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 Galate´e (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;de´cors, 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 re´citatif 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 Alphe´eetAre´thuse (Dauvergne), 10 Augustales, Les (Rebel and Francœur): Amadis de Gaule (Lully), Tables 1.1, 3.3;de´cors, 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 Isme´nias, 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-Franc¸ois, 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 re´citatif 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;de´cors, 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, Franc¸ois-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, Franc¸ois-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;inPlate´e, 347;inPrince de Noisy, (1743), 1.1; described, 89 348;inErnelinde, 381; 383; 390; Table 14.6 © 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 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 meˆle´e d’ariettes, defined, 292; 293 91; 288; 290; 291; see Alphe´eetAre´thuse, Comedy (in French opera), 31; 337; Table 13.2; Amours de Tempe´, Canente, Coquette trompe´e, Figs. 2.1, 2.2, 13.1 Ene´e et Lavinie, Polixe`ne, Troqueurs Compie`gne (entertainment at), 10; 11; 14; 30 David, Jacques, 172 Concert series (new), 307 De´cors, 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 trompe´e, 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,