Daphnis et Alcimadure (in Occitan classical norm, Dafnís e Alcimadura, or according to the original libretto spelling, Daphnis e Alcimaduro) is an opera by the Baroque violinist, conductor and composer Jean-Joseph Cassanéa de Mondonville to a libretto in the Occitan language, written by the composer himself and loosely inspired by La Fontaine's fable bearing the same title.

[2] Mondonville asked two stars of the Paris Opéra to perform his work: the prima donna Marie Fel from Bordeaux and the primo uomo Pierre Jélyotte from Béarn.

The third role of the pastorale, Jeanet, was assigned to another tenor of the company, Jean-Paul Spesoller [it], generally known as Latour, who was born in Occitania as well, possibly at Carcassonne.

Mondonville supported the former, and according to Théodore Lajarte, he was prompted to employ his native Languedoc dialect because he intended to consolidate his leadership of the French faction.

[5] Daphnis et Alcimadure received a favourable review in the Mercure de France[6] and the degree of its success may be gauged by the fact that it inspired several parodies: Jérôme et Fanchonnette ou Anacréon à la Grenouillère, "pastorale poissarde" (billingsgate pastorale) by Jean-Joseph Vadé (1719–1757), which was given at the Foire St Germain on 18 February 1755; Daphnis et Alcimadure performed in May 1756; Les Amours de Mathurine, "in two acts mêlés d'ariettes", by Jacques Lacombe (1724–1801), mounted at the Théatre Italien on 10 June 1756; and finally a work titled Alcimatendre,[7] by Jean-François Mussot, called Arnould, (1734–1795), performed in 1773.

[9] On the contrary, two years later the original Occitan version was mounted again at Court, with Jéliotte and Fel singing the title roles and the newly engaged comic tenor of the Comédie-Italienne, Antoine Trial, who came from Avignon, replacing Latour as Jeanet.

[11] It was however revived again on 17 March 1773, "but it had lost its novelty, and it had to be dropped from the repertory after its 12th representation in French at the Opéra",[2] thus following the fate awaiting shortly the generality of old pre-Gluckian repertoire.

[14] The entirety of the opera was finally recorded in 2022 by the Orchestre Baroque de Montauban and Ensemble Les Passions in honour of the 250th anniversary of Mondonville's death, and released in 2023.