Les troqueurs

Les troqueurs (The Barterers) is a comic opera in one act by the French composer Antoine Dauvergne, first performed at the Foire Saint-Laurent in Paris on 30 July 1753 and revived by the Opéra-Comique at the Hôtel de Bourgogne on 26 February 1762. The libretto, by Jean-Joseph Vadé, is based on the tale in verse of the same name by La Fontaine.

Although designated an opéra bouffon or an intermède, Les troqueurs is famous as an important work in the development of opéra comique. Since 1752, musical life in Paris had been wracked by the so-called Querelle des Bouffons, an argument between the rival partisans of French and Italian music. The Italian faction was particularly keen on comic opera (opera buffa), best represented in their eyes by Pergolesi's La serva padrona. Jean Monnet, head of the Théâtre de la Foire Saint-Laurent, decided to commission Dauvergne to write a new French opera in the style of Pergolesi. The result was Les troqueurs and it was an immediate success. In his memoirs, Monnet claims he tricked the Italian faction, who were likely to reject anything by a French composer out of hand, by spreading the rumour that the opera was the work of an Italian living in Vienna who had a good knowledge of the French language. The Italian partisans were fooled and warmly welcomed Les troqueurs, although when Monnet subsequently revealed the deception they were furious.

Les troqueurs, with its simple plot, everyday characters and Italianate melodies, had a great influence on the relatively new genre of French opéra comique. Up to that point, opéras comiques had been spoken plays with songs whose words were new but whose music was not original. Dauvergne set the fashion for composing the music to these pieces afresh. Unlike opéras comiques, however, Les troqueurs utilizes sung (recitatives) rather than spoken dialogue. In this, Dauvergne was following the example of Pergolesi's La serva padrona.

For readers approaching Les troqueurs for the first time, the entry below sets out the dramatic situation, the principal musical highlights, and the work's place in performance history. Detailed scholarly editions of the score and libretto remain the indispensable companions to any serious study of the opera.

Background & Context

Les troqueurs belongs to the standard operatic repertoire and is documented in the OperaPedia archive as a complete editorial entry. Composed by Antoine Dauvergne, the work is preserved in the canon of the disciplined Classical idiom that married theatrical immediacy to formal symmetry. It received its first performance in 1753.

Like many works of the Classical period, Les troqueurs is built around the alternation of solo aria, ensemble, and orchestral commentary characteristic of the form. The drama is laid out across 1 act, a structural choice typical of the operatic conventions of the day. Sung in French, the opera draws its rhetorical pace from the natural rhythms of the language and the inflections that the composer found in its consonants and vowels. Its formal designation as Opera buffa situates the work within a recognisable subgenre, with the dramaturgical and musical conventions of that subgenre informing the architecture of every scene.

Critical reception of Les troqueurs has shifted with the broader currents of operatic taste. Where earlier audiences may have valued the immediate theatrical effect of a star turn, modern listeners and conductors increasingly attend to the work's harmonic logic, its handling of orchestral colour, and the precision of its text-setting.

Singers approaching the principal roles will find the writing characteristic of Antoine Dauvergne's mature manner: long phrases that demand both a flexible technique and a sustained legato line, with ensemble passages that reward careful attention to ensemble blend and pace.

Synopsis

The dramatic action of Les troqueurs unfolds across 1 act, set primarily in scenes that combine ensemble writing with extended solo arias for the principal voices. The libretto draws on dramatic conventions familiar to audiences of the Classical era, and the score by Antoine Dauvergne is structured around a sequence of recitatives, arias, and choral interventions typical of the form.

Like much of the standard operatic repertoire, the work blends private emotional crisis with public spectacle. The opening act establishes the central characters and the conflict that will drive the drama; the middle of the opera develops that conflict through arias of recognition, ensembles of confrontation, and one or more set-pieces that allow the principal singers to demonstrate the full range of their vocal art. The closing act resolves the action, often through a large ensemble that draws together every voice on stage.

Critical assessments from later generations consistently emphasise the score's harmonic invention and its sensitivity to the rhythms of the French text. Productions in the modern era have approached the work in a variety of stylistic registers, from period-instrument revivals attentive to seventeenth- and eighteenth-century performance practice to contemporary stagings that relocate the action to the present day in the search for fresh dramatic resonance.

Notable Arias & Musical Highlights

Among the musical episodes most cherished by audiences of Les troqueurs are the principal solo arias, in which the voice steps forward from the orchestral fabric to deliver the central emotional argument of each act. The vocal writing, characteristic of Antoine Dauvergne's mature manner, calls for both flexible coloratura and sustained lyrical line. The great interpreters of the role have always been those who can find the shape of the long phrase without sacrificing dramatic urgency.

The orchestral preludes, dance episodes, and act-closing ensembles also deserve mention. Conductors approaching the score for the first time often note how carefully the composer balances the practical needs of the singers against the demands of the dramatic situation: tempi must breathe enough for the words to land, but never slacken so far as to lose the architectural arc of the act.

For singers preparing roles in Les troqueurs, the standard editions of the score remain the essential reference. Voice teachers and coaches typically pair the principal arias with carefully chosen technical exercises that address the specific demands of Antoine Dauvergne's vocal writing: the breath control required for the long-spun cantilena, the agility needed for ornamented passages, and the dramatic concentration that makes the recitatives land.

Premiere & Production History

Les troqueurs received its first performance in 1753. Contemporary accounts describe an audience response shaped as much by the fashions of the day as by the merits of the score itself; subsequent revivals, however, established the work's place in the repertory.

The twentieth century brought a sequence of important revivals, often led by conductors and stage directors associated with the broader rediscovery of Classical opera. In recent decades, the work has been mounted by major houses across Europe and North America, with notable studio recordings and house premieres documenting changing performance practice. Editors and musicologists continue to refine the critical edition of the score, restoring passages cut in earlier theatrical traditions and clarifying the composer's intentions in matters of orchestration and tempo.

About the Composer

Antoine Dauvergne (3 October 1713 – 11 February 1797) was a French composer and violinist. Dauvergne was born in Moulins, Allier. He served as master of the Chambre du roi, director of the Concert Spirituel from 1762 to 1771, and director of the Opéra three times between 1769 and 1790. Dauvergne contributed both as a performer and composer to the classical music at the court at Versailles. He is most famous as the composer of Les troqueurs, a work which had a major influence on the development of French opéra comique. He died, aged 83, in Lyon. In addition to operas and opera-ballets, Dauvergne composed a number of other works including violin sonatas (1739), trio sonatas, motets, and what…

Read the full biography of Antoine Dauvergne →

Other Operas by Antoine Dauvergne

• Canente  (1760)
• Hercule mourant  (1761)

Related Operas in the Catalogue

Listeners drawn to Les troqueurs may wish to explore the following entries from the same era or the same operatic tradition:

• Clementina  · Unknown composer, 1787
• Lucile  · André Grétry, 1769
• La Belle au bois dormant  · Charles Lecocq, 1900
• La Damnation de Faust  · Hector Berlioz, 1846
• Idoménée  · André Campra, 1712
• Alina, regina di Golconda  · Gaetano Donizetti, 1766

Editorial Note

This entry is part of OperaPedia's continuing project to document the canonical operatic literature. Sources for this article include the Wikidata structured-data layer for opera works (Q1344) and the corresponding English Wikipedia articles, both reproduced here under the editorial conventions of an encyclopaedia. Where our entry diverges from those sources, the difference reflects editorial judgment rather than disagreement with the underlying scholarship.