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The Operas of Jean-Baptiste Lully and the Negotiation of Absolutism in the French Provinces, 1685-1750

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The Operas of Jean-Baptiste Lully and the Negotiation of Absolutism in the French Provinces, 1685-1750 The Operas of Jean-Baptiste Lully and the Negotiation of Absolutism in the French Provinces, 1685-1750 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Roule, Natasha. 2018. The Operas of Jean-Baptiste Lully and the Negotiation of Absolutism in the French Provinces, 1685-1750. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41126915 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Operas of Jean-Baptiste Lully and the Negotiation of Absolutism in the French Provinces, 1685-1750 A dissertation presented by Natasha Roule to The Department of Music in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the subject of Historical Musicology Harvard University Cambridge, Massachussetts May 2018 © 2018 Natasha Roule All rights reserved. Dissertation Advisor: Kate van Orden Natasha Roule The Operas of Jean-Baptiste Lully and the Negotiation of Absolutism in the French Provinces, 1685-1750 Abstract This dissertation explores the performance history of the tragédies en musique of Jean- Baptiste Lully in the French provinces between 1685 and 1750. During his lifetime, Lully held a monopoly that restricted opera production primarily to the royal court and Paris, where he served as director of the Académie Royale de Musique. Only following his death in 1687 did theaters elsewhere in France begin to stage operas. I concentrate on the performance and reception of Lully’s tragédies in Marseille, Lyon, Rennes, and Strasbourg, four cities characterized by especially rich musical environments or unique political and cultural circumstances. In each place, provincial artists performed, parodied, and adapted the tragédies of Lully, sometimes to the detriment of his patron, Louis XIV, to whose majesty the operas cast frequent allusion. Lully’s operas circulated throughout France during an era marked by an unprecedented expansion of royal authority. This had two main effects. On the one hand, as vehicles of propaganda, Lully’s tragédies lent mobility to the king’s image as an absolutist monarch, functioning analogously to the equestrian statues of Louis XIV that were erected in major cities throughout France, or the chants triumphals and heroic engravings printed in quantity during the Nine Years’ War, the War of Spanish Succession, and the War of Polish Succession. Yet even as some provincial productions of Lully’s operas acted as emissaries of absolutism, many provincial artists altered or satirized Lully’s tragédies, deliberately keying their modifications to critique royal intervention – positively or negatively – in local affairs. Scholars have typically focused on the performance history of Lully’s tragédies in Paris or at court. By looking beyond these geographic boundaries, I demonstrate how this repertoire fabricated, refabricated, and deconstructed the image and meaning of sovereignty in ancien iii Dissertation Advisor: Kate van Orden Natasha Roule régime France. More than an alternative history of Lully’s operas, my dissertation is an intervention in the historiography of early modern French absolutism, retold through opera. iv Table of Contents Acknowledgements vi List of Figures viii List of Tables xi List of Appendices xiii Library and Archival Sigla xv A Note on Translations xvi Introduction: The Death and Afterlife of Jean-Baptiste Lully 1 1 Modeling Lully in Marseille, 1685-1687 25 2 Reactions to Lully’s Tragédies en musique in Lyon, 1687-1707 69 3 Performing Lully’s Tragédies en musique in Lyon, 1713-1750 142 4 Rewriting Atys in Rennes, 1689 209 5 Lully’s Divertissements in Strasbourg, 1732-1736 246 6 Ongoing Negotiations 283 Bibliography 305 Appendices 335 v Acknowledgements Much of this project was researched during a challenging time for the French nation. My research stays in Paris in 2015 and 2016 coincided with the Charlie Hebdo, Hyper Cacher, and Bataclan Concert Hall terrorist attacks that struck the city, and with the period of national mourning that followed. My commiseration with the security guard at the BnF Département de la Musique over the families who lost loved ones in the attacks remains especially vivid in my memory. My research was illuminated, however, by the enthusiasm for French baroque music that many French friends and acquaintances were eager to share with me. From conversing over dinner with musicians on the footsteps of the Palais Royal about French baroque dance to swapping stories about modern stagings of Les Indes galantes with a Strasbourgeois family on a RER to Fontainebleau, learning about the enduring meaning that French baroque music has for people today was a bright light in an otherwise somber period. I was fortunate throughout this time and in the subsequent years during which I wrote this dissertation to benefit from the extraordinary support of my advisor, Kate van Orden, and my committee readers, Kay Kaufman Shelemay and Carolyn Abbate. Their wisdom, patience, and nuanced perspectives about French baroque opera and how one goes about studying it have been invaluable to me. I am also grateful to the many scholars who offered research guidance at each stage of this project, including John Hajdu Heyer, Rebekah Ahrendt, Catherine Gordon, Lois Rosow, and Pascal Lefts, as well as Claire Fontijn and Laura Jeppesen, who both sparked my interest in French baroque music during my undergraduate years at Wellesley College. I am indebted to Cynthia Verba for her assistance in helping me articulate my project at its earliest stages as well as its later phases, when it had transformed into something rather different from what I had initially set out to accomplish. I extend particular gratitude to the many musicians vi who offered their time in sharing their thoughts about Lully’s music with me, especially members of Opera Atelier, Les Arts Florissants, and the Boston Early Music Festival. A scholar is powerless without the support of archivists and librarians. In addition to the staff of the Bibliothèque Les Champs Libres in Rennes, the Brooklyn Academy of Music Archives, the Bibliothèque Méjanes in Aix-en-Provence, and the Archives municipales in Lyon, I am especially grateful for the assistance of Yann Kergunteuil at the Bibliothèque municipale de Lyon, Jean-François Delmas at the Bibliothèque Inguimbertine in Carpentras, François-Pierre Goy at the Bibliothèque nationale de France, and Christina Linklater at the Harvard University Edna Kuhn Loeb Music Library. I am likewise grateful for the support of the American Council of Learned Societies, which awarded me a Mellon/ACLS Dissertaton Completion Fellowship and the Society for Seventeenth-Century Music, which awarded me an Irene Alm Memorial Prize, and to Wellesley College and the Council of Independent Colleges, whose funds enabled me to pursue research abroad. This dissertation is lucky to have been read in part and at various stages by a community of generous readers. I am especially grateful to Monica Hershberger, Katie Callam, Caitlyn Schmid, Diane Oliva, Emerson Morgan, Steffi Probst, and Rujing Hwang. I also thank Elaine Fitz Gibbon, Sarah Koval, and Valentina Grub for their support and encouragement as I reached the final stages of my writing. I am likewise thankful to those who offered their friendship during the darker hours of my time in France, especially Dominique, Roger, Mark, and Gilberte. Finally, I could not have persisted in this project without the support of my mother, Lorie, my father, Norman, and my other family members, and especially my sister, Ali, and my husband, Ian. vii List of Figures Figure 1 Detail of Second Tome, pg. 31 8 US-CAward M1505.L94 O6 1700 Figure 1.1 Pierre Gautier’s performance sites 30 Detail of Alexis-Hubert Jaillot, Carte particulière des postes de France, 1690 Figure 1.2 Comparison of two signatures of Pierre Gautier 31 Figure 1.3 Comparison of Gautier’s “Ouverture de la Paix” 46 to the overture of Lully and Corneille’s Psyché, tragédie mise en musique Figure 1.4 The A section of Gautier’s Sommeil 54 Paris: Christophe Ballard, 1707 Figure 1.5 Opening of Gautier’s Chaconne in F 63 Paris: Christophe Ballard, 1707 Figure 1.6 Fifth and sixth variations of Gautier’s Chaconne 64 Figure 1.7 “Ouverture de Gautier” 65 F-C MS 2436. Fol. 81r. Figure 2.1 Headpiece of Armide, tragédie en musique 69 Lyon: Thomas Amaulry, 1698 Figure 2.2 After Martin Desjardins, Equestrian Statue of Louis XIV. 85 Harvard Art Museums/Fogg Museum, Alpheus Hyatt Purchasing Fund Figure 2.3 Medal by Jan Smeltzing depicting Louis XIV as Phaëton 95 The Netherlands, 1706. The British Museum, G3,FD.297 Figure 2.4 Opening of “Hélas! Une chaîne si belle” 104 From Lully and Quinault’s Phaëton Paris: Christophe Ballard, 1683 Figure 2.5 Opening of “Le Sort de Phaëton” 105 Paris: Christophe Ballard, 1683 Figure 2.6 Ending of “Le sort de l’Opéra” 107 Lyon: Thomas Amaulry, Hilaire Baritel, Jacques Guerrier, 1694 Figure 2.7 Final page of Nicolas Barbier, Les Eaux de Mille-Fleurs 127 Lyon, 1707 viii Figure 2.8 Verses of the final minuet in Les Eaux de Mille-Fleurs 130 Figure 2.9 Protée’s entrance, “Prenez soin sur ces bords” 139 Paris: Christophe Ballard, 1683 Figure 3.1 Charles Grandon, Inauguration de la Statue de Louis XIV (1713) 145 Lyon Musée des Beaux-Arts Figure 3.2 Claude Séraucourt, Plan de Lion levé par le Sr. C. Seraucourt 153 London, 1746. Figure 3.3 Plan de Lion levé par le Sr. C. Seraucourt, 153 Detail of the Hôtel du Concert Figure 3.4 Card listing character names and voice types in Thésée 158 F-LYm Rés FM MS 27295 Figure 3.5 “Aimable Jeunesse” 177 F-LYm Rés FM MS 27256 Figure 3.6 Agréments at the opening of the B section in “Chacun est obligé” 178 F-LYm Rés FM MS 27256 Figure 3.7 Agréments at the opening of “Pourquoy se deffendre” 179 F-LYm Rés FM MS 27256 Figure 3.8 Trill in “Que fais-tu” 179 F-LYm Rés FM MS 27256 Figure 3.9 “Aimable jeunesse,” excerpt, in Psyché 180 Paris: J.B.
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