The Judgement of Paris is a story from Greek mythology, which was one of the events that led up to the Trojan War and in later versions of the story to the foundation of Rome.
Dardanus is an opera by Jean-Philippe Rameau with a French-language libretto by Charles-Antoine Leclerc de La Bruère. It takes the form of a tragédie en musique in a prologue and five acts. Dardanus premiered at the Paris Opéra on 19 November 1739 to mixed success, mainly because of the dramatic weakness of the libretto. This caused Rameau and La Bruère to rework the opera, completely rewriting the last three acts, for a revival in 1744. Only when Dardanus was again performed in 1760 did it win acclaim as one of Rameau's greatest works.
Henri Desmarets was a French composer of the Baroque period primarily known for his stage works, although he also composed sacred music as well as secular cantatas, songs and instrumental works.
Cadmus et Hermione is a tragédie en musique in a prologue and five acts by Jean-Baptiste Lully. The French-language libretto is by Philippe Quinault, after Ovid's Metamorphoses. It was first performed on 27 April 1673 by the Paris Opera at the Jeu de paume de Béquet.
Achille et Polyxène is a tragédie lyrique containing a prologue and five acts based on Virgil's Aeneid with a French libretto by Jean Galbert de Campistron. The opera's overture and first act were composed by Jean-Baptiste Lully, who died from a conducting injury before he could complete the score. The prologue and the remaining acts are the work of his pupil Pascal Collasse who finished the work, eight months after Lully's death on 22 March 1687. Acts 1 and 4 of the ballet was created by Louis Lestang, and the ballet to the prologue and acts 2 and 3 were by Louis-Guillaume Pécour. The opera was first performed on 7 November 1687, by the Paris Opera at the Théâtre du Palais-Royal in Paris.
French opera is both the art of opera in France and opera in the French language. It is one of Europe's most important operatic traditions, containing works by composers of the stature of Rameau, Berlioz, Gounod, Bizet, Massenet, Debussy, Ravel, Poulenc and Messiaen. Many foreign-born composers have played a part in the French tradition, including Lully, Gluck, Salieri, Cherubini, Spontini, Meyerbeer, Rossini, Donizetti, Verdi and Offenbach.
The Judgment of Paris is an operatic libretto written by William Congreve. It was set by four British Baroque composers – John Weldon, John Eccles, Daniel Purcell and Gottfried Finger – as part of a music competition held in 1700-1701. Thomas Arne later composed a score to the libretto in 1742.
Ercole amante is an opera in a prologue and five acts by Francesco Cavalli. Its Italian libretto is by Francesco Buti, based on Sophocles' The Trachiniae and on the ninth book of Ovid's Metamorphoses. The first performance took place on 7 February 1662 in the Salle des Machines of the Tuileries in Paris.
Idoménée is an opera by the French composer André Campra. It takes the form of a tragédie en musique in a prologue and five acts. Idoménée was first performed on 12 January 1712 by the Académie royale de musique at the Théâtre du Palais-Royal in Paris. The libretto, by Antoine Danchet, is based on a stage play by Crébillon père. It later formed the basis of Giambattista Varesco's libretto for Wolfgang Amadeus Mozart's opera Idomeneo.
Hésione is an opera by the French composer André Campra. It takes the form of a tragédie en musique in a prologue and five acts. The libretto, by Antoine Danchet, is based on the Greek myth of Hesione and Laomedon.
Iphigénie en Tauride is an opera by the French composers Henri Desmarets and André Campra. It takes the form of a tragédie en musique in a prologue and five acts. The libretto is by Joseph-François Duché de Vancy with additions by Antoine Danchet. Desmarets had begun work on the opera around 1696 but abandoned it when he was forced to go into exile in 1699. Campra and his regular librettist Danchet took up the piece and wrote the prologue, most of Act Five, two arias in Act One, an aria for Acts Two and Three, and two arias for the fourth act. The plot is ultimately based on Euripides' tragedy Iphigeneia in Tauris.
Le carnaval de Venise is a comédie-lyrique in a prologue and three acts by the French composer André Campra. The libretto is by Jean-François Regnard. It was first performed on 20 January 1699 by the Académie royale de musique in the Salle du Palais-Royal in Paris. Campra dedicated the work to Louis, Grand Dauphin, heir apparent to the French throne, who enjoyed it and had it staged again in February 1711, shortly before his death. In one critic's assessment: "In a magisterial act of conflation, this composer blends the styles of Lully, Lalande, Monteverdi and Cavalli and manages also to foreshadow Handel and Rameau. He dreamt up a multi-hued score, capable of recapturing in Paris both the carnival spirit in general and that of the legendary Venice in particular."
Les festes vénitiennes, also spelled Les fêtes vénitiennes, is an opéra-ballet by the French composer André Campra. It consists of a prologue and three entrées. All versions of the libretto are by Antoine Danchet. It was first performed on 17 June 1710 by the Académie royale de musique in the Salle du Palais-Royal in Paris. According to the usage of the time, it was originally simply billed as a "ballet", but it is one of the most important and successful instances of the new genre later classified by scholars as opéra-ballet, which had become popular in Paris around the end of the 17th century.
Orfeo (Orpheus) is an opera in three acts, a prologue and an epilogue by the Italian composer Luigi Rossi. The libretto, by Francesco Buti, is based on the myth of Orpheus and Eurydice. Orfeo premiered at the Théâtre du Palais-Royal in Paris on 2 March 1647. It was one of the earliest operas to be staged in France.
Jephté (Jephtha) is an opera by the French composer Michel Pignolet de Montéclair. It takes the form of a tragédie en musique in a prologue and five acts. The libretto, by the Abbé Simon-Joseph Pellegrin, is based on the Biblical story of Jephtha. The oratorio was first performed at the Académie royale de musique, Paris on 28 February 1732. It was the first opera in France using a story from the Bible to appear on a public stage. For this reason, Cardinal de Noailles banned performances of the work for a time. Montéclair made revisions for revivals of the work in March 1732 and April 1737.
Il Palazzo incantato or Il Palagio d’Atlante, overo La Guerriera Amante, or also Lealtà con valore is an opera in a prologue and three acts by the Italian composer Luigi Rossi. The libretto, by Giulio Rospigliosi, the future Pope Clement IX, is based on Ariosto's Orlando furioso. It was first performed in Rome in a lavish production at the Teatro delle Quattro Fontane on 22 February 1642. Rossi was criticised for giving too much music to his friend, the castrato Marc'Antonio Pasqualini, who played Bradamante, at the expense of the other roles. Some of the highly complicated stage machinery failed to work during the performance. Revived by Opera Dijon in a January 2021 online production.
Amadis de Grèce is an opera by the French composer André Cardinal Destouches, first performed at the Académie Royale de Musique on 26 March 1699. It takes the form of a tragédie en musique in a prologue and five acts. The libretto, by Antoine Houdar de La Motte, is based on the medieval romance Amadis de Gaula. La Motte's text was adapted to produce the Italian-language libretto for Handel's opera seriaAmadigi di Gaula (1715).
Polydore (Polydorus) is an opera by the French-Italian composer Jean-Baptiste Stuck, first performed at the Académie Royale de Musique on 15 February 1720. It takes the form of a tragédie en musique in a prologue and five acts.
La danza is an opera by the composer Christoph Willibald Gluck. The title page describes it as a componimento drammatico pastorale in one act. It was first performed at Laxenburg near Vienna on 5 May 1755.
Samson was an opera by the French composer Jean-Philippe Rameau with a libretto by Voltaire. The work was never staged due to censorship, although Voltaire later printed his text. Rameau intended the opera on the theme of Samson and Delilah as the successor to his debut Hippolyte et Aricie, which premiered in October 1733. Like Hippolyte, Samson was a tragédie en musique in five acts and a prologue. Voltaire had become a great admirer of Rameau's music after seeing Hippolyte and suggested a collaboration with the composer in November 1733. The opera was complete by late summer 1734 and went into rehearsal. However, a work on a religious subject with a libretto by such a notorious critic of the Church was bound to run into controversy and Samson was banned. An attempt to revive the project in a new version in 1736 also failed. The score is lost, although Rameau recycled some of the music from Samson in his later operas.
