However, Sacchini immediately found himself embroiled in intrigues. Seigneur de la Ferté, the intendant of the Menus-Plaisirs du Roi, a sort of master of royal ceremonies who was also head of the Académie Royale, was opposed to the queen's predilection for foreign music. He plotted to delay the premiere of Sacchini’s first French opera, "Renaud". Meanwhile, the Gluckists were manoeuvring to detach Sacchini from his Piccinnist supporters. When "Renaud" finally appeared on 25 February 1783, its reception was positive but not overwhelming. The libretto was a reworking, to which Framery contributed, of a libretto by Simon-Joseph Pellegrin ("Renaud, ou La suite d'Armide"), which had originally been set to music in 1722 by Henri Desmarets. Contrary to what has often been claimed, the Parisian "Renaud" was not a revised version of Sacchini's "Armida" of 1772, itself revised to create a new opera "Rinaldo" for London in 1780. Instead, "Renaud" was "a completely new opera, starting with the action, which begins at the point where the other two leave off; the subject of the opera was no longer the love of Armida and Rinaldo in the enchanted garden, which Armida destroys after her lover leaves her, but based on their subsequent story in Tasso's "Gerusalemme liberata" (with many liberties taken)." However, "Renaud" pleased neither party: "Piccinni's faction asserted that the score ... was influenced by Gluck, while the Gluck supporters condemned the work for lacking dramatic power and originality."