a third entrée, "Anacréon", was added. Its first run lasted until 14 August 1757, but only its second and third entrées were performed after 10 July (the original La lyre enchantée was replaced by a version of Les sibarites, an acte de ballet by Rameau to a libretto by Jean-François Marmontel, first performed in 1753). The different entrées were swapped around at various times for later performances and the "self-sufficiency of each portion of Les surprises de l'Amour made the tripartite work a likely source of material for the programs of fragments growing popular in the years before the Revolution". Writing in Grove Music Online, Graham Sadler considers the air "Nouvelle Hébé, charmante Lycoris" for Anacreon's bass part and the "ravishing, chromatic sommeil" to be "especially fine", and the whole entrée to be the best piece of the opera. Despite the opinion reported by Charles Collé that the 1757 version "[smelt] of old age" (Rameau was by then 73), Sadler believes that "the new and revised music is almost invariably more interesting than that of the original", and that "the airs de ballet are, as always, amazingly inventive". Spire Pitou partly shared Sadler's appreciation, he states that "Rameau's most striking passage in Les surprises de l'Amour was the 'sleep music' in [the] concluding act". Roles Synopsis (1757 version) 1st entrée: "L'enlèvement d'Adonis" (The rape of Adonis) Topic: struggle between love and chastity The scene is laid in a vast forest sacred to Diana, where Adonis (soprano en travesti), as a follower of the chaste goddess, abhors love as a terrible monster jeopardizing humans' peace of mind, but at the same time complains about no longer feeling the lure of sylvan life. Cupid himself (soprano en travesti) descends into the forest and approaches Adonis in order to tear him from Diana and to hand him over to Venus, who is in love with him. When Venus (soprano) arrives upon the scene, she easily succeeds in getting the better of Adonis' scruples and, supported by Cupid, they resolve to flee in order to shun Diana's dreadful wrath. When Diana (soprano) enters the scene, she charges Cupid with the abduction of credulous Adonis and entreats vengeance of heaven and hell. Mercury (haute-contre) then descends onto the scene assuring the enraged goddess that Venus will return Adonis to her, and the goddess of love re-enters over a cloud accompanied by Cupid and Adonis disguised