Rousseau and Favart at Fontainebleau, Pergolesi at Versailles
Identifieur interne : 000493 ( Istex/Corpus ); précédent : 000492; suivant : 000494Rousseau and Favart at Fontainebleau, Pergolesi at Versailles
Auteurs : David CharltonSource :
- Journal for Eighteenth‐Century Studies [ 1754-0194 ] ; 2009-12.
English descriptors
- Teeft :
- Andrea fabiano, Archives nationales, Average takings, Black beard, Bouffons, British society, Carracteres magique, Charlton, Cour, Court theatre, David charlton, Devin, Favart, Fontainebleau, Grande ecurie, Independent policy, Invoice, Isaak iselin, Italian intermezzi, Jacqueline waeber, Lormel imprimeur libraire, Louis bays, Menus plaisirs, Musique, November, October, Original form, Padrona, Pergolesi, Peruques neuves, Plumes blanches, Royal entertainments department, Same year, Serva, Serva padrona, Studies rousseau, Takings, Trois chapitres, Versailles, Waeber.
Abstract
The French court, far from being caught off guard by the arrival of the Bouffons in 1752, had in fact been pursuing an independent policy which favoured the performance of operas since 1745. In 1749, it was its taste for spectacle that prompted the court to purchase buildings at Fontainebleau which would make it possible to house the staffs of the Royal Entertainments Department (les Menus‐Plaisirs), the workshops and stage properties departments, and to install a small rehearsal room. Three years later, Louis Bays de Cury, who was in overall charge of the Royal Entertainments Department, seized the opportunity of putting on Rousseau's Le devin du village. Two documents preserved in the French National Archives (O1 2991 and O1 2992) reveal the details not only of the extraordinary expenses incurred in the journeys to Fontainebleau, but also the particularly mixed styles of programming. They also give details of the costumes made for Le devin and other performances, which in some instances enhance our understanding of the stage practice of the Italian actors. In 1752, the passion for opera spread from Fontainebleau to Versailles, where the stage of the Salle de Comédie, located in the south wing of the palace, was subsequently enlarged in order to house not only the Bouffons, but also to permit the staging of Zélindor, roi des Silphes, a ballet by Moncrif, Rebel and Francœur. Zélindor was also staged at Versailles in 1745, but that was on a stage erected in the Grande Ecurie, which was destroyed by fire in 1751.
Url:
DOI: 10.1111/j.1754-0208.2009.00229.x
Links to Exploration step
ISTEX:84EED0B28CFF5CAE627D4824617A9ACD979D1C89Le document en format XML
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In 1752, the passion for opera spread from Fontainebleau to Versailles, where the stage of the Salle de Comédie, located in the south wing of the palace, was subsequently enlarged in order to house not only the Bouffons, but also to permit the staging of Zélindor, roi des Silphes, a ballet by Moncrif, Rebel and Francœur. 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In 1752, the passion for opera spread from Fontainebleau to Versailles, where the stage of the Salle de Comédie, located in the south wing of the palace, was subsequently enlarged in order to house not only the Bouffons, but also to permit the staging of Zélindor, roi des Silphes, a ballet by Moncrif, Rebel and Francœur. 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In 1749, it was its taste for spectacle that prompted the court to purchase buildings at Fontainebleau which would make it possible to house the staffs of the Royal Entertainments Department (<hi rend="italic">les Menus‐Plaisirs</hi>), the workshops and stage properties departments, and to install a small rehearsal room. Three years later, Louis Bays de Cury, who was in overall charge of the Royal Entertainments Department, seized the opportunity of putting on Rousseau's <hi rend="italic">Le devin du village</hi>. Two documents preserved in the French National Archives (O<hi rend="superscript">1</hi> 2991 and O<hi rend="superscript">1</hi> 2992) reveal the details not only of the extraordinary expenses incurred in the journeys to Fontainebleau, but also the particularly mixed styles of programming. They also give details of the costumes made for <hi rend="italic">Le devin</hi> and other performances, which in some instances enhance our understanding of the stage practice of the Italian actors. In 1752, the passion for opera spread from Fontainebleau to Versailles, where the stage of the Salle de Comédie, located in the south wing of the palace, was subsequently enlarged in order to house not only the Bouffons, but also to permit the staging of <hi rend="italic">Zélindor, roi des Silphes</hi>, a ballet by Moncrif, Rebel and Francœur. <hi rend="italic">Zélindor</hi> was also staged at Versailles in 1745, but that was on a stage erected in the Grande Ecurie, which was destroyed by fire in 1751.</p></abstract><textClass><keywords xml:lang="en"><term xml:id="k1"><hi rend="smallCaps">o</hi>pera</term><term xml:id="k2">court theatre</term><term xml:id="k3">Versailles</term><term xml:id="k4">Fontainebleau</term><term xml:id="k5">Jean‐Jacques Rousseau</term><term xml:id="k6"><hi rend="italic">Le devin du village</hi></term><term xml:id="k7">Giovanni Battista Pergolesi</term><term xml:id="k8"><hi rend="italic">La serva padrona</hi></term><term xml:id="k9">Bouffons</term><term 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London</unparsedAffiliation></affiliation></affiliationGroup><keywordGroup xml:lang="en"><keyword xml:id="k1"><sc>o</sc>pera</keyword><keyword xml:id="k2">court theatre</keyword><keyword xml:id="k3">Versailles</keyword><keyword xml:id="k4">Fontainebleau</keyword><keyword xml:id="k5">Jean‐Jacques Rousseau</keyword><keyword xml:id="k6"><i>Le devin du village</i></keyword><keyword xml:id="k7">Giovanni Battista Pergolesi</keyword><keyword xml:id="k8"><i>La serva padrona</i></keyword><keyword xml:id="k9">Bouffons</keyword><keyword xml:id="k10">Charles‐Simon Favart</keyword><keyword xml:id="k11">costume</keyword></keywordGroup><abstractGroup><abstract type="main" xml:lang="en"><title type="main">Abstract</title><p>The French court, far from being caught off guard by the arrival of the Bouffons in 1752, had in fact been pursuing an independent policy which favoured the performance of operas since 1745. In 1749, it was its taste for spectacle that prompted the court to purchase buildings at Fontainebleau which would make it possible to house the staffs of the Royal Entertainments Department (<i>les Menus‐Plaisirs</i>), the workshops and stage properties departments, and to install a small rehearsal room. Three years later, Louis Bays de Cury, who was in overall charge of the Royal Entertainments Department, seized the opportunity of putting on Rousseau's <i>Le devin du village</i>. Two documents preserved in the French National Archives (O<sup>1</sup> 2991 and O<sup>1</sup> 2992) reveal the details not only of the extraordinary expenses incurred in the journeys to Fontainebleau, but also the particularly mixed styles of programming. They also give details of the costumes made for <i>Le devin</i> and other performances, which in some instances enhance our understanding of the stage practice of the Italian actors. In 1752, the passion for opera spread from Fontainebleau to Versailles, where the stage of the Salle de Comédie, located in the south wing of the palace, was subsequently enlarged in order to house not only the Bouffons, but also to permit the staging of <i>Zélindor, roi des Silphes</i>, a ballet by Moncrif, Rebel and Francœur. <i>Zélindor</i> was also staged at Versailles in 1745, but that was on a stage erected in the Grande Ecurie, which was destroyed by fire in 1751.</p></abstract></abstractGroup></contentMeta><noteGroup><note xml:id="fn1" numbered="no"><p><sc>david charlton</sc> is Emeritus Professor of Music History at Royal Holloway, University of London. His numerous publications have specialised in French music and <i>opéra‐comique</i> in particular. In recent years he has edited <i>The Cambridge Companion to Grand Opera</i> (Cambridge, 2003); (with Nicole Wild) <i>Théâtre de l'Opéra‐Comique, Paris: répertoire, 1762‐1972</i> (Sprimont, 2005) and (with Katharine Ellis) <i>The Musical Voyager: Berlioz in Europe</i> (Frankfurt am Main, 2007).</p></note></noteGroup></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Rousseau and Favart at Fontainebleau, Pergolesi at Versailles</title></titleInfo><titleInfo type="abbreviated" lang="en"><title>Rousseau and Favart at Fontainebleau, Pergolesi at Versailles</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>Rousseau and Favart at Fontainebleau, Pergolesi at Versailles</title></titleInfo><name type="personal"><namePart type="given">DAVID</namePart><namePart type="family">CHARLTON</namePart><affiliation>University of London</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">6256</extent></physicalDescription><abstract lang="en">The French court, far from being caught off guard by the arrival of the Bouffons in 1752, had in fact been pursuing an independent policy which favoured the performance of operas since 1745. In 1749, it was its taste for spectacle that prompted the court to purchase buildings at Fontainebleau which would make it possible to house the staffs of the Royal Entertainments Department (les Menus‐Plaisirs), the workshops and stage properties departments, and to install a small rehearsal room. Three years later, Louis Bays de Cury, who was in overall charge of the Royal Entertainments Department, seized the opportunity of putting on Rousseau's Le devin du village. Two documents preserved in the French National Archives (O1 2991 and O1 2992) reveal the details not only of the extraordinary expenses incurred in the journeys to Fontainebleau, but also the particularly mixed styles of programming. They also give details of the costumes made for Le devin and other performances, which in some instances enhance our understanding of the stage practice of the Italian actors. In 1752, the passion for opera spread from Fontainebleau to Versailles, where the stage of the Salle de Comédie, located in the south wing of the palace, was subsequently enlarged in order to house not only the Bouffons, but also to permit the staging of Zélindor, roi des Silphes, a ballet by Moncrif, Rebel and Francœur. Zélindor was also staged at Versailles in 1745, but that was on a stage erected in the Grande Ecurie, which was destroyed by fire in 1751.</abstract><subject lang="en"><genre>keywords</genre><topic>opera</topic><topic>court theatre</topic><topic>Versailles</topic><topic>Fontainebleau</topic><topic>Jean‐Jacques Rousseau</topic><topic>Le devin du village</topic><topic>Giovanni Battista Pergolesi</topic><topic>La serva padrona</topic><topic>Bouffons</topic><topic>Charles‐Simon Favart</topic><topic>costume</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>591</start><end>605</end><total>15</total></extent></part></relatedItem><identifier type="istex">84EED0B28CFF5CAE627D4824617A9ACD979D1C89</identifier><identifier type="ark">ark:/67375/WNG-Z9GDDCB2-K</identifier><identifier type="DOI">10.1111/j.1754-0208.2009.00229.x</identifier><identifier type="ArticleID">JECS229</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-Z9GDDCB2-K/record.json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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