The Versailles Opéra Nancy R. Rivers Before the middle of the eighteenth century innovations opera house design in Western Europe. Yet most architectural in the realm of opera house design in France had been rela- historians today are only vaguely familiar with the innovative tively modest. Voltaire first decried the inadequacy of French components that Gabriel integrated within its interior design. theater design in 1749.1 In his L’Architecture françoise of 1752 Distinguished scholars have laid a historical foundation Jacques-François Blondel also disparagingly compared the that enables one to understand the socio-political context in designs of theaters and opera houses in France to those of which the Versailles Opéra was created.3 There is currently, Italy, calling for striking reforms in theater architecture however, no scholarly publication that adequately conveys the throughout France.2 Several architects responded to his call, significance of Gabriel’s final design for the Opéra, leaving inaugurating significant innovations in French opera house readers with an incomplete understanding of his accomplish- design between the years 1753 and 1790. One of these was ments there. Missing are an explanation of Gabriel’s choice Ange-Jacques Gabriel (1698-1782), who constructed the Opéra for the truncated oval plan and a consideration of the indi- at Versailles (Figure 1). Born into one of the leading architec- vidual elements incorporated into the interior design that had tural dynasties in France, Gabriel was a descendant of the an impact upon the structure as a whole. Gabriel’s inclusion renowned seventeenth-century French classical architect of these elements demonstrates his knowledge of Italian the- François Mansart. Upon the death of his father Jacques V ater design and also reveals a number of important sources Gabriel in April 1742, Ange-Jacques was chosen to succeed and theoretical treatises, not fully explored by scholars, that him as Premier Architecte to the King and Director of the may have influenced him. Also missing is a treatment of the Academy. At the time of its completion in 1770 the Versailles Versailles Opéra that would compare it in functional terms Opéra represented the culmination of eighteenth-century court with other European opera houses, or a discussion that would I would like to express my deepest gratitude to Dr. Robert Neuman, who amidst a crowd of young men who leave scarcely ten feet of acting space directed my Masters Thesis from which this paper was derived. His encour- for the actors?” agement, counsel, and knowledge were a constant source of inspiration. I would also like to express my profound appreciation to Dr. Jack Freiberg 2 Jacques-Francois Blondel, L’Architecture françoise, vol. 2 (Paris: C.A. and Dr. Patricia Rose for generously sharing their extensive knowledge Jombert, 1752-56) 14-36. See also Howarth, French Theatre in the Neo- and for providing guidance and support throughout my graduate studies classical Era 462. Blondel states, “What history tells us about the size and and during the preparation of my Thesis. magnificence of the theatres of the Ancients, the remains still existing of several of these monuments and the theatres which have since been built in 1 William D. Howarth, ed., French Theatre in the Neoclassical Era, 1550- Italy […]—to say nothing of those built in England, Germany and else- 1789 (Cambridge: Cambridge UP, 1997) 461. Howarth cites Voltaire from where—all this ought by rights to spare us having describe any of our the- “Dissertation sur la tragédie ancienne et moderne,” Preface to Sémiramis atres here in France, since it is well known that it is not thanks to this kind in Oeuvres complètes de Voltaire, ed. Moland, vol. IV (Paris: Garnier frères: of building that French architecture merits recognition …” 1877-85) 499-500. Howarth presents a synopsis of Voltaire’s message, “I shall never cease to be astonished or to complain at the lack of concern 3 For a comprehensive account of the state of the literature pertaining to the taken in France for making the theatres worthy of the excellent works that Versailles Opéra, see Nancy Rivers, “The Versailles Opéra” (Master’s The- are staged in them and of the nation that so delights in them. [Pierre sis, Florida State University, 2002). André Japy, the architect who restored Corneille’s] Cinna and [Racine’s] Athalie deserve to be played somewhere the Versailles Opéra, produced a beautifully illustrated book on the Opéra’s better than in a tennis court, at one end of which a few tasteless items of restoration. See André Japy, L’Opéra royal de Versailles (Comité national scenery have been set up, and where the spectators are accommodated, con- pour la sauvegarde du château de Versailles, 1958). trary to all notions of order and reason, some standing on the stage itself, For monographs on Ange-Jacques Gabriel see Christopher Tadgell, others standing in what is called the parterre, where they are uncomfort- Ange-Jacques Gabriel (London: Zwemmer, 1978); and Michel Gallet and ably and indecently packed together and where sometimes they rush riot- Yves Bottineau, eds., Les Gabriel (Paris: Picard, 1982). ously upon one another as if in some popular uprising. In the far north of Three scholars have each examined Gabriel’s work in the broader Europe French plays are staged in auditoria infinitely more magnificent, context of eighteenth-century French architecture: Allan Braham, The Ar- better designed and with a good deal more decency. […] A stage that is chitecture of the French Enlightenment (Berkeley and Los Angeles: Cali- properly and correctly designed should be enormous: it must be able to fornia UP, 1980); Jean-Marie Pérouse de Montclos, Histoire de represent at once part of a town square, the peristyle of a palace and the l’architecture française (Paris: Mengès, 1989); Wend von Kalnein, Ar- entrance to a temple. It must be arranged in such a way that, should occa- chitecture in France in the Eighteenth Century (New Haven: Yale UP, sion require, a character may be seen by the audience and yet remain un- 1995). Due to the methodology of their work, the section in their respective seen by other characters.[…] It must be capable of staging great display books devoted to the Versailles Opéra is more general in nature. There are and ceremony. Wherever they are placed, all the spectators must be able to several statements in these works pertaining to historic theater design that see and hear equally well. And how is this possible on a narrow stage, leave the reader with misconceptions concerning Gabriel’s accomplishments. ATHANOR XX NANCY R. RIVERS illustrate Gabriel’s influence upon subsequent European ar- the construction of the court theater next to the chapel, at the chitects. In terms of acoustics and visual clarity for the specta- extreme end of the North Wing of the château. Hardouin- tors, the design of Gabriel’s final plan and its components not Mansart and Carlo Vigarani designed several plans for a per- only surpassed the oval theater designs of Jacques-Germain manent court theater for the North Wing between the years Soufflot at the Grand Théâtre at Lyon (1754) and Pierre-Louis 1685-88.6 Christopher Tadgell states that work on the Opéra Moreau-Desproux at the Palais Royal in Paris (1763-70), two had begun based upon a plan designed by Vigarani, who con- buildings that modern scholars have over-emphasized at structed the Salles des Machines theater within the Tuileries Gabriel’s expense, but ultimately functioned better than sev- in Paris in 1662.7 Plans for the Opéra came to an abrupt halt, eral pre-eminent opera houses erected in the modern age. My however, with the onset of the War of the League of Augsburg. goal is to reinterpret Gabriel’s work at the Versailles Opéra in By the end of the reign of Louis XIV, little more than a plat- an effort to accord it a more significant place in the field of form above the foundation of the Opéra had been completed.8 architectural history. I believe that Gabriel’s final design for Ange-Jacques Gabriel began working on the Versailles the Opéra not only influenced subsequent European architects, Opéra project in the early 1740s. Over the course of a thirty- but also redirected the course of French opera house design year period he was confronted with two major obstacles that toward a grander scale. delayed the completion of his work there until 1770. The first was the lack of available money, since a series of dynastic Early History of the Versailles Opéra wars had drained the King’s coffers. The second was a lack of Versailles had been in dire need of a permanent court adequate space in which to house the Opéra. Although plans opera house long before the time of Gabriel. During the sev- indicate that the Opéra was to be contained within the North enty-two year reign of Louis XIV, over six hundred musical Wing of the château, the garden side of the wing was occu- and dramatical performances were given at court, none of pied by private appartements. Louis XV finally ordered the which was presented within a permanent facility.4 These pro- clearing of these in 1765, freeing up the necessary space to ductions were performed in provisionary settings in various enable Gabriel to complete his plans.9 The Versailles Opéra locations such as the Marble Courtyard, the gardens, the Grand was officially inaugurated on 16 May 1770, serving first as a Stables, or within the château. Everything had to be dismantled banquet hall and later as an Opéra house. The wedding fes- after every performance. tivities of the Dauphin, the future Louis XVI, and Marie A plan located in Stockholm reveals that Louis Le Vau Antoinette were celebrated there.