Jean-Baptiste Cardonne’s tragedy in music is halfway between the tradition of Rameau, still alive at the end of the 1760s, and the new style then becoming familiar on the stage of the Opéra-Comique in works by Grétry and Philidor. This very dramatic score gives pride of place to dances and choruses, but also to very expressive arias and duets. Cardonne does not pre-empt the imminent revolution of Gluck, but he bears witness to the characteristic current of the 1760s and 1780s, anchored in the past but attentive to the novelties of the moment, first and foremost the operas of Pergolesi or the symphonies of Haydn, which Paris was at that time discovering enthusiastically.

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