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Updated: May 17, 2025
His last opera, "Les Paladins," was given in 1760, the composer being then seventy-seven. The bitterness of the art-feuds of that day, afterward shown in the Gluck-Piccini contest, was foreshadowed in that waged by Rameau against Lulli, and finally against the Italian newcomers, who sought to take possession of the French stage.
There was Lulli in music; Beauchamp in ballets; Corneille and Racine in tragedy; Moliere in comedy; La Chamelle and La Beauval, actresses; and Baron, Lafleur, Toriliere, and Guerin, actors. Each of these persons was excellent in his way.
Monsieur de Pourceaugnac was played for the first time at Chambord, on the 6th of October, 1669; a year afterwards, on the same stage, appeared Le Bourgeois Gentilhomme, with the interludes and music of Lulli.
To the details of the process Swift seems to have been indebted for one of the humorous projects described by him in his voyage to Laputa. Lulli recommended that certain general terms of logic, metaphysics, ethics or theology should first be collected. These were to be inscribed separately upon square pieces of parchment.
He had not yet grasped the fact that in the noblest music truth and beauty are one and the same thing. In 'Armide, produced in 1777, he made another step forward. The libretto was the same as that used by Lulli nearly a hundred years before. The legend, already immortalised by Tasso, was strangely different from the classical stories which had hitherto inspired his greatest works.
He had reached the age of fifty without recognition as a dramatic composer, when the production of "Hippolyte et Aricie" excited a violent feud by creating a strong current of opposition to the music of Lulli. He produced works in rapid succession, and finally overcame all obstacles, and won for himself the name of being the greatest lyric composer which France up to that time had produced.
His dramatic music exhibits the same qualities which had already made the success of Lulli. ... For some years after Purcell's death his compositions, of whatever kind, were the chief, if not the only, music heard in England.
Even dinner-parties breathed only constraint and mistrust, and the intimacies of a lifetime came to cruel end. Rameau's Nephew was composed in the midst of the first part of this long campaign of a quarter of a century, and its seems to have been revised by its author in the midst of the second great episode. Diderot declares against the school of Rameau and Lulli.
Perhaps no more valuable testimony to the character of these operas can be adduced than that of Baron Grimm: "In his operas Rameau has overpowered all his predecessors by dint of harmony and quantity of notes. Some of his choruses are very fine. Lulli could only sustain his vocal psalmody by a simple bass; Rameau accompanied almost all his recitatives with the orchestra.
From the time of Lulli until the end of the Eighteenth Century French opera was legendary, that is to say, it was mythological in character and was not, as has been pretended, limited to the depiction of emotion and the inner feelings in order to avoid contingencies. The real motive was to find in fables material for a spectacle.
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