the Feasts of St. Germain, St. Laurent, and St. Ovide. The two companies
were always inimical, and the "Comédiens de la Foire" were from time to
time suppressed by their stronger rival,[22] but always revived, until
at last in 1762 the two companies were amalgamated.[23] In this soil
was planted opera buffa, and, favoured by circumstances, it grew into
a great national institution.[24] Translations and adaptations of
favourite Italian operas satisfied the public at first, and were decried
by the Bouffonists as travesties of the original.[25] But very soon,
especially after the brilliant success of Vade's "Les Troqueurs" in
1753, a new school of composers sought to reconcile the excellencies
of the Italian music, especially in singing, with the exigencies of
the national taste. It was difficult at first to break loose from the
defined outline and simple design of the intermezzi, but gradually the
French taste became apparent in the greater connection and interest
of the plot, and the delicacy and wit of the composition. The lively
interest of the public induced poets of talent, such as Favart, Sedaine,
and Marmontel, to devote themselves to operatic writing, and the French
comic opera soon surpassed the opera buffa, from a dramatic as well as a
musical point of view. These various impulses were all the more lasting
since they were founded on the national character.[26]
Egidio Romoaldo Duni (1709-1775), born and educated in Naples, having
made his reputation on the Italian stage, was led by his connection with
the court at Parma, which was French in manners and in taste, to compose
French operettas, as, for instance, "Ninette ä la Cour." The applause
with which they were received induced him to go to Paris in 1757, where
he made an exceptionally favourable début with the "Peintre Amoureux,"
and during the next
{FRENCH OPERA.}
(12)
thirteen years produced a succession of comic operas, the easy style and
simple form of which secured them both the favour of the public and the
imitation of untrained French composers.[27]
Public-domain text, read in full here on John Shaqi.
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