Opéra comique

opéra-comiqueopéras comiquesopéras-comiquesopera comiqueopera-comiquecomic operascomical operacomiquesopéra-comique genreopéras comique
Opéra comique (plural: opéras comiques) is a genre of French opera that contains spoken dialogue and arias.wikipedia
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Opera

opera singeroperasoperatic
Opéra comique (plural: opéras comiques) is a genre of French opera that contains spoken dialogue and arias.
Originally understood as an entirely sung piece, in contrast to a play with songs, opera has come to include, including some that include spoken dialogue such as musical theater, Singspiel and Opéra comique.

Comédie-Italienne

Théâtre-ItalienComédie ItalienneThéâtre Italien
It emerged from the popular opéras comiques en vaudevilles of the Fair Theatres of St Germain and St Laurent (and to a lesser extent the Comédie-Italienne), which combined existing popular tunes with spoken sections.
By 1762 the company was merged with the Opéra-Comique, but the names Comédie-Italienne and Théâtre-Italien continued to be used, even though the repertory soon became almost exclusively French opéra-comique.

Carmen

Don JoséEscamilloMicaela
Associated with the Paris theatre of the same name, opéra comique is not always comic or light in nature; Carmen, perhaps the most famous opéra comique, is a tragedy.
The opera is written in the genre of opéra comique with musical numbers separated by dialogue.

Comédie mêlée d'ariettes

comédie avec ariettescomédies melées d'ariettesmêlée d'ariettes
This form of opéra comique was often known as comédie mêlée d'ariettes, but the range of subject matter it covered expanded beyond the merely comic.
The French term comédie mêlée d'ariettes ('comedy mixed with little songs') was frequently used during the late ancien régime for certain types of opéra comique (French opera with spoken dialogue).

Comédie en vaudevilles

comédie en vaudevillevaudevillevaudevilles
It emerged from the popular opéras comiques en vaudevilles of the Fair Theatres of St Germain and St Laurent (and to a lesser extent the Comédie-Italienne), which combined existing popular tunes with spoken sections.
The Querelle des Bouffons (War of the Clowns), a dispute amongst theatrical factions in Paris in the 1750s, in part reflects the rivalry of this form, as it evolved into opéra comique, with the Italian opera buffa.

Opéra-Comique

Opéra ComiqueThéâtre national de l'Opéra-ComiqueComédie-Italienne
Associated with the Paris theatre of the same name, opéra comique is not always comic or light in nature; Carmen, perhaps the most famous opéra comique, is a tragedy.
French opéra comique, in the 19th century at least, was not necessarily comic; the term covered a much wider category of work.

Théâtre de la foire

Foire Saint-LaurentFoire Saint-GermainSaint-Germain Fair
It emerged from the popular opéras comiques en vaudevilles of the Fair Theatres of St Germain and St Laurent (and to a lesser extent the Comédie-Italienne), which combined existing popular tunes with spoken sections.
François-André Danican Philidor's opéra comique Blaise le savetier was produced there on 9 March 1759, followed by Le jardinier et son seigneur on 18 February 1761.

Michel-Jean Sedaine

SedaineMichel Jean SedaineSEDAINE, MICHEL JEAN
Louis Anseaume, Michel-Jean Sedaine and Charles Simon Favart were among the most famous of these dramatists.
Michel-Jean Sedaine (2 June 1719 – 17 May 1797) was a French dramatist and librettist, especially noted for his librettos for opéras comiques, in which he took an important and influential role in the advancement of the genre from the period of Charles-Simon Favart to the beginning of the Revolution.

François-André Danican Philidor

PhilidorAndré Danican PhilidorFrançois-André Philidor
Notable composers of opéras comiques in the 1750s and 1760s include Egidio Duni, Pierre-Alexandre Monsigny and François-André Danican Philidor.
He contributed to the early development of the opéra comique.

Le peintre amoureux de son modèle

Duni, an Italian working at the francophile court of Parma, composed Le peintre amoureux de son modèle in 1757 with a libretto by Anseaume.
Le peintre amoureux de son modèle ('The Painter in Love with his Model') is an opéra comique in two acts by the composer Egidio Duni with a libretto by Louis Anseaume.

Pierre-Alexandre Monsigny

MonsignyMONSIGNI, [PIERRE-ALEXANDREMontsigny
Notable composers of opéras comiques in the 1750s and 1760s include Egidio Duni, Pierre-Alexandre Monsigny and François-André Danican Philidor.
He is considered alongside André Grétry and François-André Danican Philidor to have been the founder of a new musical genre, the opéra comique, laying a path for other French composers such as François-Adrien Boieldieu, Daniel-François-Esprit Auber, Charles Gounod, Georges Bizet, and Jules Massenet in this genre.

Le déserteur

French opera of 1769
Their biggest success, Le déserteur (1769), concerns the story of a soldier who has been condemned to death for deserting the army.
Le déserteur (The Deserter) is an opéra comique by the French composer Pierre-Alexandre Monsigny with a libretto by Michel-Jean Sedaine.

Opera buffa

buffoopere buffebuffa
Members of the pro-Italian faction, such as the philosopher and musician Jean-Jacques Rousseau, attacked serious French opera, represented by the tragédies en musique of Jean-Philippe Rameau, in favour of what they saw as the simplicity and "naturalness" of Italian comic opera (opera buffa), exemplified by Pergolesi's La serva padrona, which had recently been performed in Paris by a travelling Italian troupe.
Similar foreign genres such as opéra comique or Singspiel differed as well in having spoken dialogue in place of recitativo secco, although one of the most influential examples, Pergolesi's La serva padrona (which is an intermezzo, not opera buffa), sparked the querelle des bouffons in Paris as an adaptation without sung recitatives.

Zémire et Azor

Zémire et AzoreZemire und AzorZémire and Azor
He was a versatile composer who expanded the range of opéra comique to cover a wide variety of subjects from the Oriental fairy tale Zémire et Azor (1772) to the musical satire of Le jugement de Midas (1778) and the domestic farce of L'amant jaloux (also 1778).
Zémire et Azor (Zémire and Azor) is an opéra comique, described as a comédie-ballet mêlée de chants et de danses, in four acts by the Belgian composer André Grétry.

Tom Jones (Philidor)

Tom JonesPhilidor's operaTom Jones'' (Philidor)
Philidor's most famous opéra comique was Tom Jones (1765), based on Henry Fielding's novel of the same name.
Tom Jones is a comédie mêlée d'ariettes, a kind of opéra comique, by the French composer François-André Danican Philidor which first appeared at the Comédie-Italienne, Paris, on 27 February 1765.

Antoine Dauvergne

Dauvergne
The next year, the head of the Saint Laurent theatre, Jean Monnet, commissioned the composer Antoine Dauvergne to produce a French opera in the style of La serva padrona.
He is most famous as the composer of Les troqueurs, a work which had a major influence on the development of French opéra comique.

André Grétry

GrétryAndré Ernest Modeste GrétryGretry
The most important and popular composer of opéra comique in the late 18th century was André Grétry.
He is most famous for his opéras comiques.

Richard Coeur-de-lion (opera)

Richard Coeur-de-lionRichard Cœur-de-LionRichard Coeur-de-lion'' (opera)
His most famous work was the historical "rescue opera", Richard Coeur-de-lion (1784), which achieved international popularity, reaching London in 1786 and Boston in 1797.
Richard Cœur-de-lion (Richard the Lionheart) is an opéra comique, described as a comédie mise en musique, by the Belgian composer André Grétry.

Le jugement de Midas

He was a versatile composer who expanded the range of opéra comique to cover a wide variety of subjects from the Oriental fairy tale Zémire et Azor (1772) to the musical satire of Le jugement de Midas (1778) and the domestic farce of L'amant jaloux (also 1778).
Le Jugement de Midas (The Judgement of Midas) is a French comédie mêlée d'ariettes (a kind of opéra comique), in three acts by André Grétry first performed on 28 March 1778 in the apartments of Madame de Montesson at the Palais-Royal in Paris.

Charles Simon Favart

Charles-Simon FavartFavart
Louis Anseaume, Michel-Jean Sedaine and Charles Simon Favart were among the most famous of these dramatists.

Les troqueurs

The result was Les troqueurs, which Monnet passed off as the work of an Italian composer living in Vienna who was fluent in French, thus fooling the partisans of Italian music into giving it a warm welcome.
Although designated an opéra bouffon or an intermède, Les troqueurs is famous as an important work in the development of opéra comique.

Louis Anseaume

Anseaume
Louis Anseaume, Michel-Jean Sedaine and Charles Simon Favart were among the most famous of these dramatists.
He was one of the founders of the French opéra comique genre.

Nicolas Dalayrac

DalayracNicolas-Marie Dalayracd'Alayrac
The chief composers at the Opéra-Comique during the Revolutionary era were Étienne Méhul, Nicolas Dalayrac, Rodolphe Kreutzer and Henri-Montan Berton.
Nicolas-Marie d'Alayrac (8 June 1753 – 26 November 1809) known as Nicolas Dalayrac (8 June 1753 – 26 November 1809) was a French composer of the Classical period, best known for his opéras-comiques.

Vaudeville (song)

vaudevillesvaudevillevaudeville songs
The genre originated in the early 18th century with humorous and satirical plays performed at the theatres of the Paris fairs which contained songs (vaudevilles), with new words set to already existing music.
From these popular but simple airs evolved the comédie en vaudeville, which was itself a precursor of the opéra comique.

Stratonice (opera)

StratoniceStratonice'' (opera)
The works of Méhul (for example Stratonice, 1792; Ariodant, 1799), Cherubini (Lodoïska, 1791; Médée, 1797; Les deux journées, 1800) and Le Sueur (La caverne, 1793) in particular show the influence of serious French opera, especially Gluck, and a willingness to take on previously taboo subjects (e.g. incest in Méhul's Mélidore et Phrosine, 1794; infanticide in Cherubini's famous Médée).
Stratonice is a one-act opéra comique by Étienne Méhul to a libretto by François-Benoît Hoffman, first performed at the Théâtre Favart, Paris, on 3 May 1792.