Les chanteurs solistes de la Comédie-Italienne (1716-1752)

Research in the twentieth century has certainly defined the key role of competition as between the Italians' theatre and the Fair theatres; yet musical values have been missing from the debate insofar as solo singers are concerned. This chapter suggests that since purely musical attractions were cultivated from the start, a policy of auditioning and hiring good soloists was in place. Because they were also actors and sometimes also dancers, they have (traditionally) been overlooked as solo singers by historians of theatre since the eighteenth century. The first section of the article outlines the most important functions undertaken by solo singers within the theatre's repertory, and the second section examines the careers of the eight solo singers who were most prominent. The particular influence of Italian or semi-Italian music upon performance itself can be shown by documentary evidence in two cases. In the second of these, Charles Rochard de Bouillac may be shown to have sung the role of Uberto (in La serva padrona) in Italian, near the end of his career.