title: Revenge tragedy
Jean-Baptiste Lully
Partimen
Paulette Nardal
Francisco Araiza
Alain Vanzo
Grand chant
Chanson de toile
Renée Fleming
Tragédie en musique
sentences: Revenge tragedy (less commonly referred to as revenge drama, revenge play, or tragedy of blood) defines a genre of plays made popular in early modern England.
 Ashley H. Thorndike formally established this genre in his seminal 1902 article "The Relations of Hamlet to Contemporary Revenge Plays," which characterizes revenge tragedy "as a tragedy whose leading motive is revenge and whose main action deals with the progress of this revenge, leading to the death of the murderers and often the death of the avenger himself."
 Thomas Kyd's "The Spanish Tragedy" (c.1580s) is often considered the inaugural revenge tragedy on the early modern stage.
 However, more recent research extends early modern revenge tragedy to the 1560s with poet and classicist Jasper Heywood's translations of Seneca at Oxford University, including "Troas" (1559), "Thyestes" (1560), and "Hercules Furens" (1561).
 Additionally, Thomases Norton and Sackville's play "Gorbuduc" (1561) is considered an early revenge tragedy (almost twenty years prior to "The Spanish Tragedy").
 Other well-known revenge tragedies include William Shakespeare's "Hamlet" (c.1599-1602) and "Titus Andronicus" (c.1588-1593) and Thomas Middleton's "The Revenger's Tragedy" (c.1606).
Jean-Baptiste Lully (] ; born Giovanni Battista Lulli ] ; 28 November 1632 – 22 March 1687) was an Italian-born French composer, instrumentalist, and dancer who spent most of his life working in the court of Louis XIV of France.
 He is considered a master of the French baroque style.
 Lully disavowed any Italian influence in French music of the period.
 He became a French subject in 1661.
The partimen (] ; Catalan: "partiment" ] ; also known as "partia" or "joc partit") or in French jeu parti (plural "jeux partis") is a genre of Occitan and Old French lyric poetry composed between two troubadours, a subgenre of the "tenso" or "cobla" exchange in which one poet presents a dilemma in the form of a question and the two debate the answer, each taking up a different side.
 It was especially popular in poetic contests.
 See also Torneyamen.
Paulette Nardal (1896-1985) was an Afro-Martiniquais writer and journalist and one of the drivers of the development of a black literary consciousness.
 She was one of the authors involved in the creation of the Négritude genre and introduced French intellectuals to the works of members of the Harlem Renaissance through her translations.
José Francisco Araiza Andrade (born 4 October 1950), is a Mexican operatic tenor and lied singer who has sung as soloist in leading concert halls and in leading tenor operatic roles in the major opera houses of Europe and North America during the course of a lengthy career.
 Born in Mexico City, he studied singing at the Conservatorio Nacional de Música de México and later in Germany, with Mozartian tenor Richard Holm, and lieder interpretation with Erik Werba.
 He made his operatic debut in 1970 in Mexico City as First Prisoner in Beethoven's "Fidelio".
 Araiza initially came to international prominence singing in Mozart and Rossini operas, but in the 1980s broadened his repertoire to include Italian and French lyric tenor roles and Wagnerian roles such as Lohengrin and Walther von Stolzing.
 He was made a Kammersänger of the Vienna State Opera in 1988.
 Now retired from the opera stage, he teaches singing and serves on the juries of several international singing competitions.
Alain Vanzo (April 2, 1928 – January 27, 2002) was a French opera singer and composer, one of few French tenors of international standing in the postwar era.
 He, along with such singers as Henri Legay and the Canadian Léopold Simoneau, represented a traditional French lyric style during a period when larger Italian and German vocal styles had become popular.
The gran(d) chan(t) (courtois) or, in modern French, (grande) chanson courtoise or chanson d'amour, often abbreviated "chanson", was a genre of Old French lyric poetry devised by the trouvères.
 It was adopted from the Occitan "canso" of the troubadours, but scholars stress that it was a distinct genre.
 The predominant theme of the "grand chant" was courtly love, but topics were more broad than in the "canso", especially after the thirteenth century.
 The monophonic "grand chant" of the High Middle Ages (12th–13th centuries) was in many respects the predecessor of the polyphonic "chanson" of the Late Middle Ages (14th–15th centuries).
The Chanson de toile (also called chanson d'histoir) was a genre of narrative Old French lyric poetry devised by the trouvères which flourished in the late twelfth and early thirteenth century.
 Some fifteen of them remain; five were written by Audefroi le Bastart, the others are anonymous.
 Typically, they are set to music (though only four chansons remain with musical annotation) and tell the story of a young, often married woman pining for a lover, with a happy ending.
 The genre's name derives from toile; that is, they are supposed to have been sung by women who were weaving, and the female main characters also sew as they relate their stories.
Renée Fleming (born February 14, 1959) is an American opera singer and soprano whose repertoire encompasses Richard Strauss, Mozart, Handel, bel canto, lieder, French opera and chansons, jazz and indie rock.
 Fleming has a full lyric soprano voice.
 She has performed coloratura, lyric, and lighter spinto soprano operatic roles in Italian, German, French, Czech, and Russian, aside from her native English.
 She also speaks fluent German and French, along with limited Italian.
 Her signature roles include Countess Almaviva in Mozart's "Le nozze di Figaro", Desdemona in Verdi's "Otello", Violetta in Verdi's "La traviata", the title role in Dvořák's "Rusalka", the title role in Massenet's "Manon", the title role in Massenet's "Thaïs", the title role in Richard Strauss's "Arabella", the Marschallin in "Der Rosenkavalier", and the Countess in "Capriccio".
Tragédie en musique (Musical tragedy), also known as tragédie lyrique (French lyric tragedy), is a genre of French opera introduced by Jean-Baptiste Lully and used by his followers until the second half of the eighteenth century.
 Operas in this genre are usually based on stories from Classical mythology or the Italian romantic epics of Tasso and Ariosto.
 The stories may not have a tragic ending – in fact, they generally don't – but the atmosphere must be noble and elevated.
 The standard "tragédie en musique" has five acts.
 Earlier works in the genre were preceded by an allegorical prologue and, during the lifetime of Louis XIV, these generally celebrated the king's noble qualities and his prowess in war.
 Each of the five acts usually follows a basic pattern, opening with an aria in which one of the main characters expresses their feelings, followed by dialogue in recitative interspersed with short arias ("petits airs"), in which the main business of the plot occurs.
 Each act traditionally ends with a "divertissement", offering great opportunities for the chorus and the ballet troupe.
 Composers sometimes changed the order of these features in an act for dramatic reasons.

Question: Question: The composer, instrumentalist and dancer who introduced French lyric tragedy, a genre of French opera, is considered a master of which style? 

 Your answer will be verified with exact match score. To ensure correct verification, only provide the answer within the <answer> </answer> tags. Do not put any sentences or reasoning process within the <answer> </answer> tags. 

Supporting Information: Paragraph 0 

 Jean-Baptiste Lully (] ; born Giovanni Battista Lulli ] ; 28 November 1632 – 22 March 1687) was an Italian-born French composer, instrumentalist, and dancer who spent most of his life working in the court of Louis XIV of France.
 He is considered a master of the French baroque style.
 Lully disavowed any Italian influence in French music of the period.
 He became a French subject in 1661. 

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Paragraph 1 

 The partimen (] ; Catalan: "partiment" ] ; also known as "partia" or "joc partit") or in French jeu parti (plural "jeux partis") is a genre of Occitan and Old French lyric poetry composed between two troubadours, a subgenre of the "tenso" or "cobla" exchange in which one poet presents a dilemma in the form of a question and the two debate the answer, each taking up a different side.
 It was especially popular in poetic contests.
 See also Torneyamen. 

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Paragraph 2 

 Paulette Nardal (1896-1985) was an Afro-Martiniquais writer and journalist and one of the drivers of the development of a black literary consciousness.
 She was one of the authors involved in the creation of the Négritude genre and introduced French intellectuals to the works of members of the Harlem Renaissance through her translations. 

--------------------------------

Paragraph 3 

 José Francisco Araiza Andrade (born 4 October 1950), is a Mexican operatic tenor and lied singer who has sung as soloist in leading concert halls and in leading tenor operatic roles in the major opera houses of Europe and North America during the course of a lengthy career.
 Born in Mexico City, he studied singing at the Conservatorio Nacional de Música de México and later in Germany, with Mozartian tenor Richard Holm, and lieder interpretation with Erik Werba.
 He made his operatic debut in 1970 in Mexico City as First Prisoner in Beethoven's "Fidelio".
 Araiza initially came to international prominence singing in Mozart and Rossini operas, but in the 1980s broadened his repertoire to include Italian and French lyric tenor roles and Wagnerian roles such as Lohengrin and Walther von Stolzing.
 He was made a Kammersänger of the Vienna State Opera in 1988.
 Now retired from the opera stage, he teaches singing and serves on the juries of several international singing competitions. 

--------------------------------

Paragraph 4 

 Alain Vanzo (April 2, 1928 – January 27, 2002) was a French opera singer and composer, one of few French tenors of international standing in the postwar era.
 He, along with such singers as Henri Legay and the Canadian Léopold Simoneau, represented a traditional French lyric style during a period when larger Italian and German vocal styles had become popular. 

--------------------------------

Paragraph 5 

 The gran(d) chan(t) (courtois) or, in modern French, (grande) chanson courtoise or chanson d'amour, often abbreviated "chanson", was a genre of Old French lyric poetry devised by the trouvères.
 It was adopted from the Occitan "canso" of the troubadours, but scholars stress that it was a distinct genre.
 The predominant theme of the "grand chant" was courtly love, but topics were more broad than in the "canso", especially after the thirteenth century.
 The monophonic "grand chant" of the High Middle Ages (12th–13th centuries) was in many respects the predecessor of the polyphonic "chanson" of the Late Middle Ages (14th–15th centuries). 

--------------------------------

Paragraph 6 

 The Chanson de toile (also called chanson d'histoir) was a genre of narrative Old French lyric poetry devised by the trouvères which flourished in the late twelfth and early thirteenth century.
 Some fifteen of them remain; five were written by Audefroi le Bastart, the others are anonymous.
 Typically, they are set to music (though only four chansons remain with musical annotation) and tell the story of a young, often married woman pining for a lover, with a happy ending.
 The genre's name derives from toile; that is, they are supposed to have been sung by women who were weaving, and the female main characters also sew as they relate their stories. 

--------------------------------

Paragraph 7 

 Tragédie en musique (Musical tragedy), also known as tragédie lyrique (French lyric tragedy), is a genre of French opera introduced by Jean-Baptiste Lully and used by his followers until the second half of the eighteenth century.
 Operas in this genre are usually based on stories from Classical mythology or the Italian romantic epics of Tasso and Ariosto.
 The stories may not have a tragic ending – in fact, they generally don't – but the atmosphere must be noble and elevated.
 The standard "tragédie en musique" has five acts.
 Earlier works in the genre were preceded by an allegorical prologue and, during the lifetime of Louis XIV, these generally celebrated the king's noble qualities and his prowess in war.
 Each of the five acts usually follows a basic pattern, opening with an aria in which one of the main characters expresses their feelings, followed by dialogue in recitative interspersed with short arias ("petits airs"), in which the main business of the plot occurs.
 Each act traditionally ends with a "divertissement", offering great opportunities for the chorus and the ballet troupe.
 Composers sometimes changed the order of these features in an act for dramatic reasons. 

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Answer: French baroque