Music and Theatre in France 1600-1680

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Preface
Part I: Music and Public Theatre in Paris
Musical Theatre before French Opera
1 The Primacy of the Hotel de Bourgogne (1600-1628)
2 The Rise of the Theatre du Marais (1629-1658)
3 The Golden Age of French Theatre (1658-1669)
Musical Theatre and the Opera Privilege
4 Competition with the Academie Royale d'Opera (1669-1673)
5 The Reorganization of Public Theatre (1673-1680)
Part II: The Place and Function of Music and Dance in French Plays
Comedy, Tragicomedy, and Comedie-Ballet
6 Correlations between French Plays and Ballets
7 Music, Dance, and the Performance-within-the-Play
8 The Fusion of Comedy and Ballet
L'Amour malade aud Les Facheux
The Dramatic Pastorale and Pastorale en Musique
9 The Italian Pastorale in France
10 Music and the Early French Pastorale
11 From Pastoral Comedy to Pastorale en Musique
The Mythological Machine-Play and Pastoral Opera
12 Music in the Early Mythic Pastorale
13 The Musical World of the Mythological Machine-Play
14 The Beginnings of French Opera
Part III: Music and the Theatre of Moliere
Moliere's Comedies-Ballets on the Public Stage
15 The Public Reception of a Court Success: La Princesse d'Elide
16 Comic Vision and Revision in Le Mariage force and Le Sicilien
17 Le Malade imaginaire and Its Revisions
18 Musical Practices in Moliere's Theatre
Epilogue: Appropriation, Parody, and the Birth of Opera: Lully's Les Festes de l'Amour et de Bacchus and Moliere's Le Malade imaginaire.
Appendix A. Secular Plays with Music, 1600-1680
Appendix B. Index of Sung Lyrics
Appendix C. Dramatic Extracts from Plays
Bibliography
Index

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During the course of the 17th century, the dramatic arts reached a pinnacle of development in France; but despite the volumes devoted to the literature and theatre of the ancien régime, historians have largely neglected the importance of music and dance. This study defines the musical practices of comedy, tragicomedy, tragedy, and mythological and non-mythological pastoral drama, from the arrival of the first repertory companies in Paris until the establishment of the Comédie-Française. The dynamic interaction of the performing arts in primarily spoken theatre, cross-fertilized by ballet de cour and imported Italian opera, gave rise to a set of musical conventions that later informed the pastorale en musique and early French pastoral opera. The performance history of four comédies-ballets by Molière, Lully, and Charpentier leads to a discussion of the musical and balletic performance practices of Molière's theatre and the interconnections between Molière's last comédie-ballet, Le Malade imaginaire, and Lully's first opera, Les Festes de l'Amour et de Bacchus.

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