1295:(Phèdre) and Theseus' son by another woman, Hippolytus. The latter is in love with a young woman, Aricia, but she is the daughter of Theseus's enemy, Pallas. Aricia is the last of the Pallantids, and as such is held captive by Theseus and has been sentenced to take a vow of chastity to Diana. Before she does so, she and Hippolytus reveal mutual love to each other and, defying the will of Phaedra, the priestesses of Diana proclaim that it is unlawful to force her to dedicate her heart to the goddess when it already belongs to another. Phaedra, incensed by the disobedience of the priestesses, threatens to destroy the temple. The high priestess appeals to the gods, and the goddess Diana descends and rebukes Phaedra, forcing her to leave the temple. Phaedra leaves with her only confidant, Oenone, and vents her frustration at the situation. Phaedra, Theseus second wife, has been nursing an illicit desire for her stepson. Arcas brings news that Theseus has made a journey to the Underworld and is likely dead. This means Phaedra may pursue Hippolytus and offer him the marriage and the crown of Athens.
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the throne to the son of
Theseus and Phaedra, his half brother. He is prioritizing being with Aricia above all else. As she witnesses her dreams crumbling, Phaedra confesses her passion. Hippolytus is shocked and curses her. Phaedra tries to kill herself with a sword but Hippolytus snatches it from her. At this moment, Theseus arrives unexpectedly. He is unsure what to make of the scene, but fears Hippolytus was trying to rape his wife. Phaedra rushes off and Hippolytus nobly refuses to denounce his stepmother. But this only serves to increase his father's suspicions, now reinforced by Phaedra's confidante, Oenone. Theseus finally decides to use his last prayer to Neptune to punish Hippolytus.
731:, which had been revived on 14 December 1732, was particularly important for Pellegrin as it had a trio for the Fates. The dark colour of this act is enhanced by the use of solely male voices. There are lively and rhythmically inventive dances for the demons contrasted with Thésée's moving invocations to save the life of his friend Pirithous in music in which "the expression of the sentiment is cut down, as it were, to the bone". The act concludes with the famous and controversial second "Trio des Parques", omitted from the premiere because the Opéra's singers and instrumentalists found it too hard to play. It makes use of
618:: the action of his play is confined to a single location and takes place within 24 hours. On the other hand, each act in Pellegrin's libretto has a different setting. Pellegrin also provides a happy ending, at least for the lovers Hippolyte and Aricie, whereas Racine is wholly tragic; Hippolyte does not rise from the dead. Pellegrin's drama has a major change in focus: Racine's play centres on Phèdre; she is still important in Pellegrin's version, but he pays much more attention to Thésée. For instance, the entirety of the second act is devoted to Thésée's visit to the Underworld. Graham Sadler writes:
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1331:, but makes it through to Pluto's court. Pluto denies Theseus' request to trade or share the fate of his friend, but allows a trial. When Theseus again loses, he calls on Neptune to free him (his second prayer), and Pluto is powerless to hold him back. As Theseus leaves, however, the Fates (Les Parques) foretell that Theseus may leave Hades but he will find Hell in his own household.
747:, two danced airs and the chorus "Que ce rivage rétentisse". The festivities over, Thésée finally has the chance to call on his father Neptune to punish Hippolyte in the invocation "Puissant maître des flots", which Girdlestone regarded as one of the finest solos of the 18th century with its contrast between the violin melody and the slower bass.
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in the middle of the act celebrates the hunt, with extensive use of horns. The finale is devoted to
Hippolyte's confrontation with the sea monster, depicted in stormy music in which the flutes represent blasts of wind. It ends with Phèdre's great lament, which Sylvie Bouissou describes as "one of the
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How hard it is for some of us to understand an art whose sole aim is to please, not to teach or even move, us. We have utterly forgotten the character of early opera, which is a suite of dances tied together by dialogues and airs, and not, as in the nineteenth century, a dramatic plot decked out with
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Hippolytus realizes he must go into exile and Aricia vows to go with him as his wife with the goddess Diana as their witness. The forest people celebrate Diana. A monster suddenly emerges from the sea – the instrument of
Theseus's punishment. Hippolytus tries to fight it but disappears in a cloud of
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for a revival in 1742. Apart from small changes in detail, he substantially reduced the role of Phèdre, replacing her Act 3 aria "Cruelle mère des amours" with a recitative and completely suppressing her death scene in Act 4. These changes were so drastic – the musicologist Sylvie
Bouissou describes
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role of a Fate, the other two being allotted to a baritenor and a bass. In the 1742 revival JĂ©lyotte, having meanwhile become the leading tenor of the company, performed the title role of
Hippolyte, whereas a soprano, Mlle Bourbonnais, took the role of Cupid, and the deputies of JĂ©lyotte, M La Tour
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Phaedra is living a life cursed by Venus for the mistakes of her mother, Pasiphae, who had an affair with the
Minotaur; Phaedra is the product of this bestial affair. She meets with Hippolytus, who offers his condolences on her bereavement and swears fidelity to her as a queen as well as abdicating
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At the beginning of Act Three, Phèdre implores Venus for mercy in the aria "Cruelle mère des amours" which
Girdlestone praises as a "magnificent solo" in spite of its "terribly flat" words. There follows a violent confrontation between Phèdre and Hippolyte then a scene in which Phèdre's confidante
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Rameau revised the work again in 1757 for a run which lasted for 24 performances. By this time, his reputation as the foremost French composer was so firmly established that he was confident enough to restore some of the most daring music from the original version, including the "Trio des
Parques"
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the allegorical prologue no longer had any social or political function. Instead, Pellegrin uses it to foreshadow the action of the main opera by showing
Destiny ordering Diana and Cupid to unite their efforts to ensure a happy outcome for Hippolyte and Aricie's love. The music of the prologue
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In spite of the opera's title, it is not the youthful lovers
Hippolytus and Aricia that dominate the drama but rather the tragic figures of Theseus and Phaedra. That of Theseus is more extensive and powerful. It gains immensely by Pellegrin's decision to devote the whole of Act 2 to the king's
226:(1706), Houdar de La Motte had written nothing for the musical stage for almost 20 years. Nothing came of the request and there is no record of any reply, but the fact that Rameau carefully preserved his own letter among his personal papers proves how much the project must have meant to him.
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Aricia wakes up, still mourning Hippolytus. Diana tells her she has found a husband for the girl, but Aricia is inconsolable until the goddess reveals Hippolytus, alive and well. Diana appoints Hippolytus to be the king of her people in this land, and the opera ends with general rejoicing.
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410:, "two violently extreme parties were to be found in France, enraged against each other; the older and the newer music was for each of them a kind of religion for which they took up arms. On the side of Lully were the elderly and the unprofessional; only a few musicians like
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and there was little in his life to suggest he was about to embark on a major new career as an opera composer. He was famous for his works on music theory as well as books of harpsichord pieces. The closest he had come to writing dramatic music was composing a few secular
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them as "blasphemy" - that the soprano Mlle Chevalier refused to sing the role of Phèdre. The revised version made its debut on 11 September 1742. In spite of initial criticisms of poor singing, it was a great success, running for 43 performances in 1742 and 1743.
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Bouissou (2014), pp. 183-187. Bouissou explains that Houdar de La Motte's refusal need not suggest any contempt for Rameau on his part. Houdar probably felt unable to fulfill the request because he had gone blind and was long out of touch with the operatic
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conducted it at Aix-en-Provence in 1983 and Lyon in 1984 in a staging by Pier Luigi Pizzi. Pizzi's production was taken up by William Christie at the Opéra Comique in Paris in 1985 and by Jean-Claude Malgoire at Lausanne and Reggio Emilia in 1987.
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Theseus has learnt the truth from Phaedra, just before she poisoned herself. Full of remorse, he too threatens suicide but Neptune reveals that his son is still alive, thanks to Diana's protection. However, Theseus will never see him again.
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again conducted the opera at the Palais Garnier, Paris in 1996 in a production by Jean-Marie Villegier which subsequently toured Nice, Montpellier, Caen, Vienna and New York. In the 21st century there have been performances conducted by
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with no fixed form". The scene shifts as Aricie is transported to be reunited with the resurrected Hippolyte in a beautiful rural landscape. This allowed Rameau to paint the scene using the techniques of pastoral music, including a
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The first act introduces the lovers Hippolyte and Aricie, as well as the jealous Phèdre. It begins with Aricie's aria "Temple sacré, séjour tranquille", with its solemn and "religious cast". There follows an extensive dialogue in
367:(dances and descriptive music) to the accompaniments to the vocal music (arias, ensembles, choruses). The dominant feeling among those hostile to the opera was that there was an excess of music: too much accompaniment, too many
674:(song-like) and has more ornamentation, with wider intervals to increase expressivity. Phèdre then gives vent to her jealousy in the aria "Périsse la vaine puissance". The High Priestess of Diana arrives and sings a highly
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in 1749, he completely cut the prologue. There was another revival at the Paris Opéra in 1767, after Rameau's death, which lasted for 14 performances. After that, the work disappeared from the stage until the 20th century.
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Villegier, Jean-Marie, "liner notes to Rameau - Les Arts Florissants, William Christie - Hippolyte et Aricie," Lorraine Hunt, Eirian James, Laurent Naouri, Mark Padmore, Ann-Maria Panzarella Erato, 0630-15517-2, CD.
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With a single stroke Rameau destroyed everything Lully had spent years in constructing: the proud, chauvinistic and complacent union of the French around one and the same cultural object, the offspring of his and
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Alexandre (1994), pp. 36-37. Alternatively, Sylvie Bouissou notes that Rameau was engaged in theoretical polemics with Montéclair and wanted to rival him on the stage as well (Bouissou, p. 306).
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in the Italian style, with the aim of showing off the singer's technical prowess. This particular specimen has no connection with the action of the drama, something Rameau would change with
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At the age of 69, Pellegrin had a long career as an opera librettist behind him, so it was unsurprising Rameau should have approached him for his debut, especially given his authorship of
275:
I have been a follower of the stage since I was 12 years old. I only began work on an opera when I was 50, I still didn't think I was capable; I tried my hand, I was lucky, I continued.
2390:). It seems therefore more likely that he was actually entrusted with the prologue role of a follower of 'L'Amour', which is called 'un Amour' in the scores and is notated in the
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341:'s genius. Then suddenly the Ramellian aesthetic played havoc with the confidence of the French in their patrimony, assaulted their national opera that they hoped was unchangeable.
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770:. In the first, Thésée expresses his remorse for his treatment of Hippolyte and recounts Phèdre's suicide. In the words of Cuthbert Girdlestone, "it is a passionate, despairing
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Act Four opens with Hippolyte's monologue "Ah, faut-il qu'en un jour", which looks forward to similarly "elegiac" arias in Rameau's later operas, for example "Lieux désolés" in
355:
containing dances, solos and choruses. Musically, however, it was totally different, especially the orchestration. Rameau had rethought everything apart from the recitative and
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Hippolyte et Aricie, Tragédie, Représentée par l'Académie Royale de Musique; Pour la premiere fois, le jeudi premier octobre 1733. Remise au théâtre le mardi 11 septembre 1742
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and Louis Laloy. They attacked what they regarded as poor staging, acting and choreography, but their harshest criticism was reserved for the alterations to the score made by
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and too many notes. The music was too difficult to perform, it was too "learned", it lacked true feeling and contained an abundance of dissonances and exaggerated virtuosity.
1324:, has promised to answer his prayers on three occasions during his life. The first prayer Theseus makes is to be allowed to reach Hades. At the entrance, he fights with the
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Oenone suggests to the king that Hippolyte has attempted to seduce his wife. In a scene of "grim irony", Thésée is forced to suppress his rage while he watches a
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was first performed at the Teatro Ducale, Parma on 9 May 1759. Frugoni's version of Pellegrin's libretto was also the basis for a handful of later operas:
260:, or at that of the Prince de Carignan. It went into rehearsal at the Opéra in July. Even at this stage, there were problems; Rameau had to cut the second
684:(thunder) which ensues is in the French tradition of the musical depiction of meteorological phenomena. The most famous earlier example was in Marais's
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264:("Trio of the Fates") in the second act, because the performers found it too hard to play. This was just a foretaste of the difficulties to come when
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in 1739. Thereafter, it died down as Rameau's reputation became more established, but there were still hints of the dispute as late as the 1750s.
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332:, then a term of abuse. They saw Rameau's work as an assault on Lullian opera and French musical tradition. As Sylvie Bouissou puts it:
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Hippolite et Aricie, Tragédie Mise en Musique par M. Rameau, Representée par l'Academie Royale de Musique Le Jeudy Premier Octobre 1733
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783:, another feature of many of his later operas. The composer made a concession to popular taste by inserting the "Nightingale aria" (
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was struck by the richness of invention: "There is enough music in this opera to make ten of them; this man will eclipse us all".
257:
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premiered at the Paris Opéra. Rameau was said to be so impressed by the opera that he approached its librettist, Pellegrin, for a
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in the 1670s and 1680s. Their works had held the stage ever since and come to be regarded as a French national institution. When
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between Aricie and Hippolyte. Rameau's recitative is like Lully's in that it respects the prosody of the words, but it is more
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The overture begins conventionally enough, in traditionally noble Lullian style, but the technical complexity of the ensuing
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joined them, more out of jealousy of the rising star than from devotion to Baptiste. Theorists like Père André, author of an
17:
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would have been well known to the audience so adapting it might be seen as a deliberate provocation to the conservatives.
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appeared with increasing frequency on stage and in concert in the second half of the 20th century with performances under
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There continued to be heated controversy with each new Rameau opera in the 1730s, reaching a peak with the premiere of
499:. The singers suffered from poor intonation despite the assistance of a double string quartet during the recitatives.
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There was no attempt to use Baroque instruments and the harpsichord was barely audible in the huge auditorium of the
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returned to the Paris Opéra after a 150-year absence on May 13, 1908. The production did not impress critics such as
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followed the model established by Lully: a French overture followed by a prologue and five acts, each with its own
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with an allegorical prologue followed by five acts. Early audiences found little else conventional about the work.
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Music portraying storms was a fashion in French Baroque opera, the most famous example being that in Marais's
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He goes on to describe Theseus as "one of the most moving and monumental characterizations in Baroque opera."
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148:
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2364:), tenor (haute-contre) JĂ©lyotte performed the role of 'L'Amour' (Cupid), which is however notated in the
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486:. Laloy condemned the production for focusing on the recitative at the expense of the arias. He remarked:
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he wrote later, such as "Que ce séjour est agréable" and "Aux langueurs d'Apollon Daphné se refusa" in
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made its debut, many in the audience were delighted, praising Rameau as "the Orpheus of our century".
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asking for a libretto. It was a strange choice; once famous for providing the texts to such works as
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who decrees that Love will reign over their hearts for one day every year. Diana vows to look after
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256:. In spring 1733, the new opera was given a run-through either at the house of Rameau's patron,
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movement must have disturbed conservative critics worried that Rameau's music would be overly
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The opera was parodied twice at the Comédie-Italienne, Paris, once by François Riccoboni and
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202:. Yet Rameau's eagerness to write an opera is shown by a letter he wrote in October 1727 to
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8:
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1001:
915:
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flames. Phaedra arrives, distraught, and admits she is the cause of Hippolytus's death.
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1258:(L'Amour) are arguing who will rule over the forest dwellers. The quarrel is settled by
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of sailors thanking Neptune for his safe return home. The entertainment consists of two
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The first modern performance took place in Geneva in March 1903 under the direction of
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Pellegrin situated the second act in the Underworld, following the example of Lully's
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According to RĂ©mond de Saint-Mard writing in 1741, quoted by Alexandre (1994), p. 39.
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conducted concert performances at several locations, including Versailles, in 1994.
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607:. Some of these are due to differences in genre between French Classical drama and
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style precedes the allegorical prologue set in the Forest of Erymanthus where
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Nicholas Anderson, "Rameau in the Recording Studio" in the May 1993 issue of
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Audiences and music critics soon split into two factions: the traditionalist
539:, György Vashegyi and William Christie (this time at Glyndebourne in 2013).
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2588:(partition in folio), Paris, De Gland, 1733 (accessible for free online at
1932:
Sylvie Bouissou, booklet notes to William Christie's recording of Rameau's
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1609:
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853:
720:
705:
675:
217:
199:
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735:, a technique Rameau believed was ideal for "inspiring dread and horror".
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received its premiere on 1 October, shortly after Rameau's 50th birthday.
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and Jean-Antoine BĂ©rard, those of the follower of Cupid and the Fate (cf
1889:
Rameau, letter to Abbé Mongeot (1744), quoted by Alexandre (1994), p. 36.
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Chorus of the English Bach Festival, La Grand Ecurie et la Chambre du Roy
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2647:(originally published 1957; revised edition published by Dover, 1969)
2394:. In the main body of the opera, JĂ©lyotte also took the haute-contre
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Graham Sadler in the notes to the recording of Rameau's overtures by
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For a full discussion of the background see the chapter on "Lulli's
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1402:(premiered 30 November 1733) and then, during the 1742 revival, by
1320:(Proserpine). Theseus has a special advantage: his father, the god
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744:
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and Phèdre's arias. In line with the practice he had adopted since
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Graham Sadler, "A diffident débutant? Rameau and the premiere of
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779:(a type of bagpipe). He also displayed his orchestral skill in a
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2294:(1712). Conservative critics disliked it (Girdlestone, p. 182).
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The turning point finally came in 1732. In February that year,
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Recorded on 14 November 2020 at the Opéra Comique in Paris
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Others, however, felt the music was bizarre and dissonant;
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and some popular pieces for the Paris fairs for his friend
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shepherds and shepherdesses, people of the forest (chorus)
2707:", essay in the booklet to Minkowski's 1994 recording of
2693:", essay in the booklet to Minkowski's 1994 recording of
2679:", essay in the booklet to Minkowski's 1994 recording of
2661:(first published 1980; paperback edition Macmillan, 1986)
2623:", essay in the booklet to Minkowski's 1994 recording of
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690:(1709). Rameau's music is much more intense, containing "
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1984:
1982:
2602:, Paris, Ballard, 1742 (accessibile for free online at
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1406:(11 October 1742). Both parodies went under the title
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Traité de l'harmonie réduite à ses principes naturels
2489:, Milano, Baldini Castoldi Dalai, 2007, pp. 463-464,
1979:
361:(short arias inserted into the recitative), from the
1867:
1865:
1442:(Naples, 1 January 1788), and Sebastiano Nasolini's
1514:: L'Oiseau-Lyre, 3 LPs (reissued on 2 CDs in 1995)
1862:
3307:
2460:(ed. Amanda Holden, Viking, 1993), pp. 1110-1111
1416:provided an Italian version of the libretto for
1312:, who has been captured when he tried to seduce
1552:(a fusion of the 1733, 1742 and 1757 versions)
1308:Theseus descends to Hades to rescue his friend
650:creates a "light and airy" atmosphere. The two
147:. It was premiered to great controversy by the
2456:Article on Traetta by Marita P. McClymonds in
1508:St. Anthony Singers, English Chamber Orchestra
3170:
2762:
2485:, in Gelli, Piero and Poletti, Filippo (ed.),
800:
678:aria with contributions from the chorus. The
2722:Visual documentation of the 1908 revival on
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173:. The opera takes the traditional form of a
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33:
2635:Jean-Philippe Rameau: Musicien des Lumières
1696:Chorus and orchestra of Le Concert d'Astrée
3177:
3163:
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53:
2742:International Music Score Library Project
2657:Graham Sadler, "Jean-Philippe Rameau" in
2469:Paul Corneilson, article on Holzbauer in
1635:
1454:
910:Claude-Louis-Dominique Chassé de Chinais
3341:Opera world premieres at the Paris Opera
2776:
2645:Jean-Philippe Rameau: His Life and Works
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1333:
155:in Paris on October 1, 1733. The French
2718:Magazine de l'opéra baroque (in French)
2711:(listed in the recording section above)
2697:(listed in the recording section above)
2683:(listed in the recording section above)
2627:(listed in the recording section above)
1956:Observations sur la littérature moderne
761:finest pages of French Baroque opera".
472:, the founder of Dalcroze Eurhythmics.
426:fame, were also among the conservative.
328:was the first opera to be described as
14:
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2575:
1394:Parodies and influence on later operas
599:There are several differences between
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2659:The New Grove: French Baroque Masters
2554:from the original on 16 November 2020
2517:John A. Rice, article on Nasolini in
2433:
2431:
2429:
2427:
2425:
2342:
1726:Orchestra of the Age of Enlightenment
1152:Spirits of the underworld, people of
3356:Operas based on works by Jean Racine
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580:, but the most important source was
59:Portrait of Jean-Philippe Rameau by
2370:1733 printed score at Gallica - BNF
1650:Thésée, Phèdre, Hippolyte, Aricie)
1469:Thésée, Phèdre, Hippolyte, Aricie)
1085:Cuignier, Cuvilliers, and JĂ©lyotte
694:tremolos and rapid scale figures."
439:
189:Rameau was almost 50 when he wrote
24:
2898:Les fĂŞtes de l'Hymen et de l'Amour
2672:, ed. Amanda Holden (Viking, 1993)
2652:The Early Music Revival: A History
2422:
1376:A grove sacred to Diana by the sea
1362:A grove sacred to Diana by the sea
1283:The story concerns the Greek hero
1180:
715:(1680), as well as later works by
463:
25:
3377:
2729:
2519:The New Grove Dictionary of Opera
2102:(Decca L'Oiseau-Lyre, 1997), p. 5
3141:
3140:
2252:(1706) (Bouissou, 2014, p. 337).
1291:(Thésée in the opera), his wife
764:The final act is split into two
394:(a play on the French word for '
305:had been invented as a genre by
2550:. Arte GEIE. 23 November 2020.
2536:
2523:
2511:
2475:
2463:
2450:
2441:
2413:
2333:
2324:
2297:
2273:
2264:
2255:
2240:
2231:
2222:
2213:
2204:
2195:
2186:
2177:
2168:
2159:
2150:
2141:
2132:
2123:
2114:
2105:
2092:
2083:
2074:
2065:
2056:
2037:
2018:
2009:
2000:
1991:
1970:
1961:
1948:
1939:
1926:
1917:
660:soon became immensely popular.
3326:Operas by Jean-Philippe Rameau
3078:Pièces de clavecin en concerts
2544:"Rameau's Hippolyte et Aricie"
2447:Bouissou (2014), pp. 1028-1029
2354:Le magazine de l'opéra baroque
2351:According to most sources (cf
2026:Le magazine de l'opéra baroque
1936:(Harmonia Mundi, 1993), p. 16.
1892:
1883:
1874:
1853:
1844:
1835:
1825:
1816:
1446:(Florence, 28 December 1790).
1279:The temple of Diana in Troezen
1050:La Grande-PrĂŞtresse de Diane,
834:Premiere cast, October 1, 1733
645:(learned). Since the death of
590:(1677). Such a classic of the
13:
1:
2703:Joachim Steinheuer, "Rameau:
2481:Raffaele Mellace, article on
1954:Girdlestone, p. 482; quoting
1902:" in Girdlestone, pp. 104-126
1809:
1449:
799:, the French term for a long
382:and Rameau's supporters, the
271:In 1744, Rameau recollected:
184:
27:Opera by Jean-Philippe Rameau
3346:Operas set in ancient Greece
3122:New System of Musical Theory
2619:Ivan A. Alexandre, "Rameau:
2419:Graham Sadler (1993), p. 831
2201:Bouissou (2014), pp. 329-330
2183:Girdlestone, pp. 141 and 154
2165:Bouissou (2014), pp. 324-326
2111:Bouissou (2014), pp. 319-320
1976:Bouissou (2014), pp. 342-343
1967:Graham Sadler (1980), p. 219
1945:Bouissou (2014), pp. 314 ff.
1914:Graham Sadler (1993), p. 830
402:described the quarrel thus:
7:
2689:Gloria Staffieri, "Rameau:
2381:period vocal score at IMSLP
2156:Graham Sadler (1994), p. 19
1385:The forest of Aricia, Italy
1348:Theseus's palace by the sea
1246:An overture in the typical
1241:
1236:
1175:Marie-Anne Cupis de Camargo
547:
542:
252:of his own. The result was
153:theatre in the Palais-Royal
116:Theatre in the Palais-Royal
10:
3382:
3030:(unfinished, date unknown)
2664:Graham Sadler, article on
2570:
2487:Dizionario dell'Opera 2008
2053:in 1713 (Bouissou, p. 308)
1764:Freiburger Barockorchester
1173:The ballet corps included
623:selfless journey to Hades.
204:Antoine Houdar de La Motte
149:Académie Royale de Musique
3284:
3249:
3230:
3199:
3138:
3106:
3088:
3062:
2809:
2784:
2458:The Viking Guide to Opera
2288:into French opera in his
2280:André Cardinal Destouches
1772:EuroArts 1 Blu-Ray/2 DVD
1338:Music from Act 3, Scene 8
1254:(Diane in the opera) and
1150:
1027:Louis-Antoine Cuvilliers
995:Louis-Antoine Cuvilliers
793:. It is an example of an
616:unities of time and space
424:Le Spectacle de la Nature
143:) was the first opera by
100:
86:
78:
68:
52:
41:
32:
2914:Les surprises de l'Amour
2392:alto (haute-contre) clef
2330:Girdlestone, pp. 181-189
2228:Girdlestone, pp. 167-169
2062:Girdlestone, pp. 127-130
1648:(in the following order:
1467:(in the following order:
1370:
1356:
1342:
1298:
1273:
820:
630:
491:festivities and parades.
406:From the performance of
105:1 October 1733
2858:La princesse de Navarre
2339:Bouissou (2014), p. 341
2321:(Bouissou, 2014, p. 341
2261:Bouissou (2014), p. 337
2237:Bouissou (2014), p. 336
2174:Bouissou (2014), p. 328
2147:Bouissou (2014), p. 322
2138:Bouissou (2014), p. 321
2129:Staffieri (1994), p. 47
2080:Staffieri (1994), p. 46
2071:Staffieri (1994), p. 45
1997:Bouissou (2014), p. 344
1988:Alexandre (1994), p. 40
1859:Alexandre (1994), p. 37
1583:Les Musiciens du Louvre
1414:Carlo Innocenzo Frugoni
1090:Un suivant de l'Amour,
3316:French-language operas
3097:In convertendo Dominus
2882:Le temple de la Gloire
2401:1742 original libretto
2284:
2210:Girdlestone, p. 154ff.
1636:Video (complete opera)
1455:Audio (complete opera)
1400:Jean-Antoine Romagnesi
1339:
1221:and other percussion,
945:
925:
859:Denis-François Tribou
807:
801:
795:
785:
766:
680:
670:
656:
641:
625:
611:. Racine observes the
493:
428:
390:
384:
378:
369:
363:
357:
351:
343:
293:
287:
277:
248:
235:
175:
161:Simon-Joseph Pellegrin
128:
73:Simon-Joseph Pellegrin
34:
3366:Works based on Phèdre
3351:Operas based on plays
3129:Querelle des Bouffons
2978:La naissance d'Osiris
2874:Les fĂŞtes de Polymnie
2089:Sadler (1980), p. 258
1787:Reinoud van Mechelen,
1745:Reinoud Van Mechelen,
1686:Anne-Catherine Gillet
1614:Anna Maria Panzarella
1569:Jean-Paul Fouchécourt
1337:
1304:Hades, the Underworld
1156:, sailors, huntsmen,
620:
556:. Distant models for
488:
470:Émile Jaques-Dalcroze
404:
334:
273:
18:Hippolytus and Aricia
3321:Tragédies en musique
2801:List of compositions
2778:Jean-Philippe Rameau
2641:Cuthbert Girdlestone
2584:1733 printed score:
2471:The Grove Dictionary
2015:Haskell, pp. 134-135
1622:Les Arts Florissants
1541:Jean-Claude Malgoire
1404:Charles-Simon Favart
507:Jean-Claude Malgoire
400:Cuthbert Girdlestone
145:Jean-Philippe Rameau
47:Jean-Philippe Rameau
3361:Phaedra (mythology)
3258:Hippolyte et Aricie
2890:Les fĂŞtes de Ramire
2818:Hippolyte et Aricie
2737:Hippolyte et Aricie
2709:Hippolyte et Aricie
2705:Hippolyte et Aricie
2695:Hippolyte et Aricie
2691:Hippolyte et Aricie
2681:Hippolyte et Aricie
2677:Hippolyte et Aricie
2666:Hippolyte et Aricie
2625:Hippolyte et Aricie
2621:Hippolyte et Aricie
2576:Scores and libretti
2270:Girdlestone, p. 176
2219:Girdlestone, p. 158
2192:Girdlestone, p. 149
2120:Girdlestone, p. 134
1923:Girdlestone, p. 191
1900:Tragédie en musique
1588:Deutsche Grammophon
1434:(Mannheim, 1759),
1408:Hippolyte et Aricie
1189:with the following
970:Phèdre's confidante
789:) before the final
786:Rossignols amoureux
609:tragédie en musique
601:Hippolyte et Aricie
515:John Eliot Gardiner
503:Hippolyte et Aricie
315:Hippolyte et Aricie
309:and his librettist
302:Tragédie en musique
280:Performance history
266:Hippolyte et Aricie
254:Hippolyte et Aricie
249:tragédie en musique
237:tragédie en musique
191:Hippolyte et Aricie
177:tragédie en musique
129:Hippolyte et Aricie
35:Hippolyte et Aricie
3266:Ippolito ed Aricia
3071:Pièces de Clavecin
2826:Les Indes galantes
2670:Viking Opera Guide
2504:2016-11-03 at the
2406:2016-02-16 at the
2386:2015-12-08 at the
2375:2016-11-15 at the
2359:2016-03-22 at the
2306:Les Indes galantes
2100:Christophe Rousset
2031:2016-10-19 at the
1871:Girdlestone, p. 13
1718:William Christie,
1489:John Shirley Quirk
1436:Giovanni Paisiello
1432:Ippolito ed Aricia
1423:Ippolito ed Aricia
1340:
1185:The opera uses an
1052:High Priestess of
584:'s famous tragedy
578:Seneca the Younger
558:Hippoyte et Aricie
3303:
3302:
3296:(Britten cantata)
3250:Opera adaptations
3152:
3151:
2954:Acante et CĂ©phise
2633:Sylvie Bouissou,
2611:Secondary sources
2497:; (reproduced in
2495:978-88-6073-184-5
1850:Girdlestone, p.13
1807:
1806:
1633:
1632:
1529:Carolyn Watkinson
1316:(Pluton)'s wife,
1171:
1170:
1137:Une chasseresse,
838:François Francœur
511:Charles Mackerras
416:Essai sur le Beau
231:Michel Montéclair
124:
123:
16:(Redirected from
3373:
3179:
3172:
3165:
3156:
3155:
3144:
3143:
3107:Related articles
3011:Nélée et Myrthis
2842:Les fêtes d'Hébé
2834:Castor et Pollux
2771:
2764:
2757:
2748:
2747:
2740:: Scores at the
2716:
2702:
2688:
2632:
2618:
2597:
2583:
2564:
2563:
2561:
2559:
2540:
2534:
2527:
2521:
2515:
2509:
2479:
2473:
2467:
2461:
2454:
2448:
2445:
2439:
2435:
2420:
2417:
2411:
2349:
2340:
2337:
2331:
2328:
2322:
2301:
2295:
2287:
2277:
2271:
2268:
2262:
2259:
2253:
2244:
2238:
2235:
2229:
2226:
2220:
2217:
2211:
2208:
2202:
2199:
2193:
2190:
2184:
2181:
2175:
2172:
2166:
2163:
2157:
2154:
2148:
2145:
2139:
2136:
2130:
2127:
2121:
2118:
2112:
2109:
2103:
2096:
2090:
2087:
2081:
2078:
2072:
2069:
2063:
2060:
2054:
2041:
2035:
2022:
2016:
2013:
2007:
2004:
1998:
1995:
1989:
1986:
1977:
1974:
1968:
1965:
1959:
1952:
1946:
1943:
1937:
1934:Castor et Pollux
1930:
1924:
1921:
1915:
1912:
1903:
1896:
1890:
1887:
1881:
1878:
1872:
1869:
1860:
1857:
1851:
1848:
1842:
1839:
1833:
1829:
1823:
1822:Alexandre, p. 36
1820:
1780:Stéphane Degout,
1757:Aletta Collins,
1741:Magdalena Kožená
1730:Opus Arte 1 DVD
1707:Stéphane Degout,
1640:
1639:
1618:William Christie
1459:
1458:
1266:(Hippolyte) and
1104:Pierre JĂ©lyotte
984:friend to Thésée
948:
928:
825:
824:
810:
804:
798:
788:
769:
683:
673:
659:
644:
524:William Christie
440:Revised versions
393:
387:
381:
372:
366:
360:
354:
296:
290:
262:Trio des Parques
251:
240:
213:L'Europe galante
180:
131:
112:
110:
57:
37:
30:
29:
21:
3381:
3380:
3376:
3375:
3374:
3372:
3371:
3370:
3306:
3305:
3304:
3299:
3280:
3245:
3226:
3195:
3183:
3153:
3148:
3134:
3102:
3084:
3058:
3031:
2990:
2962:Daphnis et Eglé
2805:
2780:
2775:
2732:
2714:
2700:
2686:
2650:Harry Haskell,
2630:
2616:
2613:
2598:1742 libretto:
2595:
2581:
2578:
2573:
2568:
2567:
2557:
2555:
2542:
2541:
2537:
2528:
2524:
2516:
2512:
2506:Wayback Machine
2480:
2476:
2468:
2464:
2455:
2451:
2446:
2442:
2436:
2423:
2418:
2414:
2408:Wayback Machine
2388:Wayback Machine
2377:Wayback Machine
2361:Wayback Machine
2350:
2343:
2338:
2334:
2329:
2325:
2302:
2298:
2282:introduced the
2278:
2274:
2269:
2265:
2260:
2256:
2245:
2241:
2236:
2232:
2227:
2223:
2218:
2214:
2209:
2205:
2200:
2196:
2191:
2187:
2182:
2178:
2173:
2169:
2164:
2160:
2155:
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2137:
2133:
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2124:
2119:
2115:
2110:
2106:
2097:
2093:
2088:
2084:
2079:
2075:
2070:
2066:
2061:
2057:
2043:Beginning with
2042:
2038:
2033:Wayback Machine
2023:
2019:
2014:
2010:
2005:
2001:
1996:
1992:
1987:
1980:
1975:
1971:
1966:
1962:
1953:
1949:
1944:
1940:
1931:
1927:
1922:
1918:
1913:
1906:
1897:
1893:
1888:
1884:
1879:
1875:
1870:
1863:
1858:
1854:
1849:
1845:
1840:
1836:
1830:
1826:
1821:
1817:
1812:
1799:
1797:
1795:
1788:
1786:
1781:
1768:Staatsopernchor
1762:
1759:Ă“lafur ElĂasson
1756:
1746:
1744:
1739:
1724:
1719:
1714:Christiane Karg
1712:
1710:
1709:Sarah Connolly,
1708:
1695:
1694:Ivan Alexandre
1693:
1691:Emmanuelle HaĂŻm
1684:
1679:
1674:
1671:Stéphane Degout
1658:
1656:
1655:Stage director,
1654:
1649:
1647:
1638:
1620:
1613:
1608:
1603:
1598:
1581:
1572:
1567:
1562:
1561:Russell Smythe,
1560:
1551:
1543:
1534:
1532:
1527:
1522:
1507:
1502:
1497:
1492:
1487:
1475:
1473:
1468:
1466:
1457:
1452:
1428:Ignaz Holzbauer
1418:Tommaso Traetta
1396:
1373:
1359:
1345:
1301:
1276:
1244:
1239:
1191:instrumentation
1183:
1181:Instrumentation
1165:
1125:a female sailor
1044:Pierre JĂ©lyotte
877:Marie PĂ©lissier
835:
823:
633:
550:
545:
533:Emmanuelle HaĂŻm
513:, for example.
466:
464:Modern revivals
444:Rameau revised
442:
298:
282:
187:
120:
119:
113:
108:
106:
95:
64:
28:
23:
22:
15:
12:
11:
5:
3379:
3369:
3368:
3363:
3358:
3353:
3348:
3343:
3338:
3333:
3328:
3323:
3318:
3301:
3300:
3298:
3297:
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3282:
3281:
3279:
3278:
3270:
3262:
3253:
3251:
3247:
3246:
3244:
3243:
3234:
3232:
3228:
3227:
3225:
3224:
3219:
3214:
3209:
3203:
3201:
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3196:
3182:
3181:
3174:
3167:
3159:
3150:
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3132:
3125:
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3110:
3108:
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3101:
3100:
3092:
3090:
3086:
3085:
3083:
3082:
3074:
3066:
3064:
3060:
3059:
3057:
3056:
3052:Lisis et DĂ©lie
3048:
3040:
3032:
3023:
3022:(date unknown)
3015:
3014:(date unknown)
3007:
2999:
2991:
2982:
2974:
2966:
2958:
2950:
2942:
2934:
2926:
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2894:
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2838:
2830:
2822:
2813:
2811:
2807:
2806:
2804:
2803:
2798:
2797:
2796:
2789:List of operas
2785:
2782:
2781:
2774:
2773:
2766:
2759:
2751:
2745:
2744:
2731:
2730:External links
2728:
2727:
2726:
2720:
2712:
2698:
2684:
2673:
2662:
2655:
2648:
2638:
2637:(Fayard, 2014)
2628:
2612:
2609:
2608:
2607:
2593:
2577:
2574:
2572:
2569:
2566:
2565:
2535:
2522:
2510:
2474:
2462:
2449:
2440:
2421:
2412:
2341:
2332:
2323:
2296:
2272:
2263:
2254:
2239:
2230:
2221:
2212:
2203:
2194:
2185:
2176:
2167:
2158:
2149:
2140:
2131:
2122:
2113:
2104:
2091:
2082:
2073:
2064:
2055:
2050:Médée et Jason
2036:
2017:
2008:
2006:Haskell p. 133
1999:
1990:
1978:
1969:
1960:
1947:
1938:
1925:
1916:
1904:
1891:
1882:
1873:
1861:
1852:
1843:
1834:
1824:
1814:
1813:
1811:
1808:
1805:
1804:
1801:
1793:Raphaël Pichon
1790:
1778:
1774:
1773:
1770:
1750:
1736:
1732:
1731:
1728:
1716:
1705:
1701:
1700:
1697:
1688:
1676:Sarah Connolly
1668:
1664:
1663:
1660:
1651:
1644:
1637:
1634:
1631:
1630:
1624:
1615:
1600:Laurent Naouri
1596:
1592:
1591:
1590:Archiv, 3 CDs
1585:
1579:Marc Minkowski
1576:
1574:VĂ©ronique Gens
1558:
1554:
1553:
1545:
1538:
1520:
1516:
1515:
1509:
1506:Anthony Lewis
1504:
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1355:
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1341:
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1275:
1272:
1243:
1240:
1238:
1235:
1225:(with divided
1182:
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1168:
1148:
1147:
1146:Mlle Petitpas
1144:
1141:
1134:
1133:
1132:Mlle Petitpas
1130:
1127:
1123:Une matelote,
1120:
1119:
1118:Mlle Petitpas
1116:
1113:
1106:
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993:
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977:Mlle Monville
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869:
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832:
829:
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819:
758:divertissement
741:divertissement
657:divertissement
632:
629:
549:
546:
544:
541:
537:Raphaël Pichon
531:, Ryan Brown,
520:Marc Minkowski
497:Palais Garnier
484:Vincent d'Indy
480:Henri Quittard
465:
462:
441:
438:
396:chimney-sweeps
352:divertissement
345:Structurally,
297:
283:
281:
278:
258:La Pouplinière
186:
183:
163:, is based on
122:
121:
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26:
9:
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3378:
3367:
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3295:
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3283:
3276:
3275:
3271:
3268:
3267:
3263:
3260:
3259:
3255:
3254:
3252:
3248:
3242:(Seneca play)
3241:
3240:
3236:
3235:
3233:
3229:
3223:
3220:
3218:
3215:
3213:
3210:
3208:
3205:
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3137:
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3119:
3117:
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3091:
3087:
3080:
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3054:
3053:
3049:
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3041:
3038:
3037:
3033:
3029:
3028:
3024:
3021:
3020:
3016:
3013:
3012:
3008:
3006:(unperformed)
3005:
3004:
3000:
2997:
2996:
2992:
2988:
2987:
2983:
2980:
2979:
2975:
2972:
2971:
2970:Les sibarites
2967:
2964:
2963:
2959:
2956:
2955:
2951:
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2772:
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2725:
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2713:
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2699:
2696:
2692:
2685:
2682:
2678:
2674:
2671:
2667:
2663:
2660:
2656:
2654:(Dover, 1996)
2653:
2649:
2646:
2642:
2639:
2636:
2629:
2626:
2622:
2615:
2614:
2605:
2604:Gallica - BNF
2601:
2594:
2591:
2590:Gallica - BNF
2587:
2580:
2579:
2553:
2549:
2545:
2539:
2532:
2526:
2520:
2514:
2507:
2503:
2500:
2499:Opera Manager
2496:
2492:
2488:
2484:
2478:
2472:
2466:
2459:
2453:
2444:
2434:
2432:
2430:
2428:
2426:
2416:
2409:
2405:
2402:
2397:
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2385:
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2363:
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2358:
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2327:
2320:
2319:
2314:
2313:
2308:
2307:
2300:
2293:
2292:
2286:
2281:
2276:
2267:
2258:
2251:
2250:
2243:
2234:
2225:
2216:
2207:
2198:
2189:
2180:
2171:
2162:
2153:
2144:
2135:
2126:
2117:
2108:
2101:
2095:
2086:
2077:
2068:
2059:
2052:
2051:
2046:
2040:
2034:
2030:
2027:
2021:
2012:
2003:
1994:
1985:
1983:
1973:
1964:
1957:
1951:
1942:
1935:
1929:
1920:
1911:
1909:
1901:
1895:
1886:
1877:
1868:
1866:
1856:
1847:
1838:
1828:
1819:
1815:
1802:
1796:Jeanne Candel
1794:
1791:
1784:
1783:Sylvie Brunet
1779:
1776:
1775:
1771:
1769:
1765:
1760:
1754:
1751:
1749:
1748:Anna Prohaska
1742:
1738:Gyula Orendt,
1737:
1734:
1733:
1729:
1727:
1722:
1721:Jonathan Kent
1717:
1715:
1706:
1703:
1702:
1699:Erato 2 DVDs
1698:
1692:
1689:
1687:
1682:
1681:Topi Lehtipuu
1677:
1672:
1669:
1666:
1665:
1662:Label, Notes
1661:
1652:
1645:
1642:
1641:
1628:
1625:
1623:
1619:
1616:
1611:
1606:
1605:Lorraine Hunt
1601:
1597:
1594:
1593:
1589:
1586:
1584:
1580:
1577:
1575:
1570:
1565:
1564:Bernarda Fink
1559:
1556:
1555:
1549:
1546:
1542:
1539:
1537:
1530:
1525:
1521:
1518:
1517:
1513:
1510:
1505:
1503:Angela Hickey
1500:
1495:
1490:
1486:
1483:
1482:
1479:Label, Notes
1478:
1471:
1464:
1461:
1460:
1447:
1445:
1444:Teseo a Stige
1441:
1437:
1433:
1429:
1425:
1424:
1419:
1415:
1411:
1409:
1405:
1401:
1391:
1387:
1386:
1382:
1378:
1377:
1368:
1364:
1363:
1354:
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1349:
1336:
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1323:
1319:
1315:
1311:
1306:
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1296:
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1271:
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1261:
1257:
1253:
1249:
1234:
1232:
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1200:
1196:
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1188:
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1163:
1159:
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1145:
1142:
1140:
1136:
1135:
1131:
1128:
1126:
1122:
1121:
1117:
1114:
1112:
1111:a shepherdess
1109:Une bergère,
1108:
1107:
1103:
1101:
1098:
1096:
1095:
1089:
1088:
1084:
1082:
1078:
1074:
1072:
1068:
1067:
1064:
1063:Mlle Petitpas
1061:
1058:
1056:
1055:
1049:
1048:
1045:
1042:
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1036:
1031:
1030:
1026:
1024:
1021:
1019:
1016:
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998:
994:
992:
991:
987:
985:
981:
980:
976:
973:
971:
967:
966:
963:Mlle Eremans
962:
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947:
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936:
932:
931:
927:
922:
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913:
909:
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904:
901:
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893:Marie Antier
892:
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867:
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365:
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62:
56:
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44:
40:
36:
31:
19:
3291:
3272:
3264:
3257:
3256:
3237:
3189:
3127:
3120:
3113:
3095:
3076:
3069:
3063:Instrumental
3055:(music lost)
3050:
3047:(music lost)
3042:
3039:(music lost)
3034:
3025:
3017:
3009:
3003:Les Boréades
3001:
2995:Les Paladins
2993:
2984:
2976:
2968:
2960:
2952:
2946:La guirlande
2944:
2936:
2928:
2920:
2912:
2904:
2896:
2888:
2880:
2872:
2864:
2856:
2848:
2840:
2832:
2824:
2817:
2816:
2736:
2708:
2704:
2694:
2690:
2687:(in Italian)
2680:
2676:
2669:
2665:
2658:
2651:
2644:
2634:
2624:
2620:
2599:
2585:
2556:. Retrieved
2547:
2538:
2530:
2525:
2518:
2513:
2486:
2482:
2477:
2470:
2465:
2457:
2452:
2443:
2415:
2366:soprano clef
2352:
2335:
2326:
2316:
2310:
2304:
2303:For example
2299:
2289:
2275:
2266:
2257:
2247:
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2233:
2224:
2215:
2206:
2197:
2188:
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2134:
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2116:
2107:
2094:
2085:
2076:
2067:
2058:
2048:
2039:
2020:
2011:
2002:
1993:
1972:
1963:
1955:
1950:
1941:
1933:
1928:
1919:
1899:
1894:
1885:
1876:
1855:
1846:
1837:
1827:
1818:
1753:Simon Rattle
1610:Mark Padmore
1536:Arleen Auger
1443:
1439:
1431:
1421:
1412:
1407:
1397:
1388:
1384:
1383:
1379:
1375:
1374:
1365:
1361:
1360:
1351:
1347:
1346:
1307:
1303:
1302:
1282:
1278:
1277:
1245:
1184:
1172:
1151:
1138:
1124:
1110:
1100:haute-contre
1099:
1092:follower of
1091:
1081:haute-contre
1080:
1076:
1070:
1051:
1033:
1022:
1007:
988:
983:
969:
854:haute-contre
852:
836:(conductor:
812:
802:bravura aria
771:
763:
757:
753:Les Boréades
751:
749:
740:
737:
728:
710:
709:(1674), and
704:
698:
696:
685:
676:contrapuntal
662:
634:
626:
621:
613:Aristotelian
608:
604:
600:
598:
593:Grand Siècle
591:
585:
571:
561:
557:
553:
551:
502:
501:
494:
489:
475:
474:
467:
454:
451:
445:
443:
431:
429:
423:
415:
407:
405:
375:
346:
344:
335:
325:
323:
319:André Campra
314:
300:
299:
274:
270:
265:
261:
253:
241:
228:
221:
218:Marin Marais
211:
208:André Campra
200:Alexis Piron
190:
188:
168:
134:
126:
125:
90:
3336:1733 operas
3186:Jean Racine
2794:Lost operas
2715:(in French)
2701:(in German)
2631:(in French)
2617:(in French)
2596:(in French)
2582:(in French)
2531:Early Music
1789:Elsa Benoit
1499:Robert Tear
1494:Janet Baker
1231:harpsichord
1071:three Fates
845:Hippolyte (
831:Voice type
582:Jean Racine
529:Jane Glover
420:Abbé Pluche
358:petits airs
285:Reception:
216:(1697) and
167:'s tragedy
61:Joseph Aved
3310:Categories
3200:Characters
1810:References
1785:-Grupposo,
1659:Orchestra
1653:Conductor,
1533:Ian Caley,
1524:Ulrik Cold
1476:Orchestra
1472:Conductor,
1450:Recordings
1318:Proserpina
1287:, King of
1270:(Aricie).
1264:Hippolytus
1139:a huntress
847:Hippolytus
725:Destouches
712:Proserpine
666:recitative
563:Hippolytus
370:symphonies
364:symphonies
185:Background
159:, by Abbé
136:Hippolytus
109:1733-10-01
69:Librettist
3212:Hippolyte
2938:Zoroastre
2922:Pigmalion
2533:, p. 254.
2291:Callirhoé
1800:Pygmalion
1798:Pygmalion
1329:Tisiphone
1310:Pirithous
1187:orchestra
1069:Parques,
1032:L'Amour,
1018:Tisiphone
1000:Mercure (
943:Jean Dun
923:Jean Dun
745:rigaudons
733:enharmony
717:Desmarets
692:Vivaldian
671:cantabile
647:Louis XIV
568:Euripides
476:Hippolyte
456:Zoroastre
446:Hippolyte
408:Hippolyte
391:ramoneurs
379:lullistes
347:Hippolyte
326:Hippolyte
288:lullistes
96:by Racine
3146:Category
2989:(1754)
2986:Anacréon
2850:Dardanus
2552:Archived
2502:Archived
2404:Archived
2396:travesti
2384:Archived
2373:Archived
2357:Archived
2312:Dardanus
2029:Archived
2024:Page at
1711:Ed Lyon,
1657:Chorus,
1629:, 3 CDs
1474:Chorus,
1242:Prologue
1237:Synopsis
1215:trumpets
1207:musettes
1203:bassoons
1143:soprano
1129:soprano
1115:soprano
1059:soprano
1040:soprano
974:soprano
960:soprano
933:Pluton (
898:Thésée (
890:soprano
883:Phèdre (
864:Aricie (
808:ariettes
791:gavottes
781:chaconne
767:tableaux
703:(1671),
681:tonnerre
652:gavottes
548:Libretto
543:The work
433:Dardanus
385:ramistes
339:Quinault
311:Quinault
294:ramistes
196:cantatas
157:libretto
101:Premiere
87:Based on
79:Language
3293:Phaedra
3239:Phaedra
3231:Origins
3019:ZĂ©phire
2724:Gallica
2668:in the
2571:Sources
2548:Arte TV
2285:musette
2249:Alcyone
2045:Salomon
1550:, 3 LPs
1322:Neptune
1293:Phaedra
1285:Theseus
1260:Jupiter
1248:Lullian
1229:), and
1223:strings
1219:timpani
1154:Troezen
1012:Dumast
1002:Mercury
982:Arcas,
968:Ĺ’none,
953:Diane (
916:Jupiter
900:Theseus
885:Phaedra
872:soprano
796:ariette
777:musette
756:. The
700:Alceste
654:in the
573:Phaedra
330:baroque
291:versus
223:Alcyone
151:at its
118:, Paris
107: (
63:in 1728
3331:Operas
3277:(1820)
3269:(1759)
3261:(1733)
3222:Aricie
3217:Thésée
3207:Phèdre
3194:(1677)
3191:Phèdre
3089:Choral
3081:(1741)
3036:Samson
2998:(1760)
2981:(1754)
2973:(1753)
2965:(1753)
2957:(1751)
2949:(1751)
2941:(1749)
2933:(1749)
2925:(1748)
2917:(1748)
2909:(1748)
2901:(1747)
2893:(1745)
2885:(1745)
2877:(1745)
2869:(1745)
2866:Platée
2861:(1745)
2853:(1739)
2845:(1739)
2837:(1737)
2829:(1735)
2821:(1733)
2810:Operas
2558:25 Nov
2493:
2318:Platée
1958:(1749)
1832:world.
1289:Athens
1268:Aricia
1227:violas
1213:, two
1209:, two
1205:, two
1201:, two
1197:, two
1195:flutes
1193:: two
1158:nymphs
1077:taille
1075:bass,
1023:taille
1008:taille
990:taille
866:Aricia
814:Platée
723:, and
721:Marais
687:Sémélé
642:savant
605:Phèdre
587:Phèdre
554:Jephté
412:Mouret
243:Jephté
170:Phèdre
165:Racine
140:Aricia
92:Phèdre
82:French
3285:Other
3274:Fedra
3044:Linus
2483:Fedra
2438:1997.
1643:Year
1627:Erato
1512:Decca
1462:Year
1440:Fedra
1371:Act 5
1357:Act 4
1343:Act 3
1314:Pluto
1299:Act 2
1274:Act 1
1256:Cupid
1252:Diana
1211:horns
1199:oboes
1162:Diana
1094:Cupid
1054:Diana
1035:Cupid
955:Diana
940:bass
935:Pluto
920:bass
828:Role
821:Roles
772:scena
637:fugal
631:Music
560:were
422:, of
307:Lully
43:Opera
2930:NaĂŻs
2906:ZaĂŻs
2560:2020
2491:ISBN
2368:(cf
2315:and
1777:2020
1735:2019
1704:2014
1667:2014
1646:Cast
1595:1997
1557:1994
1519:1978
1484:1966
1465:Cast
1326:Fury
946:fils
926:fils
906:bass
729:Isis
706:Isis
603:and
570:and
509:and
418:and
398:').
138:and
3188:'s
2379:or
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133:(
111:)
20:)
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