Question: In what musical era did the composer of Les fêtes de l'Hymen et de l'Amour create his work?

Context articles: Louis Lavelle
Les vacances de l'amour
Io (opera)
Jean-Philippe Rameau
Louis de Cahusac
Antoine Gautier de Montdorge
Sébastien d'Hérin
Les fêtes de Paphos
Prosper Lucas
Les fêtes de l'Hymen et de l'Amour

Louis Lavelle (July 15, 1883 – September 1, 1951) was a French philosopher.
 His magnum opus, "La Dialectique de l'éternel présent" (1922), is a systematic metaphysical work.
 Lavelle's other principal works include "De l'Être" (1928), "De l'Acte" (1937), "Du Temps et de l'Eternité" (1945), and "De l'Âme Humaine" (1951).
Les vacances de l'amour (lit.
 "The holidays of love") is a French TV series, the continuation of the series "Le miracle de l'amour" (lit.
 "The miracle of love") which is the continuation of the successful series "Hélène et les garçons" (lit.
 "Hélène and the Boys").
 The main character is played by Hélène Rollès, a famous actress and singer in France.
 "Les vacances de l'amour" started in 1996 and finished in 2004
"Io"'s unfinished state meant that it was once believed to be Rameau's last opera, but it contains a duet which appears in revised form in "Les fêtes de Polymnie" (1745).
 This has led the musicologist Graham Sadler to conclude that "Io" must predate 1745 and that the librettist was Louis de Cahusac, who also wrote the words for "Les fêtes", because French librettists did not borrow from other writers.
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.
Louis de Cahusac (6 April 1706 – 22 June 1759) was an 18th-century French playwright and librettist, and Freemason, most famous for his work with the composer Jean-Philippe Rameau.
 He provided the libretti for several of Rameau's operas, namely "Les fêtes de l'Hymen et de l'Amour" (1747), "Zaïs" (1748), "Naïs" (1749), "Zoroastre" (1749; revised 1756), "La naissance d'Osiris" (1754), and "Anacréon" (the first of Rameau's operas by that name, 1754).
 He is also credited with writing the libretto of Rameau's final work, "Les Boréades" (c. 1763).
 Cahusac contributed to the Encyclopédie and was the lover of Marie Fel.
Antoine-César Gautier de Montdorge (or Mondorge) (17 January 1701 or 1707 - 24 October 1768) was a French man of letters, best known for writing the libretto for Rameau's "opéra-ballet" "Les fêtes d'Hébé" (1739).
 Born in Lyon, he moved to Paris, where he worked as a financier (with the title "maître à la Chambre aux deniers du Roi").
 He was a friend and neighbour of Rameau's patron Alexandre Le Riche de La Pouplinière and probably met the composer at La Pouplinière's salon.
 Montdorge was not identified as the author of "Les fêtes d'Hébé" on any of its printed editions.
 It was first attributed to him by Antoine de Léris in the 1763 edition of his "Dictionnaire portatif des théâtres".
 Reviewers severely criticised the literary weakness of the work.
 The only other opera libretto Montdorge wrote was the one-act comédie-ballet "L'opéra de société" for Jean-François Giraud in 1762.
 He described his experience working as a librettist for Rameau in the anonymously published "Réflections d'un peintre sur l'opéra" (1743).
Sébastien d'Hérin is a French harpsichordist and conductor.
 As a harpsichordist he studied under Gustav Leonhardt, Pierre Hantaï, Bob van Asperen, Kenneth Gilbert and Christophe Rousset.
 He founded his own ensemble les Nouveaux Caractères in 2006 with which he has led performances of operas including works of Purcell, Sisyphe amoureux d'Égine from Les Fêtes de Thétis by Colin de Blamont (second act Titon et l'Aurore by Bernard de Bury), and Philémon et Baucis by Haydn.
Les fêtes de Paphos ("The Festivals of Paphos") is an "opéra-ballet" in three acts (or "entrées") by the French composer Jean-Joseph Cassanéa de Mondonville.
 The work was described as a "ballet héroïque" on the title page of the printed score.
 Each act had a different librettist.
 "Les fêtes de Paphos" was first performed at the Académie royale de musique, Paris on 9 May 1758 and was a popular success.
 Mondonville recycled material from two of his previous operas for the first two acts, namely "Erigone" (1747) and "Vénus et Adonis" (1752), both originally composed for Madame de Pompadour's Théâtre des Petits Cabinets.
Prosper Lucas (4 November 1808, Saint-Brieuc – 2 April 1885, Mennecy) was a French medical doctor, brother of Pierre-Hippolyte Lucas (1814-1899) and specialist in the study of heredity.
 For which he wrote ""Traité philosophique et physiologique de l'hérédité naturelle"" ("Philosophical and physiological treatise on natural heredity"), full title – "Traité philosophique et physiologique de l'hérédité naturelle dans les états de santé et de maladie du système nerveux, avec l'application méthodique des lois de la procréation au traitement général des affections dont elle est le principe.
 Ouvrage où la question est considérée dans ses rapports avec les lois primordiales, les théories de la génération, les causes déterminantes de la sexualité, les modifications acquises de la nature originelle des êtres, et les diverses formes de névropathie et d'aliénation mentale", in two volumes (1847 and 1850), which Charles Darwin described in "The Origin of Species" (1859) as "the fullest and the best on this subject".
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.