It was at this point that the famous composer, Giovanni Battista Lulli, usually known by his French name, Jean Baptiste Lully, entered upon the scene and became the virtual founder of French opera in the grand style. Lulli was born in 1633 near Florence, and as a boy received some musical instruction. He was taken to Paris by the Chevalier de Guise and placed in the service of Mlle. de Montpensier. He became a fine violinist and was made a member of her band. But he was stupid enough to write an indecent poem referring to his mistress, and she dismissed him. In spite of this temporary downfall he succeeded in working his way into the orchestra of Louis XIV., known as "Les Violons du Roi," and in 1652 became its director. He appears to have been an expert courtier, for he won the favor of the king and set to music some ballet-comedies by Molière.
When Perrin parted company with Cambert and Sourdeac, the opera suffered from his rivalry. Lulli, who had now acquired great influence with the king, saw in the battle of the two houses his opportunity. He proposed to purchase the interest of Sourdeac and Cambert in the opera patent and they accepted his terms. He then induced the king to remodel the patent so as to make its provisions exclusive. The new patent conferred upon Lulli the sole right to the performance of opera. It prohibited the managers of other theatres from employing more than two singers or six players of stringed instruments. This, of course, made grand operas out of the question for Lulli's rivals, and he set about producing such large works as he alone could present.
Discreditable as Lulli's conduct was in this whole matter, it must be admitted that he did all that he could for the elevation of French operatic art. In this direction he had a powerful ambition, and although it was selfish it was not altogether narrow. His most important operas were: "Alceste" (1674), "Thesée" (1675), "Persée" (1682), "Roland" (1685), "Armide" (1686), and—his last—"Acis et Galathée" (1686). The influence of his operas may be judged from the fact that they held the stage till 1774. Lulli's works were inferior to those of his Italian contemporaries in purely musical beauty. The aria as written by Lulli possesses far less distinctness and symmetry of form, and he showed no such ability as the Neapolitans did in dealing with voices in mass. Neither in duets nor in ensembles was he especially happy. His choral writing is generally thin and poorly developed, and his duets are rather dialogues. But on the other hand Lulli far excelled the contemporary Neapolitan composers in sincerity of purpose and in the dramatic fidelity of his method.
He endeavored to the limit of his ability to fit the music to the text. In this he followed the fundamental principles of Peri, and established that tradition of dramatic sincerity which has never left the French school of opera. He increased the value of the chorus by making it an integral part of the drama. The Neapolitans used the chorus merely for musical effect. Lulli gave it a dramatic reason for existence. Its music is always appropriate to the situation and fits well into the general tone-picture. His recitative is built largely after the Italian model of his time, and it is a vast advance over that of Beaujoyeux and Cambert. Here is an example from "Armide":—
