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Gluck's Armide and the Creation of Supranational Opera By Gluck’s Armide and the Creation of Supranational Opera by Annalise Smith Bachelor of Music History, University of Calgary, 2008 A Master’s Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Musicology in the School of Music Annalise Smith, 2010 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Gluck’s Armide and the Creation of Supranational Opera by Annalise Josefine Smith Bachelor of Music History, University of Calgary, 2008 Supervisory Committee Dr. Michelle Fillion, School of Music Supervisor Dr. Susan Lewis Hammond, School of Music Departmental Member iii Abstract Supervisory Committee Dr. Michelle Fillion, School of Music Supervisor Dr. Susan Lewis Hammond, School of Music Departmental Member Christoph Willibald Gluck’s opera Armide (1777) is an anomaly within the context of his eighteenth-century operatic reform. While all of Gluck’s other libretti had been written as an embodiment of the operatic reform, including his Italian works Orfeo ed Euridice (1762) and Alceste (1767) in addition to the French operas Iphigénie en Aulide (1774) and Iphigénie en Tauride (1779), Armide was based upon the seventeenth- century libretto that Phillipe Quinault had written for Jean-Baptiste Lully, the founder of French tragédie lyrique. The use of Quinault’s libretto drew a direct comparison not only between Gluck and Lully, but also between Gluck and traditional French opera. Setting Armide also required Gluck to incorporate many traditional elements of tragédie lyrique absent in the operatic reform, such as divertissement and ballet. Armide’s departure from the tenets of the reform were so significant that they were criticized by Gluck’s French librettist François-Louis Gand LeBland Du Roullet, who found particular fault with the opera’s lack of dramatic veracity. It is the very incongruity of Armide—its utilization of an antiquated libretto—that makes it key to understanding Gluck’s conception of eighteenth-century opera. Armide provides the best opportunity to explore how Gluck amalgamated the traditional forms and styles of French opera with the goals of Viennese operatic reform. Drawing out connections between tragédie lyrique and the precepts of his reform, Gluck demonstrated iv the composer’s role in strengthening and clarifying the reform qualities as expressed by the libretto. Through musical analysis, this thesis demonstrates that Armide maintains the musical characteristics and dramatic musical construction of Gluck’s earlier reform operas. It also illustrates that while Gluck honoured Lully’s conception of tragédie lyrique, he did not hesitate to improve what he saw as the faults of the earlier operatic style. Gluck’s juxtaposition of the Italian and French operatic traditions in Armide elucidates his creation of supranational opera. Superseding and encompassing both the French and Italian national styles, Gluck enlivened the operatic traditions of both countries while remaining true to his own dramatic and musical conception of opera. v Table of Contents Supervisory Committee.......................................................................................................ii Abstract.............................................................................................................................. iii Table of Contents ................................................................................................................v List of Tables......................................................................................................................vi Acknowledgments .............................................................................................................vii Dedication........................................................................................................................ viii Introduction: The Enigma of Armide ..................................................................................1 Chapter 1: Gluck and the Eighteenth-Century Operatic Reform ........................................7 The Beginnings of the Reform ......................................................................................16 Chapter 2: Quinault’s Armide: A Reformed Libretto?......................................................26 Gluck and the choice of Armide ....................................................................................26 Quinault’s Armide .........................................................................................................30 Armide as Reform libretto .............................................................................................41 Chapter 3: Armide as Reform Opera .................................................................................49 Chapter 4: Armide in the Context of French Opera: Gluck and Lully ..............................83 Conclusion: Gluck, Armide, and the Grand Paradox ......................................................119 Bibliography....................................................................................................................126 Appendix .........................................................................................................................131 Preface to Alceste (1769).............................................................................................131 vi List of Tables Table 1: Text and musical structure of Armide, Act one, scene one .................................75 Table 2: Act three comparison of Gluck and Lully's versions of Armide .........................90 Table 3: Act one, scene two comparison of Gluck and Lully's versions of Armide........104 Table 4: Comparison of Lully and Gluck's orchestra for Armide ...................................111 vii Acknowledgments The work of one would not be possible without the support of many. I am grateful for the love and motivation my family has given me over the course of writing my thesis, especially my mother Cindie Smith, who has unfailingly offered me loving encouragement and a listening ear, and my brother Matthew Kelm. Equal thanks go to the many friends who have graciously discussed, read, and listened to the ideas and music presented in this thesis, in particular my operatic collaborator Julie Heikel (we’ll write that book someday!). To my many friends of Luther House who have been with me every step on the thesis writing process; baking is not enough thanks for the love you have given me. And final thanks to my choir and many friends at Church of the Cross, who offered prayers and inspiration at our every meeting. Over the course of this degree, Dr. Michelle Fillion has provided exceptional support and guidance. It has been a pleasure and an honour to collaborate with her in the course of this thesis, and I am grateful for her time, insightful wisdom, humour, and eagle-eye. I would also like to thank Dr. Susan Lewis Hammond for her continued assistance in the completion and refinement of this thesis. Full-score excerpts from Gluck’s Armide, vol. 3, Sämtliche Werke are reproduced with the permission of Bärenreiter-Verlag, Kassel. This research was supported by the Social Sciences and Humanities Research Council. viii Dedication For my family, both near and far, old, young and yet to come, who have made me what I am and support where I am going. For my friends, who have shared the laughter, the tears, the frustrations, and the joys over the years, and walk with me along the way. Soli Deo Gloria. Introduction: The Enigma of Armide Armide is an enigma in the works of Christoph Willibald von Gluck (1714-1787). Of all his operatic successes, Gluck singled out Armide as the culmination of his career, stating in a 1776 letter to his French librettist François-Louis Gand LeBland Du Roullet: “I have used all the little power that remains to me to complete Armide, and in doing so I have tried to be more painter and poet than musician…I confess I should like to end my career with this opera.”1 Gluck also conceived of Armide as the culmination of his operatic reform. His desire to be both poet and painter was an indication of the import given to text and scenic effects in the opera, as well as his perceived role in creating the entire operatic experience. Armide was a successful and controversial opera. Even before its 1777 premiere in Paris, the opera sparked a pamphlet war that rivalled the Querelle des bouffons of the mid-century, in which Gluck’s supporters and detractors exchanged heated polemics over the merits of the opera and Gluck’s Italianate musical style. Armide was similarly a popular opera at the turn of the twentieth century due to the connections drawn between Gluck’s operatic reform and the music dramas of Richard Wagner. Research on Armide, however, has been limited to short articles or passing mentions in monographs dedicated to Gluck’s reform. The most in-depth studies focus on specific comparisons to Lully, in particular the famous monologue “Enfin il est en ma puissance,” without considering the larger aims of the opera.2 Study of Armide remains eclipsed by not only Gluck’s Italian reform operas, primarily Orfeo ed Euridice (1762) and Alceste (1767), but also his other French operas, most notably Iphigénie en Tauride (1779). 1 Gluck to Du Roullet, Vienna, summer 1776, in Année littéraire 7 (1776): 322–3, quoted in Patricia Howard, Gluck: An Eighteenth-Century Portrait in Letters and
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