:
1204:
1198:
1195:
1189:
1186:
1182:
1178:
1177:Charles Collé
1174:
1170:
1167:
1165:
1158:
1155:
1145:
1142:
1134:
1125:
1124:
1119:
1115:
1111:
1110:for footnotes
1109:
1103:
1102:
1097:
1096:
1091:
1090:
1084:
1075:
1074:
1068:
1063:
1059:
1056:
1053:
1050:
1046:
1043:
1040:
1039:
1035:
1032:
1027:
1023:
1019:
1015:
1012:
1011:
1007:
999:
997:
995:
991:
986:
982:
978:
974:
970:
966:
961:
955:
953:
952:(ballerina).
951:
947:
942:
937:
933:
929:
925:
921:
916:
910:
908:
906:
902:
898:
894:
890:
886:
882:
878:
873:
862:
855:
853:
850:
847:
846:
840:
835:
830:
828:
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822:
821:
817:
815:
812:
809:
808:
802:
800:
797:
794:
793:
789:
787:
784:
780:
777:
776:
772:
770:
768:haute-contre
767:
764:
763:
759:
757:
755:haute-contre
754:
751:
750:
747:Mlle Puvigné
746:
744:
741:
738:
737:
733:
731:
728:
725:
724:
720:
718:
716:basse-taille
715:
713:
710:
709:
705:
703:
700:
697:
696:
693:
688:
686:
685:
680:
674:
672:
669:
666:
665:
659:
657:
654:
651:
650:
646:
644:
641:
638:
637:
634:Mlle Guimard
633:
631:
628:
625:
624:
621:
618:
616:
613:
610:
609:
606:
603:
601:
598:
595:
594:
590:
588:
585:
582:
581:
577:
573:haute-contre
572:
569:
568:
562:
560:haute-contre
559:
556:
555:
551:
548:
543:
540:
539:
535:
532:
529:
526:
525:
522:
519:
516:
513:
510:
509:
505:
502:
499:
496:
495:
490:
484:
482:
479:
476:
475:
471:
469:
466:
463:
462:
458:
456:
453:
450:
449:
445:
443:
440:
437:
436:
432:
430:
427:
424:
423:
420:
417:
413:basse-taille
412:
409:
408:
405:
402:
399:
396:
391:
388:
387:
384:
381:
376:
373:
372:
366:
363:
360:
359:
355:
352:
349:
346:
345:
340:
337:
334:
332:basse-taille
331:
328:
327:
324:
321:
318:
315:
314:
311:
309:
306:
304:
301:
298:
297:
294:
292:
288:
285:
284:bass-baritone
279:
276:
275:
271:
267:
261:
257:
252:
247:
244:
241:
240:
229:
227:
225:
221:
217:
216:Charles Collé
213:
209:
208:
202:
200:
196:
192:
188:
187:
186:Les sibarites
182:
177:
173:
169:
165:
160:
157:
153:
149:
145:
141:
137:
133:
125:
123:
121:
117:
113:
109:
105:
101:
97:
93:
92:another opera
87:
85:
84:
79:
75:
71:
67:
63:
59:
55:
51:
47:
46:
41:
40:
31:
27:
19:
2084:
2077:
2070:
2052:
2033:
2026:
2020:Instrumental
2012:(music lost)
2007:
2004:(music lost)
1999:
1996:(music lost)
1991:
1982:
1974:
1966:
1960:Les Boréades
1958:
1952:Les Paladins
1950:
1941:
1933:
1925:
1917:
1909:
1903:La guirlande
1901:
1893:
1885:
1877:
1870:
1869:
1861:
1853:
1845:
1837:
1829:
1821:
1813:
1805:
1797:
1789:
1781:
1773:
1687:
1657:
1651:(in Italian)
1640:
1627:
1618:
1614:
1607:
1606:
1591:
1574:
1569:(in Italian)
1556:
1541:
1526:, "Anacréon"
1523:
1517:
1508:
1502:
1493:
1487:
1477:
1471:
1465:
1454:
1437:
1429:books.google
1428:
1422:
1412:
1406:haute-contre
1405:
1400:
1391:
1357:
1356:WikiManche,
1347:
1336:
1316:
1310:
1305:
1297:
1292:
1263:
1259:
1255:
1250:
1210:
1206:
1202:
1197:
1188:
1180:
1163:
1157:
1137:
1128:
1121:
1105:
1099:
1093:
1087:
1054:
1041:
1033:
1025:
1021:
1017:
1013:
1005:
967:at the poet
962:
959:
920:Montparnasse
917:
914:
901:haute-contre
874:
871:
734:Mlle Davaux
552:Mlle Dubois
506:Mlle Davaux
425:Terpsichore
395:haute-contre
291:Duke of Ayen
280:basse-taille
264:31 May 1757
260:Palais-Royal
259:
258:Cast of the
223:
219:
205:
203:
198:
194:
184:
180:
161:
155:
151:
143:
139:
129:
119:
115:
95:
88:
82:
78:opéra-ballet
77:
73:
49:
45:opéra-ballet
43:
38:
37:
36:
26:
2164:1748 operas
1751:Lost operas
1633:(in French)
1553:(in French)
1419:(in French)
1353:(in French)
1235: [
1123:quick guide
990:contredanse
950:Terpsichore
885:en travesti
837: [
204:Writing in
164:Paris Opéra
2138:Categories
1069:References
1008:(complete)
1000:Recordings
752:Agathocle
438:Les Muses
374:Parténope
246:Voice type
62:Versailles
1895:Zoroastre
1879:Pigmalion
1473:Pygmalion
1131:July 2020
1095:loc. cit.
883:(soprano
783:baritenor
765:Euricles
383:Marie Fel
199:fragments
179:original
56:composer
2103:Category
1946:(1754)
1943:Anacréon
1807:Dardanus
1358:ad nomen
1337:op. cit.
1335:(Lever,
1321:Archived
1268:Archived
1211:op. cit.
1169:Archived
1055:Anacréon
1042:Anacréon
1034:Anacréon
1026:Anacréon
994:sistrums
969:Anacreon
905:Endymion
879:, where
851:dancers
826:dancers
813:dancers
798:dancers
781:taille (
739:Lycoris
729:soprano
712:Anacréon
701:soprano
670:dancers
655:dancers
642:dancers
586:soprano
583:A nymph
570:Mercure
530:soprano
514:soprano
500:soprano
480:dancers
467:dancers
454:dancers
441:dancers
410:Apollon
377:soprano
364:soprano
350:soprano
319:soprano
277:Vulcain
176:overture
116:Anacréon
104:Anacreon
96:Anacréon
66:libretto
1976:ZĂ©phire
1590:(ed.),
1535:Sources
1463:Gluck's
1410:Lully's
985:prelude
977:Maenads
973:Bacchus
897:Mercury
773:Muguet
742:dancer
629:dancer
614:dancer
599:dancer
578:Godart
541:Adonis
428:dancer
397:(1757)
347:Uranie
303:soprano
299:Astrée
86:genre.
50:entrées
48:in two
2179:Adonis
2144:Operas
2114:Portal
2046:Choral
2038:(1741)
1993:Samson
1955:(1760)
1938:(1754)
1930:(1753)
1922:(1753)
1914:(1751)
1906:(1751)
1898:(1749)
1890:(1749)
1882:(1748)
1874:(1748)
1866:(1748)
1858:(1747)
1850:(1745)
1842:(1745)
1834:(1745)
1826:(1745)
1823:Platée
1818:(1745)
1810:(1739)
1802:(1739)
1794:(1737)
1786:(1735)
1778:(1733)
1767:Operas
1645:
1600:
1581:
1563:
1548:
1447:Giraud
1424:France
1262:", in
1024:; and
981:Graces
946:Apollo
932:Urania
922:. The
881:Adonis
527:Diane
497:VĂ©nus
389:Linus
74:ballet
54:French
42:is an
2189:Cupid
2128:Opera
2001:Linus
1239:]
1089:ibid.
928:Linus
924:siren
893:Venus
889:Cupid
877:Diana
841:]
242:Role
230:Roles
1887:NaĂŻs
1863:ZaĂŻs
1598:ISBN
1579:ISBN
1561:ISBN
1546:ISBN
1449:and
1181:ibid
1175:and
1104:are
1101:idem
1098:and
1036:only
965:Teos
941:lyre
936:Muse
289:The
212:bass
170:and
110:and
1617:",
1453:'s
68:by
2140::
1984:Io
1567:)
1377:^
1365:^
1278:^
1237:fr
1092:,
1060:,
1047:,
1020:;
839:fr
286:)
106:.
2116::
1727:e
1720:t
1713:v
1653:.
1643:,
1639:"
1313:(
1183:)
1144:)
1138:(
1133:)
1129:(
1120:(
899:(
282:(
248:/
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
