Egidio Romoaldo Duni (1709-1775), born and educated in Naples, having made his reputation on the Italian stage, was led by his connection with the court at Parma, which was French in manners and in taste, to compose French operettas, as, for instance, "Ninette ä la Cour." The applause with which they were received induced him to go to Paris in 1757, where he made an exceptionally favourable début with the "Peintre Amoureux," and during the next
thirteen years produced a succession of comic operas, the easy style and simple form of which secured them both the favour of the public and the imitation of untrained French composers.[27]
Duni was followed by Pierre Alex. Monsigny (1729-1817),[28] a dilettante, who was so excited by the performances of the Bouffons that he applied himself to the study of music, and at once began to compose operas. In 1759 he put his first opera, "Les Aveux Indiscrets," on the stage, and this was rapidly succeeded by others. Sedaine was so interested in Monsigny that he intrusted all his operatic librettos to him.[29] A wider sphere was opened to him with the three-act opera, "Le Roi et le Fermier," which was the commencement of the most brilliant success. It must be allowed that the co-operation of a poet to whom even Grimm allows all the qualities of a good librettist[30] was an important element in this success; but Monsigny's work was quite on a level with that of his collaborateur. His music expresses with instinctive truth the most amiable side of the French character. Monsigny not only had at his command a wealth of pleasing sympathetic melodies, but possessed as decided a talent for pathos as for light comedy, and a sure perception of dramatic effect, combined with life, delicacy, and grace. His natural feeling for beauty of form concealed the want of thorough artistic training,[31] and his operas were universally admired, some of them, such as "Le Déserteur,"[32] acquiring more extended fame.
{ PHILIDOR, 1759-1795--GRÉTRY, 1768-1813.}
A better theoretical musician was Franç. André (Danican) Philidor (1727-1795), who enjoyed the reputation of extraordinary genius as a chess-player before appearing as a composer with his first opera, "Blaise le Savetier," in 1759.[33] His fame as a musician was soon established, and he ruled the comic stage with Duni and Monsigny until Grétry took possession of it. He was reproached with justice for too great a display of musical scholarship, and for making his accompaniments too prominent.[34] He had more force and energy than Monsigny, with greater power of passionate expression, but his fun is coarser, and he is inferior in grace and tenderness. He finally abandoned music, partly from disinclination to enter into rivalry with Grétry, and partly from his passion for chess.