"Zémire et Azor" (1771) is André Grétry's most celebrated opéra comique, adapting the "Beauty and the Beast" story through a French literary lens. The opera blends spoken dialogue with musical numbers, featuring the virtuosic birdsong imitation aria "La Fauvette." "Veillons, mes Soeurs" appears in Act II as a sisterly ensemble piece, showcasing Grétry's graceful melodic style typical of the pre-revolutionary French classical tradition.
Grétry's Zémire et Azor is one of the earliest musical adaptations of Beauty and the Beast, featuring lavish ballet sequences and coloratura arias that pushed the boundaries of 18th-century opéra comique.
"Passepied" is a lively dance movement from Grétry's opera "Zémire et Azor", based on the Beauty and the Beast story. Composed during the transition from Baroque to Classical eras, this piece exemplifies the elegant French court dance tradition with its quick triple meter and playful character. The opera premiered in Paris and was immensely popular in its time, featuring this instrumental passepied as one of its highlights.
Based on Beauty and the Beast, Grétry's "Zémire et Azor" (1771) revolutionized opéra comique with its fusion of spoken dialogue, elaborate ballet sequences, and virtuosic arias like the birdsong-inspired "La Fauvette". The ballet suite captures the opera's magical atmosphere through movements like the "Entrée des Genies" and Breton-style passepied.
This lively passepied originates from Grétry's opéra comique "Zémire et Azor", a musical adaptation of the Beauty and the Beast story. Composed for the Parisian stage, it features elegant Baroque dance rhythms in triple meter, later arranged here for woodwind quartet. The opera was renowned for its coloratura aria "La Fauvette" imitating birdsong.
