Opera in the Age of Rousseau Music, Confrontation, Realism David Charlton Index More Information

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Cambridge University Press 978-0-521-88760-1 - Opera in the Age of Rousseau Music, Confrontation, Realism David Charlton Index More information

INDEX

Acade´mie Royale de Musique, see Paris Ope´ra and song, 126; closing vaudeville, 286; music, Acante et Ce´phise (Rameau), 22; 66; Tables 3.3, 4.7 340; influence of, 330 Acis et Galateé (Lully), programming, Amours de Tempe´ (Dauvergne), Tables 3.3, 4.7; 95; Tables 0.1 (1744, 1749, 1752), 1.1, 3.3; 74; 125; and Le Devin du village, 154; parodied, 251; 331 297; 340 Acting, 31; Italian opera, 257; 273; and laughter, Andre´, Yves, 165 258; Bouffon style, 282; 286;inDaphnis et Anseaume, Louis, Bertholde a` la ville, 292; Alcimadure, 355 Le Chinois, 292 Ade`le de Ponthieu (Berton, La Borde), 319; Argenson, Marc-Pierre, comte d’, Table 3.2; 66 described, 327; performances, Table 14.2; Argenson, Rene´-Louis d’, 4; 69; 192; 199 Act ii ceremony, 373; Table 14.5 Ariette (type one), 150;inDevin du village, 151; Adieux du gouˆt, Les (Patu and Portelance), described, 181; sung by young people, 185; 178; 207 disliked, 191; incorporating chorus, 351;in Ægle´ (La Garde), programming, Tables 0.1 (1748, Paladins, 360; see also Da Capo 1751, 1752), 1.1, 1.2, 1.3, 1.4, 4.7; 66; and Ariette (type two), 182; 295; Table 11.3; in ope´ra- intimacy, 124; and song, 126 comique, 306; 313 Alceste (Gluck), 54; 314 Armide (Lully), programming, Tables 0.1 (1745–8), Alceste (Lully), programming, 66; Table 3.3;at 1.1, 1.2, 3.3; 5, 7; Act ii monologue, 41; 50; Fontainebleau, 25; 26;dećors, 27; admired, stage action, 53; 1745 production, 68; 85; 1761 165; parodied, 342; see also Calzabigi. production, 76; 85; admired in 1740s, 163; 165; Algarotti, Francesco, Saggio sopra l’opera, 216; 226; 177; 210 Table 14.1 Arne, Thomas, Don Saverio, 248; The Blind Beggar, 248 Algieri, Pietro, 21; 230 Arnould, Sophie, as actress, 46; and rećitatif oblige´, Aline, Reine de Golconde (Monsigny), recitative: 49; Dorat’s eulogy, 309 224; described, 325; performances, Table 14.2; Artigiani arricchiti, Gli (Madama Ciana), Tables 3.3, structural features, 368; 373; Table 14.5; 9.1, 10.3, 10.4; 240; in London, 246; sources, quotes Rameau, 370; and Orfeo, 374; 377 274; Table 10.2 Almasis (Royer), programming, Tables 0.1 (1748, Atys (Lully), Tables 0.1 (1747), 1.1; discussed in 1750), 1.1, 1.3, 1.4, 3.3, 4.7; 66; slavery in, 113 1740s, 165; 166; 173 AlpheéetAre´thuse (Dauvergne), 10 Augustales, Les (Rebel and Francœur): Amadis de Gaule (Lully), Tables 1.1, 3.3;dećors, programming, Tables 0.1 (1744), 1.1 Fig. 3.2; 75; arranged in 1771, 87; discussed, Autreau, Jacques, 36; 345 166; updated, 86 Amarillis (Cardonne), programming, Tables 1.1, Bacocco e Serpilla, 238; see Giocatore 1.2; 14 Baiocco et Serpilla (Sodi), origins, 281; described, Amour et Psyche´,L’(Mondonville), described, 309; 285 and Orfeo, 310 Ballets, programming, 64; definition, 65; 94; 95; Amours de Ragonde, Les (Mouret), programming, Tables 4.2, 4.3;inIsme`ne et Ismeńias, 308; Tables 0.1 (1742–5, 1748–9, 1752), 1.3, 1.4; 35; see also Ope´ra-ballet

403

© in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88760-1 - Opera in the Age of Rousseau Music, Confrontation, Realism David Charlton Index More information

404 Index

Bambini, Eustachio (Troupe of), in Milan, 241;in Calzabigi, Ranieri de’, and Paris, 26; 304; 308; Strasbourg, 241;in1752, 251; at Versailles, 23; Tables 8.1, 8.2 programming, 251; 253; 264; Tables 3.3, 10.1; Camille, Reine des Volsques (Campra) Table 3.3; repertory, 272; Table 10.2; performers, Berton’s additions, 90 Table 10.1; music, 274 Canente (Dauvergne), Table 3.3; 91 n. 139; 178 Banducci, Antonia, 51; 55 ‘Canvas’ (canevas), 97; 114 Baurans, Pierre, 293; 295 Caracte`res de la Folie, Les (Bury), programming, Belle´rophon (Lully), Table 1.1; updated, 86 Tables 0.1 (1743–4), 1.1, 4.7; 106; 119; comic Bellini, Alice, 299 prologue, 339 Berger, Jean-François, Table 3.1; 68 Cariselli (Lully), 32 Bernage, Louis-Bastide de, 58; 67; 199 Carnaval du Parnasse, Le (Mondonville), Bertholde a` la ville (Anseaume), 292; 357 programming, Tables 0.1 (1749–51), 4.7; Bertoldo, Bertoldino e Cacasenno (Goldoni), 241 Galuppi aria in, 196; reception of, 218; Bertoldo in corte (Goldoni), Tables 3.3, 10.2, 10.3; described, 349 origins, 270; described, 271;music,271; 277 Casanova, Giacomo, 3; and quietness, 188 Berton, Pierre-Montan, Table 3.2; as conductor, Castor et Pollux (Rameau), 30; and stage action, 46; 71; 74; as arranger, 85; see Fig. 3.3 53; 1737 version, 77; 83; 1754 version, 83; Blanchet, Joseph (?) or Jean, instructions for opera rescored, 87 actors, 43 Castratos, 47; 173; 180; 215; 307 Blavet, Michel, Tables 7.3, 9.1; 24; 257; 283; 287 Chabanon, Michel Paul Guy de, 87; Table 12.3 Blondel de Gagny, Barthe´lemy, 25 Character (depiction of), in sce`nes, 118; 119; 124; Bohe´mienne, La (Favart), 30; 225 and evil, 81; 79; and pastoral, 79; and acting, Boismortier, Joseph Bodin de, see Daphnis et Chloe´ 42; 43; 45; Rousseau’s view of, 31; 42; and Don Quichotte depiction of, 226; 227;inintermezzi, 259; Boissy, Louis de, and Bouffons, 220; and Mercure, Grimm’s ideal, 262; Lacombe’s analysis, 262; 220; Table 8.4; see Frivolite´ 316; in Gluck, 314;inDaphnis et Alcimadure, Bouffons, Les (Paris repertory), Table 9.1; 237; 354;inPaladins, 358; 360;inErnelinde, 389 rećitatif oblige´, Table 2.3; the Querelle, Character (of an opera, through music), 330; 354; 387 Table 7.2; sources, 274; Table 10.2; nature of, Chasse´ de Chinais, Claude Louis Dominique, as stage 259; 261; exit arias, Table 10.4;dećors, 272; director, 27;asactor,41; 42;assinger,336; 350 Table 10.5; phases of, 264; music, 274; Chassiron, Pierre-Mathieu-Martin de, 185; see also Bambini ‘Dissertation’, 209; ‘Re´flexions’, 212 Bridard de La Garde, Philippe, 26; 153; 161; 223; Chastellux, François-Jean de, marquis de, Essai, Table 8.4 381; 390 Brosses, Charles de, ‘Letter 51’, 174; 175; supports Chercheuse d’esprit, La (Favart), 125 Bouffons, 178 Che´ron, Andre´, as trainer, 42; as conductor, 71 Burgess, Geoffrey, 64; 77 Chevalier, Marie-Jeanne, and acting, 40; 41; 46; 350 Burney, Charles, and Rousseau, 138; 167; 249; and Chevrier, François-Antoine, Observations, 41; 207; intermezzi, 246; Robin Hood, 248; and Gluck, as playwright, 205; character, 208 305; 373 Choisy (Theatre of), 10 Chorus (Paris Ope´ra), and acting, 50; 53; 116; Caffarelli (Gaetano Majorano), 180 offstage, 116; and Bouffons, 266; 273; Cahusac, Louis de, at Fontainebleau, 26; 27; historical costume, 328; structural career, 103; 107; 190; 192 integration, 330; 368; 373; 374; Table 14.3;in Callirhoe´ (Destouches), programming, Tables 0.1 Ragonde, 341;inPlateé, 347;inPrince de Noisy, (1743), 1.1; described, 89 348;inErnelinde, 381; 383; 390; Table 14.6

Index 405

Ciampi, Vincenzo, see Bertoldo in corte in Bouffon repertory, 253; avoided, 271;in Clemenza di Tito, La (Metastasio), 114; 307; Troqueurs, 291;inIphis et Ce´lime, 297; Tables 8.2, 10.3 reformed by Gluck, 307;inZaı¨de, 334;in Clermont, Louis de Bourbon-Conde´, comte de, Ragonde, 340;inCarnaval du Parnasse, 350; patronage of, 256 351;inErnelinde, 385; Table 14.7 Cocchi, Gioacchino; see Scaltra governatrice Daphnis et Alcimadure (Mondonville), 19; 25; 323; Cole, Catherine J., 320 source, Tables 12.3 and 13.2; described, 351; Colle´, Charles, 272; 282; 293; 353; 354; 380 music, 354 ‘Colour’ in music, 312 Daphnis et Chloe´ (Boismortier), programming, ‘Come´die humaine’ matrix, 315; 331; 368 Tables 0.1 (1747, 1752), 4.7; 20; origins, 57; Come´die-Italienne, at Versailles, 3; 4; 7; 10; 30; and genre, 94; described, 130; Tables 4.1, 5.1 Rousseau, 39; and dance, 153; prostitution at, Daphnis et Egle´ (Rameau), 24; Table 4.3 170; and acting, 176; and Italianate parodies, Dardanus (Rameau), programming, Tables 0.1 209; 226; 235; 349; and Serva padrona, 243; 293; (1744), 1.1, 3.3; 74; 78; 87; 173; 189; 231; 303 and Favart, 281 Dauvergne, Antoine, Tables 7.3, 12.2; 24; 87; 89; Come´die meˆleé d’ariettes, defined, 292; 293 91; 288; 290; 291; see AlpheéetAre´thuse, Comedy (in French opera), 31; 337; Table 13.2; Amours de Tempe´, Canente, Coquette trompeé, Figs. 2.1, 2.2, 13.1 Eneé et Lavinie, Polixe`ne, Troqueurs Compie`gne (entertainment at), 10; 11; 14; 30 David, Jacques, 172 Concert series (new), 307 Dećors, gothic, Fig. 3.2; in pastoral, 96; Tables 4.4, Concert Spirituel, 56; and Rousseau, 136; and Fel, 4.5, 4.6; aerial, 97; for Bouffons, 265; 186; revolutionises programmes, 193; 194; Table 10.5; ‘Indian’, 329; Fig.14.1; and Table 7.1; members of, 203; silence at, 188 dramaturgy, 349; 374 Conducting, 219; see Berton and Che´ron Dehesse, Jean-Baptiste, 16; 20; 153 Coquette trompeé, La (Dauvergne), 24; origins, 281; Deucalion et Pirrha (Giraud and Berton), Table 3.3; described, 286; 287 123; 326 Cosimi, Pietro, 241; 251; as secretary, 256; roles, 273 Devin du village, Le (Rousseau), programming, Tables Costumes, conventions of, 96; reform of, 208; 231; 0.1 (1752), 1.3, 3.3, 4.7; at Fontainebleau, 12; 14; 23; and chorus, 25; 30; 52; 329; 375; 379;‘Egyptian’, at Bellevue, 18; 17; contemporary views of, 19; 96; thirteenth-century, 328;‘Indian’,329; 375; and acting, 31; antecedents of, 93; 95; 106; 108; ‘Scandinavian’, 379; and dramaturgy, 374;and 119; 126; ‘colour’ in music, 312; composition intermezzi, 239; 273; 282; and La Dixmerie, 313 history, 140; 267; tonal pattern, 131; parure, 134; Couvreur, Manuel, 325; 380 138; 144;costume,144; and Pergolesi, 146;and Coyer, Gabriel-François, La Noblesse commerçante, mime, 154; romance, 134;Table5.3; in London, 321; Dissertations, 327 249;comparedtoBertoldo, 279 Croza, Giovanni Francesco, 241; 245; 248 Diderot, Denis, and rećitatif oblige´, 50; and opera, Cury [Curys], Louis Bay de, career, 10; 21; 23; 25; 142; 224; 225; and Rousseau, 226; influences and Ze´lie, 154;andLes Troqueurs, 287 Noverre, 228; influenced by Bouffons, 251; Cuvier, Le (Ferrand), 19 263; 269; recalls concert life, 307; influences Cuvillier, Louis-Antoine the elder, as actor, 35; 36 Ernelinde, 380; 385; 387 Cuvillier the younger, 23; 39 Didone abbandonata (Hasse), 9; 14 Divertissements, 51; 93; 94; 97; theorised, 163; 167; Da Capo (arias), origins in France, 182;inScylla et 177; 210; linked, 153; 267; 328; 332; 366;inDevin Glaucus, 78;inZoroastre, 81;inIsme`ne, 126;in du village, 154;inScanderberg, 319;inPlateé, Devin du village, 135; Table 3.4; rejected by 344; 351; in Gluck, 371;inErnelinde, 383; Rousseau, 135; 173; justified by Voltaire, 210; Tables 14.5, 14.6

406 Index

Donna superba, La (La commedia in commedia), Fel, Marie, 40; 46; as virtuoso, 183; 196;in programming, Tables 0.1 (1752), 3.3; 240; 245; Rameau, 38;inDaphnis et Chloe´, 132;inDevin sources, 274; music, 276; Tables 10.2, 10.6 du village, 142; 151;inDon Quichotte, 182;in Don Quichotte chez la Duchesse (Boismortier), Fiocco, 186; 196;inCoquette trompeé, 286;in Table 0.1 (1743); acting contexts, 35; Daphnis et Alcimadure, 356 Table 2.1; and Plateé, 38; source, Table 13.2; Ferrand, Joseph-Hyacinthe, 15; 19; 154 described, 342 Feˆtes de l’Hymen et de l’Amour, Les (Rameau), 11; Dorat, Claude-Joseph, 54; 309; 380 programming, Tables 0.1 (1747–9), 3.3, 4.7; Duclos, Charles, and Rousseau, 22; 141;on costume, 96; themes, 93; 96; 103; moral selection panel, 57; as Freemason, 107; 108; conflict in, 115; critiqued by de Brosses, 175; see Caracte`res de la Folie ‘Canope’, 109; see also ‘Osiris’ Duets, by ‘Hendel’, 133; in Rousseau, 134; 143; 149; 151; Feˆtes de Polimnie, Les (Rameau), programming, and Bouffons, 253; 271;inEgine, 283;inBaiocco, Tables 0.1 (1745), 3.3; 93; 109; 114 286;in Psyche´ et l’Amour, 309; dialogued, 290; Feˆtes de Thalie, Les (Mouret), programming, 297;inZa¨ıde, 334;inPaladins, 357; 360;inAline, Tables 0.1 (1745–7, 1752), 1.3, 3.3; ‘La Fille’, 35; Reine de Golconde, 377;inErnelinde, 386; 387; 94; 219 burlesqued, 351; Tables 11.3, 13.3, 13.4 Feˆtes d’He´be´, Les (Les Talents lyriques)(Rameau), Du Roullet, François-Louis Gand Lebland, 366 programming, Tables 0.1 (1747–8), 3.3; 24; Duval, Mlle, as composer, 110 164; virtuosity in, 183; 184; and pantomime, 337 Feˆtes grecques et romaines, Les (Colin de Blamont), Ecole des amants, L’ (Niel), Tables 4.2, 4.4; themes, programming, Tables 0.1 (1742, 1748–9), 1.1, 95; 99; 143; and mime, 153 1.2, 1.3; 101 Egine (Colin de Blamont), programming, Tables Feˆtes veńitiennes, Les (Campra), programming, 0.1 (1750), 1.3; and rećitatif oblige´, 47; Ex. 11.1(a) Tables 0.1 (1747, 1750–1), 1.1, 3.3; 66; and Ele´ments, Les (Destouches), programming, Tables comedy, 35; de Brosses’ view, 177; Da Capo 0.1 (1742, 1748–9), 1.1, 1.2, 1.3; component in, 182; reception, 219; changing entreés, 65; updating of, 87 performance, 224 Eneé et Lavinie (Dauvergne), and acting, 46; 49; Finta cameriera, La (Don Calascione), Table 0.1 described, 91; 223 (1752); 24; in Milan, 241; in London, 245; 247; Erigone (Mondonville), programming, Tables 0.1 250; in Paris, 267; 274; Tables 2.3, 10.2, 10.3, (1747–8, 1750), 1.3, 1.4, 4.7 10.4, 10.5; and Troqueurs, 291; and Paladins, Ernelinde (Philidor), and rećitatif oblige´, 46; 50; and 323 stage action, 54; sources, Table 12.3; 307; 319; Fiocco, Joseph, Laudate pueri, Table 7.1; 186; 196 326; performances, Table 14.2; recitatives, Fontainebleau (Theatre of), 9; 20; 25; impact in 371; Table 14.4; described, 378 1752–3, 198 Europe galante, L’ (Campra), programming, Fragments, definition, 66 Tables 0.1 (1747), 1.1, 1.2, 3.3; 182 Fragmens de Monsieur de Lully, Les (Campra), 32 Exotic elements, 329; 333; 343; see Costumes Framery, Nicolas-Etienne, 390 Francœur, François, 11; 26; 57; 58; 68; 69; as editor, Fajon, Robert, 64 85; at Ope´ra, 220; 230; Tables 3.2, 12.2; Favart, Charles-Simon, and Don Quichotte, 342; see Isme`ne, Prince de Noisy, Pyrame et Thisbe´, see Chercheuse d’esprit, Coquette trompeé Scanderberg, Ze´lindor Favart, Marie-Justine-Benoıˆte (neé Duronceray), 24; Freemasonry, 103; 107 imitates Tonelli’s acting, 286;inBaiocco et Fre´ron, Elie-Catherine, 124; 144; 210; 221; 228; 229; Serpilla, 286;inCoquette trompeé, 286;in and Castor et Pollux, 83; as journalist, 218; Servante maıˆtresse, 294; and Baurans, 295 contra Rousseau, 219; ‘law of concision’, 222;

Index 407

defines come´die meˆleé d’ariettes, 293; He´sione (Campra), programming, Tables 0.1 see Journals (1743), 1.1, 1.2 Frivolite´, La (Boissy), 24; 262 Hippolyte et Aricie (Rameau), programming, Fuzelier, 103; Table 8.4; see also Carnaval du Tables 0.1 (1742–3), 3.3; 66; 77; additions to, 87 Parnasse, Ecole des amants, Feˆtes grecques et romaines, Indes galantes Indes galantes, Les (Rameau), programming, Tables 0.1 (1742, 1744, 1751), 1.1, 3.3;dećor, 96; Garrick, David, in Paris, 42; inspires Noverre, 228; themes, 102; sources, 319; Table 12.3 and Monnet, 248; and Le Devin, 249 Intermezzi,history,238;in1729, 235;in1741, 164; Genres (French opera), 93; 94; 99; 210; 212; 222; described by de Brosses, 176; 177; circulation of, 227; new developments, 294; Rousseau’s 235;actingin,238; 257; in spoken-theatre approach, 134; 140; 173; Tables 4.1, 4.2, 4.3; companies, 243;inLondon,245;genres,Table9.1 see Ballet, Come´die meˆleé d’ariettes, Comedy, Iphigeńie en Aulide (Gluck), and chorus, 50; Intermezzi, Ope´ra-ballet, Pastoral, Trage´die en structural definitions, 330; 364;dramaturgy, musique 347; 368; 373; and sacrifice, 365;origins,366; Giocatore, Il, programming, Tables 0.1 (1752), 3.3; politics, 369;recitatives,Table14.4;reception, reception, 199; described, 258; 262; parodied, 50; 371;revisionof,371; divertissements, 336; Tables 9.1, 10.2, 11.1; see Bacocco e Serpilla Table 14.5; 3714;dećors, 37 ;Tables14.1, 14.2 and Baiocco et Serpilla Iphigeńie en Tauride (Desmarest, Campra), Giraud, François-Joseph, see Deucalion et Pirrha, programming, Tables 1.1, 1.2, 3.3; and acting, Ope´ra de socie´te´ 45; 66;Fig.3.3; Berton’s additions, 85;as Girault, Louis-Alexandre, 76; 230; 231 ‘sacrifice’ opera, 89; influences La Touche, 365 Gluck, Christoph Willibald, and chorus, 54; and Iphigeńie en Tauride (Gluck), 365 Rousseau, 50; 315; reviewed in French, Iphigeńie en Tauride (Guimond de La Touche), 25; Table 8.2; and Burney, 305; reputation in 365; Table 14.1 1760, 303; Clemenza di Tito, 307; Fausse esclave, Iris (Chre´tien), Tables 1.1, 1.2 308; ope´ras-comiques, 313; Cythe`re assie´geé, Isbe´ (Mondonville), programming, Tables 0.1 313; see Iphigeńie en Aulide, Iphigeńie en (1742, 1752), 1.1, 4.7; 101; described, 105; and Tauride, Orfeo ed Euridice virtue, 113; offstage voices, 116; comic Goldoni, Carlo, and intermezzi, 141; 236; ‘chain’ prologue, 339 finale, 240; career, 241; 270; 276; realism of, Isme`ne (Rebel and Francœur), programming, 270; see Bertoldo in corte Tables 0.1 (1747–8, 1750–1), 1.1, 1.3, 1.4, 3.3, 4.7; Granier, François, 229 66; Table 4.8; intimacy, 119; described, 126; Grimm, Friedrich Melchior: Lettre sur Omphale, and taste, 193 140; 183; 194; 196; 215; 262; Tables 5.2, 8.2; Isme`ne et Ismeńias (La Borde), sources, Table 12.3; Le Petit prophe`te, 190; 194; 200; 202; 205;as Me´deé ballet, 308; sources, 324; themes, rumoured entrepreneur, 221 Table 14.3; 326; performances, Table 14.2; described, 365; recitatives, Table 14.4; Handel, G. F., popularity of, 163; and Philidor, 380 divertissement, Table 14.5 Harris-Warrick, Rebecca, 51 Isse´ (Destouches), programming, Tables 0.1 Hasse, Johann Adolf, 9; 47; 148; 163; 180; 183; (1742–3, 1749), 1.1, 1.2, 1.3, 3.3; action in, 55; 303 updated, 86 Hennebelle, David, 306 Italian music, Pluche’s view, 137; at court, 140; Herbain, Chevalier d’, Iphis et Ce´lime, 296 moral objections, 162; and Rousseau, 174; Hercule mourant (Dauvergne), 92 known in France, 179; 186; Table 7.1; and ‘Heroic transposition’ (pastoral), 79; 100 women, 206; in concert, 307

408 Index

Italian opera, and Bernage, 70; melodic forms, La Tour, as virtuoso, 184; as comedian, 355 147; admired in 1741, 163; 168; and Rousseau, Laujon, Pierre, and chorus, 51; 55; and metrics, 172; 205; Ope´ra benefit performances, 196; 100; career, 57; 107; see Ægle´, Daphnis et Chloe´, debated in 1750s, 215; 222; Table 8.2; putative Isme`ne et Ismeńias company, 176; 221; influences Titon et Law, Hedy, 50 l’Aurore, 335; parodied in Carnaval du Leándre et He´ro (de Brassac), programming, Parnasse, 350; see also Bouffons, Brosses, Table 0.1 (1750); Table 4.1; 80; 149 Da Capo, Intermezzi, Opera seria, Rećitatif Leclair, Jean-Marie, 80; see Scylla et Glaucus oblige´ Lemierre, Marie-Jeanne, 46; Figure 3.3 Le Rochois, Marthe, 41; 165 Jacobshagen, Arnold, 51 Lettre sur le mećhanisme de l’ope´ra italien, Jaloux corrige´, Le (Colle´), 257; Tables 10.2, 11.1; see Villeneuve origins, 281; described, 282; music, 286 Librettos, metrical conventions, 98; 100; resettings, Je´lyotte, Pierre, 15; 103; as virtuoso, 184;inPouvoir 177; new sources in, Table 12.3; as paratexts, de l’Amour, 185;inCoquette trompeé, 286;in 95; 319; three-act matrix, 315;Table13.2; Carnaval du Parnasse, 350; sings in Guiet’s analysis, 315; non-French, 271; 352; 353; Languedoc, 354 354; Rameau adds to, 358; 360; delivered to Jeu muet (dumb-show), 40; 150 Versailles, 23; Bouffon sources, Tables 10.1, Johnson, James H., 187 10.3, 10.4, 10.5; 261; see Segmentation Journals, circulation, 216; Tables 8.2, 8.3, 8.4; London, opera in, 202; 241; 245; 247; 249; 270; Anneé litte´raire, 216; 218; 221; 228; 231; Journal Monnet in, 248; Philidor in, 380 e´tranger, 221; Journal encyclope´dique, 221; Louis XV, at Paris Ope´ra, 5; develops policy, 7; 10; Lettres sur quelques ećrits sur ce temps, 190; 218; 68; and Pompadour’s troupe, 19; Mercure de France, 217; 219; 220 unpopularity, 67 Lowinsky, E. R., 156 Lacombe, Jacques, career, 225; theorist, 189; Lully, Jean-Baptiste, programming, 57; 58; 61; 64; 66; 222; 224; 226; as parodist, 226;as 190;Table12.2; as actor, 32 ; travesti roles, 35; journalist, 307; Table 8.4; Le Spectacle, 227; divertissements, 51;5airs, 12 ; 138; early neglect, 262; 294; 316 179; later neglect, 306; critiqued, 164; 167; 210; La Dixmerie, Nicolas Bricaire de, 306; 312; 316 later alterations, 87; 229; recitatives, 312;and La Fontaine, Jean de, as source, Table 12.3; 323; Gluck, 313; see Acis et Galateé, Alceste, Amadis Table 13.2 de Gaule, Armide, Atys, Belle´rophon, Cariselli, La Garde, Philippe Bridard de, see Bridard FragmentsdeMrdeLully,Perseé, Phae¨ton, La Garde, Pierre de, see Ægle´ and Silvie Pourceaugnac, Proserpine, Roland, The´seé Lahontain, Louis Armand de, Dialogues curieux, Table 12.3; 320 Mably, Gabriel Bonnot de, Lettres ...sur l’ope´ra, La Marre, Abbe´ de, 320; 331; Table 13.1; see Zaı¨de, 166; and Rousseau, 171 Reine de Grenade, Titon et l’Aurore Maestro di musica, Il (Orazio), programming, La Porte, Joseph de, 79; 141; 161; 192; 320 Tables 0.1 (1752), 3.3; 23; 240; 245; Table 9.1; La Pouplinie`re, Alexandre Jean-Joseph Le Riche 260; 265;dećors, Tables 10.2, 10.5 de, and Plateé, 37; as chansonnier, 115; and Manelli, Pietro, Fig. 9.2; 202; 241; roles, 273; ‘O che Rousseau, 133; as host, 18 n. 64; 175; 178; 307; risa’, 258; 262;inViaggiatori, 252;inTracollo, 366; mockery of, 178; 207 264;inCoquette trompeé, 283 La Ravalie`re, Pierre Alexandre Le´vesque de, and Marches (in opera), 116; Table 4.6;inPrince de early music, 75 Noisy, 348;inAline, Reine de Golconde, 375;in Larriveé, Henry, 49 Ernelinde, 380; 383; 385

Index 409

Marie Leszczin´ska, Queen, concerts of, 11 Opera, as ‘crass commodity’, 191; see Ariette, Marly, 10; 11; 14 Divertissement, Genres, Intermezzi, Italian Marmontel, Jean-François, and Cury, 22; and opera, Librettos, Opera seria, Paris Ope´ra, Rameau, 22; 24; and Freemasons, 103; and Reform, Theories, Trage´die en musique Gre´try, 130; and Somis, 140; burlesqued, 178; Ope´ra-ballet, definition, 93; 94; 102; Table 4.2, 4.3; at Mercure, Table 8.4; 222; aesthetic position, see Fragments 222; as librettist, 22; 330; see Acante et Ce´phise, Opera buffa, described, 240; circulation of, 241; 243; Hercule mourant in London, 245; in Paris, Table 9.1; 258; Martin, François, symphonist, 203; Table 7.3 serious characters, 260; genres, Table 9.1 Maurepas, Jean-Fre´de´ric Phe´lypeaux, comte de, Ope´ra Comique (the company), 68; 245 68; Table 3.2 Ope´ra-comique (the genre), foundations of Me´deé et Jason (La Borde), described, 308 reform, 288; 289; 292; 294; popularity, 293; Merveilleux (magic), 102; 105; 106; 113; 319; 312; proposed for Paris Ope´ra, 313; styles in 334; 347 Mondonville, 354; in operatic debate, 370 Metastasio, Pietro, influence, 114; 210; 215;and Ope´ra de socie´te´, L’ (Giraud), Table 3.3; described, Rousseau, 173;Tables8.1, 8.2;andZa¨ıde, 331 298 Milicien, Le (Duni), 30 Opera seria,phrasestructures,147;invokedby Moncrif, François-Augustin Paradis de, 75; 107; Fuzelier, 101; at Versailles, 9;rejectedby influence, 110; 320; censured by Pluche, 155; Rousseau, 173; debated in France, 210; 215; see Almasis, Isme`ne, Ze´lindor 222;Table8.2; publication, 250;and Mondonville, Jean-Joseph Cassaneá de, 103;as Bouffons, 260;Table10.3; basis of Ernelinde, librettist, 320; 323; 351; as regional voice, 353; 378 see Amour et Psyche´, Carnaval du Parnasse, Orchestra, expansion of, 71; 373; and recitative, Daphnis et Alcimadure, Titon et l’Aurore 371; as author, 322; 336; as composers, Table Monnet, Jean, and the Ope´ra, 20; in London, 248; 7.3; 203; and Berton, 71; 74; and Rousseau, and Troqueurs, 287 149; and Bouffons, 239; 260; 262; 263; 277; Monsigny, Pierre-Alexandre, career, 370; see Aline, and Gluck, 307; and Prince de Noisy, 349; Reine de Golconde and Daphnis et Alcimadure, 356; and Paladins, Montdorge, Antoine Gaultier de, 188; 206; 298; 360 see Feˆtes d’He´be´, Ope´ra de socie´te´ Orfeo ed Euridice (Gluck), and Lully, 26; origins, Mozart, W. A., 387 304; known in Paris, 313; 314; evoked in Aline, Muses galantes, Les (Rousseau), 100; unitary Reine de Golconde, 374; 377 authorship, 133; themes, 134; libretto, 135; 142; ‘Osiris’ (Les Feˆtes de l’Hymen et de l’Amour) named, 140 (Rameau), and acting, 53;dećor, 96; sources, Myrtil et Ze´lie (Royer), Table 1.1 102; described, 115; idealised by Chassiron, 214 Naı¨s (Rameau), programming, Tables 0.1 (1749), Overtures, 226 4.7; 73; 119; mime, 154; Table 4.1 ‘National’ music, ideas of, 181; 189; 215; and Pagin, Jean-Pierre, Table 7.1; 193; 219; 257 Rousseau, 204; 205; and Gluck, 305 Paladins, Les (Rameau), and acting, 38; 49; Noverre, Jean-Georges, rehearses Alceste, 54; sources, Tables 12.3 and 13.2; 323; and Lettres, 227; adapts Ade`le de Ponthieu, 329 Ariosto, 323; and opera buffa, 323; overture, Nymphe de la Seine, La (Bury), Table 1.1 347; described, 357; quoted in Aline, Reine de Golconde, 370 Obbligato recitative, see Rećitatif oblige´ Palmire (Bury), 30 On ne s’avise jamais de tout (Monsigny), 30 Pamela (Richardson), 112; 113; 294

410 Index

Pantomime, at Fairs, 153;atCome´die-Italienne, 153; Phae¨ton (Lully), Tables 0.1 (1742–3, 1749), 1.1; in Castor et Pollux, 84;inDevin du village, 150; updated, 86 154; 156;inEcole des amants, 1534;inNaı¨s, 15 ;in Philidor, François-Andre´ Danican, at Versailles, Scaltra governatrice, 267;inZingara, 269;in 180; arrested, 187; ope´ras-comiques, 370; Aline, Reine de Golconde, 373; ton pantomime, 146 career, 380; The Power of Harmony, 380; Pantomime comique, 337;inIsbe´, 339;inCarnaval du philosophy, 387; see Ernelinde Parnasse, 351;inPaladins, 340 Pigmalion (Rameau), programming, Tables 0.1 Paradis de Moncrif, see Moncrif (1748, 1751–2), 1.1, 1.2, 3.3, 4.7; origins, 178 Paratajo, Il (L’uccellatrice), Tables 3.3, 10.2; 257; 269; Plateé (Rameau), programming, Tables 0.1 (1745, music, 277 1749–50), 4.7; and comic antecedents, 32; 36; Paris Ope´ra, interior, 5;debts,4; 70;tickets,5; training 38; Tables 2.2, 14.5; costumes, 52; virtuosity, of actors, 42;programming,56; 57; 198;Table 185; sources, 345; Table 13.2; described, 346; 3.3; and librettos, 57; management, 58;authorial and Daphnis et Alcimadure, 351; 353 payments, 67;dećors, 68; 230; symbolic status, Pluche, Noe¨l-Antoine, Le Spectacle de la Nature, 180; audience behaviour, 187; 189; 192; 197; 199; 136; 137; paraphrased by Rousseau, 137;by rupture with MercuredeFrance, 220;disparaged d’Aquin, 215; and parure, 138; and romances, by Noverre, 229; experiments in 1750s, 296;in 155; contra Quinault, 209 Tuileries, 304; repertory before 1753,Table0.1; Poinsinet, Antoine Alexandre Henri, career, 370; from 1753,Table12.1 (http://digirep.rhul.ac.uk); 380; and Diderot, 380; see Ernelinde new works, 311; pronunciation at, 312; Poirier, François, as virtuoso, 184 see also Comedy, and Orchestra Politics, as theme, 325; 326; 327; 333; ‘public- Parody, of Armide, 342; of operatic tastes, 350;by interest’ librettos, 369; Table 14.3; and Favart, 281 pamphlets, 190; see Querelle des Bouffons Parterre,behaviour,187; 188; 189; 199;asforum,189 Polixe`ne (Dauvergne), 91; 231; revolving backcloth, Pasticcio, 236 232 Pastoral (operas), programming, 64; definitions, Pompadour, Jeanne-Antoinette Poisson Le 65; 99; 100; new forms, 102; 103; 109; and Normand d’Etioles, Marquise de, as singer, magic, 109; sociopolitical meaning, 101; and 18; alleged influence, 69; allegorised, 101; virtue, 113; and sensibility, 118; and 122; travesti roles, 18; 348 Rousseau, 130; 173; in Britain, 249; ironic Pompadour, Jeanne-Antoinette Poisson Le treatment, 323; languedocienne, 351 Normand d’Etioles, Marquise de, theatre Pastoral-he´ro¨ıque, 94; Tables 4.1, 4.3 group of, 14; 20; Tables 1.3, 1.4; costumes, 52; Patrie, 205; 296;in1755, 326; and Coyer, 327;in1768, acting, 53; performance practice, 119; ‘song- 354 operas’, 125 Patronage (private), 306 Pourceaugnac (Lully), 31; Table 1.3 Patu, Claude-Pierre, 178; 227; 228 Pouvoir de l’Amour, Le (Royer), programming, Pe´lissier, Marie, 40; 182 Tables 0.1 (1743), 1.1; 102; described, 108; 114; ‘Performative’ song, 125; Table 4.8; 260; 299 and Devin du village, 151; virtuosity in, 185 Pergolesi, Giovanni Battista, and Rameau, 22; and Prince de Noisy, Le (Rebel and Francœur), and Grimm, 140; and Rousseau, 146; 148; and de Pompadour, programming, Tables 0.1 Brosses, 177; ‘Pergolesi tag’, 182; 291; 356; and (1749–50), 1.3, 1.4, 3.3, 4.7; 18; 20;dećor, 74; London, 247; see Maestro di musica, Servante source, Tables 12.3 and 13.2; 21; described, 347 maıˆtresse, Serva padrona, Tracollo ‘Prince travesti’ theme, 101; 110; 129; 134 Perseé (Lully), Tables 0.1 (1746–7), 1.1 Prologues (Ope´ra), 79; 321; Naı¨s, 73; Silvie, 40; 97; Petits-Appartements, see Pompadour, theatre Surprises de l’Amour, 97; Scylla et Glaucus, 113; group of Titon et l’Aurore, 320; 334; Isbe´, 339; Caracte`res

Index 411

de la Folie, 339; Plateé, 344; 345; Carnaval du Recitative, song-like, 126; performance of, 223; Parnasse, 350; Daphnis et Alcimadure, 352 ‘Franco-Italian’, 281; in smaller theatres, 285; Prometheus, 108, 116, 226, 320–1, 336–7 in Les Troqueurs, 287; ‘Italian’ notation, 297; Proserpine (Lully), Tables 0.1 (1742), 3.3; 166 La Dixmerie and, 312; reducing pattern, Public, Paris Ope´ra, 3; and Pluche, 138; public Table 14.4;inAline, Reine de Golconde, 376;in good, 68; 89; 327; public order, xxii; 219; Ernelinde, 382; 390 public interest, 368 Reform (of opera), 26; 42; 58; 67; 71; 94; 133; 150; Pyrame et Thisbe´ (Rebel and Francœur), 167; 169; 175; 181; 189; 212; 216; 225; 231; Table 1.2; 46 La Dixmerie and, 312 Re´mond de Saint-Mard, Toussaint, Re´flexions sur Quantz, Johann Joachim, 181 l’ope´ra, 162; 209 Queen’s Concerts, 11; Tables 1.1, 1.2; 68 Rex, Walter, 123; 144 Querelle des Bouffons, La, 161; as currently viewed, Riccoboni, Antoine-François, 244 179; origins, 190; pamphlets, 202; Table 7.2; Riccoboni, Luigi, De la re´formation du theáˆtre, 169 322; women and, 206 Rice, Paul F., 20; 81 Querlon, Anne-Gabriel Meusnier de, Prome´theé, 320 Rinaldo di Capua, see Donna Superba, Zingara Quinault, Philippe, and dance, 27; and resetting, Rochard de Bouillac, Charles-Raymond, 244; 294 85; rewritten, 330; Fajon’s analysis, 89; Roland (Lully), programming, Tables 0.1 (1743–4), disparaged critically, 163; 209; 212; 225; 1.1, 3.3; 31; 165; 166; 190; 330 Table 8.2; admired, 165; 167; 173; and de Romance,inDevin du village, 134; and weeping, 155; Brosses, 175; 177 in Titon et l’Aurore, 335; in public debate, 370; and Aline, Reine de Golconde, 376; Rameau, Jean-Philippe, and Italian opera, 22;at Rosow, Lois, 7; 370 Fontainebleau, 24; and Ope´ra, 67; reception, Rousseau, Jean-Jacques, in Lyons, 171; La 207; 215; 226; Table 12.2; revisions, 59; Dećouverte du nouveau monde, 172; 316; ‘Lettre’ performance, 41; word-setting, 98; recurring [1745], 137; 173; and Pompadour, 18; eulogy of motifs, 126; and Rousseau, 133; and Noverre, Chasse´, 42; and Rameau, 133; 140; 141; ‘First 140; 141; 172; 229; Table 5.2; see Acante et Discourse’, 139; 144; Symphony, 136; Ce´phise, Castor et Pollux, Daphnis et Egle´, participates in Querelle, 194; Lettre a` M. Dardanus, Feˆtes de l’Hymen et de l’Amour, Feˆtes Grimm, 135; 142; 148; Table 5.2; 194; Lettre sur de Polimnie, Feˆtes d’He´be´, Hippolyte et Aricie, la musique françoise, 150; 161; 172; 203; 204; 227; Indes galantes, Naı¨s, Paladins, Plateé, Surprises 239; Lettre d’un symphoniste, 203; Lettre a` M. de l’Amour, Temple de la Gloire, Zoroastre D’Alembert, 168; and Serva padrona, 253; and Realism, and comic opera, 259; in Goldoni, 270; Zingara, 273; and Gluck, 314; and character, desired by Lacombe, 316;inSilvie, 20;in 314; recants, 315; see Devin du village Amours de Tempe´, 97;inDaphnis et Roy, Pierre-Charles, 31; 101; as polemicist, 190; Alcimadure, 352; 354; 355;inAde`le de Ponthieu, 210; Table 8.2; see Callirhoe´, Ele´ments 319; 328; 375;inErnelinde, 375;inAline, Reine Royer, Pancrace, as administrator, 180; 190; 194; de Golconde, 375 Tables 3.1, 7.1; see Almasis, Pouvoir de l’Amour, Rebel, François, duties, 11; 26; 42; 44; 57; 58; 69;as Zaı¨de, Reine de Grenade conductor, 67; 71; as editor, 85;as administrator, 230; 381; Tables 3.2, 7.3, 12.2; Sabinus (Gossec), 55 for operas, see Francœur ‘Sacrifice’ dramas, 46; 89; 90; 102; 225; 364; 365; 381 Rećitatif oblige´, historical outline, 46; in Bouffon Sarmatia, 134; 326 repertory, Table 2.3, 253; advocated by Scaltra governatrice, La, and Ope´ra, 267; described, Diderot, 225 268; music, 274; 275; Tables 2.3, 9.1, 10.2, 10.3

412 Index

Scanderberg (Rebel and Francœur): programming, Surprises de l’Amour, Les (Rameau), programming, Tables 1.1, 1.2; 30; source, Table 12.3; Tables 0.1 (1748), 1.3, 1.4, 3.3; Masonic described, 319; 327 reference, 103; and magic, 105; motifs in, 126 Sce`nes, definition, 97; 98; and sensibility, 118;in Sylphs, 97; 110; 285; 348 Devin du village, 143; found boring, 222; 312; interrupted, 334; 373; 381; debated, 370 Talents lyriques, Les, see Feˆtes d’He´be´ Scylla et Glaucus (Leclair), programming, Table 0.1 Taste, schisms in, 191; 192; 218; after mid-century, (1746); 15; Prologue, 113; and rećitatif oblige´, 305; challenged by Plateé, 344; and by 47; described, 78; 79; plan, 80; concept, 81; Paladins, 324; see Argenson, Rene´-Louis d’, 118; and magic, 105; Table 3.4 Colle´, Charles, Italian music, Parterre Sedaine, Michel-Jean, Le Diable a` quatre, 227; Terrasson, Jean, Sethos, 102; 109; as Freemason, critiqued by Colle´, 293; 313; and Choiseul, 107 325; ope´ras-comiques, 370; see Aline, Reine de Theories, of French language and music, 161; 172; Golconde 222; of opera, 163; 165; 166; 170; 225; of Italian Segmentation (text), 81; 126; 275 opera, 163; 174; 175; of listening, 167;of Se´reńade veńitienne, La (Campra), 32; Figs. 2.1, 2.2 Rousseau, 173; see Algarotti, Grimm, Servandoni, Giovanni Niccolo`, 29; at Ope´ra, 73;at Marmontel, Voltaire Tuileries, 74; 76; Les Travaux d’Ulisse, 29; The´seé (Lully), programming, 12; 25; Tables 0.1 Leándre et He´ro, 29 ; La Foreˆt enchanteé, 74; (1744–5), 1.1, 3.3;in1741, 163;in1744, 163; 337; La Constance couronneé, 230; 309; Scanderberg, in 1754–5, 190; 208; 220; ‘prince travesti’ 319 tradition, 110; and Rousseau, 173 Servante maıˆtresse, La (Pergolesi, transl. Baurans), The´seé (Mondonville), 85; 87 293; Fre´ron’s eulogy, 293 Thuret, Euge`ne de, 67; Table 3.2 Serva padrona, La (Pergolesi), programming, 23; Titon et l’Aurore (Bury), programming, Tables 0.1 Tables 0.1 (1752), 3.3; themes, 143;in1746, 243; (1750–2), 1.3, 1.4; genre, Table 4.3 in London, 246; 247; ed. Rousseau, 146; 253; Titon et l’Aurore (Mondonville), Table 3.3; and style, 146; owned by de Brosses, 176; Pompadour, 18; style, 19; promoted, 208; reviewed, 258; Table 10.2; Fig. 10.2 Prologue, 116; 321; origins, 79; 320; described, Sie`ge de Calais, La (de Belloy), 326 334; music, 54; 334; Table 13.1 Silvie (Berton and Trial), 20; and acting, 40; 49; 55; Tonelli, Anna, Fig. 9.1; 241; roles, 273; reception, source, Table 12.3; performances, Table 14.2; 252; 267;inScaltra governatrice, 275;in modernity, 370 Zingara, 276;inJaloux corrige´, 283; as model Silvie (La Garde), programming, Tables 0.1 (1749), for M.-J. Favart, 24; 285 1.3; 20; 99; metrics in, 100; source, Table 12.3 Tracollo (Livietta e Tracollo) (Pergolesi), 177; 240; Singing, and Blanchet’s treatise, 43; embellished, dedication, 255; described, 263; parody, 262; 184; 196; criticised publicly, 219;inintermezzi, Table 10.2 238; and Italian virtuosi, 274; Tables 10.1, 10.3; Trage´die en musique, programming, 59; 64; see Arnould, Cuvillier, Chasse´, Fel, Je´lyotte, theorised, 77; 78; 225; see Divertissements, Le Rochois, Manelli, Somis, Tonelli Recitative, Sce`nes Slodtz (brothers), invoices, 21; 96; see Figs. 1.1, 1.2 Travesti roles, male to female, 35; 37; 309; 345; Sodi, Carlo, Baiocco et Serpilla, 314; and Orfeo, 314 female to male, 35; 286; 348; 349 Somis, Cristina, 140; 183 Tre´fontaine, Joseph Gueńot de, Table 3.1; 68; 69 Sonata form, in Berton, 86;inDevin du village, 146; Trial, Jean-Claude, 70; 308 150;inTroqueurs, 290; in Gluck, 307;inIsbe´, Tribou, Denis, 32; 37 337;inPaladins, 360;inErnelinde, 389; Troqueurs, Les (Dauvergne), 205; origins, 249; 281; Table 14.7 at Ope´ra, 65; rehearsed, 287; described, 288;

Index 413

292; ensembles, 295; Tables 11.2, 11.3; Colle´’s Waeber, Jacqueline, 48; 150 view, 293 Weber, William, 57–8; 61; 207

Unigenitus (Bull), 200; 205; 209; 216 Zaı¨de, Reine de Grenade (Royer), programming, Unitary authorship (of opera), and Rousseau, 133; Tables 0.1 (1745), 1.1, 3.3, 13.1; 31; 185; in theory, 164; and Mondonville, 320; 323; 351; source, Table 12.3; described, 331; see Devin du village music, 333 Zaı¨s (Rameau), programming, Tables 0.1 (1748), Vade´, Jean-Joseph, 281; 288; see Troqueurs 4.7; 68; 97; 99; 334; described, 111; 116 Vaudevilles, closing, 287; defined, 282 Ze´lie (Ferrand): programming, Tables 0.1 Versailles, and the Come´die-Italienne, 19; small (1749–50), 1.3; 15; 19; 21; magic, 105; intimacy, theatre, 6; 30; Grande Ecurie theatre, 7; 119; pas de trois, 154 Figs. 1.1, 3.1; and Italian music, 180; and Ze´lindor, Roi des sylphes (Rebel and Francœur), ope´ra-comique, 304; 313; see also Pompadour, programming, Tables 0.1 (1745–7, 1749–50, theatre group of; Queen’s Concerts 1752), 1.1, 1.2, 1.3, 4.7; at Versailles, 23; Viaggiatori, I (Il giramondo), 245; music, 274; described, 110; 111; 119 reception, 272; Table 10.3 Zingara, La (Rinaldo di Capua), Tables 3.3, 10.2, Villeneuve, Daniel Jost [Josse] de, 189; 215; 10.5; origin, 256; 270; chorus, 266; Table 8.2 dance, 269; 273; described, 276; Fig. 9.1; Virtue, invoked by Coyer, 327;inAde`le, 328;in Rousseau’s mock-preface, 273; Ernelinde, 381 parodied, 293 Voisenon, Claude Henri Fuseé de, and Hommes de Zoroastre (Rameau), programming, Tables 0.1 Prome´theé, 320 (1749–50), 1.1, 4.7; 61; and trage´die, 79; design, Voltaire (François-Marie Arouet), as librettist, 93; 5; 81; 368; and Louis XV, 79; genre, 94; 95; 104; 110; and Metastasio, 114; 210;Table8.2; magic in, 103; morality, 112; politics, 113; 326; and La Marre, 330; influence of Alzire, 312; 314 compared to Italian opera, 86; Vraisemblance, 79; 83; 99; 212; 276 demonstrations over, 191