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Seeing Sappho in Paris: Operatic and Choreographic Adaptations of Sapphic Lives and Myths Author(S): Samuel N

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Seeing Sappho in Paris: Operatic and Choreographic Adaptations of Sapphic Lives and Myths Author(S): Samuel N Research Center for Music Iconography, The Graduate Center, City University of New York Seeing Sappho in Paris: Operatic and Choreographic Adaptations of Sapphic Lives and Myths Author(s): Samuel N. Dorf Source: Music in Art, Vol. 34, No. 1/2, Music, Body, and Stage: The Iconography of Music Theater and Opera (Spring–Fall 2009), pp. 291-310 Published by: Research Center for Music Iconography, The Graduate Center, City University of New York Stable URL: http://www.jstor.org/stable/41818596 . Accessed: 16/03/2014 12:14 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Research Center for Music Iconography, The Graduate Center, City University of New York is collaborating with JSTOR to digitize, preserve and extend access to Music in Art. http://www.jstor.org This content downloaded from 131.238.16.30 on Sun, 16 Mar 2014 12:14:24 PM All use subject to JSTOR Terms and Conditions Music in ArtXXXIV/ 1-2 (2009) Seeing Sappho in Paris: Operatic and Choreographic Adaptations of Sapphic Lives and Myths Samuel N. Dorf NorthwesternUniversity, Evanston àyi õr)x¿Au ôïa 'ioi Àéye (poovcfëçça0¿ yiv£ö) yes!radiant lyre speak to me becomea voice Sappho,fragment 118.1 Like shards ofbroken pottery, the lifeand works ofSappho (the poet fromLesbos) remainincomplete, scrambled,lost, and yetincredibly alluring. Each writer,singer, actor, composer, reader who encountersthe fragmentedremains of the work and lifeof the historicalSappho hears somethingdifferent from her lyre. Partof the reason forthis is thefractured nature of her work. Today, herlyrical poems existas brokenpieces ofreflective glass: sharp,penetrating, dangerous splintersof the greatworks in which we gaze into,hoping to findthe whole, but instead we only glimpse a fracturedreflection of ourselves. Saved on deteriorating scraps ofpapyrus, or quoted in fragmentsas examples ofstunning lyric poetry by Cicero,Plato, and Longi- nus, traces of Sappho's work exist today as ruins.The mirroringeffect of these fragmentshas been feltin almost every generationin the Westernworld since her death. With each encounter,subjects listen to the endless echo ofher radiantlyre resonating in theepoch in which theylive and adapt hersongs fortheir own timebased upon theirown fantasiesof hertime. This paper looks at threeParisian fantasies of Sappho: Charles Gounod's revisionof his firstopera, Sapho (1851,rev. 1884), Charles Cuvillier's operettaSappho (1912), and the Sapphic music and dramaticactivities held in thegarden ofNatalie CliffordBarney (ca. 1900). For each ofthese productions, musical scores (when theyexist) provide scant informationas to how the authorsand performersimagined the mythsand lives ofSappho; iconographiesources, however, open doors to new readings,illustrating how thesepieces appro- priatedpast Sapphic fictionsto createnuanced and oftensatirical productions. Here, I contendthat visual cultureplayed a privilegedrole in the receptionof these very differentmusical representationsof Sappho historiesand fantasies. ^FaiïOQ. In her landmarkstudy of Sappho's receptionin France,Joan DeJean writes: Sapphois a figmentof the modern imagination. During her recovery by early modern scholars, she was completelya Frenchfantasy. And throughoutthe entire span ofher modern existence, she has remainedlargely a projectionof the French imagination.2 These fantasies,however, take rootin ancientsources. The mythof Sappho's love affairwith Phaon and her leap fromthe Leucadian rock firstappeared in the thirdcentury BC. The great leap, the "kill-or-cure remedyfor hopeless passion" derivesfrom tales ofprimitive ritual sacrifices to Apollo, whichStrabo record- ed in his Geography(18-23 AD) cementingthe legend to Sappho's writingsfor consumption by generations ofwriters. Sappho's connectionto hermale loverPhaon mostlikely stem from a confusionin herpoetry since "Phaon" is anothername forAphrodite's beloved, Adonis. Since Sappho wrotepoems in thevoice ofAphro- © 2009Research Center for Music Iconography CUNY 291 This content downloaded from 131.238.16.30 on Sun, 16 Mar 2014 12:14:24 PM All use subject to JSTOR Terms and Conditions Samuel N. Dorf,Operatic and ChoreographieAdaptations of Sapphic Lives and Myths dite lamentingthe loss of Adonis who perished while huntingwild boars, later interpretersmust have misunderstoodand assumed she was speaking in her own voice not thatof the Goddess of Love. For her Greek descendents,like Plato and Strabo,Sappho was a poetic heroineand a greatmuse.3 Otherearly perceptions of Sappho thatcirculated in thenineteenth century are importantto mentionhere as well; while her life (mythologies)and works received praise at home in ancient Greece, theysuffered condemnationin othercontexts. The Romans in particularvilified and chastisedSappho forthe sensuality and the open homoeroticismof her poetry."For the Roman writersthen Sappho was, at best,a poet oflove; worse, a nymphomaniac;and, worst of all a lover of women/'4 Sapho en France: Reincarnations of Sappho, 1600-1860. Her two legacies (thepoetess/ heroine and thenymphomaniac/ sensualist) wind theirway throughFrench history and culture.When Ovid was in vo- gue in thelate seventeenthcentury, French writers entertained a Roman view ofSappho as a negative,sen- sual, evil woman. EarlyFrench Hellenists, however, tried to rescueSappho, representingher as "the original voice offemale passion/'5 This dualism continuedthroughout the eighteenth century with one group ofart- ists firmlydedicated to preservingthe idea of a pure Sapphic heroine (a Hellenisticreading), and another movementrailing against her (the Orientalist reading). Surprisingly, the Enlightenment followed one Sapphic path, with littleto no speculation on Sappho's female lovers. For the generationof the Marquis de Sade, Sappho was only interestedin men.6 In theearly nineteenth century, Sappho appeared as heroinein post-revolutionaryart and as a dangerous " intellectual"in Napoleonic heroicfiction. At the same timeshe began to develop a followingin women's circles. A great number of portraitsduring this period depict society ladies holding Sappho's lyre. In addition,several representationsof Sappho as a heroicwoman began to appear in the theatre.7 EarlierFrench operas based on the lifeand mythsof Sappho include Vernardde Jochère'sSapho , opera en troisactes (1772); Emphis and Cournol's Sapho (1818); Antoine Reicha's 1822 reworkingof Emphis and Cournol's Sapho,as well as Jean-Paul-EdigeMartini's Sapho premiered in 1795 to a librettoby Constance de Salm (knownas C.M. Pipeletde Leuryand lateras thePrincess von Salm-Reifferscheid-Dyck).8Notable early Sappho operas outside the Frenchtradition include Niccolò Piccinni'sPhaon (1778), and Giovanni Simone Mayr's Saffo, ossia I ritid'Apollo Leucadio (1794), as well as GiovanniPacini's Saffo(1840). Gounod's 1851 opera Sapho was not the firstFrench opera to have a strongfemale heroine,nor the firstto make that heroine Sappho. However, Gounod's succèsd'estime overshadowed all earlier attemptsat operatic portrayalsof Sappho, receivingmoderate praise and revivals to this day. Withthe help ofhis librettist,Émile Augier,Charles Gounod presentsone ofthe favorite mid-nineteenth- centurymyths in the 1884 revisionsof his firstopera from1851 on the historicalSappho: her love forthe young and handsome Phaon, and her sacrificeand faithfulleap fromthe cliffs. The original1851 opera situatesthe chaste Sapho as heroineagainst the debauched courtesanGlycère (a new addition to the storyadded by Augier). While Sapho praises virtueand fidelityin her winningode in the song contestof act I, Glycèreuses trickeryand deceit in act II to get Pythéas to reveal the plans for Phaon' s secretcoup to unseat the tyrantPittacus. In Glycèreand Sapho' s followingduet in act II, Glycère aggressivelyconfronts Sapho, plainlystating that she will tellPittacus about thecoup and how he will then killPhaon ifshe remainswith him. Sapho remainsresolute in her defianceof Glycère, proclaiming "Jamais! Jamais!Non! Non!" however,she finallysuccumbs. In orderto save the attemptedcoup, she resignsherself to let Phaon believe she no longer loves him so he can run offwith Glycère.She renounces her love for Phaon, in an attemptto save his life,and sings a finalaria beforeleaping fromthe cliffs.Gounod's Sapho is dutifuland courageous, a patriotand revolutionary:qualities honored in Frenchwomen ofthe nineteenth- century.Her resolve and heroismare admirable,and heractions befit a revolutionary.9She prefersto accept death and her lover's scorn ratherthan to jeopardize the rebellionof her comrades. My interestlies however in the 1884 version of the work: the fruitof furthercollaboration between Augier and Gounod. Taking up the role of Sapho originallycreated by Pauline Viardot in 1851, Gabrielle Krauss earned praise forher role as thetitle character in 1884.Reviewers of the opera in itsfour-act form with a revised and expanded librettoand additional music observed that the successes of the 1851 version's elementsretained in the 1884 productionwere limitedto Glycèreand Pythéas's duet and Sapho's leap.10 292 This content downloaded from 131.238.16.30 on Sun,
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