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• Houses & Companies
• Late Baroque
• Opera

The extended polemic between Lullistes and Ramistes was provoked by the former group’s disgust for the Italianate elements in Rameau’s Hippolyte et Aricie, and their arising concern that the repertoire and tradition established by Lully was under threat. In contrast, Rameau’s supporters championed his innovative music that included more elaborate solo songs and increasingly complex use of the orchestra. ...

• Personalities
• Late Baroque
• Opera

conservative disgust. For decades, French opera had remained firmly under the influence of the late Lully, and Hippolyte et Aricie generated a passionate public dispute between the so-called Lullistes and Ramistes. The debate was heightened by Rameau’s masterpieces Les indes galantes (‘The Gallant Indians’, 1735), Castor et Pollux (1737) and Dardanus (1739). Nevertheless, most of Rameau’s operas during ...

• Houses & Companies
• Late Baroque
• Opera

some chamber cantatas and duets using Arcadian texts and was closely involved with the Academy’s circle of members, he never became a member himself. Houses & Companies | The Lullistes v. the Ramistes | Late Baroque | Opera ...

• Arts & Culture
• Classical
• Classical Era

The operatic debut of Rameau was also greeted by criticism. Most writers sided with the Ramistes, acknowledging the splendour of his Hippolyte et Aricie (1733), but a few conservative Lullistes accused him of betraying the Lully tradition and admitting Italian features. The most heated of the disputes was the Querelle des Bouffons of the early 1750s, when an Italian ...