André Grétry (8 February 1741 – 24 September 1813)
opéra comique Richard Coeur-de-lion composer. "Ô Richard, ô mon roi!" became a popular rallying song amongst royalists during the French Revolution and was banned by the republican government.
François-Joseph Gossec (17 Jan 1734– 16 Feb 1829)
son of a small farmer
Jean-François Le Sueur [lə sɥœʁ] (15 Feb 1763– 6 Oct 1837)
composed the Triumphal March for the coronation of Napoleon
Gaspare Spontini (14 November 1774 – 24 January 1851)
Étienne Méhul (22 June 1763 – 18 October 1817)
Chant du départ (Song of the Departur) composer, the first one to be called a "Romantic"
Luigi Cherubini [luˈiːdʒi keruˈbiːni] (8 or 14 Sep 1760– 15 Mar 1842)
François-Adrien Boieldieu [fʁɑ̃.swa a.dʁiɛ̃ bwa.ɛld.jø] (16 Dec 1775– 8 Oct 1834)
Giovanni Paisiello (9 May 1740 – 5 June 1816)
maître de la chapelle, was replaced by Le Sueur
Jean-Paul-Égide Martini (31 Aug 1741– 10 Feb 1816)
"Plaisir d'amour" composer, wrote music for Napoleon's marriage
Carl Maria von Weber (18 or 19 Nov 1786– 5 Jun 1826)
Ô Richard ! ô mon roi ! 9:58, Je crains de lui parler la nuit 20:38 (Une fièvre brûlante 8:54, on ActII)
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Grétry's opera Richard Coeur-de-lion: Blondel's aria "Ô Richard, ô mon roi!"(Oh Richard, oh my king! Act1, scene3) became a popular rallying song amongst royalists during the French Revolution and was banned by the republican government.
In Tchaikovsky's opera The Queen of Spades, Laurette's aria "Je crains de lui parler la nuit"(Act1, scene7) is sung by the Countess, remembering her days in 18th century Paris, just before she is murdered.
Grétry attempted to imitate Medieval music in Blondel's song "Une fièvre brûlante"(Act2, scene4) and his example would be followed by composers of the Romantic era. (Beethoven wrote a set of piano variations on the song, WoO. 72.) He also used the same melody as a recurring theme, a technique developed by later composers of opéra comique such as Méhul and Cherubini. Through them it would influence the German tradition of Weber and Wagner.
Richard Cœur-de-lion played an important role in the development of opéra comique in its treatment of a serious, historical subject. It was also one of the first rescue operas. Significantly, one of the chief characters in the most famous rescue opera of all, Beethoven's Fidelio, is called Florestan, though he is the prisoner not the jailor.
https://fr.wikisource.org/wiki/Richard_C%C5%93ur_de_Lion
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