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Les fêtes vénitiennes
''Les festes vénitiennes'' ("Venetian Festivities"), also spelled ''Les fêtes vénitiennes'',〔The spelling more often employed today, according to modern French orthography, is 'fêtes', instead of the old-fashioned 'festes'. The modern spelling is adopted for instance by ''The New Grove Dictionary of Opera'', ''Le magazine de l'opéra baroque'' and ''Dizionario dell’opera''. On the other hand, the term 'festes' is still used by Lajarte and Pitou and appears in the earliest sources available online, such as the scores cited below, (the libretto published by Delormel in 1750 ) (all accessible at the site ''Gallica, Bibliothèque numérique della Bibliothèque Nationale de France''), (the original libretto as assessed by Maurice Barthélémy ) in ''Catalogue des imprimés musicaux anciens du Conservatoire Royal de Musique de Liège'', Liège, Mardaga, 1992, p. 34 (ISBN 978-2-87009-521-8), and (the complete entrée librettos as reproduced by Christoph Ballard in 1714 ) in ''Recueil general ...'' (both accessible, the former only in part, at books.google.com). It is only after 1750, owing to the diffusion and enforcement of the third edition of the Dictionnaire de l'Académie française, that the new spelling 'fêtes' appears to have gradually come into common use, as can be seen from the libretto reprinted by Delormel in 1759 with the newly-spelt title (the title-page is reproduced in (''Le magazine de l’opéra baroque'' )).〕 is an ''opéra-ballet'' by the French composer André Campra. It consists of a prologue (later sometimes omitted, abridged or replaced) and three ''entrées'' (four or five in subsequent versions). All versions of the libretto are by Antoine Danchet. It was first performed on 17 June 1710 by the Académie royale de musique in the Salle du Palais-Royal in Paris. According to the usage of the time, it was originally simply billed as a "''ballet''",〔Cf. the period printed sources cited above.〕 but it is one of the most important and successful instances of the new genre later classified by scholars as ''opéra-ballet'', which had become popular in Paris around the end of the 17th century.〔Anthony.〕
==Performance history==
At the beginning of the 18th century the Paris Opéra public was growing dissatisfied with the traditional "operatic fare consisting of lyric tragedies cast invariably in the mould created by Lully and Quinault",〔Pitou, p. 223.〕 and the innovative nature of the ''opéra-ballet'', with its realistic locations and characters, and its comic plots, was seen as a viable alternative. The format of the new genre was exceedingly flexible: each entrée had its own independent intrigue and characters, and the various acts were loosely linked together by a tenuous thread (in ''Les festes vénitiennes'', the Venice location).〔
Campra and Danchet's opera proved incredibly popular from the beginning, and, through a trial and error approach, "it perpetuated itself to the point where new entrées were written to replace the acts that seemed to be losing their appeal".〔 Between June and December 1710, Campra and Danchet experimented with a total of two prologues and eight〔According to Anthony there were seven of them, but in fact there were eight, as is analytically stated below. The second prologue is just a shortened version of the original one.〕 entrées and the opera ran for several dozen performances, reaching its 51st mounting on 14 October when it was restructured in a version with a shortened prologue and four entrées〔Professor Anthony writes that, according to "Ballard’s printed editions", the version given at the 51st performance on 14 (and not 10) October 1710 had five entrées, including ''Les serenades et les jouers'' (which had been previously suppressed on 5 September). Although it has not been possible to check the 1710 printed libretto, surely Anthony’s statement does not accord with all the other sources cited in this article, and in particular with Ballard’s 1714 'printed edition' of all the librettos of the opera, which reports, regarding the 51st performance, a structure in a prologue and the following four entrées: ''Les devins'' as the first entrée, ''L’Amour saltinbanque'' (sic, cf. below) as the second, ''L’Opéra'' as the third, and ''Le bal'' as the fourth ((''Recueil general des opera...'' ), p. 132).〕 (which were to become five in the following month of December).
After its unprecedented success in 1710-1711, the opera was regularly revived over the next half-century (in 1712, 1713, 1721, 1731-1732, 1740, 1750-1751 and 1759), the different entrées being swapped around at various times, and provided ample opportunity for almost all the major artists who appeared on the stage of the Paris Opéra in this period.〔Pitou, p. 224; Anthony; Lajarte, p. 113.〕 Eventually, it chalked up the incredible number of about three hundred performances.〔(''Le magazine de l'opéra baroque'' ).〕
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