Reception: versus Tragédie en musique had been invented as a genre by Lully and his librettist Quinault in the 1670s and 1680s. Their works had held the stage ever since and come to be regarded as a French national institution. When Hippolyte et Aricie made its debut, many in the audience were delighted, praising Rameau as "the Orpheus of our century". André Campra was struck by the richness of invention: "There is enough music in this opera to make ten of them; this man will eclipse us all". Others, however, felt the music was bizarre and dissonant; Hippolyte was the first opera to be described as baroque, then a term of abuse. They saw Rameau's work as an assault on Lullian opera and French musical tradition. As Sylvie Bouissou puts it: Structurally, Hippolyte followed the model established by Lully: a French overture followed by a prologue and five acts, each with its own containing dances, solos and choruses. Musically, however, it was totally different, especially the orchestration. Rameau had rethought everything apart from the recitative and (short arias inserted into the recitative), from the (dances and descriptive music) to the accompaniments to the vocal music (arias, ensembles, choruses). The dominant feeling among those hostile to the opera was that there was an excess of music: too much accompaniment, too many and too many notes. The music was too difficult to perform, it was too "learned", it lacked true feeling and contained an abundance of dissonances and exaggerated virtuosity. Audiences and music critics soon split into two factions: the traditionalist and Rameau's supporters, the or (a play on the French word for 'chimney-sweeps'). Cuthbert Girdlestone described the quarrel thus: There continued to be heated controversy with each new Rameau opera in the 1730s, reaching a peak with the premiere of Dardanus in 1739. Thereafter, it died down as Rameau's reputation became more established, but there were still hints of the dispute as late as the 1750s. Revised versions Rameau revised Hippolyte for a revival in 1742. Apart from small changes in detail, he substantially reduced the role of Phèdre, replacing her Act 3 aria "Cruelle mère des amours" with a recitative and completely suppressing her death scene in Act 4. These changes were so drastic – the musicologist Sylvie Bouissou describes them as "blasphemy" - that the soprano Mlle Chevalier refused to sing the role of Phèdre. The revised version made