Ibert's stage works similarly embrace a wide variety of styles. His first opera, "Persée et Andromède", is a concise, gently satirical piece. "Angélique" displays his "eclectic style and his accomplished writing of pastiche set pieces". "Le roi d'Yvetot" is written, in part in a simple folklike style. The opéra bouffe "Gonzague" is another essay in the old opera bouffe style. "L'Aiglon", composed jointly with Honegger, employs commedia dell'arte characters and much musical pastiche in a style both accessible and sophisticated. For the farcical "Les petites Cardinal" the music is in set pieces in the manner of an operetta. By contrast "Le chevalier errant", a choreographic piece incorporating chorus and two reciters, is in an epic style. Ibert's practice of collaborating with other composers extended to his works for the ballet stage. His first work composed expressly for the ballet was a waltz for "L'éventail de Jeanne" (1929) to which he was one of ten contributors, others of whom were Ravel and Poulenc. He was the sole composer of four further ballets between 1934 and 1954.