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Les surprises de l'Amour
''Les surprises de l'Amour'' is an ''opéra-ballet'' in two ''entrées'' (three or four in later versions) and a prologue by the French composer Jean-Philippe Rameau. It was first performed in Versailles on 27 November 1748. The opera is set to a libretto by Gentil-Bernard. According to the usage of the time, it was originally just billed as a "''ballet''" 〔cf. the 1757 libretto title page reproduced in (''Le magazin de l’opéra baroque'' (Page: "Les surprises de l’amour") ) and Charles Collé’s review of the 1748 premiere (''ibid'')〕 and was only later classified by scholars as an ''opéra-ballet'',〔Sadler, op. cit.〕 although its content might more precisely ascribe it to the ballet héroïque genre.
==Performance history==
The work was commissioned by Madame de Pompadour to celebrate the Treaty of Aix-la-Chapelle and premiered at the third-season opening of her ''Théâtre des Petits Appartements'' for the inauguration of the Theatre's new venue upon the ''Grand Escalier des Ambassadeurs'' (Ambassadors’ Grand Staircase) in the Palace of Versailles,〔The theatre, which was also known as the ''Théâtre des Petits Cabinets'', had begun its performances in early 1747 and, on account of its success, had had to be completely refitted in 1748 and moved onto the ''Grand Escalier des Ambassadeurs'': it could be completely taken apart in 14 hours and then re-assembled in another 24 (Lever, ''op. cit.'', p. 97), and was rumoured to have cost the incredible sum of two millions livres, having a seating capacity of 40 spectators and 40 musicians, with a royal box opposite the scene and privileged boxes on either side. The statutes had been drawn up by Madame de Pompadour herself, who had secured great privileges for actresses: they alone were entitled to choose programmes and to settle rehearsals and revivals, and were even permitted a half an hour delay before being fined for late coming. The Duke of La Vallière had been appointed director of the theatre, François Rebel the conductor, Bernard de Bury the chorus-master, and Jean-Baptiste Dehesse the dance-master. All singers were noble courtiers. The theatre was closed in 1751, at the end of its fourth season, when theatre performances were banned from Versailles, and Mme de Pompadour had to relocate her theatrical activities to her new Bellevue Palace〕 starring Madame De Pompadour herself in two of the original soprano roles, Urania and Venus. In its first form, the work was composed of an allegorical prologue relating to the Treaty of Aix-la-Chapelle, "Le retour d’Astrée", and of two entrées, "La lyre enchantée" and "Adonis". ''Les surprises de l’amour'' was the first opera specially written by Rameau for the ''Théâtre des Petits Appartements'' and was also his first work that was given in the course of its programmes. It was not particularly successful: scenery, costumes, machinery and the new theatre venue were much admired, but the opera itself got the king to openly yawn and to confess he "would like better a comedy".〔(''Éditorial du mois'' (December 2006): “Le Théâtre des Petits Appartements”, and Page: “Les surprises de l’amour”, in ''Le magazin de l’opéra baroque'' )〕
The work was revived at the Paris Opéra in 1757 to inaugurate the new directors, François Francœur and François Rebel. The prologue, which was no longer relevant, was cut, and a new overture was performed in its place. The two original entrées were heavily revised: "Adonis" was renamed "L’enlèvement d’Adonis" (''"The rape of Adonis"'') and a third entry, "Anacréon", was added. Its first run lasted until 14 August 1757, but only its second and third entrées were performed after 10 July〔Pitou, op. cit.〕 (the original ''La lyre enchantée'' was replaced by a version of ''Les sibarites'', an acte de ballet by Rameau to a libretto by Jean-François Marmontel, first performed in 1753). The different entrées were swapped around at various times for later performances and the "self-sufficiency of each portion of ''Les Surprises de l’Amour'' made the tripartite work a likely source of material for the programs of ''fragments'' growing popular in the years before the Revolution".〔
Writing in Grove Music Online, Graham Sadler considers the air "Nouvelle Hébé, charmante Lycoris" for Anacreon's bass part and the "ravishing, chromatic sommeil" to be "especially fine", and the whole entrée to be the best piece of the opera. Despite the opinion reported by Charles Collé that the 1757 version "() of old age" (Rameau was by then 73),〔"Un ouvrage ... qui sent la vieillesse" (''Journal et Mémoires de Charles Collé sur les hommes de lettres, les ouvrages dramatiques et les événements les plus mémorables du règne de Louis XV (1748-1772)'', Paris, Didot, 1868, p. 93).〕 Sadler believes that "the new and revised music is almost invariably more interesting than that of the original", and that "the'' airs de ballet'' are, as always, amazingly inventive". Spire Pitou partly shared Sadler’s appreciation, he states that "Rameau’s most striking passage in ''Les Surprises de l’Amour'' was the 'sleep music' in () concluding act".〔
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