What kinds of French theatrical works did Christoph Willibald Gluck compose music for in Vienna?

While in Vienna, Christoph Willibald Gluck composed music for several types of French theatrical works, reflecting his engagement with French operatic styles during that period.12

His contributions included:

• French vaudeville comedies: Gluck initially provided music for various vaudeville comedies imported from Paris, such as Tircis et Doristée (1756). In these works, dialogue was typically spoken or sung using popular street songs known as timbres.1
• Opéra comique: As he progressed, Gluck moved toward the opéra comique genre. Works such as La Fausse Esclave, L’Île de Merlin (1758), La Cythère assiégée (1759), Le Diable à quatre, L’Arbre enchanté (1759), L’Ivrogne corrigé (1760), and Le Cadi dupé (1761) increasingly replaced stock vaudeville tunes with original songs. By the time he composed La Rencontre imprévue (1764), the vaudeville elements had been entirely eliminated, resulting in a mature example of the genre.1

Additionally, Gluck collaborated on dramatic ballets, such as Le Festin de pierre (Don Juan) in 1761, which were influenced by the reformist ideals of choreographer Jean-Georges Noverre.32