Title: Hippolyte et Aricie
Content:  At the age of 69, Pellegrin had a long career as an opera librettist behind him, so it was unsurprising Rameau should have approached him for his debut, especially given his authorship of Jephté. Distant models for Hippoyte et Aricie were Hippolytus by Euripides and Phaedra by Seneca the Younger, but the most important source was Jean Racine's famous tragedy Phèdre (1677). Such a classic of the Grand Siècle would have been well known to the audience so adapting it might be seen as a deliberate provocation to the conservatives. There are several differences between Hippolyte et Aricie and Phèdre. Some 
Title: Hippolyte Bis
Content: 1817: Lothaire, tragedy in 3 acts and in verse, with François Hay ; 1822: Attila, five-act tragedy, Paris, Second Théâtre-Français, 26 April ; 1827: Blanche d'Aquitaine, ou le Dernier des Carlovingiens, five-act tragedy, Théâtre-Français, 29 October ; 1845: Jeanne de Flandre, ou Régner à tout prix, tragedy, created by the Théâtre-Français at the salle Richelieu on October 29, a single performance 
Title: Hippolyte et Aricie
Content:  father Neptune to punish Hippolyte in the invocation "Puissant maître des flots", which Girdlestone regarded as one of the finest solos of the 18th century with its contrast between the violin melody and the slower bass. Act Four opens with Hippolyte's monologue "Ah, faut-il qu'en un jour", which looks forward to similarly "elegiac" arias in Rameau's later operas, for example "Lieux désolés" in Les Boréades. The divertissement in the middle of the act celebrates the hunt, with extensive use of horns. The finale is devoted to Hippolyte's confrontation with the sea monster, depicted in stormy music in which the flutes represent 
Title: Hippolyte et Aricie
Content:  of wind. It ends with Phèdre's great lament, which Sylvie Bouissou describes as "one of the finest pages of French Baroque opera". The final act is split into two tableaux. In the first, Thésée expresses his remorse for his treatment of Hippolyte and recounts Phèdre's suicide. In the words of Cuthbert Girdlestone, "it is a passionate, despairing scena with no fixed form". The scene shifts as Aricie is transported to be reunited with the resurrected Hippolyte in a beautiful rural landscape. This allowed Rameau to paint the scene using the techniques of pastoral music, including a musette (a type of bagpipe). 
Title: Hippolyte, tragédie tournée de Sénèque
Content:  Hippolyte, tragédie tournée de Sénèque is a French translation of the Latin play of Seneca, called Phaedra. Its Belgian translator, Jean Yeuwain, takes some liberties with the original. It was first published in 1591.
Title: Hippolytus (play)
Content: The tragic play Phèdre by Racine (1677) ; The film Phaedra (1962), incorporating elements of the two versions written by Euripides 
Title: Hippolyte et Aricie
Content:  "Cruelle mère des amours" which Girdlestone praises as a "magnificent solo" in spite of its "terribly flat" words. There follows a violent confrontation between Phèdre and Hippolyte then a scene in which Phèdre's confidante Oenone suggests to the king that Hippolyte has attempted to seduce his wife. In a scene of "grim irony", Thésée is forced to suppress his rage while he watches a divertissement of sailors thanking Neptune for his safe return home. The entertainment consists of two rigaudons, two danced airs and the chorus "Que ce rivage rétentisse". The festivities over, Thésée finally has the chance to call on 
Title: Hippolyte et Aricie
Content:  revised the work again in 1757 for a run which lasted for 24 performances. By this time, his reputation as the foremost French composer was so firmly established that he was confident enough to restore some of the most daring music from the original version, including the "Trio des Parques" and Phèdre's arias. In line with the practice he had adopted since Zoroastre in 1749, he completely cut the prologue. There was another revival at the Paris Opéra in 1767, after Rameau's death, which lasted for 14 performances. After that, the work disappeared from the stage until the 20th century.
Title: Hippolyte, tragédie tournée de Sénèque
Content: Lucius Annaeus Seneca, Jean Yeuwain, Gontran van Severen, Hippolyte, tragédie tournée de Sénèque [par] Jean Yeuwain Impr. L. Dequesne, 1933 ; Claude Francis, Les métamorphoses de Phèdre dans la littérature franc̃aise Recherche et choix, Éditions du Pélican, 1967 
Title: Hippolyte et Aricie
Content:  The first modern performance took place in Geneva in March 1903 under the direction of Emile Jacques-Dalcroze, the founder of Dalcroze Eurhythmics. Hippolyte returned to the Paris Opéra after a 150-year absence on May 13, 1908. The production did not impress critics such as Henri Quittard and Louis Laloy. They attacked what they regarded as poor staging, acting and choreography, but their harshest criticism was reserved for the alterations to the score made by Vincent d'Indy. Laloy condemned the production for focusing on the recitative at the expense of the arias. He remarked: "How hard it is for some of us to understand an art whose sole aim is to please, not to 

Question: What genre is Hippolyte Flandrin?
Answer: history painting.
historical painting.
historical art.