Question: Le temple de la Gloire is an "opéra-ballet" by Jean-Philippe Rameau that was first performed in what year?
Context: Anacréon is an opera by Jean-Philippe Rameau which was first performed at Fontainebleau on 23 October 1754.  Its libretto is by Louis de Cahusac.  It takes the form of an "acte de ballet" in one act.  Rameau also composed another "Anacréon" in 1757.  The latter was an act added to a revival of the "opéra-ballet" "Les surprises de l'Amour" and has sometimes been performed and recorded as a stand-alone opera.  It too features the Ancient Greek poet Anacreon as its hero, but the libretto (by Pierre-Joseph-Justin Bernard) and its plot are totally different. Nélée et Myrthis (or Mirthis) is a one-act opera by Jean-Philippe Rameau in the form of an "acte de ballet".  Little is known about its background: the score may be incomplete and it was never staged in Rameau's lifetime.  The first known performance took place at the Victoria State Opera, Melbourne, Australia on 22 November 1974.  "Nélée et Myrthis" may have been intended to form part of a larger "opéra-ballet" to be called "Les beaux jours de l'Amour".  The name of the librettist is unknown but it was probably Rameau's frequent collaborator Louis de Cahusac. Les fêtes de Polymnie ("The Festivals of Polyhymnia") is an "opéra-ballet" in three "entrées" and a prologue by Jean-Philippe Rameau.  The work was first performed on 12 October 1745 at the Opéra, Paris, and is set to a libretto by Louis de Cahusac.  The piece was written to celebrate the French victory at the Battle of Fontenoy in the War of the Austrian Succession.  It was revived at the same venue on 21 August 1753. Les surprises de l'Amour is an "opéra-ballet" in two "entrées" (three or four in later versions) and a prologue by the French composer Jean-Philippe Rameau.  It was first performed in Versailles on 27 November 1748.  The opera is set to a libretto by Gentil-Bernard.  According to the usage of the time, it was originally just billed as a ""ballet"" and was only later classified by scholars as an "opéra-ballet", although its content might more precisely ascribe it to the ballet héroïque genre. Jean-Philippe Rameau (] ; (1683--)25 1683 – (1764--)12 1764 ) was one of the most important French composers and music theorists of the Baroque era.  He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside François Couperin. Jean-Jacques Beineix (] ; born 8 October 1946) is a French film director and generally seen as the best example of what came to be called the "cinéma du look".  Critic Ginette Vincendeau defined the films made by Beineix and others as "youth-oriented films with high production values...The "look" of the "cinéma du look" refers to the films' high investment in non-naturalistic, self-conscious aesthetics, notably intense colours and lighting effects.  Their spectacular (studio based) and technically brilliant "mise-en-scène" is usually put to the service of romantic plots."  The "cinéma du look" included the films of Luc Besson and Léos Carax.  Luc Besson, like Beineix, was much maligned by the critical establishment during the 1980s, while Carax was much admired.  In late 2006, Beineix published a first volume of his autobiography, "Les Chantiers de la gloire" (in French only).  The title alluded to the French title of Stanley Kubrick's film, "Les Sentiers de la gloire" ("Paths of Glory"). Naïs is an opera by Jean-Philippe Rameau first performed on 22 April 1749 at the Opéra in Paris.  It takes the form of a "pastorale héroïque" in three acts and a prologue.  The librettist was Louis de Cahusac, in the fourth collaboration between him and Rameau.  The work bears the subtitle "Opéra pour La Paix", which refers to the fact that Rameau composed the opera on the occasion of the Treaty of Aix-la-Chapelle, at the conclusion of the War of the Austrian Succession.  Its original title was "Le triomphe de la paix", but criticism of the terms of the treaty led to a change in the title. Les fêtes de l’Hymen et de l’Amour, ou Les dieux d'Egypte is an "opéra-ballet" in three "entrées" and a prologue by the French composer Jean-Philippe Rameau.  The work was first performed on March 15, 1747, at the La Grande Ecurie, Versailles, and is set to a libretto by Louis de Cahusac.  The opera was originally composed as part of the celebrations for the Dauphin’s marriage to Maria Josepha of Saxony.  "Les fêtes de l’Hymen" proved to be a popular work and by the March 1776 it had been performed exactly 106 times.  The librettist, Cahusac, was especially pleased with the ways in which he had succeeded in giving especial import to the supernatural elements of the work—the plot is based on Egyptian mythology—and to allow particular use of impressive large-scale stage machinery, which was much admired by the audience.  The opera contains seven ballets, a consequence of Cahusac’s desire to further integrate dance and drama, which grew from the typical French devotion to ballet, particularly when allied with opera. Le temple de la Gloire ("The Temple of Glory") is an "opéra-ballet" by Jean-Philippe Rameau with a libretto by Voltaire.  The work was first performed in a five-act version on 27 November 1745 at the Grande Écurie, Versailles to celebrate the French victory at the Battle of Fontenoy.  It transferred, unsuccessfully, to the Paris Opéra on 7 December 1745.  A revised version, in a prologue and three acts, appeared at the Opéra on 19 April 1746. La naissance d'Osiris, ou La fête Pamilie ("The Birth of Osiris, or The Festival of Pamylia") is a one-act opera by Jean-Philippe Rameau, first performed on 12 October 1754 at Fontainebleau to celebrate the birth of the future King Louis XVI.  The libretto is by Rameau's frequent collaborator Louis de Cahusac.  Cahusac styled the work a "ballet allégorique" ("allegorical ballet"), but it is usually categorised as an "acte de ballet".  Its slender plot tells of Jupiter's announcement to a group of Egyptian shepherds of the birth of the god Osiris, who symbolises the baby prince.  The piece may have started life as part of a larger work, "Les beaux jours de l'Amour", an "opéra-ballet" Rameau and Cahusac planned but never completed for reasons which are still uncertain.
Answer: 1745