Une scénographie de Servandoni conservée pour les spectacles de l'Opéra à Paris: le décor de la ville de Thèbes du Triomphe de l'harmonie (1737)
Identifieur interne : 000108 ( Istex/Corpus ); précédent : 000107; suivant : 000109Une scénographie de Servandoni conservée pour les spectacles de l'Opéra à Paris: le décor de la ville de Thèbes du Triomphe de l'harmonie (1737)
Auteurs : Jérôme De La GorceSource :
- Journal for Eighteenth‐Century Studies [ 1754-0194 ] ; 2009-12.
English descriptors
- Teeft :
- Acte, Aurait, Aussi, Avec, Avril, Bprpc, British society, Cependant, Cette, Comme, Conserv, Crits modernes, Depuis, Dernier acte, Dessin, Dessin conserv, Dont, Effet, Elle, Fois, Fonds, Fonds gary, Galement, Gorce, Grand nombre, Guyot desfontaines, Juin, Lefranc, Lettre, Livret, Lyon, Lyrique, Lyrique parisien, Mercure, Mois suivant, Musique, Notre article, Ouvrages lyriques, Pompignan, Premier acte, Premiers plans, Royale, Servandoni, Tableau, Tait, Triomphe, Ville.
Abstract
Until now, the work of Jean‐Nicolas Servandoni for the lyric stages of Paris has only been known through archival papers, descriptions published in the Mercure de France and a handful of stage plans and sections. However, a drawing held in the Musée des arts décoratifs in Lyon allows us to see for the first time what one of his set designs for the stage of the Opéra may actually have looked like. Thanks to manuscript notes penned on the drawing in the eighteenth century, it is possible to accurately identify and attribute the drawing, of which no detailed examination has previously been undertaken. Although it does not show the stage picture in its entirety, the design – conceived in 1737 for the third entrée of Grenet and Lefranc de Pompignan's opéra‐ballet, Le triomphe de l'harmonie– carries an overlay, showing how a key moment in the drama was staged. It illustrates the moment at which Amphion, to protect the city of Thebes from attack by savages, magically causes new walls to rise into place ‘par le charme de sa voix’. Unpublished sources offer evidence of this scene's success, which was due in no small part to Servandoni, and to his involvement in the production just before he left the Opéra to create some even more spectacular settings at the Salle des Machines in the Tuileries Palace.
Url:
DOI: 10.1111/j.1754-0208.2009.00228.x
Links to Exploration step
ISTEX:652A466D396868121F177D6D0D4FBC5032D43539Le document en format XML
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Unpublished sources offer evidence of this scene's success, which was due in no small part to Servandoni, and to his involvement in the production just before he left the Opéra to create some even more spectacular settings at the Salle des Machines in the Tuileries Palace.</div></front></TEI><istex><corpusName>wiley</corpusName><keywords><teeft><json:string>servandoni</json:string><json:string>cette</json:string><json:string>mercure</json:string><json:string>ville</json:string><json:string>lefranc</json:string><json:string>dont</json:string><json:string>triomphe</json:string><json:string>british society</json:string><json:string>dessin</json:string><json:string>pompignan</json:string><json:string>lettre</json:string><json:string>avec</json:string><json:string>juin</json:string><json:string>effet</json:string><json:string>acte</json:string><json:string>gorce</json:string><json:string>galement</json:string><json:string>aussi</json:string><json:string>livret</json:string><json:string>cependant</json:string><json:string>conserv</json:string><json:string>comme</json:string><json:string>avril</json:string><json:string>lyrique</json:string><json:string>aurait</json:string><json:string>depuis</json:string><json:string>bprpc</json:string><json:string>fonds gary</json:string><json:string>elle</json:string><json:string>tait</json:string><json:string>fois</json:string><json:string>royale</json:string><json:string>musique</json:string><json:string>tableau</json:string><json:string>fonds</json:string><json:string>dessin conserv</json:string><json:string>premiers plans</json:string><json:string>premier acte</json:string><json:string>notre article</json:string><json:string>lyon</json:string><json:string>grand nombre</json:string><json:string>ouvrages lyriques</json:string><json:string>dernier acte</json:string><json:string>lyrique parisien</json:string><json:string>mois suivant</json:string><json:string>guyot desfontaines</json:string><json:string>crits modernes</json:string></teeft></keywords><author><json:item><name>JÉRÔME DE LA GORCE</name><affiliations><json:string>CNRS</json:string></affiliations></json:item></author><subject><json:item><lang><json:string>eng</json:string></lang><value>Jean‐Nicolas Servandoni</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>scenography</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>decor</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Académie royale de musique / Opéra</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>François‐Lupien Grenet</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Jean‐Jacques Lefranc de Pompignan</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>opera‐ballet</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Le triomphe de l'harmonie</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Salle des Machines</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Palais des Tuileries</value></json:item></subject><articleId><json:string>JECS228</json:string></articleId><arkIstex>ark:/67375/WNG-P89C6992-K</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>article</json:string></originalGenre><abstract>Until now, the work of Jean‐Nicolas Servandoni for the lyric stages of Paris has only been known through archival papers, descriptions published in the Mercure de France and a handful of stage plans and sections. However, a drawing held in the Musée des arts décoratifs in Lyon allows us to see for the first time what one of his set designs for the stage of the Opéra may actually have looked like. Thanks to manuscript notes penned on the drawing in the eighteenth century, it is possible to accurately identify and attribute the drawing, of which no detailed examination has previously been undertaken. Although it does not show the stage picture in its entirety, the design – conceived in 1737 for the third entrée of Grenet and Lefranc de Pompignan's opéra‐ballet, Le triomphe de l'harmonie– carries an overlay, showing how a key moment in the drama was staged. It illustrates the moment at which Amphion, to protect the city of Thebes from attack by savages, magically causes new walls to rise into place ‘par le charme de sa voix’. 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However, a drawing held in the Musée des arts décoratifs in Lyon allows us to see for the first time what one of his set designs for the stage of the Opéra may actually have looked like. Thanks to manuscript notes penned on the drawing in the eighteenth century, it is possible to accurately identify and attribute the drawing, of which no detailed examination has previously been undertaken. Although it does not show the stage picture in its entirety, the design – conceived in 1737 for the third <hi rend="italic">entrée</hi> of Grenet and Lefranc de Pompignan's <hi rend="italic">opéra‐ballet</hi>, <hi rend="italic">Le triomphe de l'harmonie</hi>– carries an overlay, showing how a key moment in the drama was staged. It illustrates the moment at which Amphion, to protect the city of Thebes from attack by savages, magically causes new walls to rise into place ‘par le charme de sa voix’. Unpublished sources offer evidence of this scene's success, which was due in no small part to Servandoni, and to his involvement in the production just before he left the Opéra to create some even more spectacular settings at the Salle des Machines in the Tuileries Palace.</p></abstract><textClass><keywords xml:lang="en"><term xml:id="k1">Jean‐Nicolas Servandoni</term><term xml:id="k2">scenography</term><term xml:id="k3">decor</term><term xml:id="k4">Académie royale de musique / Opéra</term><term xml:id="k5">François‐Lupien Grenet</term><term xml:id="k6">Jean‐Jacques Lefranc de Pompignan</term><term xml:id="k7">opera‐ballet</term><term xml:id="k8"><hi rend="italic">Le triomphe de l'harmonie</hi></term><term xml:id="k9">Salle des Machines</term><term xml:id="k10">Palais des Tuileries</term></keywords><keywords rend="tocHeading1"><term>Articles</term></keywords><keywords rend="tocHeading2"><term>Staging & performance (then & now)</term></keywords></textClass><langUsage><language 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musique / Opéra</keyword><keyword xml:id="k5">François‐Lupien Grenet</keyword><keyword xml:id="k6">Jean‐Jacques Lefranc de Pompignan</keyword><keyword xml:id="k7">opera‐ballet</keyword><keyword xml:id="k8"><i>Le triomphe de l'harmonie</i></keyword><keyword xml:id="k9">Salle des Machines</keyword><keyword xml:id="k10">Palais des Tuileries</keyword></keywordGroup><abstractGroup><abstract type="main" xml:lang="en"><title type="main">Abstract</title><p>Until now, the work of Jean‐Nicolas Servandoni for the lyric stages of Paris has only been known through archival papers, descriptions published in the <i>Mercure de France</i> and a handful of stage plans and sections. However, a drawing held in the Musée des arts décoratifs in Lyon allows us to see for the first time what one of his set designs for the stage of the Opéra may actually have looked like. Thanks to manuscript notes penned on the drawing in the eighteenth century, it is possible to accurately identify and attribute the drawing, of which no detailed examination has previously been undertaken. Although it does not show the stage picture in its entirety, the design – conceived in 1737 for the third <i>entrée</i> of Grenet and Lefranc de Pompignan's <i>opéra‐ballet</i>, <i>Le triomphe de l'harmonie</i>– carries an overlay, showing how a key moment in the drama was staged. It illustrates the moment at which Amphion, to protect the city of Thebes from attack by savages, magically causes new walls to rise into place ‘par le charme de sa voix’. Unpublished sources offer evidence of this scene's success, which was due in no small part to Servandoni, and to his involvement in the production just before he left the Opéra to create some even more spectacular settings at the Salle des Machines in the Tuileries Palace.</p></abstract></abstractGroup></contentMeta><noteGroup><note xml:id="fn1" numbered="no"><p>Après un double cursus universitaire en histoire de l'art et en musicologie, <sc>jérôme de la gorce</sc> est entré en 1980 au CNRS. Directeur de recherche habilité depuis 1997, il enseigne les arts de l'éphémère aux dix‐septième et dix‐huitième siècles (Université de Paris‐IV). Outre de nombreux articles, il a publié, comme principaux ouvrages, <i>Berain, dessinateur du Roi Soleil</i> (Paris, 1986); (en collaboration avec Sylvette Milliot) <i>Marin Marais</i> (Paris, 1991); <i>L'Opéra à Paris au temps de Louis XIV: histoire d'un théâtre</i> (Paris, 1992); <i>Féeries d'opéra: décors, machines et costumes en France, 1645‐1765</i> (Paris, 1997); <i>Jean‐Baptiste Lully</i> (Paris, 2002) et <i>Carlo Vigarani, intendant des plaisirs de Louis XIV</i> (Versailles, 2005).</p></note></noteGroup></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Une scénographie de Servandoni conservée pour les spectacles de l'Opéra à Paris: le décor de la ville de Thèbes du Triomphe de l'harmonie (1737)</title></titleInfo><titleInfo type="abbreviated" lang="en"><title>Une scénographie de Servandoni</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>Une scénographie de Servandoni conservée pour les spectacles de l'Opéra à Paris: le décor de la ville de Thèbes du Triomphe de l'harmonie (1737)</title></titleInfo><name type="personal"><namePart type="given">JÉRÔME</namePart><namePart type="family">DE LA GORCE</namePart><affiliation>CNRS</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="article" displayLabel="article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</genre><originInfo><publisher>Blackwell Publishing Ltd</publisher><place><placeTerm type="text">Oxford, UK</placeTerm></place><dateIssued encoding="w3cdtf">2009-12</dateIssued><copyrightDate encoding="w3cdtf">2009</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><physicalDescription><extent unit="figures">2</extent><extent unit="tables">0</extent><extent unit="formulas">0</extent><extent unit="references">0</extent><extent unit="linksCrossRef">0</extent><extent unit="words">6188</extent></physicalDescription><abstract lang="en">Until now, the work of Jean‐Nicolas Servandoni for the lyric stages of Paris has only been known through archival papers, descriptions published in the Mercure de France and a handful of stage plans and sections. However, a drawing held in the Musée des arts décoratifs in Lyon allows us to see for the first time what one of his set designs for the stage of the Opéra may actually have looked like. Thanks to manuscript notes penned on the drawing in the eighteenth century, it is possible to accurately identify and attribute the drawing, of which no detailed examination has previously been undertaken. Although it does not show the stage picture in its entirety, the design – conceived in 1737 for the third entrée of Grenet and Lefranc de Pompignan's opéra‐ballet, Le triomphe de l'harmonie– carries an overlay, showing how a key moment in the drama was staged. It illustrates the moment at which Amphion, to protect the city of Thebes from attack by savages, magically causes new walls to rise into place ‘par le charme de sa voix’. Unpublished sources offer evidence of this scene's success, which was due in no small part to Servandoni, and to his involvement in the production just before he left the Opéra to create some even more spectacular settings at the Salle des Machines in the Tuileries Palace.</abstract><subject lang="en"><genre>keywords</genre><topic>Jean‐Nicolas Servandoni</topic><topic>scenography</topic><topic>decor</topic><topic>Académie royale de musique / Opéra</topic><topic>François‐Lupien Grenet</topic><topic>Jean‐Jacques Lefranc de Pompignan</topic><topic>opera‐ballet</topic><topic>Le triomphe de l'harmonie</topic><topic>Salle des Machines</topic><topic>Palais des Tuileries</topic></subject><relatedItem type="host"><titleInfo><title>Journal for Eighteenth‐Century Studies</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">1754-0194</identifier><identifier type="eISSN">1754-0208</identifier><identifier type="DOI">10.1111/(ISSN)1754-0208</identifier><identifier type="PublisherID">JECS</identifier><part><date>2009</date><detail type="volume"><caption>vol.</caption><number>32</number></detail><detail type="issue"><caption>no.</caption><number>4</number></detail><extent unit="pages"><start>577</start><end>590</end><total>14</total></extent></part></relatedItem><identifier type="istex">652A466D396868121F177D6D0D4FBC5032D43539</identifier><identifier type="ark">ark:/67375/WNG-P89C6992-K</identifier><identifier type="DOI">10.1111/j.1754-0208.2009.00228.x</identifier><identifier type="ArticleID">JECS228</identifier><accessCondition type="use and reproduction" contentType="copyright">© 2009 British Society for Eighteenth‐Century Studies</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-L0C46X92-X">wiley</recordContentSource><recordOrigin>Blackwell Publishing Ltd</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/WNG-P89C6992-K/record.json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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