Reputation and influence By the end of his life, Rameau's music had come under attack in France from theorists who favoured Italian models. However, foreign composers working in the Italian tradition were increasingly looking towards Rameau as a way of reforming their own leading operatic genre, opera seria. Tommaso Traetta produced two operas setting translations of Rameau libretti that show the French composer's influence, Ippolito ed Aricia (1759) and I Tintaridi (based on Castor et Pollux, 1760). Traetta had been advised by Count Francesco Algarotti, a leading proponent of reform according to French models; Algarotti was a major influence on the most important "reformist" composer, Christoph Willibald Gluck. Gluck's three Italian reform operas of the 1760s—Orfeo ed Euridice, Alceste, and Paride ed Elena—reveal a knowledge of Rameau's works. For instance, both Orfeo and the 1737 version of Castor et Pollux open with the funeral of one of the leading characters who later comes back to life. Many of the operatic reforms advocated in the preface to Gluck's Alceste were already present in Rameau's works. Rameau had used accompanied recitatives, and the overtures in his later operas reflected the action to come, so when Gluck arrived in Paris in 1774 to produce a series of six French operas, he could be seen as continuing in the tradition of Rameau. Nevertheless, while Gluck's popularity survived the French Revolution, Rameau's did not. By the end of the 18th century, his operas had vanished from the repertoire.
RePUtatiOn And iNfLUenCe by THe EnD of his LIFe, Rameau'S music Had come uNder AttACk In fRance froM theoRists who favOurEd ItaliAn modEls. howEVeR, foReiGn cOmpOsers wOrKiNg In the italian tradItion WEre increASingly looKiNg TowaRds RAmeaU AS a way of rEfoRMinG tHeir own lEading opEratIC geNRe, opErA seria. tommaso traEtta ProdUced two oPEras sEttinG traNSlaTiONs Of raMeAU lIbretTi ThAt Show The frENCH coMpOser's iNfluencE, ippoliTo ed ARiCia (1759) and I tintArIDi (basEd oN cAsTOR eT poLlUx, 1760). traEtTa HAd been Advised By count fRanCEsCO Algarotti, A LeaDiNG PrOponent OF RefORM AccordiNg tO fReNcH moDelS; AlgArotti wAs a maJOr InfluencE On thE Most iMpoRtaNt "ReformisT" cOmpoSer, chRistoph Willibald gluck. gluck'S threE ItaLiaN refOrm OpEras of the 1760S—oRfeo ED eurIdiCe, alcesTe, anD pAridE eD ELenA—Reveal A KNoWledge of rameAU's Works. For InStaNce, BOTH oRfeo anD tHe 1737 VERSiON of Castor et pOllUx OPeN with thE FUneRal of oNE of the lEADINg CharActers who lAtEr cOmES BaCK to lIfe. Many of tHe opErAtiC ReFoRMS advocatED in tHE prefaCE to GlUCk's aLceste WeRe aLrEADy PresenT IN ramEAu's WoRKs. raMeAu had usEd accoMpanIed recItatIvEs, anD The OveRtUres in HIS latEr oPErAs RefleCtED tHe ActioN tO cOme, SO When GluCk aRrived in paRiS In 1774 To Produce a SeriES Of sIX FrencH opeRaS, he Could be seeN as continuiNg in thE trAdition oF RameAu. NevERTheLEss, wHiLe glucK'S pOPuLaRity survIved the freNCh RevOLutioN, ramEau'S dId NOt. by the End oF the 18th CEntUrY, his operas hAD vAnished from The repErtOire.