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Opéra comique
''Opéra comique'' (plural: ''opéras comiques'') is a genre of French opera that contains spoken dialogue and arias. It emerged from the popular ''opéra comiques en vaudevilles'' of the Fair Theatres of St Germain and St Laurent (and to a lesser extent the Comédie-Italienne),〔M. Elizabeth C. Bartlet and Richard Langham Smith.
("Opéra comique" ), Grove Music Online. Oxford Music Online. 19 November 2009〕 which combined existing popular tunes with spoken sections. Associated with the Paris theatre of the same name, the Opéra-Comique, ''opéra comique'' is not always comic or light in nature; ''Carmen'', perhaps the most famous ''opéra comique'', is a tragedy.
==Use of the term==
The term ''opéra comique'' is complex in meaning and cannot simply be translated as "comic opera". The genre originated in the early 18th century with humorous and satirical plays performed at the theatres of the Paris fairs which contained songs (''vaudevilles''), with new words set to already existing music. The phrase ''opéra comique en vaudevilles'' or similar was often applied to these early stage works. In the middle of the 18th century, composers began to write original music to replace the ''vaudevilles'', under the influence of the lighter types of Italian opera (especially Giovanni Battista Pergolesi's ''La serva padrona''). This form of ''opéra comique'' was often known as ''comédie mêlée d'ariettes'', but the range of subject matter it covered expanded beyond the merely comic. By the 19th century, ''opéra comique'' often meant little more than works with spoken dialogue performed at the Opéra-Comique theatre, as opposed to works with recitative delivery which appeared at the Paris Opéra. Thus, the most famous of all ''opéras comiques'', Georges Bizet's ''Carmen'', is on a tragic subject. As Elizabeth Bartlet and Richard Langham Smith note in their ''Grove'' article on the subject, composers and librettists frequently rejected the use of the umbrella term ''opéra comique'' in favour of more precise labels.〔〔''Oxford Companion to Music'' pp. 862 and 889〕
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