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Thus, this tragédie en musique (not revived since 1712), is more than a large-scale entertainment for the court of the city in the manner of ancient Greeks and Grand Siècle tragic playwrights, it is based on the power of Myth, with the understanding that the secular myth of Troy was considered as an equivalent of the myth of the Fall. The work drew from literary sources not previously used at the Académie royale: Homer’s Iliad (Books 9, 15–19, 22, 24), the Ephemeris belli Troiani (Journal of the Trojan War) attributed to Dictys Cretensis (Books 3 and 4), and Virgil’s Aeneid (Book 4) these works, which intend to interpret the question of the tragedy of mankind’s destiny, prompted the authors of the opera to emphasize the natural propensity of human beings towards wars that lead to their destruction. The theme of the opera is love thwarted by hatred between two nations, the love between Achilles, the Greek hero and king, and the Trojan princess Polyxena. This all-encompassing spectacle marked a decisive moment in the history of the genre, at the very least as a bold synthesis of contemporary poetical and operatic practices. ![]() ‘Subjects from the Metamorphoses’, Ladvocat also wrote, ‘do not make good operas’. The preoccupation with a ‘good subject’, which was ‘hard to select’, is notably in evidence in a letter of 13 January 1695 from the scholar Louis Ladvocat to the abbé Jean-Baptiste Dubos, author of Réflexions critiques sur la poésie et sur la peinture (1719), in which he was to offer an overall theory of tragic pleasure. T he subject chosen for a French opera during the Ancien Régime resulted from an enlightened, meticulous assessment that determined its political scope and its musical and theatrical effects. Togu Audio Line TAL-BassLine-101 v1.53 Incl Keygen-R2R. John rutter quotes4The score of Achille et Polyxène, left unfinished by Lully, the ‘Surintendant de la Musique du Roi’ (Overture and Act 1), was completed in a few months by Pascal Collasse (Prologue and Acts 2–5), the ‘Maître de la Chapelle du roi’ and ‘compositeur de la Musique de la Chambre’. 3 In the view of the ‘Petite Académie’, poetry, owing to its fictional power, was the most efficient form of memorialization, since it ‘resisted time’. 2 Librettos were considered privileged vectors for the assertion of royal absolutism, as can be seen from the 13 tragédies set to music by Jean-Baptiste Lully between 16. In this opera, the Iliad was combined with a post-Homeric myth treated by Dictys, narrating the passion of Achilles for the Trojan princess Polyxena. 7 At that time, scholarly milieus were rediscovering Homer, as evidenced by the work of Anne Dacier 8 and the abbé Terrasson, 9 but the operatic stage preceded even these publications. 6Inspired by Homer’s Iliad, the opera was unveiled before the Parisian public on 23 November 1687 by Jean-Nicolas de Francine, the new director of the Académie royale de musique, in association with Lully’s heirs (as per a royal brevet of 27 June 1687). Dedicating the opera to Louis XIV, he stressed that he had endured ‘unbelievable fatigue over the twelve full years when he worked with the world’s most skilful man in bringing forth the productions of his Genius’. Having been Lully’s secretary since 1677 and composer of the ‘middle parts’ of his orchestrations, Collasse was familiar in every respect with the Florentine composer’s writing. 11 Though inspired by Homer, these Renaissance Christian epics differed in one crucial respect: in the words of Michel Woronoff, ‘the originality is to describe a war in which the defeated are as worthy of esteem as their victors and more worthy of pity’. 10References to epic poetry, other than to Ovid’s Metamorphoses, were already in evidence in the last two tragédies en musique by Philippe Quinault and Jean-Baptiste Lully: Roland (1685, after Ariosto) and Armide (1686, after Tasso). Contemporary Italian opera, by contrast, was concerned with the love affair of Achilles and Deidamia, the subject of several works, all with a lieto fine (happy ending). The final catastrophe, inspired by the death of Dido ( Aeneid, Book 4), shows Polyxena, terrified by the spectre of her ‘husband’, immolating herself near the temple of Apollo with the arrow that killed the Greek hero. Wp installCampistron, 20 a member of ‘Racine’s school’, 21 was secretary to Vendôme. It was at the château of Anet, residence of the Vendôme princes, that Campistron’s and Lully’s pastorale héroïque Acis et Galatée was staged on 6 September 1686 in honour of the Grand Dauphin. When Louis XIV stopped attending operas after Armide (under the pressure of the dévots and the clergy and the influence of Mme de Maintenon, leading to Quinault’s retirement and Lully’s disgrace), 19 the influences of the Grand Dauphin and the ‘Grand Vendôme’ (and his brother Philippe, the ‘Grand Prieur’) were strengthened. 17 A ‘court of Meudon’ 18 gathered around the Grand Dauphin, while another such circle was dominated by the figure of Louis Joseph de Bourbon, duc de Vendôme. 16 Indeed, given the bellicose, intolerant policies of the ‘Roi de guerre’, there were, in France, more or less covert signs of resistance and dissent in certain spheres of influence, even within the king’s entourage. 13 It should also be borne in mind that the tragédie en musique, from Lully to Rameau, was codified by the standards of French neoclassical tragedy, 14 sustained by a ‘verisimilitude of the supernatural’ (to borrow Catherine Kintzler’s phrase), 15 which was particularly original and efficient from an aesthetic standpoint.While these dramatic and aesthetic strategies appear strikingly consistent, it is necessary from a political perspective to shed light on a certain degree of ideological ambivalence and disentangle a complex web of ‘ideological voices’. 23 During the same period (as early as 1681 and also outside Versailles and its climate of austerity), there appeared a musical circle of ‘resistance to the monarchy’, 24 which promoted the Italian style, with the blessing of Philippe d’Orléans.At this critical juncture in the history of absolute monarchy and of Louis XIV’s attitude towards opera, which also corresponds to a period of ‘literary crisis’, 25 it is interesting to examine this first French operatic contribution to the ‘refiguring of Troy’, based on the myth of Achilles and Polyxena, just at the moment when the fall of Troy appears as imminent and ineluctable.
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