In the field of opera, the towering figure of Rameau, with his tremendous output during these decades, tended to dwarf his contemporaries, Royer included, and to overshadow their operatic achievements.  It is inconceivable that the two would not have had substantial contact, working as they did in the same professional circles.  We have evidence of one meeting between Rameau and Royer in a 1742 police report of a fight between them “en plein café”.  If we are to believe Labbet’s description of Royer as a man “d’un caractère aimable et de la plus grande politesse”, we may surmise that Rameau provoked the incident.

            Royer’s reputation as an opera composer was largely based on the tremendous success of one opera-ballet, Zaïde, which was frequently revived after its première in 1739, remaining in the repertoire until the 1770’s.  Other operatic works included Pirrhus  (tragédie lyrique), performed in Paris in 1730, Le Pouvoir de l’Amour (opéra-ballet) in 1743, Almasis (opéra-ballet) in 1750.

            During the 1740’s, theatrical productions were often given at Versailles for the entertainment of the king and his close family and friends.  The audience had to be small, for the theater in the “Petits Appartements” was a makeshift affair with a small seating capacity.  The situation was a curious one.  The principals were titled amateurs.  The orchestra was a mixture of famous professional and aristocratic amateur instrumentalists: Mondonville and Guillemain were concertmaster and principal second violinist, respectively.  One could, if one was properly connected, obtain a small part in an opera by a little judicious court intrigue.  Royer’s works were popular at Versailles, and his opera-ballet Almasis was performed there with Madame de Pompadour in the title role.  The piece succeeded at court far better than it did in Paris two years later, in spite of the excellent Paris cast.  Royer’s Paris singers were often the best in the company, befitting a musician of his stature.

            The portrait that emerges is that of an excellent and well-respected musician and composer, a competent and influential administrator, a central establishment figure.  Royer performed his job conscientiously; he was successful and esteemed.  Not surprisingly, Royer was among the elect group whom Titon du Tillet elevated to Parnassus in 1760.

Excerpt from the preface to Joseph-Nicolas-Pancrace Royer, Pièces de clavecin, ed. Lisa Goode Crawford, Le Pupitre 71 (Paris: Heugel & Cie., 1990; distributed by Éditions Alphonse Leduc & Cie.)