News of his arrival did not take long to spread and he was introduced to Anne, Duchess of Maine, whose salon at Sceaux was a center of courtly society in the declining years of Louis XIV. His genial character strongly assisted him in securing the patronage of the Duchess, who made him her Surintendant de la musique at Sceaux about 1708. At Sceaux he produced operas and was in charge of the sixteen bi-weekly Grandes Nuits in the season of 1714–1715, for which he produced intermèdes and allegorical cantatas in the court masque tradition, and other music, in the company of the most favoured musicians, for the most select audience in France. Mouret thus launched his adult career under highly favorable auspices. At court Mouret maintained a post as singer, and directed the grand divertissements offered by the Regent, the duc d'Orléans at his château of Villers-Cotterêts on the occasion of Louis XV's coming-of-age, 1722. In Paris he collaborated with the Académie Royale de Musique.
He directed the orchestra of the Paris Opéra (1714–18), composed music and directed the Nouveau Théâtre Italien du Palais-Royal (1717–37)— for which he composed divertissements that accompanied, for example, the tender comedies of Marivaux, and which, printed, fill six volumes. Concurrently, he was director of the concert series established by the orchestra of the Opéra, the Concerts Spirituel (1728–34), positions which provided a public outlet for his own music and which permitted him to live in affluence. Mouret married and had one daughter. However, his later years were overshadowed by financial and social disappointments.
Sinking into poverty, Mouret died in a charitable asylum run by the Church in Charenton-le-Pont. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
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