Orientalismus als Kategorie des Komischen Ambroise Thomas' und Thomas Sauvages opéra-bouffon Le caïd

After its premiere in 1849 Ambroise Thomas' and Thomas Sauvage's opéra-bouffon Le caïd remained extremely successful throughout Europe. This was caused mostly because of its parodistic references to the orient in plot, scenery, libretto and music. This article examines the orientalistic features of Le caïd, which contemporary music critics perceived as comical. The reception documents are also evaluated in the context of the perception of orientalism in the nineteenth century as well as in the tradition of opéra-comique. The categories considered in the work's analysis are the comical dimension of the orient, the opposition between France and Algeria functioning as a comic element, as well as the parody of the orientalistic Italian opera buffa.