"In 1682 Comédie-Française mounted a full-scale revival of Pierre Cormeille's machine play 'Androméde' (1650), which had not been seen in Paris for 27 years. This revival coincided with the premiere of 'Persée' — Quinault and Lully's operatic version of the same myth — which had been playing at the Paris Opéra for three months (premiéred April 17).
"This spectacular 1682 production of 'Androméde' aimed to re-establish the pre-eminence of the Comédie-Frangaise in lyric theatre. Marc-Antoine Charpentier had been engaged to provide a new musical score, which included an overture, nine instrumental numbers, eight accompanied choruses, five vocal solos, and two sung duos. The cantata-like structuring of the choral and balletic interludes brought Corneille's machine play more in line with the aesthetic of opera. The original aerial flights and spectacular machine effects of Giacomo Torelli were re-created by Dufort, the resident machinist of the Comédie-Frangaise. This new production of 'Androméde' opened on 19 July 1682, and was given a total of 45 performances during the 1682-83 season. The review in the Mercure Galant singled out for praise the climactic battle scene with the sea monster, in which Pegasus, Perseus's flying horse, was played this time by a live horse. Because of Lully's restrictions on theatre music, which limited public theatres to only two singers, the singing roles and the chorus were taken by actors of the Comédie-Frangaise: Monsieurs de Villiers, Guérin, La Grange, Hubert, Verneuil, and Mademoiselles Dyot (perhaps Guyot?) and Hennebaut.
"Charpentier's incidental music for the machine play is remarkable for both its length and its high quality. The Prologue is set at the summit of Mount Pamassus, where Melpomene, the Muse of Tragedy, meets with the Sun — who arrives after the overture in his blazing chariot. They praise the King, in whose honour the performance is being given, and the Sun invites Melpomene to join him in his chariot to proclaim the rare qualities of this youthful prince throughout the world in a single day. To the music of an instrumental prelude Melpomene flies up and takes her place next to him, and together they sing praises to the Sun King ('Cieux, écoutez; écoutez, mers profondes') — with which the chorus of shepherds joins in ('D'un héros qu'en tous lieux'). Then Melpomene and the Sun depart to a musical envoi in order to spread the news of Louis's fame to the rest of the universe.
"The first act takes place in Ethiopia, in the capital city of the kingdom of Cepheus. Cassiopeia, Andromeda's mother, is en route to the temple with Perseus to decide by casting lots which maiden is to be the next to be sacrificed to the sea-monster that is plaguing the land. The heavens open, and Venus appears on her star. The people sing her a hymn of praise ('Reine d'Erice et d'Amathonte') while Venus slowly descends. Cassiopeia bids the group be silent to hear Venus's prophesy: Andromeda is to be wed this evening, and the gods will join in the festivities. As Venus departs, the chorus sings a song of thanksgiving ('Ainsi toujours sur tes autels'). Phineus, Andromeda's cousin and fiancé, considers Venus's prophecy to be a good omen; Perseus, however, reveals his feelings for Andromeda to the Queen. An instrumental rondeau is played as an interlude while the scene changes.
"The second act is set in a luxurious garden with white marble vases, orange trees, and an arbour. Andromeda is gathering flowers with her nymphs to fashion a floral crown for Phineus. Meanwhile, one of his pages sings a song in anticipation of Phineus's arrival ('Qu'elle est lente, cette journée'). When Phineus arrives Andromeda in turn has Liriope, one of her ladies-in-waiting, sing a song for him ('Phinée est plus aimé qu'Androméde n'est belle'). Afterwards, the page and Liriope sing a musical dialogue, that concludes with the oracle delivered by Venus in Act 1: before the day is out, Andromeda will have married a man worthy of her. This refrain is taken up by the chorus, representing the followers of Phineus ('Joignons nos voix'). Then the King, accompanied by Perseus, suddenly arrives to announce that the lot has fallen upon Andromeda: she is to be the next sacrificial victim. Aeolus and his eight Winds descend to thunder and lightning, fly around above the stage, and carry away Andromeda in one of their clouds. Perseus, left alone with the King and his entourage, vows that he will rescue her. The instrumental air entitled 'The Winds' (which no doubt accompanied Andromeda's enlévement) is performed as an entr'acte.
"The scene changes in the third act to a barren landscape with high cliffs bordering the sea. Two Winds are seen tying Andromeda to the foot of a rock, while the chorus of Ethiopians looks on from the shore and sings a lament (Charpentier's music unfortunately has not survived). The Queen, in despair, vows to throw herself into the sea. The sea-monster approaches, but at that instant Perseus appears in the sky on his winged steed Pegasus. As the chorus urges the hero on in his battle Perseus slays the monster; he then frees Andromeda, and flies away on Pegasus. The Ethiopian people sing a chorus of victory ('Le monstre est mort, crions victoire') in which they acknowledge that Perseus, not Phineus, is the man worthy of Andromeda. The act closes with the arrival of Neptune, who rises from the depths of the sea in a sparkling mother-of-pearl conch shell drawn by two sea-horses. Neptune is incensed by Perseus's interference, and plots his revenge. The instrumental entr'acte that follows is a caprice — an Italianate capriccio comprising a succession of fugal sections in contrasting tempi.
"Act 4 takes place in the vestibule of a stately royal palace. Perseus declares his love for Andromeda, and then departs — lest she mistake feelings of gratitude for love. Andromeda reveals to her nymphs that her affection for Perseus is growing stronger, and she rejects Phineus when he arrives, explaining that if he could leave her to the monster before, he could now leave her to Perseus. Juno then appears in the sky in her chariot drawn by two peacocks, and promises to lend her support to Phineus. At the end of the act, the King and Queen have made ready their wedding preparations, and the chorus sings a wedding song ('Vivez, vivez, heureux amants'). Two airs are played during the interlude: an instrumental repeat of the preceding chorus, and an 'English gigue'.
"The final act is set in a bronze temple, where Phineus pleads with Andromeda for the last time. But when Andromeda and her mother both treat him with contempt he departs to take his revenge on Perseus. It is then reported that Perseus has used the head of Medusa to petrify Phineus and his warriors. Mercury arrives in the sky to announce the imminent arrival of his father Jupiter, and the chorus implores Jupiter to give Perseus and Andromeda his blessing ('Maître des Dieux, hâte-toi de paraître'). Jupiter descends from the sky on his gilded throne situated on a cloud, flanked by two other clouds bearing Juno and Neptune, who have been appeased by the sacrifices made by the lovers. Suspended mid-air on his throne, Jupiter declares that the marriage of Perseus and Andromeda must be celebrated among the gods. Perseus and Cepheus climb onto Juno's cloud, while Andromeda and Cassiopeia climb onto Neptune's, and to the slow and stately song of the chorus ('Allez, amants, allez sans jalousie') they ascend to the heavens to take their places amongst the stars.
"During the 17th century, annual theatrical productions became part of the academic fare of Jesuit colleges in France. Usually drawn from saintly and pious subjects, these student plays were accompanied by balletic interludes of song and dance on allegorical themes. For the Collége d'Harcourt, Marc-Antoine Charpentier composed such a ballet to accompany a production of Pierre Corneille's Christian tragedy 'Polyeucte Martyr'.
"Evidently Charpentier used some precomposed music for this event. His overture was originally composed for Moliére's comedy 'Le Dépit amoureux' — possibly for a given revival at the Comédie-Francaise on 11 July 1679.
"The title page of the composer's manuscript reads: 'Ouverture du prologue / ['du depit amoureux' is crossed out] de Polieucte pour le college d'Harcourt'. Evidently Charpentier added to it the twelve dances that would comprise what he referred to as 'le ballet de Polieucte'.
"Further light on this is shed by Paul Lacroix's catalogue of the 'Bibliothèque dramatique de Monsieur de Soleinne'. Here Lacroix lists a collection entitled 'Recueil de pieces dramatiques représentées dans les anciens colleges de Paris', containing a ballet entitled 'Le Combat de l'amour divin et de l'amour profane' that was performed at the Jesuit College d'Harcourt on 8 August 1680. According to the catalogue, the ballet was 'aprés Polyeucte, de Comeille'. Unfortunately this fivret has not survived, but it seems likely that Charpentier's allegorical dances made up the ballet that was danced for this performance. The titles of the individual movements suggest a spiritual struggle which is acted out in dance-pantomime: 'Profane Love, Games and Pleasures'; 'Pantomimes for the same [dancers]'; 'Sadness', 'Signs of Zeal'; 'Grace and the Virtues"; 'Desperation'; 'The Picklocks', "Noble and Base Feelings'; 'Cupid Blacksmiths', 'Triumphal March'; 'Joy Alone'; 'Combatants'. One dance carries the cue 'Why has the tender heart not returned?', thus translating the feelings expressed in a spoken passage." (John S. Powell. From the liner notes.)
Performers: New Chamber Opera, Gary Cooper, Rachel Elliott, James Gilchrist, Thomas Guthrie, Giles Underwood
1. Andromède: Ouverture
2. Andromède: Prélude Pendant Que Melpomene Vole Dans Le Char D’Apollon
3. Andromède: Récit D’Apollon 'Cieux, Ecoutez'
4. Andromède: Chœur De Bergers (Ensemble) 'D’un Héros Qu’en Tous Lieus A Suivi La Victoire'
5. Andromède: Prélude (Scène III)
6. Andromède: Chœur Des Suivants Du Roi Et De La Reine 'Reine D’Erice Et D’Amathonte'
7. Andromède: Replique De Choeur 'Ainsi Toujours Sur Tes Autels'
8. Andromède: Rondeau (Intermède Du Premier Au Second Acte)
9. Andromède: Petit Prélude De Caprice
10. Andromède: Air D’un De La Suite De Phinée 'Qu’elle Est Lente, Cette Journée'
11. Andromède: Air De Liriope 'Phinée Est Plus Aimé'
12. Andromède: Dialogue 'Heureux Amant!/Heureuse Amant!'
13. Andromède: Chœur De La Suitte De Phinée Et D’Andromède (Ensemble) 'Joignons Nos Voix'
14. Andromède: Dialogue 'Le Ciel Le Veut'
15. Andromède: Chœur De La Suitte De Phinée Et D’Andromède (Ensemble) 'Douce Union Que Chcun Doit Bénir!'
16. Andromède: Les Vents (Intermède Du Second Au Troisième Acte)
17. Andromède: Chœur D’Ethiopiens 'Le Monstre Est Mort'
18. Andromède: Un De La Suite Du Roy 'Quand Le Danger Presse'
19. Andromède: Duo 'Vous Êtes Sa Digne Conquête'
20. Andromède: Chœur D’Ethiopiens 'Le Monstre Est Mort'
21. Andromède: Caprice (Intermède Du 3ème Au 4ème Acte)
22. Andromède: Chœur De Peuple 'Vivez, Vivez, Heureux Amants'
23. Andromède: Premier Air (Intermède Du 4ème Au Cinquième Acte)
24. Andromède: Deuxieme Air — Gigue Angloise
25. Andromède: Chœur 'Maître Des Dieux, Hate-toi'
26. Andromède: Chœur 'Allez, Amants, Sans Jalousie'
27. Le Ballet De Polieucte: Overture
28. Le Ballet De Polieucte: Amours Profanes: Jeux Et Plaisirs
29. Le Ballet De Polieucte: Panthomimes Pour Les Mesmes; Inquietude; Attention Ou Aplaudissement; Tristesse
30. Le Ballet De Polieucte: Marquis De Zelle
31. Le Ballet De Polieucte: Les Graces Et Les Vertus
32. Le Ballet De Polieucte: Le Despespoir
33. Le Ballet De Polieucte: Les Crotcheteurs
34. Le Ballet De Polieucte: Sentiments Généreux Et Lasches
35. Le Ballet De Polieucte: Amours Forgerons
36. Le Ballet De Polieucte: Marche De Triomphe
37. Le Ballet De Polieucte: La Joye Seulle
38. Le Ballet De Polieucte: Pourquoi N'avoit Pas Le Coeur Tendre Retourné
39. Le Ballet De Polieucte: Combattants
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