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    Charlton OAR Ch1

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    Opera in the Age of Rosseau

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    Charlton OAR Ch1

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    Tim Fischer
    20 views17 pages
    Opera in the Age of Rosseau

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    Charlton-OAR-Ch1

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    Opera in the Age of Rosseau

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    Download as pdf
    20 views17 pages

    Charlton OAR Ch1

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    Tim Fischer
    Opera in the Age of Rosseau

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    Opera in the Age of Rousseau Music, Confrontation, Realism CAMBRIDGE UNIVERSIFY PRESS ———————— EERE EEEENERE: b Jol Railton, MBE Musician and teacher extraordinary Pe he oe 1 | Palaces and patronage: Le Devin and the 1754 Aleste (One goes on) Tac mami, which the Traditional opera in France sbest understood Plc Dry chat Ambasndom and Forders as princely ‘cour’, a quality hardy appa Sf Dencton gow pay et Complies fet nthe vulgased term, Pare Oper the King... The Kinga he Queen oer cat get, andthe Dupin a well athe THE Ofc pres constantly wes the plese Deople in general ae very fond of her: she le public in reference to the generality of Sepemsmmt ayia” PA rs Oe re aueer sence! Cee ees tien, slot atts tacts 2, mabye wee one wan no ‘people (at Fontainebleau that you inn’ the king gave the City of Paris ey. ‘with at Versailles moved thither; for they for nominating its directeur, Operatic activities and many other Trades-People from. involved a ‘nemus’ linking performers, pro- eorerrreeee anya mies Serre? Spelt eee tragedy, pastoral and opéraballes. Another ‘nexus’ linked the three royal theatre companies (Opéra, Comédle- Francaise, Comédie-lalienne): these amounted tothe monarch’s personal property, for their legal staas presumed that they existed £0 entertain his farily and guest in ‘he fist fntance, and anyone else on an incidental and contingent bast. Casanova ‘maintained that because employees ofthe Opéra were, in elect, members ofthe royal household, French nobles were ‘eager’ to seduce them, because ofthe snobbish thrill ‘oflise-majst’ Akhough the Opéra operated via systems that willbe seen in Chapter 3 ‘these could at any moment be countermanded by royal authority. whether personal fr assigned. Lagrave's account of life in the royal troupes suggests the Navour of cexizence under an absolute system: [Atany gen moment the athoseesiervened inthe theatres! actiris, sometimes ‘ora perichery degree; his constan survellance rated into numerous orders and councer commands, resuking in very narow regulation .. Every breach ofthe rules wes "A. (lam Lac A Fie Wes Ter Fa, Vale Mat, so (Landon. Wale, * Ghia. 7. The Opéra was propel ent ‘Academe Royale de Msi > Casanova ru His vt 0 Fontaoelen: a a | Paice and patronage: Le Devin andthe 1754 Alceste nied: the ceglations provided for a sanction for every fal, stably through various fines. However the condions of employment were reasonable ani pension Were also proved. * Rules and fines existed likewise atthe Opéra, abet the Inger sizeof the company sight have difsed some of the feeling of diet intervention All three twoupes pesformied in cour sevice, especialy during autumn and winter? Thus somecmes the show could nor go on in Pass losses might be reimbursed by royal subvertion, but command performances caused grievous operational problems. A ype pater in ¢he cour’ main anual theatre seasons is that for tr7-& Fetal, 0 September tu Novenber, Comécetallenne five evenings; Come rani: foureen evenings Vena, 36 Noverber 0 20 Mach: Comidintalene: twelve evenings, Coméde range: ents evenings Voges with music but without stage performances to May in May and Compige in July were also nora “The Académie Royale de Musique, founded by Louis XIV, was a concept Jy: something between 2 leared foundation and aniston for performance, accesible co the publ ts mature as business was devolved by the king ab che concem of ics cence holder, or diectear (see Table 3. Parada, i had ‘no lucrative function’ ora least no shareholders” As with other fanctinalofces of szae, the Opéra, monopoly. was tobe explo by is rate. es debts nounced ‘inexorably and were passed on when the prvi: changed hands, reaching 500.000 tesa 749208: 3 milion pounds in cen values)" Pensions forex employes sepresented a perennial drain. Supplier tended not 0 pa, and certainly not on fie one group stared legal action? “The court! In that word i ll the evi, wrote the Hberabarstocratic René-Louis Dee 30 ules and patrnages Le Devin an the 734 Alene | "7sthe recone that ‘Opinions concerning “ibe nation” are prevalent and might ake us 4 long way. Never before have the nount “acon” and “sate” been 9 much spoken: these wo words were never utered under Louis XIV." e was only afer thi chalenging period that French goverment, regarding thea, ‘understood i was their dary to contribute tothe public's pleasure’ “The king's fay hardly ever sw thee players in acon at Pari: performances in thei own places suficed Louis’ vista co the Opéra canbe numbered on ane hand is 174 vis shocked! Parisians fr reasons of simple moral acuple (the verb chat of Luynes: his daughter, the eles being only sen, st in the royal box: bu he royal mistress, Mme de Chiteauroux, was displayed in the adjoining one. This rmissdventare occured on the feast of Snit Genevieve, who svat parcultly venerated? ‘A the hear ofthe ‘lurocratc kere were those who led at Cou, held ofce and lodged there, snd only ved for and through .. Couriers brought together numerous soures of wealth: income from cei estates, Cour offices, pension, part ofthe income ofthe clergy high commands, provincial ovemorships, mines and iplomatic postings." ‘Coury amblence wad a man point of definition atthe Parts Opéra, which pesformed within the PalaiRoyal opposite che Tulless. This housed che ducs {Orléans (Louis day, shen Lous Philippe), under whose contol t had been nce seo, ‘2 move which hep the theatre locked ina conservative court administration’ 4 condor linked their palace 10 the Onéans’ family box over the orcs,” Considering the cost of pining entrance, the general amenities wete poor space was ramped and esings were low; improvements were not forthcoming frm eer ‘ranch ofthe royal family. These standing on crowded nights were allowed only lle over one square foot per person’, acording co Lagrave, who alo existe the [maim] spectator capacity a 1.900: 90 stang and 7oo seated... Patrons stood inthe parte, which measured sbout 75 y 18 meses... [Mlany seas sl enjoyed only pata vs" Ticket prices were twice a8 high as thote for other royal theatres: line (about 20 now) to sin one ofthe swenty superior boxe, 7 et and 0 sain one f he td 5 a6 une 950. agave ae Tele 0, am Ata Raa: ag fctied at Arma ir) By Sane Abi: Rose A,r. 1 Layee, own (Ja ud id in LagrveT, a © Chnuminan Noga, 3, © tarbaraCoeyman, Walking though Ly’ opera cea he Pals Royal Job Haid Heyer (ct aly Sie Cambri Unverty Pry 200) 26-8 (29 33) " chara Coeyman, “Thee fx opr allt ding the ig of Lani IV and Loni $V" ry Mase 8) a7 s 6 | Palace ant patronage Le Devin and the 1754 Akeste same price men paid teakas of lines ear erees pls of pat financiers and parlenewatre, Paying more fr box, the less well you might see, bur the bense he single basement café, whose date of instal lation is sll unknown "The alternatives to such discomforts were widely discussed. Nine projects for a new Opéra were developed between 1729 and 1759: and the 1748 design competition {or the Place Louis XV saw eighteen separate projects for 2 new Opéra to be buile nese Bouchardon’s forcheoming equestrian statue.” None wa realised, though ¥ ‘Machines in the Tulleries Palace (see Chapcer proved theatre was constructed on the P received a new building at the Porte Saint-Martin, next othe sel-surviving Thést de la Renaissance." VERSAILLES Parisian conditions were strongly echoed at Louis XV's main palaces. His youthful Preferences ¢hunting and er Species «Foti 2 IVE se eon clog, Part RMN, 200) Versi | 7 metres of height, and housing only up eo 300 persons purtere The orchestra area measured only 125 x 65 a e changes, Metoyen’s 1773 plan shows merely rwency-ve players, including nine squeezed round the sides.* No special effects were possible, yer a least some ballets utilised a limited quantity of musi. ‘When Fleury died in 743, Louis took up the reins. Hisinterventi His Majer, in considering thatthe surest means of sssining this com rewards for those soloists who most dstaguh themeelves by tel si and good conduct, has ordered that an anual sof Gono lit be dsbuted each year a the closure of the these Early in 1745 his son maried the Spanish Infana, when something ike a policy for the ans was announced ammse the Cour and serve at an encouragement the Fine ‘ilingschool (Grande Beure) at Versailles measuring 96 fet deep” ‘The Versalls riding school had been converted in syle (Figure 12), with outbuildings for the actors and others, its area of 25 x 62 mezres comprising a stage with over 31 metres of depth, and pit space for up to sisry musicians.” Ie was a masterpiece of Rococo decoration constiuting ‘a fnew] phase in French theatre architeeture™ and sccommodating some 580 spectators in open-plan configuration. Even 's fairy palace in a tale would give you only a slight idea of ie tnt fall complement Up to 1748" (See was shared berween Versailles and Paris in winters 145-6 and 1746-7, and even after.* 1 Grp Theat op es ns naan ee, Vesales, the privae sphere, Hasse himself vised, noe only to accompany in 750 but also to di for Maria-Josepha Two hundred copies juagh not the king) near the s given by Bambini’ troupe at apogee of enthusiasm the Opéra” Plans to cons funds confined the 174 to make space for a very omate theat Marie Leszeayska. OF medium size, it had two com! cand patronage: Le Devin and (Opera had profited from a certain amount of stage machinery." The pit was a reasonable size: in 1773, Metoyen's plan indicated the presence of thirty nine musicians:* Recent estimates of audience capacity ae of 700-800, although 900 librettos were delivered for each opera given in che 1733 season.*" None- theless, up to 1752, i¢ was a theatre normally limited to spoken plays and iverisements, ln sag there was a spectacular break with tration when the court mounted various operas during a hugely cosy iniative ended only by the approach of war. la 1749 che erown was already buying property in order vo construct workshops, corage and rehearsal space, forming an ‘hétel des MenusPlaisrs'“* A reheatsal followed in 13, furnished with seven rows of shutters, and another house was acquited:® During rp and 1754 stage machinery was added and the boxes recon- figured to improve sightines. The stage was slightly widened and rearranged, taking 4.5 metres to the perspective sxage, which now contained sx double ses of shrers “The court aso spent time and heard music and opera in concer: at Matty and 2 Compiégue. Marly was 4 gorgeous and compict Louls XIV palace (now emolshed) that had always hosted musie and other enteainment. Its focal point was the ‘Salon’ an octagonal space atthe hear of « square compastion "measuring almost 15 metres across and 16 metres high. Its surfaces were of wood and stucco, the floor of marble” Regarding Compl, Lagrave describes a private theatre and its roupe nearby, backing onc the ramputs, with dens of 10a feet X 3 feet. Performances were attended by the monarch se times: sgucanly, its payers favoured the Comsédietalienne's typeof eepertory, ‘cluding pantomime." hi sas neat where che king hunced inthe Sénart forest and his family walked, ls theatre was alms ready by 1760 the war effort delaying fal gr of decoration and fiting-ou. Phys were given fom May 176, but for opera ic Cook unt December 16x for Fill iauguaion with fstivdes and operas” © ouchesR, 73. Boucher, Rg. “ ANCo2p Mimo despre ede Fortune Greea, 78 econ ha 18 ‘Bleed copies wer bid bro ningin he called din forthe aso Rice. “ANG oF aya ted in Marc Henet Jorn. ‘Les Menus Pes do et es specs bls © AN, 0 pot: Menu oy. Asqed by ‘Le OLB sold on Lo ay de Cry ad Ree, th plas RicePA ac nd ala Lage TP, and 4; cole images ofr plans a i healed mo 2. above 1 Vicon Maren, May ez ued Si (Geneva: Medi, 203), Lagat, wy. Bde are Le Cito de Oy Pa 3 Concons | Alphée e¢ Anithuse was given in Dauvergne's seting, followed by ‘Aruéris’ from Rameau’s Let Fits de Umer et de UAmour ‘THE QUEEN'S CONCERTS jar round presence in various pi (Queen Marie Leszeriiska’s love of music was concerts shorty after her up and spread over two or three evenings, typically on alternate days, ‘The concerts began at 6.00 pm and lasted something over an hows In r3t rancor and Rebel replaced Destouches and Blamont as mais de musgue, Between 1725 and 1735 Destouches directed 149 performances involving nine of his own operss; Collin de Blhmont directed 60 performances involving seven of his; and Francer Rebel would direc 46 performances involving nine oftheir works, wrt ‘Other favourites are seen in Table tt: che queen took an active part ¢ programmes and so her preferences are discernible from the totals printed by each no way did the Queen’s Concers ceave when Fontainebleau staged opera, ny more than when the Comédies Frangaise or ltallenne acted at cour: perfor: ances simply occupied separate evenings. Infact condicions for hearing opera, and. their acoustic impact, were probably better in concert form than within the stall, performers participated than we might have expected: about shiny and twenty players are cited by Dratwickl, The core would be provided by Versailles musicins: Musique de ls Chambre du Roi as players and of the Chapelle du Rot as singers. But Paris Optra soloists were needed, and hand picked 52 show lists of musicians who performed wihin ‘of Queen's Concerts, which that year took the sypcal form shown and Complégne concerts there were forthe singers and almost a, alongside seven vocalists and eight instrumentals from the Paris Ops: nal, round ninery musicians They became place events: ‘all pesformers surpased themselves and drew the applause of the Queen and the whole cour’ (writen afier Desouches’Téénayue.” tn :744 fora court wedog, “The Queen, the Dauphin, the princess, accompanied by over sy lords and ales “Table 2 Concert perfrmance af stage works (Quen Concer) 42-2, at reconded in Mercure de France” ‘The figure folowing each opera tle indicates fa how many diferent (alendar) years berween s74a and 152 that work was heard Fr example, Lully's Tse (irs) was given twice between 12 and r72. Since current figures are not complete, any (rate) known “duplications of an opera within a single year have been omitted. Colla de Blamont is referred to ar “Blamont res works a5 tal, Te ps Cape, Hon ‘re DesouchelLalide ae Mendon he 1 aly. A ‘er Desoachs, Omph 6 a a Royer Le Pew de Canoe ses Lally, Betiphon en Campa, Tare 175 Bron, Lex er greg 74 By, es Cancer de a Foe ‘at Lally, Pou ‘7 Demtachen Ue Camel le min 9 174 Rebel Pann, Les Agee ¢ ret Lal, Pon Blea vp thon, Ke Rater de Dieu 74 Rebel ance e ape ‘ty Lally, Anais de Gane yoy Ossmars/ Campa, ieee Deter Samer de rap Rebel Franca ZA ts Lay, oid Tacs Pama "4 Bay Ls Nymph dea Sine Verses 1695 Lay, mie re Camp Fer iin 3a Reel Papen, Pome vo Marl oF tos Luly, Ae alae pe Densch, Tene Thane 6 17 Rebel rane, in re 17a Desenches, Callidd 8 ra Mouret Ls Amour dr Dias 4 4 La Cate ig ety Colase, The Pies 8 Ges, Nope "pas Reel Hancaur, Tams 48 Ramen, again 4 97 Cape, Ean azaes ‘DW Mondoneil, Le Cred Faas 1 ‘eae ra Rayer, Ala pw Ramen, Zwate 1 ey Desh 0 ‘Blom, Le Cope Jato pa Rage, My Ze stop estos, Marthe 3 "ra Bon De [compe 20 Je ton Deuces, Ama de ation yp Cordoane Amarr ‘cue srs Mort Ls Se 4 [Compe Jf "7p Manca fp ya Chen, I, POnage sip et) ride Brae, Limp de (Powaintens, Ox amcor rs Rebel Panes, Simdg# amen Ls deg ‘ri Pray, eae de 7 Bart, Les Carat de rm Royer Zale sy Blaont, Zp Perma ttl by comps Rafa tycoon Perma by compere by cps inn) {nny (winina) (nna) Rete Frc 6 tay 37 Desoache 99 Cala de Bl ag ary 2 Soe ampe: Rete Femecw: Meni: Colase: 2 erie r source 7 owen 2 ete: Royer-2 amen: 3 Gander Mena Cardone: + Chet * eon gives perormance der bt reporting wis unsysemad:prformance terms provbomal Iam rate eo Beit Draw for cechang iomason rela ots Table. * Oc perhaps Dew a admin by AD, Pior (to) hou man was caer copied: Pa "ast M.Elasbeth Carlet, ‘Queen Mure Lest pate of ma pope ed at thera Conkrece of he IS, London, 26 Aug 97 Mc, Ap C465, deed a3 Sveisement' Dour, so; NG! Bary ates repeated athe persona vequst othe Queen’ * "Cimcets ch Madan la Dauphine’ 'l pase vo eximament gel Mee. Jy 5.2 * acre, Sep, 3 May abo bate ink wth the Dupin, who patton Cadoane ter (6/2 14 | Palaces and patronage: Le Devin and the 174 Alcete Table ca Queen's Concerts im 2 Jan-Feb Vers ‘ne, ge. gli’ May: May Scandete, Arie, Brame Taube Joe: Verses rama eT, Arie {bly Compiezne ey es reqs roa Les Sms, Amari peers coher: Fotsinetens Bape ple, nso Orage dui premiere] Nor -Dec: Verses ekg x Ta of the coure and foreign ministers entered the great apartments [at Versailles] for the concer. Les Amonrs de Zéphie et de Fore was performed! (Table 11: 1739." The 200, Nertos for Dione abbandonata (mentioned earier) probably indicate the maximum possible atendance at « Queen's Concet. PPompadours theatre group (see the next section) was not alone in ping commissions {or new operas. Earle Queen's Concers promoted four new works: a one-act peor by Jean Bapiste Du Terre, Amour mural, on 1 January r30;Blamnone’s Les Carte de Amour (12 and 17 December 17365 Jean Laurent de Béthiy’s wagedy L'Enibwment {Burp on 6 June 1795 and Michel Mathie’sdivetisement Le Retour du prints 018 ut Table. shows tha the cous programmed ten recent, oF very new, oF ‘new works between raz and isn faethe staging of Le Dein du wile on 8 Fenn spent Compip nn) ermine cy (October by concer premieres of two other works by young composers: Amal Jean BupteCantonne (930 ae) and In by Jae Bape Cen (p86) ‘The first was alutenisand hate conte inthe chapel, the second celist inthe Musique de 1a Chambre" Something had prompted the Queen's Cancers to breakout of the eyele ‘which normally favoured established composes and mais de nus ‘THEATRE GROUP OF THE MARQUISE DE POMPADOUR Shortly after her introduction at cour in 1735, the newly ennobled Marquise formed ® personal company for plays, operas and pantomimes which, a «project, assumed personal, political and musical significance. We know that luxury and image ‘making were central tothe court career of Jeanne-Antoinete Polsson (1i9-4)." ‘hate group of the Marque de Rompatour But published accounes have sately assessed the musical and operatic achievement of, in the public domain through sang and acted the female (or inszalled from time to time on Versills' Escaer des Ambassadeurs. 4 large landing accommodated the ofchesta, berween twinned ascending fights of sare. Up vo 109 spectators occupied one ofthese, while the stage décor and machinery occupied the ed by Joseph-Fiyacihe Ferrand (1709-91), also the |. Ferand was the son ofa farmer general and a ‘is musical memois, miraculously rescued from (oom percon, Without socal advantage she woth! have pated without notice ROMP 2 (ok te 9 Sep), ‘Table 15 The Marguise de Pompadour's theatre group Overview ofthe Théitre des Petits Cabinets and Chiteau de Bellevue performances, with total numbers of performances annually. Chie sources: KashlerO and LecomteDH, See Table o1 for composers, genres, etc. and Table 14 for ARM performance details Taleo, bly Pls (opens ey commissones” ARM reper operas haeogrped by Dene” Move, La Chase, Daeg, Dancour, Brg” (ARM 38-7) Aros gas te (73) Vote, Cause ome (ARM 7) 1 perormance ppefoances s peormances ine ge sage aed i set, ob, Roy, Goo Skin Foe Demy, gl (ARNE 7) ance en) an Le amc, Quilt ‘Almas (ARM 159) Prologue, Late eo Oper chin, 1 pefnnaces Swprus de Mow Ls (ARM (

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