Opéra comique (] ; plural: "opéras comiques") is a genre of French opera that contains spoken dialogue and arias.
 It emerged from the popular "opéra comiques en vaudevilles" of the Fair Theatres of St Germain and St Laurent (and to a lesser extent the Comédie-Italienne), which combined existing popular tunes with spoken sections.
 Associated with the Paris theatre of the same name, "opéra comique" is not always comic or light in nature; "Carmen", perhaps the most famous "opéra comique", is a tragedy.
Le chalet is an opéra comique in one act by Adolphe Adam to a French libretto by Eugène Scribe and Mélesville after the singspiel "Jery und Bätely " by Goethe.
 The score re-uses material from Adam's Prix de Rome cantata "Ariane a Naxos" (1825).
 The text for the singspiel had previously been set to music by Peter Winter, 1790, Johann Friedrich Reichardt, 1801, and Conradin Kreutzer, 1810, and later by Donizetti, 1836, Julius Rietz, 1841, Heinrich Stihl, 1867, and Ingeborg Bronsart, 1873.
Le peintre amoureux de son modèle ("The Painter in Love with his Model") is an "opéra comique" in two acts by the composer Egidio Duni with a libretto by Louis Anseaume.
 It was first performed at the Théâtre de la Foire Saint-Laurent, Paris on 26 July 1757.
 The Italian Duni had been working at the court of Parma, where French culture was highly fashionable, and travelled to Paris to see the premiere of his opera.
 He remained in France for the rest of his career.
 "Le peintre" marked an important stage in the development of "opéra comique".
Le Roi et le batelier ("The King and the oarsman") is a one-act opéra comique by Fromental Halévy and Victor Rifaut, to a libretto by Saint-Georges.
 It was first performed on 8 November 1827 at the Opéra Comique in Paris.
Adolphe Charles Adam (] ; 24 July 1803 – 3 May 1856) was a French composer and music critic.
 A prolific composer of operas and ballets, he is best known today for his ballets "Giselle" (1841) and "Le corsaire" (1856, his last work), his operas "Le postillon de Lonjumeau" (1836), "Le toréador" (1849) and "Si j'étais roi" (1852)
The opera was first performed at the Opéra Comique in Paris on 8 May 1894.
 After its premiere the work was performed at La Monnaie in November 1894 and the Teatro del Fondo in Naples in December 1894.
 The work received its United States premiere at the French Opera House in New Orleans in 1895.
 It was also produced at The Waldorf-Astoria Hotel on 13 December 1897.
 The Opéra Comique revived the opera in 1900 and it was mounted at the Théâtre Lyrique in September 1922, after which the work fell out of the performance repertory.
 After a more than 60-year absence from the stage, "Le portrait de Manon" was mounted at La Fenice on 13 April 1985.
 Four years later the Opéra de Monte-Carlo staged the work.
 The opera was most recently revived by the Glimmerglass Opera in 2005.
 In 2014 "kultur.theater.musik" produced the first performance in German (as "") at the 'Sommeroper im Amthof' festival in Feldkirchen, Carinthia, and in other theatres in Lower Austria.
Les rendez-vous bourgeois is an opéra bouffon in one act by Nicolas Isouard to a French libretto by François Benoît Hoffmann, in the form of an "opéra comique" with spoken dialogue between the musical numbers.
 The work was first performed by the Opéra-Comique at the Salle Feydeau in Paris on 9 May 1807.
Carlton Gauld (before 1931 – after 1960) was an American operatic bass who had a prolific career during the 1930s through the 1960s.
 Raised in Bedford, Indiana, Gustos first rose to prominence at the Metropolitan Opera in New York City, making his debut with the company in the 1931–1932 season as the King of Egypt in Giuseppe Verdi's "Aida".
 He made his debut with the Teatro Colón in Buenos Aires in 1932, shortly followed by his European debut at the Opéra Comique as Nilakantha in Delibes's "Lakmé".
 He remained at the Opéra Comique for three years, portraying a variety of roles like, Basilio in "The Barber of Seville", the title role in Giacomo Puccini's "Gianni Schicchi", the Prior in Massenet's "Le Jongleur de Notre Dame", de Grieux in "Manon", Lothario in "Mignon", Ramon in Charles Gounod's "Mireille", the four villains in "The Tales of Hoffmann", Count Almaviva in "Le nozze di Figaro", and Scarpia in "Tosca" among others.
 He also sang in the world premiere of Emmanuel Bondeville's "L’École des maris" (1933) with the company.
Le calife de Bagdad ("The Caliph of Baghdad") is an "opéra comique" in one act by the French composer François-Adrien Boieldieu with a libretto by Claude Godard d'Aucourt de Saint-Just.
 It was first performed at the Opéra-Comique, Paris on 16 September 1800 and soon became highly popular throughout Europe.
 It was Boieldieu's first major triumph.
 One member of the audience who was less impressed was the noted composer Luigi Cherubini who reproached Boieldieu, "Aren't you ashamed of such a great success, and doing so little to deserve it?"
 Boieldieu immediately applied to Cherubini for lessons in compositional techniques.
Le chevalier d’Harmental is an opéra comique in five acts of 1896, with music by André Messager and a French libretto by Paul Ferrier, after Dumas père and Auguste Maquet.
 The play of the novel – in five acts, a prologue and ten tableaux – was first performed on 16 July 1849 at the Théâtre-Historique in Paris.
 The opera was first performed at the Opéra Comique (Théâtre Sarah Bernhardt) in Paris on 5 May 1896, but ran for only six performances.
 It was seen at the Vienna Hofoper during the 1896-97 season.

Question: created by the same composer, Giselle, and this opéra comique in one act is based on which singspiel?
Answer: Jery und Bätely