"Le magazine de l'opéra baroque". In fact, this source writes that, after Jélyotte and Fel's retirement, "there were no more Gascon actors left at the Paris Opera"; which is not exactly true, since the new principal tenor Jean-Pierre Pillot (1733-after 1789) came from Béarn as well as his predecessor (Émile Campardon, L'Académie Royale de Musique au XVIIIe siècle, Paris, Berger-Levrault, 1884, II, p. 242-245)
The score reproduced alongside bears the date "5 January 1755", but most sources are agreed on 29 December 1754 (cf. Pitou; Lajarte; "Le magazine de l'opéra baroque"; and, above all, the review appeared in December 1754's edition of the Mercure de France).
Correspondance littéraire, philosophique et critique de Grimm et de Diderot, depuis 1753 jusqu'en 1790 (New edition), Tome 5 1766—1768, Parid, Furne and Ladrange, 1829, p. 445 (accessible for free online as a Google ebook-gratis).
Les spectacles de Paris, ou calendrier historique & chronologique des thêatres, 31st part, Paris, Duchesne, 1782, p. 161 (accessible for free online as a Google ebook-gratis).
The score reproduced alongside bears the date "5 January 1755", but most sources are agreed on 29 December 1754 (cf. Pitou; Lajarte; "Le magazine de l'opéra baroque"; and, above all, the review appeared in December 1754's edition of the Mercure de France).
"Le magazine de l'opéra baroque". In fact, this source writes that, after Jélyotte and Fel's retirement, "there were no more Gascon actors left at the Paris Opera"; which is not exactly true, since the new principal tenor Jean-Pierre Pillot (1733-after 1789) came from Béarn as well as his predecessor (Émile Campardon, L'Académie Royale de Musique au XVIIIe siècle, Paris, Berger-Levrault, 1884, II, p. 242-245)
Daphnis & Alcimadure, book XII, no. 24 (David Charlton, Opera in the Age of Rousseau. Music, Confrontation, Realism, Cambridge, Cambridge University Presso, 2012, p. 338. ISBN978-0-521-88760-1).
