Atys : tragedie mise en musique

Atys : tragedie mise en musique

Date: 1720
Creator: Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Description: Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to have a tragic ending. As the Prologue indicates, the tragedie itself is a divertissement to ease the king's mind of his impending duties. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: "In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is place more highly than honor, it will bring unhappiness even to one of the immortals."
Contributing Partner: UNT Music Library
Thetis et Pelée; tragédie en musique

Thetis et Pelée; tragédie en musique

Date: 1716
Creator: Collasse, Pascal, 1649-1709 & Fontenelle, M. de (Bernard Le Bovier), 1657-1757
Description: Pascal Collasse was one of the few opera composers able to secure successful performances in the years following Lully’s death. Collasse then went on to supply the music for the entire opera, Thétis et Pélée, which was premiered at the Paris Opéra on 11 January 1689. Thétis remained popular throughout Collasse’s lifetime, in spite of its rather weak plot. Owing to its success is primarily the music, including a significant storm scene in Act II. This departure from the Lullian tradition is perhaps Collasse’s most significant contribution to the tradition of French opera.
Contributing Partner: UNT Music Library
Isis; tragedie mise en musique

Isis; tragedie mise en musique

Date: 1719
Creator: Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Description: Isis, which premiered January 5, 1677, at St. Germain-en-Laye, was the fifth of Jean-Baptiste Lully's tragédies lyriques written with librettist Philippe Quinault. The plot is loosely adapted from one of the episodes in Ovid's Metamorphoses. In many of its essentials, the plot of Isis resembles that of Lully's previous opera, Atys. In Isis, the nymph Io, daughter of the river Inachus, is promised in marriage to Hierax, just as the nymph Sangaride, daughter of the river Sangar, was promised to Celoenus. Like Sangaride, Io is pursued by another love and yields to this love in spite of her feelings of guilt. Like Sangaride, Io has a goddess as a rival and is vulnerable to her jealousy. Lully's contemporaries interpreted this story as representing the volatile situation between two of the King's mistresses. The subsequent scandale of the premiere ended the collaboration between Lully and Quinault for a time, and led to the dismissal of a number of members of Lully's artistic circle.
Contributing Partner: UNT Music Library
Thesee : tragédie

Thesee : tragédie

Date: 1675~
Creator: Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Description: Thesée, which premiered at the court theater at St. Germain-en-laye on January 11, 1675, was Jean-Baptiste Lully's third tragédie lyrique created in collaboration with librettist Philippe Quinault. As in most of his libretti for Lully, Quinault combines a plot based on a classical source (an episode from Ovid's Metamorphoses) with references to contemporary events. The Prologue alludes to Louis XIV's personal leadership in the military engagements in the Alsace (along the French/German border). The juxtaposition of Venus' entreaties for pleasure with Mars' call to arms reflects a period of unease during which the French armies were in retreat from the armies of the Elector of Brandenburg. This resulted in the unique joining of songs of love with songs of war and victory.
Contributing Partner: UNT Music Library
Isis : tragedie

Isis : tragedie

Date: 1677
Creator: Lully, Jean Baptiste, 1632-1687
Description: Isis, which premiered January 5, 1677, at St. Germain-en-Laye, was the fifth of Jean-Baptiste Lully's tragédies lyriques written with librettist Philippe Quinault. The plot is loosely adapted from one of the episodes in Ovid's Metamorphoses. In many of its essentials, the plot of Isis resembles that of Lully's previous opera, Atys. In Isis, the nymph Io, daughter of the river Inachus, is promised in marriage to Hierax, just as the nymph Sangaride, daughter of the river Sangar, was promised to Celoenus. Like Sangaride, Io is pursued by another love and yields to this love in spite of her feelings of guilt. Like Sangaride, Io has a goddess as a rival and is vulnerable to her jealousy. Lully's contemporaries interpreted this story as representing the volatile situation between two of the King's mistresses. The subsequent scandale of the premiere ended the collaboration between Lully and Quinault for a time, and led to the dismissal of a number of members of Lully's artistic circle.
Contributing Partner: UNT Music Library
Persée : tragedie

Persée : tragedie

Date: 1722
Creator: Lully, Jean Baptiste, 1632-1687 & Philippe Quinault, 1635-1688
Description: King Louis XIV's involvement in campaigns against the Dutch/Swedish alliance in early 1682 prevented him from attending the premiere of Persée in April of that year. As was customary in the operas of composer Jean-Baptiste Lully and librettist Philippe Quinault, the prologue included references to current battlefield exploits and portrayed the king as a paragon of virtue. The prologues of previous Lully operas emphasized glory and prowess over virtue; the change in emphasis in Persée may have resulted from the increased influence of Madame de Maintenon (the king's new mistress) in the court and her pension for decorum.
Contributing Partner: UNT Music Library
Omphale, tragedie en musique

Omphale, tragedie en musique

Date: 1701
Creator: Destouches, M. (André Cardinal), 1672-1749
Description: Omphale (1701) is one of Destouches’s contributions to the Lullian genre of the five-act tragédie en musique. Half a century after the premiere, Friedrich Melchior Grimm targeted the opera in his pamphlet “Lettre sur Omphale” (1752), which continued the earlier debate between advocates of Lully and Rameau. This written attack also precipitated the famous guerre des bouffons, which was sparked by a performance of Pergolesi’s La serva padrona (1733) in 1752.
Contributing Partner: UNT Music Library
Phaëton : tragédie mise en musique

Phaëton : tragédie mise en musique

Date: 1683
Creator: Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Description: Like many of the operas created by composer Jean-Baptiste Lully and Philippe Quinault, his favorite librettist, Phaëton is filled with solar symbolism--a reference to the "Sun King," Louis XIV. The story also provides a political lesson: the haughty youth unable to contend with his position of power served as a warning to anyone brash enough to challenge the rigid mores of Louis' court. In addition to this political interpretation, the story is also a character study of a reckless juvenile whose arrogance destroys him. Phaëton's misguided and inappropriate attempts to make his lineage public bring about his downfall. The plot, like that of several of Lully's operas, is based on an episode in Ovid's Metamorphoses.
Contributing Partner: UNT Music Library
Thesée; tragedie mise en musique

Thesée; tragedie mise en musique

Date: 1711
Creator: Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Description: Thesée, which premiered at the court theater at St. Germain-en-laye on January 11, 1675, was Jean-Baptiste Lully's third tragédie lyrique created in collaboration with librettist Philippe Quinault. As in most of his libretti for Lully, Quinault combines a plot based on a classical source (an episode from Ovid's Metamorphoses) with references to contemporary events. The Prologue alludes to Louis XIV's personal leadership in the military engagements in the Alsace (along the French/German border). The juxtaposition of Venus' entreaties for pleasure with Mars' call to arms reflects a period of unease during which the French armies were in retreat from the armies of the Elector of Brandenburg. This resulted in the unique joining of songs of love with songs of war and victory.
Contributing Partner: UNT Music Library
Dardanus : nouvelle tragédie

Dardanus : nouvelle tragédie

Date: 1744
Creator: Rameau, Jean Philippe, 1683-1764 & La Bruère, Le Clerc de, 1714-1754
Description: Dardanus went through a number of revisions from the time of its premiere in 1739 until its final eighteenth-century run at the Opéra in 1771. The version in the Virtual Rare Book Room was first performed in 1744; the last three acts exhibit extensive plot changes from the first edition. The final version in 1760 received the most positive acclaim, especially compared to the criticisms that were made about the nonsensical plot of the first version. By this point, however, the polemic between the Lullistes and the Ramistes, which had surrounded the premiere, had subsided.
Contributing Partner: UNT Music Library
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