Lully, Jean Baptiste. (1632–1687). LE TRIOMPHE DE L'AMOUR, with Lully's Autograph Paraph. Paris: Christophe Ballard. [1681]. First edition. Ballet Royal, Mis en Musique par Monsieur de Lully, Sur-Intendant de La Musique du Roy. 360 x 240 mm. 220 pp. Type-set music, lacking title page, but with fine woodcut title-device at head of first page of music. Manuscript index ("Airs"), ownership inscriptions from 1690 ("Monsieur de la Guerrande") and of "Mr. le Comte Renè de Beaumont" penned on endpages affixed inside front and rear boards. 17th century performance markings on many pages and with the autograph paraph of the composer after the final bar of music, "Lully." Original full leather binding, spine and covers rubbed. Housed in a fine custom clamshell box. BUC p.635; Hirsch, ii 554.
Le Triomphe de l'Amour (LVW 59), a ballet de cour or opèra-ballet with a libretto by Isaac de Benserade and Philippe Quinault, was danced for the first time at Saint-Germain-en-Laye on January 21, 1681 in honor of the arrival at court of Marie-Anne-Christine-Victoire of Bavaria who had recently married the Grand Dauphin in March of 1680. The first public performance at the Palais Royale in Paris took place May 6, 1681.
These first performances included the radical first ever appearances of professional female dancers in the public performances at the Palais Royale, where traditionally, all danced roles in ballets had been taken by men, although court ladies had occasionally danced roles for the court performances.
Benserade's creation of Le Triomphe de l'Amour followed his usual pattern: he provided an overall scheme and all of the principal verses to the choruses and solos (short ariettas interposed throughout) while another librettist, in this case Quinault, created the linking recitatives. While it praises the king, the ballet also alludes to many sublayers of the court, as the interactions of specific shepherds refer to specific courtesans. The dauphin himself appeared as a Pleasure in the third entry, but his lines are trivial in comparison with those given to other court figures. The décor was designed by veteran machinist Carlo Vigarani.
Le Triomphe de l'Amour (LVW 59), a ballet de cour or opèra-ballet with a libretto by Isaac de Benserade and Philippe Quinault, was danced for the first time at Saint-Germain-en-Laye on January 21, 1681 in honor of the arrival at court of Marie-Anne-Christine-Victoire of Bavaria who had recently married the Grand Dauphin in March of 1680. The first public performance at the Palais Royale in Paris took place May 6, 1681.
These first performances included the radical first ever appearances of professional female dancers in the public performances at the Palais Royale, where traditionally, all danced roles in ballets had been taken by men, although court ladies had occasionally danced roles for the court performances.
Benserade's creation of Le Triomphe de l'Amour followed his usual pattern: he provided an overall scheme and all of the principal verses to the choruses and solos (short ariettas interposed throughout) while another librettist, in this case Quinault, created the linking recitatives. While it praises the king, the ballet also alludes to many sublayers of the court, as the interactions of specific shepherds refer to specific courtesans. The dauphin himself appeared as a Pleasure in the third entry, but his lines are trivial in comparison with those given to other court figures. The décor was designed by veteran machinist Carlo Vigarani.
Lully, Jean Baptiste. (1632–1687). LE TRIOMPHE DE L'AMOUR, with Lully's Autograph Paraph. Paris: Christophe Ballard. [1681]. First edition. Ballet Royal, Mis en Musique par Monsieur de Lully, Sur-Intendant de La Musique du Roy. 360 x 240 mm. 220 pp. Type-set music, lacking title page, but with fine woodcut title-device at head of first page of music. Manuscript index ("Airs"), ownership inscriptions from 1690 ("Monsieur de la Guerrande") and of "Mr. le Comte Renè de Beaumont" penned on endpages affixed inside front and rear boards. 17th century performance markings on many pages and with the autograph paraph of the composer after the final bar of music, "Lully." Original full leather binding, spine and covers rubbed. Housed in a fine custom clamshell box. BUC p.635; Hirsch, ii 554.
Le Triomphe de l'Amour (LVW 59), a ballet de cour or opèra-ballet with a libretto by Isaac de Benserade and Philippe Quinault, was danced for the first time at Saint-Germain-en-Laye on January 21, 1681 in honor of the arrival at court of Marie-Anne-Christine-Victoire of Bavaria who had recently married the Grand Dauphin in March of 1680. The first public performance at the Palais Royale in Paris took place May 6, 1681.
These first performances included the radical first ever appearances of professional female dancers in the public performances at the Palais Royale, where traditionally, all danced roles in ballets had been taken by men, although court ladies had occasionally danced roles for the court performances.
Benserade's creation of Le Triomphe de l'Amour followed his usual pattern: he provided an overall scheme and all of the principal verses to the choruses and solos (short ariettas interposed throughout) while another librettist, in this case Quinault, created the linking recitatives. While it praises the king, the ballet also alludes to many sublayers of the court, as the interactions of specific shepherds refer to specific courtesans. The dauphin himself appeared as a Pleasure in the third entry, but his lines are trivial in comparison with those given to other court figures. The décor was designed by veteran machinist Carlo Vigarani.
Le Triomphe de l'Amour (LVW 59), a ballet de cour or opèra-ballet with a libretto by Isaac de Benserade and Philippe Quinault, was danced for the first time at Saint-Germain-en-Laye on January 21, 1681 in honor of the arrival at court of Marie-Anne-Christine-Victoire of Bavaria who had recently married the Grand Dauphin in March of 1680. The first public performance at the Palais Royale in Paris took place May 6, 1681.
These first performances included the radical first ever appearances of professional female dancers in the public performances at the Palais Royale, where traditionally, all danced roles in ballets had been taken by men, although court ladies had occasionally danced roles for the court performances.
Benserade's creation of Le Triomphe de l'Amour followed his usual pattern: he provided an overall scheme and all of the principal verses to the choruses and solos (short ariettas interposed throughout) while another librettist, in this case Quinault, created the linking recitatives. While it praises the king, the ballet also alludes to many sublayers of the court, as the interactions of specific shepherds refer to specific courtesans. The dauphin himself appeared as a Pleasure in the third entry, but his lines are trivial in comparison with those given to other court figures. The décor was designed by veteran machinist Carlo Vigarani.