The Operas of Jean-Baptiste Lully and the Negotiation of Absolutism

216796

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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 iii 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 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. expansion of royal authority. This had two main effects. On the one hand, as vehicles of propaganda, tragédies 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 many provincial artists altered or satirized tragédies, deliberately keying their modifications to critique royal intervention positively or negatively in local affairs.

Scholars 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 Dissertation Advisor: Kate van Orden Natasha Roule iv régime intervention in the historiography of early modern French absolutism, retold through opera. v

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 Tragédies en musique in Lyon, 1687-1707 69

3 Tragédies en musique in Lyon, 1713-1750 142

4 Rewriting Atys in Rennes, 1689 209

5 Divertissements in Strasbourg, 1732-1736 246

6 Ongoing Negotiations 283

Bibliography 305

Appendices 335

vi

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 vii 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

3451675101112113141155111621711720211220512223242425111162612045127530132021112021131611314131321213242320211233121161204513410516354136101337211635512401

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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 iii 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 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. expansion of royal authority. This had two main effects. On the one hand, as vehicles of propaganda, tragédies 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 many provincial artists altered or satirized tragédies, deliberately keying their modifications to critique royal intervention positively or negatively in local affairs.

Scholars 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 Dissertation Advisor: Kate van Orden Natasha Roule iv régime intervention in the historiography of early modern French absolutism, retold through opera. v

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 Tragédies en musique in Lyon, 1687-1707 69

3 Tragédies en musique in Lyon, 1713-1750 142

4 Rewriting Atys in Rennes, 1689 209

5 Divertissements in Strasbourg, 1732-1736 246

6 Ongoing Negotiations 283

Bibliography 305

Appendices 335

vi

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 vii 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