French Comic Opera

            According to Thomas Bauman, French comic opera was something of a mixed bag of popular songs, dance, orchestral pieces set loosely together amongst a comic plot with spoken word. In order to maintain a monopoly the Opera as well as the Comedie-Francaise supported laws enacted by the government prohibiting the use of vocal music in theatres.  With the death of Louis the XIV passed away the Theatre de l’Opera-Comique (which was the generic name given to the French comic Opera companies) were consolidated under one manager.  Philippe of Orleans reestablished the Comedie-Italienne which itself merged with other companies and moved several times during its existence. During this time many new comedies were produced and arranged with composers, such as Rameau, contributing new material.

            The Querelle des Bouffons is described by the author, Thomas Bauman as; “The famous Querelle des Bouffons that erupted in Paris in 1752 and lasted for nearly two years had no direct connection with French comic Opera.” This was in essence a pamphlet war between individuals working to define French Comic Opera against Italian Opera Buffa. It was sparked by a performance of Perlugosi’s La Serva Padrona which led to Rousseau to consider composing his own through-composed stage work titled; Le Devin du Village which was performed in 1752. Later in the century, French opera would come to later be dominated by the composer Gretry who composed in the late half of the 18^th century, his works tended to be of serious moral subjects which might have had something to do with the time in which they were composed (French Revolution). Among Gretry’s most popular works are Contes Moraux, Le Magnifique, Richard Coeur-de-Lion and Aucassin et Nicollete. Librettists that Gretry worked with were Jean-Francois Marmontel and Sedaine, both of whom he enjoyed a long collaboration.  

            The primary vehicle for theatre in London was known as Ballad Opera, this was very much akin to the Sing-Spiel in Germany and the Vaudeville pieces in France. Essentially Ballad Opera was a musical play which included sometimes bawdy plot and lyrics to entertain masses and middle class citizens. The most famous of this genre was John Gay’s Beggar’s Opera (later to be adapted by Kurt Weil as the Three-Penny Opera) which had a long run in both London and America. The piece would also be adapted regionally in German speaking countries.