|Louis XIV as Apollo|
- Led by Rousseau, who even wrote his own opera for the ‘cause’—Le devin du village
- Comprised mainly of Encyclopédistes—the Enlightenment and Renaissance seem to have a few things in common, one of which is "clubs" of people with too much time on their hands!
- Supported by the Queen, mostly to spite the King and his mistress, Mme. de Pompadour
- Weren’t fans of the monarchy—one could interpret this as a direct, but harmless challenge to the monarchy in the 18th century (let's not forget that the French revolution was just under 40 years away).
- Preferred the light Italian comedic operas (the Buffoons did not perform opera seria—non-comedic operas)
- French music critics overwhelmingly insisted that all music had to be compared music “known” to be good. For a long time this meant comparing everything to Lully. Eventually, after many years of harsh critique, they made room for Rameau and picked up the nickname “Ramistes” which largely replaced the earlier nickname “Lullistes”, as both composers had been accepted as icons of the national style.
- Generally made up of a group of elitists who wished to pander to the King’s interests...but I'll admit that that's my judgement on the group (not to say that I don't like traditional French Baroque opera).
- Supported by the King and his lovely mistress Mme. de Pompadour (for you lovely Doctor Who fans out there, that is indeed the same character that Tennant met in the fireplace!)
|Mme. de Pompadour and the Doctor in The Girl in the Fireplace|
- Loved serious mythological tales, especially since they could be used to glorify the monarchy and suck up to the King—interludes of dance and music generally provided the “comedic” break.