- M. Elizabeth C. Bartlet
A type of 18th-century play or opéra comique almost always in one act and using characters from the commedia dell’arte tradition (such as Pierrot, Columbine and Cassandre). In keeping with this the humour is broad and very close to farce. As opéras comiques, comédies-parades could either re-use pre-existing music in vaudeville fashion (for example, Les docteurs modernes by J.-B. Radet and P.-I. Barré, 1784) or be newly set (such as Champein’s Les amours de Colombine, 1785). They were popular at the fair theatres in the mid-century and at the Comédie-Italienne (later called the Opéra-Comique) up to the 1780s. By the 1790s the genre had virtually disappeared, although old favourites like Grétry’s Le tableau parlant (to a libretto by L. Anseaume, 1769) were sometimes revived and there was the occasional new one, such as Méhul’s L’irato, ou L’emporté (to a libretto by B.-J. Marsollier des Vivetières, 1801)....