Rosalie Levasseur

After an undistinguished beginning to her career, when she appeared only in minor roles, such as Cupid in Berton and Trial's, Théonis (1767), and La Borde's Ismène et Isménias, (1770)[3] her status in the company rapidly improved following Gluck's arrival in Paris in 1774.

The new maestro and the primadonna in office, Sophie Arnould, could not stand each other,[4] while Levasseur was the mistress of the Austrian ambassador and Gluck's countryman Florimond de Mercy-Argenteau, who exerted moreover a strong influence on the Dauphine Marie Antoinette, herself a former singing pupil of the German Kapellmeister.

[5] At first 'Mlle Rosalie' was given again an insignificant role (a Greek woman) at the premiere of Iphigénie en Aulide in April, but four months later she performed the much more important part of Cupid in Orphée et Eurydice, being endowed with a second additional aria.

[6] She also appeared in operas by Gluck's rival Niccolò Piccinni, as well as Johann Christian Bach, André Grétry, and Antonio Sacchini.

In June 1784, she performed one last time at Court in the gala entertainment in honour of the King of Sweden, Gustav III,[7] and retired officially in 1785.