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Lully: Glory Without Love? Lully: Glory without Love? Scenes from the operas and comedy ballets of Jean-Baptiste Lully IU Baroque Orchestra Pro Arte Singers IU Ballet Department Early Music Institute Auer Concert Hall April 21 & 22, 2012 4:00 p.m. One Thousand Forty-Sixth Program of the 2011-12 Season _______________________ Lully: Glory without Love? Scenes from the operas and comedy ballets of Jean-Baptiste Lully _______________________ IU Baroque Orchestra Pro Arte Singers IU Ballet Department Early Music Institute _______________________ _________________ Auer Concert Hall Saturday Afternoon, April Twenty-First Sunday Afternoon, April Twenty-Second Four O’Clock music.indiana.edu The Program 1 Ouverture from “Psyché” Le Roi Soleil (Mace Perlman) 2 Prologue from “Alceste “ La Nymphe de la Seine (Jenny Kim, soprano) La Gloire (Jessica Beebe, soprano) La Nymphe des Thuileries (Alicia DePaolo, soprano) La Nymphe de la Marne (Christine Buras, soprano) Wood Nymph (Madeleine Ohman) Flower Nymph (Liara Lovett) Songbird Nymph (Melissa Meng) Meadow Nymph (Jennifer Drettmann) 3 Marche à la Turque from “Le Bourgeois Gentilhomme” 4 Ballet des Espagnols from “Le Bourgeois Gentilhomme” A noble Spaniard (William Lim, tenor) Another Spanish nobleman (Daniel Lentz, baritone) A third Spaniard (Benjamin Geier, Tenor) A Spanish lady, dancing the sarabande (Liara Lovett) A second Spanish lady (Melissa Meng) 5 Récit “Enfin, il est en ma puissance” from “Armide” (Act 2, Scene 5) Armide, a Saracen sorceress at war (Katherine Polit, soprano) Renaud, a Christian prince and her enemy (Lyon Stewart) Enchanted demon-zephyrs (Jennifer Drettmann, Liara Lovett, Melissa Meng, Madeleine Ohman) 6 “Le Sommeil” from “Atys” (Act 3, Scene 4) L’Âme danseur du sommeil (Elizabeth Edwards) Atys, the sleeper (Mace Perlman) Le Sommeil (Andrew LeVan, tenor) Morphée (Lyon Stewart, tenor) Phobétor (Daniel Lentz, baritone) Phantase (Benjamin Geier, tenor) 7 Io’s exile to the frozen climes of Scythia and the torrid land of the Chalybes from “Isis”(Act IV, Scenes 2-3) Io, a nymph (Christine Buras, soprano) La Furie (Andrew LeVan, tenor) Two Chalybe forgers (Benjamin Geier, tenor, and Daniel Lentz, baritone) Dance of the apprentices in the belly of the forge (Elizabeth Edwards, Melissa Meng) 8 Ballet des Italiens from “Le Bourgeois Gentilhomme” Pantalone dei bisognosi, a merchant of Venice Flamminia, innamorata and daughter to Pantalone (Kathryn Summersett, soprano) Fiorello, innamorato (Daniel Lentz, baritone) Zan Mezzetino, headservant to Pantalone (Jennifer Drettmann) Arlecchino, Pantalone’s lackey (Madeleine Ohman) 9 Passacaille from “Armide” (Act V, Scene 2) Armide (Katherine Polit) Renaud, enchanted by Armide (Lyon Stewart, tenor) Enchanted demon-shepherdesses (Liara Lovett, Melissa Meng) 10 Finale from “Bellérophon” Dancing Hero (Elizabeth Edwards) Rejoicing Ladies of the Court (Jennifer Drettmann, Liara Lovett, Melissa Meng, Madeleine Ohman) Seeing through the Many Eyes of Lully’s Life and Art by Mace Perlman As I write these words, I have yet to set foot in a rehearsal room, much less the theater in which you, precious member of our audience, are now seated. I am therefore unable to describe to you the performance you will witness today in Auer Hall. Perhaps this is as it should be since all theater happens in the present moment; and despite appearances, theater is never created by the people onstage. At best, it is set into motion by our bodies, our speech, our singing, our music, our dance … but the theatrical event itself is an energetic exchange which we artists of the theater can only hope to initiate. Its completion is in your hands alone—your hearts and minds. If this is true of all theater, it is especially true of the theatrical forms you will witness this afternoon. Lully’s tragédies en musique and his comédies-ballets were created for and under the watchful eye of the king, his sovereign, the sun around whom all court life revolved. The king’s pleasure or displeasure, the warmth of his favor or the cold shadow of his indifference, meant life or death to the work of art and to the sustained existence of its originators. Yet Louis himself was human—one of us, one of you … If it seems impossible to imagine yourself in his position, might you more easily imagine yourself as Lully, seeking—and miraculously finding—the king’s sustained support? Despite all appearances, both men are exquisitely vulnerable in this relationship of mutual need. To achieve glory, the king must be persuasively depicted in her company; and to receive love, Lully must please, or amuse, or somehow gratify …. At what human cost do we achieve power—and maintain it? When glory—the display of power—is publicly embraced, can our ability to give and receive love, our capacity for true vulnerability, remain intact? Our performance today presents these burning questions through the eyes of a multitude of characters and their many points of view. As we accompany them through Lully’s imagined stories-in-music, we will also encounter masks, an essential tool for theater-making as ancient as storytelling itself. Rarely seen in the theater today, masks were everywhere in the theater of the seventeenth century, a theatrical inheritance passed down from the Greeks, the Roman comedy, and the Italian commedia dell’arte Lullly had absorbed since childhood. Far from simply hiding the face of the actor, the mask allows the masked performer to project his or her inner landscape of thought and emotion into the furthest reaches of the theatrical space: it resonates with, amplifies, and projects— through the eyes and the entire body—the actor-as-character’s own unique experience of the dramatic situation. The mask’s gaze, its coup de masque, is the theatrical equivalent of the cinematic close-up, allowing you in the audience to share in the characters’ thoughts and longings in real time and—unlike in the cinema—in the presence of the performer. Just as importantly, your response returns to the stage to modify and enrich the performer’s own ongoing experience of the character’s situation. In this, our age of digital media, of virtual connections, of technologically mediated interactivity, we offer you a living experience of a collaborative art form whose very fragility is ultimately its strength. Thank you for joining us today to taste the first fruits of our labors and to complete the circle of our performance! “The Dream” (“Il Sogno”) by Michelangelo Buonarroti, 1533, depicting both the many emotional states and masks of the artist’s imagination. Is the cherub’s clarion call a call to Glory; or, Cupid that he is, a call to Love? The sixteenth-century actor Giovanni Gabrielli (ca. 1599), an Italian known in France as Jean Gabriel, with a mask very much like our own modern “neutral mask.” His presence is both arresting and open ended, demonstrating a capacity for self- transformation. Both gazing out at us and the object of our gaze, he is, as the caption reminds us, “solus instar omnium” (“unique in his ability to resemble all things”). The Language of the Baroque by Alison Calhoun What we are presenting to you this weekend, in our two performances of Lully: Glory or Love?, arrives at a critical time in the history of baroque performance. As a French scholar, I was drawn to Indiana University by the department of French and Italian, but I was also attracted to the possibility of collaborating with the Early Music Institute. My idea of a kind of meeting of the minds was to unite people working on Early Modern France and Italy, from the disciplines of history, musicology, history of art, dance, literature, theater and music. The setting for the academic collaboration was familiar and almost banal: invite speakers to give papers on topics related to the French Baroque, for example, in a conference. This was exactly what we accomplished just one week ago in the “Languages of the Baroque” meeting, in which experts delivered papers on the topic of the baroque from diverse perspectives. But, as a theater specialist, I felt a particular piece missing: what about performance? A little over a year ago, when I approached Paul Elliott, director of the Early Music Institute, with the idea of putting together a production of some of Lully’s operas, I was received with warmth, interest, and positivity. Paul made it clear that, given the short notice, it would not be simple to organize. But, much to my delight, Paul assured me there would be students and faculty alike very willing to mount such a production. He shortly thereafter introduced me to Nigel North, Mace Perlman, Catherine Turocy, and William Gray, who would become the core leaders of this project. The strengths of this team also represent one of the major challenges to baroque opera, parodied by Molière in Le Bourgeois gentilhomme: uniting so many specialized parts into one, coherent production. Indeed, during some of my initial trips from Ballantine Hall to the Jacobs School of Music, although I may only have been passing through a few buildings, it nevertheless felt like I was entering another world. But I have come to understand that although we communicate in different languages, we all share a passion for the parole baroque, to borrow from Eugène Green. This baroque language has brought us, and will hopefully continue to bring us, together to be interdisciplinary, in the purest sense of the term. The expression of the parole baroque, brought to life most memorably since 2005 in the Poème Harmonique’s filmed stagings of Lully’s works, has taken a long time to grow. Looking back, it was William Christie’s 1986-87 production of Lully’s Atys, performed by his troupe Les Arts florissants, that marked the first significant revival of French baroque opera.
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