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Contents: The romance and its cognates: narrative, irony and vraisemblance in early opera-comique; Continuing polarities: Opera theory and opera-comique; Orchestra and chorus at the Comedie-Italienne (Opera-Comique), 1755-1799; The overture to Philidor’s Le BA≫cheron (1763); ’Envoicing’ the orchestra: Enlightenment metaphors in theory and practice; ’Minuet-scenes’ in early opera-comique; Motive and motif: Mehul before 1791; Motif and recollection in four operas of Dalayrac; The French theatrical origins of Fidelio; Storms, sacrifices: the ’Melodrama Model’ in Opera; Ossian, Le Sueur and opera; The dramaturgy of ’Grand Opera’: some origins; On the nature of ’Grand Opera’; ’A maA®tre d’orchestre... conducts’: new and old evidence on French practice; Index.
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