A feud between the king of France’s mistress and the dauphine led this composer and a Neapolitan rival to write competing settings of the same libretto. This (10[1])composer’s music comprises the majority of the operatic excerpts in the Treatise on Instrumentation by Hector Berlioz, who rearranged one of (10[1])this composer’s operas for an 1859 production, starring Pauline Viardot (“vyahr-DOH”) in the main male role. (10[1])A preface to one of this composer’s operas advocates for syllabic (10[1])rather than melismatic text-setting (10[3])and for abandoning da capo (“dah KAH-poh”) form. (10[2])Paride (10[1])ed Elena (“PAH-ree-deh ed EH-leh-nah”) is the third of three operas this composer wrote with (10[1])librettist Ranieri de’ Calzabigi (“rah-NYEH-ree deh kahl-tsah-BEE-jee”). An aria beginning with the words “Che farò senza” (10[1]-5[1])(“keh fah-ROH SEHN-tsah”) appears in a 1762 “reform opera” that includes a “Dance (10[1])of the Blessed (10[2])Spirits.” (10[1])For 10 points, name this (10[1])German composer of Orfeo ed (10[1])Euridice (10[2])■END■ (10[2]0[4])