Opéra comique (; plural: opéras comiques) is a genre of French opera that contains spoken dialogue and arias. It emerged from the popular opéras comiques en vaudevilles of the Fair Theatres of St Germain and St Laurent (and to a lesser extent the Comédie-Italienne), which combined existing popular tunes with spoken sections. Associated with the Paris theatre of the same name, opéra comique is not necessarily comical or shallow in nature; Carmen, perhaps the most famous opéra comique, is a tragedy. Use of the term The term opéra comique is complex in meaning and cannot simply be translated as "comic opera". The genre originated in the early 18th century with humorous and satirical plays performed at the theatres of the Paris fairs which contained songs (vaudevilles), with new words set to already existing music. The phrase opéra comique en vaudevilles or similar was often applied to these early-stage works. In the middle of the 18th century, composers began to write original music to replace the vaudevilles, under the influence of the lighter types of Italian opera (especially Giovanni Battista Pergolesi's La serva padrona). This form of opéra comique was often known as comédie mêlée d'ariettes, but the range of subject matter it covered expanded beyond the merely comic. By the 19th century, opéra comique often meant little more than works with spoken dialogue performed at the Opéra-Comique theatre, as opposed to works with recitative delivery which appeared at the Paris Opéra. Thus, probably the most famous of all opéras comiques, Georges Bizet's Carmen, is on a tragic subject. As Elizabeth Bartlet and Richard Langham Smith note in their Grove article on the subject, composers and librettists frequently rejected the use of the umbrella term opéra comique in favor of more precise labels. History Beginnings Opéra comique began in the early eighteenth century in the theatres of the two annual Paris fairs, the Foire Saint Germain and the Foire Saint Laurent. Here plays began to include musical numbers called vaudevilles, which were existing popular tunes refitted with new words. The plays were humorous and often contained satirical attacks on the official theatres such as the Comédie-Française. In 1715 the two fair theatres were brought under the aegis of an institution called the Théâtre de l'Opéra-Comique. In spite of fierce opposition from rival theatres the venture flourished and leading playwrights of the time, including Alain-René Lesage and Alexis Piron, contributed works in