Atys : tragédie lyrique en trois actes

Atys : tragédie lyrique en trois actes

Date: 1781
Creator: Piccinni, Niccolò, 1728-1800; Quinault, Philippe, 1635-1688 & Marmontel, Jean François, 1723-1799
Description: The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide.
Contributing Partner: UNT Music Library
Colonie : opéra comique en deux actes

Colonie : opéra comique en deux actes

Date: 1776
Creator: Sacchini, Antonio, 1730-1786 & Framery, Nicolas Etienne, 1745-1810
Description: None
Contributing Partner: UNT Music Library
Bellérophon; tragedie mise en musique

Bellérophon; tragedie mise en musique

Date: 1679
Creator: Lully, Jean Baptiste, 1632-1687; Corneille, Pierre, 1606-1684; Fontenelle, M. de (Bernard Le Bovier), 1657-1757 & Boileau Despréaux, Nicolas, 1636-1711
Description: Although not the first of the Jean-Baptiste Lully's tragédies lyriques, Bellérophon was the first of Lully's opera scores to appear in print. The Ballard first edition was printed in 1679 to accompany the premiere, on January 31 of that year, at the Palais Royale. Bellérophon was the second of two operas (the first was Psyché) created by Lully without librettist Philippe Quinault after the scandal associated with Isis that led to Quinault's temporary dismissal as royal librettist. After an extended illness during which he did not compose, Lully collaborated with Thomas Corneille and Bernard le Bovier de Fontenelle for the second time to create one of his most unqualified successes. Following the first performance in January 1679, Bellérophon played for nine months at the Palais Royale.
Contributing Partner: UNT Music Library
Les Danaïdes, tragédie lirique en cinq actes

Les Danaïdes, tragédie lirique en cinq actes

Date: 1784
Creator: Salieri, Antonio, 1750-1825; Du Roullet, François Louis Gaud Lebland, marquis, 1716-1786 & Tschudi, Jean-Baptiste-Louis-Théodore, baron de, 1734-1784
Description: Antonio Salieri began work on Les Danaïdes upon the recommendation of Gluck, whose health prevented him from fulfilling a commission for the work. Although Salieri was living in Vienna, the tragedie-lyrique was written for the Opéra in Paris, with a libretto by François Louis Gand Leblanc Roullet and Ludwig Theodor Tschudi based on Calzabigi’s Italian libretto.
Contributing Partner: UNT Music Library
Atys : tragédie lyrique en trois actes

Atys : tragédie lyrique en trois actes

Date: 1780
Creator: Piccinni, Niccolò, 1728-1800; Quinault, Philippe, 1635-1688 & Marmontel, Jean François, 1723-1799
Description: The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide.
Contributing Partner: UNT Music Library
Dardanus : tragédie lyrique en quatre actes

Dardanus : tragédie lyrique en quatre actes

Date: 1784
Creator: Sacchini, Antonio, 1730-1786; Guillard, Nicolas François, 1752-1814 & La Bruère, Le Clerc de, 1714-1754
Description: Like Renaud, Sacchini’s second French opera, Dardanus, faced problems due in large part to the composer’s Italian heritage. The opera is based on Rameau’s Dardanus, which had been a topic of earlier dispute between the Lullistes and the Ramistes. After an initially disappointing reception, Dardanus was reduced from four acts to three. In its first form, the opera received only six performances, but the three-act version was performed more than thirty times during the eighteenth century. Dardanus went on to enjoy several productions in the first decade of the nineteenth century.
Contributing Partner: UNT Music Library
Didon; tragédie lyrique en trois actes

Didon; tragédie lyrique en trois actes

Date: 1815
Creator: Piccinni, Niccolò, 1728-1800 & Marmontel, Jean François, 1723-1799
Description: With Didon, Piccinni demonstrated his ability to combine both Italian and French styles to create a compelling tragédie lyrique. The opera includes lyrical Italian melodies and a second-act finale, as well as French choruses and numbers that transition continuously without pauses. Didon was premiered at Fountainebleau on 16 October 1783, and it remained one of Piccinni’s most popular French operas, with performances through the first part of the nineteenth century. The story of Dido had been realized on the operatic stage before Piccinni’s setting, including Cavalli’s Didone (1641), Purcell’s Dido and Aeneas (c. 1689), and Vinci’s Didone abbandonata (1726) with a libretto by Metastasio.
Contributing Partner: UNT Music Library
Iphigénie en Tauride. Tragédie lirique en quatre actes

Iphigénie en Tauride. Tragédie lirique en quatre actes

Date: 1781
Creator: Piccinni, Niccolò, 1728-1800 & Dubreil, Alphonse Ducongé, 1734-1801
Description: The contrast between Piccinni and Gluck can perhaps best be illustrated with Iphigénie en Tauride, as Piccinni’s opera appeared just two years after Gluck’s work on the same subject. In fact, supporters of Piccinni (“Piccinnistes”) hoped that the Italian composer would demonstrate the superiority of his style with Iphigénie, and scholars have used these settings to illustrate the difference between the two composers.
Contributing Partner: UNT Music Library
Renaud : tragedie lyrique en trois actes

Renaud : tragedie lyrique en trois actes

Date: 1783
Creator: Sacchini, Antonio, 1730-1786
Description: Sacchini’s first opera for the French stage was Renaud. Although he had the support of Marie Antoinette, Sacchini quickly learned that foreign (especially Italian) composers in Paris faced difficulties. The premiere of Renaud was intentionally delayed in an attempt to highlight Sacchini’s privilege with the queen, and the opera did not enjoy immediate success, even from Piccinni’s supporters. However, Renaud went on to be performed frequently, appearing as late as 1815.
Contributing Partner: UNT Music Library