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

<P0-S0> 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. <P0-S1>  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. <SEP> <P1-S0>  Operas in this genre are usually based on stories from Classical mythology or the Italian romantic epics of Tasso and Ariosto. <P1-S1>  The stories may not have a tragic ending – in fact, they generally don't – but the atmosphere must be noble and elevated. <P1-S2>  The standard "tragédie en musique" has five acts. <P1-S3>  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. <P1-S4>  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. <P1-S5>  Each act traditionally ends with a "divertissement", offering great opportunities for the chorus and the ballet troupe. <P1-S6> 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. <P1-S7>  Composers sometimes changed the order of these features in an act for dramatic reasons. <SEP> <P2-S0> 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. <P2-S1>  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." <P2-S2>  Thomas Kyd's "The Spanish Tragedy" (c.1580s) is often considered the inaugural revenge tragedy on the early modern stage. <P2-S3>  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). <P2-S4>  Additionally, Thomases Norton and Sackville's play "Gorbuduc" (1561) is considered an early revenge tragedy (almost twenty years prior to "The Spanish Tragedy"). <P2-S5>  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). <SEP> <P3-S0>  He is considered a master of the French baroque style. <P3-S1>  Lully disavowed any Italian influence in French music of the period. <P3-S2>  He became a French subject in 1661. <P3-S3> 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.