Tancrede Promptbook

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Staging a tragédie en musique: A 1748 Promptbook of Campra's "Tancrède"Author(s): Antonia BanducciSource: Early Music, Vol. 21, No. 2, French Baroque I (May, 1993), pp. 180-190Published by: Oxford University PressStable URL: http://www.jstor.org/stable/3128216 .

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Antonia

Banducci

S t a g i n g t r a g c d i e

n

m u s i q u e

A

1748

promptbook

of

Campra's

Tancrede

The

holdings

of the

Bibliotheque

de Versailles

(F-V)

include what

may

well be the earliest extant source

of

stage

directions for

a

tragedie

en

musique:

a

printed

score

in

reduced format of Andre

Campra's

Tancrede,

containing

over 120

manuscript prompt

notes.' This

promptbook provides

instructions for

entrances,

exits,

movement on

stage, lighting, stage

effects,

costume

changes

and several

changes

to the

operatic

score

itself.'

Given the

scarcity

of known

promptbooks

of

any

sort

for

Baroque

operas,

the

presence

of these annotations

in a

score ratherthan a

libretto rendersthem

particu-

larly

valuable.3As we shall

see,

many

of the notes con-

vey

instructions hat relate

o

the music

as

well as

to

the

text.

One of

the

most

popular tragedies

n

musique

written

between the

time of

Lully

and

Rameau,

Tancrede

was

given

its

premiere

at the Paris

Opera

n

1702

and received

no fewer than five revivalsbefore its

final

appearance

t

the

Opera

n

1764.

The

opera

had

the additionaldistinc-

tion of

being

the

only tragedie

mong

the more than 20

operatic

works

performed

by

Mme

de

Pompadour's

troupe

in

the

petits appartements

heatre

in

Versailles

(1747-50).Evidence in the promptbook unmistakably

assigns

ts

provenance

o the

Pompadourproduction

of

the

opera,

staged

on

to

and

17

December

1748.4

After

having

attended these

performances

of

Tan-

crede,

he Duc de

Luynes,

a courtier whose wife

was

an

intimateof the

Queen,

recorded

n

his memoirs: This s

an

opera

that'sa bit

sad,

but

whose

music is

very

beauti-

ful.'5

Campra's

ibrettist,

Antoine

Danchet,

had based

the libretto on a

tragic

event recounted

in

Torquato

Tasso's

pic poem,

Gerusalemme

iberata,

best known to

modern audiencesfrom Monteverdi's

etting

of Tasso's

verses:

in

fierce,

hand-to-hand

combat,

the crusader

Tancrediunwittinglykills his belovedClorinda,apagan

warrior-princess

who has

disguised

herself

in male

armour.

In

Danchet's

ibretto,

Argant,

a Saracen

chief-

tain and

Tancrede's

rch-rival,

also loves Clorinde.Two

other

jealous

lovers-the infidel

magician

Ism

nor,

who loves

Herminie

(another

Saracen

princess),

who

in

turn

loves

Tancrede-complicate

the

plot

(see

illus.1-2).

The Versailles

performances

ook

place

in

a

tempor-

ary

theatre nstalled or the

three-month-long

heatrical

season

in

the

space occupied

by

the Escalierdes Ambas-

sadeurs.

The area

(including

vestibule and

landings)

measured

9.7

metreswide

by

23.9

metres

ong,

approxi-

mately

one-half the width and two-thirdsthe

length

of

the

space

occupied by

the

Opera

theatre

in the Palais

Royal.6

According

to

Luynes,

the theatre

comfortably

accommodated

over

loo

spectators

and contained

A)-

C~C

/$-A?

'r~ ~

(~~ct,(ice--

ft94t-

;4cl.-p~l-?

J

.NC?

KYL

e-.eAblt?

AftrJ

1,

2

Louis

Boquet's

ostume

designs

or

(opposite)

Cas-

saignade

s Ismenor nd

(above)

Marie-Jeanne

hevalier s

Clorinde n the

Opera's

764

production

f Tancrede

F-Po,

D216

V

Pl.

79;

reproduced

with

permission)

EARLY MUSIC

MAY

1993

181

This content downloaded from 163.1.62.81 on Mon, 6 Jan 2014 16:10:01 PMAll use subject to JSTOR Terms and Conditions






.ll

/ C L

C c r

c 3 1

~eZ

cl~E~A

4 e

-04L-

~c

~

--

---?~rl

180

EARLY

MUSIC

MAY

1993







ample space

for

40

musicians. He

also

noted that

the

performers'

oices

were

easily

heardfrom

everywhere

n

the

theatre.7

Luynes's

comments

also

provide

us with

clues as

to

the nature

and extent of

the

theatre's cenic

capabilities.

After the

premitre

by Pompadour's

roupe

of

Rameau's

Les

urprises

e

l'Amour,

Luynes eported

hat

'the

move-

ment of the sceneryand the machinestakesplacevery

promptly

and

easily'.8

He also

observed hat

Cleopatra's

boat

in

Colin

de

Blamont'sLes

ites

grecques

t

romaines

was

'much

better than

at the

Opera',

hat in

LePrincede

Noisy

by

Rebeland

Francoeur,

magnificentpalace

with

a

throne

appeared

before

one's

eyes,

and that a

sun il-

luminated

by

1,300

candles

particularlympressed

hose

who

attended

Destouches's

sse.9

These

descriptions

ug-

gest

that the

machinery

nvolved

was

probably

a

scaled-

down version

of that

at the

Opera,

including

pairs

of

flats

with

painted

scenery

hat

could be

switched

n

less

than a

minute."'

The

stage equipment

mentioned

speci-

fically

n the Tancrede

rompt

notes willbe discussed n

more

detail

shortly.

According

to

the libretto

printed

for

the

Versailles

performances,

he

Tancrede

ast

numbered almost

50.11

Courtiers,

ncluding

Mme

de

Pompadour,

who

played

Herminie,

took the

major

singing

roles;

21

professional

court

singers,

ncluding

four

boy

sopranos,

made

up

the

chorus.12 wo

male

soloists from

the

nobility

along

with

ten

boys

and

eight girls

between the

ages

of

ten and fif-

teen

performed

he

dances.

Both

professional

and

ama-

teur

musicians

played

in

the

28-piece

orchestra,

an

ensemblea littlemorethan halfthe size of theone at the

Opera.'3

A

detailed ist

of the

elaborate

costumes worn

by

the

soloists

and

dancers

n

Pompadour's

roupe

underscores

the

lavish

natureof the

productions.

For

example,

Mme

de

Pompadour

as

Herminie

dressed n

a

newly

created

outfit

of red

satin,

blue

satin,

ermine

and

gold-lace

embroidery.'4

Although

no

financial

records for

the

troupe's

1748/9

season

have come

to

light,

a list

of

expenses

or the

previous

season

suggests

hat

choristers

in

the

Tancrede

roduction

were

issued

shoes,

stockings

and

wigs

appropriate

o

their

roles."1

Professionalsassociatedvariouslywith the Comedie

Frangaise,

he

Comidie

Italienneandthe

Opera

assisted

with

the

Pompadour

productions.

Jean

Sauv6

de La-

noue,

a

playwright,

or

five

years

he

directorof

an

acting

troupe

in

Rouen,

and an

eminentactor at

the

Comedie

Frangaise,

served as

rehearsal coach.

Jean-Baptiste

Dehesse,

actorand

choreographer

t the

Comidie Ita-

lienne,

choreographed

he

dances.

Arnould,

principal

machinist

at the

Opera,

and

Tramblin,

or several

years

first

painter

and

a

scenic

designer

at the

Opera,

executed

the machines

and

scenery.

According

o the account

of

Pierre

Laujon,

unless

composers

of

operas

performed

n

the

petits

appartements

hose

to conduct

their

own

works,

Frangois

Rebel

directed he

orchestra.'6

Rebel,

an

opera

composer,

conductor

and,

at this

time,

both

inspecteur-generalt the Operaanda co-surintendantf

the

royal

chamber

music,17

s the most

likely person

to

have conducted

the Tancrede

erformances

ince

Cam-

pra

had died

four

years

before.1"

The

person

responsible

or the

stage

directions

n

the

Tancrede

romptbook

remains

a

mystery."19

uynes

den-

tifiesthe Duc

de LaVallidre

s

director

of the

troupe,

but

hisrole

may

havebeencloser

to thatof

amodern

general

director,

as account

records

for the

1747/8

eason

indi-

catethat

he

authorized

expenditures."2

A

contemporary

description

of Rebel's

duties as

inspecteur-general

oes

not

specify

activitiesassociated

with the

actual

staging

of

an

opera,

nordo

any

Opera

account

records ist

a

person

charged

with such

responsibilities."

We do know

who

used

the

promptbook,

however.

According

to the

1748

libretto,

Bernard

de

Bury-opera composer

and

master

of the

King's

chamber

music-was

'on the

stage

for

the

direction

[conduite]

f the

spectacle'.2

Laujon

also

noted

that de

Bury

was 'on the

stage'

and

'charged

with

the

direction

of the

sung

spectacle

and

with

the

supervision

of the

choruses'.3

Furthermore,

M de

Bury'

appears

n

manuscript

on

the inside cover

of the

score,

a form

of

address

('Monsieur

de

Bury')

that

suggests

that he

did

not writethenoteshimself.Giventhatde Burymayhave

been

carrying

out someone

else's

instructions,

I

shall

from now

on referto the

unidentified

person

respon-

sible

for the notes

as the

director.

The

notes themselves

provide

a

remarkably omplete

record

of the

Pompadour

production.

The

following

discussion

will

focus on the

great

number

of notes

that

reveal

staging

procedures.

The

annotations

concerned

with cuts and

changes

n

scoring-common

enough

in

production

scores used

at the

Opera-will

not be

con-

sideredhere.24

Several

notes

signal

the

employment

of

equipment

commonto the FrenchBaroque tage, ncludinga rampe

(adjustable

ootlights),

a

thunder

machine

and

traps.5

The

rampe

onsisted

of oil

lamps

(bisquits)

nstalledon

a

plank

that could be

lowered

beneath

stage

level to sim-

ulate

darkness.

According

o the

prompt

note

'La nuit

de

la

rampe',

Act

5

begins

with the

rampe

in a

lowered

position

while Herminie

anxiously

awaits

the

outcome

of the nocturnal

battle

between

crusadersand

Sara-

182

EARLY

MUSIC MAY

1993







A

s

eJ[

AN

C

R

ED

E,

T-R

A

G-E

D

I

E:

/

U

f

-W'

bP

SC

E N

E

I I.

,

TAWC•DE.

IVE

TAkC

E,

ieli

qu'ct-cequee

voy

La

terre,

es

enfers

cout

s'arme

ontre

moy,

Etvousauf-

B

Ass -C ON I N E.

fi,

belle

Herminie:La

Guerreousmesloix

o'

cenoitraervie

Pour rix

d'avoir

brif6vos

B

assL-CONTINUE.

3

Andre

Campra,

Tancride

((Paris,

fers,D'unfier

miniftre

des

enfers

Venez

vous

contiemoy

econder

a

furiee

1702),

F-V,

MSD58

in

40,

p.20oo;

repro-

duced with

permission),

with manu-

-

script

annotations in an unidentified

hand

BASSE

GCONTINUE.

cens.26

The

instruction

raise he

rampe/daybreak',

hich

follows Herminie's troubled

recitative,

brightens

the

stage

if

not

her

spirits.27

Devices

similar

to those

in

illus.4

may

have

generated

the thunder and

lightning

that

accompanied

the

breaking

apart

of

the

Saracen

kings'

tombs

in

Act 1.28

Apparently

these effects con-

tinued

throughout

the chorus that

follows,

because

a

note

at the end of the chorus indicatesthat

'everything

ceases".2

A

system

of

traps

allowed

La

Vengeance

and dancers

dressedas demons to appearon stagefrom the under-

world

in

Act

4,

scene

4.

A

prompt

note,

'La

Vengeance

and

the dancersto the

traps"'3

see

illus.3),

a

full two

scenes before

their

actual

entrance,

provides

the

per-

formerswith

ample

time to

descend

beneath the

stage

and mount the

platforms

hatwould raise hem to

stage

level.

(See

illus.5

for a similar use of

traps

for demonic

spirits

at the

Opera.)

Thenote that

signals

their

appear-

ance

('

The chorus omesout

rom

the Underworld ithLa

Vengeance'3')

s written above a

passage

in which two

bars of

growling

quaver

Csin the bass not

only suggest

the bowelsof

hell,

but also must haveserved o coverthe

sound of trapsat work.

Several nstructions or the

dancers'

costume

changes

revealother kinds of

backstage ctivity.

At

the end of Act

2,

scene

3,

for

example,

the

dancers,

dressed

as

soldiers,

exited and

immediatelychanged

nto their costumes for

Act

3,

where the

young

men danced as

fauns,

the

young

women as

dryads.3

According

to the

1748

ibretto,

the

same

young

women

reappeared

as Palestinians n the

final

act,

but

according

to

the

costume

inventorythey

were not issued new

costumes.33

prompt

note at the

chorus's

exit in Act

3

reveals how

they changed

their

identity:

The

young

adies ake

off

the

itted

dresses'.4

Apparently,

an

underlayer

of

the

dryad

costume also

functionedas the dancers'Palestinianattire.

Blocking-entrances,

exits

and movement about

the

stage-receives

the most attention

in the

promptbook.

Using

the abbreviations d.R.'and 'd.l.R.'

for

'du

Roi'

('King's

[side]']

and 'de la Reine'

('Queen's [side]'),

respectively, he director located entrances and exits.

These

designations

corresponded

to

the relative

positions

of the

royal

boxesin the Parisian heatres: he

King's

ide

was

the

right

side of

the

stage

from

the

spec-

tator's

point

of

view,

or

stage

left,

and

the

Queen's

side

was to the

spectator's

eft,

or

stageright.

Almost without

exception,

the director

assigned

a location to each

characterat his or her

point

of entrance

(for

example,

see

illus.3).

Several

blocking

patterns

emerge

from these

prompt

notes.

(1)

Maincharacterswho areto interactwith one

anotherenterfrom

opposite

sides of the

stage.

(2)

Unless

specificallydirectedotherwise,characters o not change

positions

once

they

arrive

on

stage.

(3)

Unless

specific-

ally

directed

otherwise,

characters xit

on the same

side

from which

they

enteredand thus avoid

crossing

he side

of the

stage

occupied

by

another

character.

4)

When

assisting

or

interacting

with a main

character,

minor

characterenters

from the

side

occupied

by

the main

character.

5)

With

only

two

exceptions,

whenaman and

EARLY

MUSIC

MAY

1993 183







a

woman share

he

stage,

the man

enters

King's

ide and

the woman

enters

Queen's

ide

(see

illus.3

and

6). (If

the

characters re of the

same

sex,

they

enter from

opposite

sides of the

stage, following

pattern

above.)

Not sur-

prisingly,

he first

four

patterns

convey

a

simplicity

of

design

that

corresponds

to

what

we know about the

French

staging

raditionof

spoken

drama rom the time

of Racine and Corneille.35he intriguingfifth pattern,

with its

fairly

consistent

gender

associations,

warrants

our further

consideration.

Referring

o the

'rulesof

Civility'

and Frenchsources

from the late

18th

century,

Dene Barnett

has

argued

hat

the

prestigious

ide of the

18th-century

rench

tage

was

stageright

and that

consequently

women and characters

of

high

rank

normally

ook

up

position

there.36But

evi-

dence from

earlier

sources,

including

the

Tancrtde

promptbook,

suggests

instead

the

predominance

and

possible

semiotic

superiority

of

stage

left

because of its

strong

associationwith

the

King.37

or

example,

o com-

municate

blocking

patterns

to

provincial

theatrical

troupes,

Sauvede

Lanoue,

rehearsal

oach for the

petits

appartements

roupe,

made

King's

side his reference

point.

As he

explained

in

a

preface

to his

comedy

La

coquette corrige

(1756):

As

[the

placement

f

actors],

which s often of

great

con-

sequence

orthe

acting,

s the

subject

f

much

commentary

n

Paris,

believe hatI

have

ound

a

simpleway

o

convey

his

arrangement

ntirely

n

printed

orm.

At he

beginning

f

each

scene,

have

always

amed irst

heonewhomustbe the

clos-

est to the

King's

ox

and

hen he others

n

succession.

very-

4

Lightning

and thunder devices

(Encyclop.die:

Recueil

des

planches

(Paris,

1772)

x,

pl.2o;

from the

George

N. Meissner

Rare

Book

Collection,

Washington niversity

Libraries,

t

Louis,

MO)

one knows hat the

King's

box

is

always

o the left of

the

actors?8

Besides

revealing

the obvious

gender

associations

with

King's

ide and

Queen's

side,

the

Tancrede

rompt

notes also

suggest

hat,

in

this

production

at

least,

King's

side

representedpower

and

Queen's

side the lack of

it.

Tancr'de

consistently

enters

and exits

King's

side until

renderedpowerlessby Ismenor, he infidelmagician, n

Act

4.

With

a touch of his

magic

wand,

Ism6nor

mmo-

bilizes

Tancrtde,

calls forth demons to torment

him,

prepares

o strike

him

dead

with a

sword,

and

ultimately

releases he

unarmedcrusader o his belovedClorinde

n

order to

spite

the

jealous

Herminie.

Following

his dis-

play

of

power,

a

prompt

note directs

Ismenor,

who

had

entered

Queen's

ide,

to exit

King's

ide,

crossing

he

side

of

the

stage

occupied

by

three other main characters-

such an

exception

to normal

procedure

clearly

required

specific

instruction.

Although

Clorinde

returns

Tan-

crede's

weapons,

he still has no

power

to

persuade

he

Saracen

warrior-princess

o choose her ovefor himover

her devotionto

duty

and

glory.Submitting

o her

will,

he

gives

up

his

desirefor life: Far rom

your

side,

midst the

despair

hat overwhelms

me,

I'll

not have

ong

to suffer.'

Following

these

lines,

a

prompt

note directs

Tancrede,

who

had entered

(predictablyby

this

time)

King's

ide,

to exit

Queen's

ide,

across he

side

of the

stage

occupied

by

Clorinde.39

ccording

o the

prompt

notes,

Tancrede

continues to

occupy

Queen's

side in the final

act,

where

he learns hat

he has

mortally

wounded

his

beloved

Clo-

rinde,

disguised

in

the

armour of

the

crusader'sarch-

enemy. He attemptssuicide, his soldiers restrainhim,

and the

opera

ends.

Two

changes

of

mind on the director's

part

regarding

Herminie'sexit in Act

4

and

entrance in Act

5

confirm

that the

directormade

a

specific

effortto

shift Tancrede's

position

from

King's

ide to

Queen's

ide.

Both times the

director had

originally

blocked Herminie's

position

'd.l.R.'

Queen's

side)

and

subsequently

crossed out the

'1'.This

alteration

witchesHerminie rom

her usualside

in the

production

('d.l.R.')

to

King's

side

('d.R.')

and

leaves

Queen's

side

open

for

the

distraught

and un-

manned

hero.

If

this

semiotic

interpretation

of the

blockingis correct, hen the presence n the audienceof

Louis XV himself must have reinforced he

message.

Some

blocking

conveyed by

the

promptbook

s even

more

specific:

several annotations indicate the

precise

moment within an instrumental ntroductionwhen an

entranceoccurs. As the

following

three

examples

illus-

trate,

his information-which is not shown

by

the Tan-

crade

ibretto

or the

printed

score-draws our attention

184

EARLY

MUSIC

MAY

1993







5

Jean

Berain

c.164o-1711):

esign

or

the

appearance

f

demons;

resumably

for

the

Paris

Opera

(Archives

Nationales,

013240

1-249;

reproduced

with

permission)

~af,'j-lz

.1

?

I-1AN;Y

ii4.

1

i

?.,:..

?• ";

I'

"

',•

;

?

L ;

j•..

,:???:

-,,

..~

i

?-

?

to

thedramatic

seof themusic tself.

nAct

1,

scene

,

a

prompt

note

('il entre')

written

above

he

violin

part

directsthe infidel magicianIsminor to delay his

entrance ntilbar

14

of

a

19-bar

ntroduction.

rgant,

who hasheard

omeone

oming,

waits

xpectantly.

he

rapid

ascending

nd

descending

cale

passages,

ften

associated

with evil and

magic

n the

tragddie

n mus-

ique,4o

nnounce o

both

Argant

nd the audience

he

nature f the visitor

well

beforehis

arrival.

Atthe

beginning

f Act

3,

the

scene

changes

rom

he

mundaneworldof

Tancrde's

camp

o

the Enchanted

Forest.

A

cross

mark

inpoints

heentrance f

Herminie

andArgantnto hisradicallyifferentnvironmentust

four barsbefore

the

end

of

a

21-bar

prelude

(see

illus.6).

Meanwhilehe

gently

rising

and

falling

mitative

as-

sages

of the

prelude-which

centreon

the

key

of

E

minor for

the

first

time in the

opera-give

voice

to the

strange

but

alluring

atmosphere

f the

Enchanted

Forest,

whose

emarkable

owers

re urther

evealed

n

the

scenes

hatfollow.

EARLY

MUSIC

MAY

1993

185







In

Act

5,

scene

i,

Herminie

anxiously

awaits he out-

come of

the battlebetweenher

countrymen

and the cru-

saders.At the

first

sound of

trumpets

(a

brief,

four-bar

interlude),

she

exclaims: But this

resounding

clamour

announces

the

victor,

let us

hasten

to

enlighten my

troubled heart'.41

lthough

the scene rubrics

printed

in

the score

suggest

hat Tancrade

nd

his

soldiers

enter to

the sound of the martial music that follows,a prompt

note

delays

the disclosureof the

battle'soutcome until

'Tancreden the middle

of

the

men'schoruses

ppears

on

the last

bar,

sword

n

hand'.42

o

postpone

the

crusaders'

entrance-and hence

Herminie's

knowledge

of the out-

come-until

the end

of

the

17

bars of

victory

music

heightens

the

princess's

anxiety

and

the dramatic ten-

sion.

Notably,

as a

crossed-outnote

indicates,

he direc-

tor had

originally

marked he

crusaders' ntranceat the

beginning

of this music and

then

changed

his

mind.43

n

each of

the cases described

above,

blocking

characters'

entrances owardsthe end of the

instrumental

ections

ensures that the music does not

just

accompany

the

action but

directly

contributes o the drama.

Several

prompt

notes

help

to

clarify

the use of

the

stage

area n

this

production.

In

the

penultimate

scene,

'Clorinde,wounded,

appears

at

the second

lat

on the

Queen's

ide

supported y

two

emale

soldiers'.44

nd when

Tancrdde nters the

EnchantedForestfor the

first time

(Act

3,

scene

3),

a

prompt

note directs

him

to do so 'at

the back

of

the

stageKing's

ide'.45

Women

n

the vocal and

dance

choruses,

whom he

encounters

not

long

after,

also

'appear

at the

back

of

the

stage'.46

Becausethese are

the

only notes in the promptbookthat specifythe location

of an

entrancerelative o the

depth

of the

stage, hey

sug-

gest

that

entrances rom

anywhere

but

near

the front of

the

stage

were

exceptional

enough

to

require specific

comment.47

A

closer look

at Tancrdde's

pstage

entrance within

the

context of

Campra's pera

offers

a reason or such an

exception.

The crusader's

nitial encounter with the

Enchanted Forest functions as a

dramatic scena.

Fol-

lowing

a

14-bar

nstrumental

ntroduction,

Tancrede's

astonished outcries

alternate

with

the sounds and

stage

business of the

Enchanted

Forest,

which include

flames

spreadingacross the stage, flying demons, advancing

trees

and,

ultimately,

nticing

vocal and dance

choruses

in

pastoral

garb.Steadilymarching

bass crotchets n the

introduction

depict

the crusader's

orthright

advance

until he cries

out,

'Here's he enchanter's

deadly

retreat',

and the

magical

sounds and

sights

commence. In this

case,

both the

dramatic

spectacle

and

Campra's

music

suggest

some sort of movement on

Tancrede's

art.

An

upstage

entrance allows the

crusader

to

confront the

forest's

enchantmentshead

on

without

turning

his

back

to the audience.

The

choruses'

entrance

n

Act

3

at the rearof the

stage

also

appears

o be

an

exception

to normal

procedure.48

But we

have no

choreographic

videnceof

group

dances

for

the French

operatic

stage

to

suggest

how the

dancers

usuallycame to occupy the stageor how much of the

stage they occupied.49

An

examination of

18th-century

sources does

provide

some clues

about

staging

practice

for the vocal

chorus,

however.

Apparently

he chorus

positioned

itself

n

two

single

ines-one

on each side of

the

stage,

from

downstage

to

upstage,

curving

towards

the

back."5

eflecting

his

division,

Parisian

pera

ibret-

tos from

about

1715

n,

as well

as those for the

Pompa-

dour

productions,

list choristers' names in

columns,

according

o the side of

the

stage

with which

they

were

associated,

'King's

side' or

'Queen's

side'."This

align-

ment

suggests

that each

group

normally

entered and

exited from its

assigned

side. Because the Tancrede

prompt

notes that

signal

such

activitymerely

state the

obvious

(e.g.

'the choruses

exit')

the more

perplexing

questions

of

exactly

where and how the

two

groups

enteredand exited will

not be examined

here."5

Most

18th-century

ccountsof

the

Opera

chorus

up

to

the

time

of

Gluck

report

hat once

the

chorus

took

up

its

position,

its members remained

stationary.

Lois

Rosow

has

pointed

out that '... the essential

principle-the

idea

of a

stationarybody

of

singers

who

represent

collective

charactersbut neither act nor

occupy

centre-stage-is

likelyto havebeen carriedover from Lully'spractices'."

Yet,

as Rosowhas also

noted,

severalbits of evidence

sug-

gest

that some amount of choral

acting may

have been

tentatively

ntroduced around

mid-century.54

he

Tan-

crede

promptbook

reveals

hat,

in

the

Pompadourpro-

duction,

a chorus of

soldiers moved to centre

stage

to

sing.

In

Act

1,

scene

3,

a

note

directs

he

soldiers,

who are

already

on

stage,

o

form a

semicirclearound

Argant

and

Ismenorwhen the chorus

replies

o

Argant's

xhortation

to

destroy

Tancrdde.55

The animated

interchange

between the soldiers and their

commander,

which

begins

as

accompanied

recitative,

urns into

a

full-scale

choral number for bass solo and men's chorus as they

call

upon

the heavens

to assist them.56

At

the final

cadence,

'the chorus

goes

backto the sides

again'.57

he

latternote not

only

reaffirms he notion that the chorus

normallyoccupied

the sides of the

stage

but also under-

scores the remarkable

mage

of the soldiers' chorus as

centre-stageparticipants

n the drama.

Not

unusually,

members

of the chorus also func-

186 EARLY

MUSIC

MAY

1993







6

Tancrede,

-V,

MSD

58

in

40,

pp.125-6

(reproduced

with

permission)

ACTE

TROISIEME

Le

Theatre

reprefente

a

Forkt Enchantde.

SC ENE PREMIERE.

4,

4

E

M NIE, AR%

T.

v

I

.L

O

N S.

Tousl

t 6

66 6 7

6

BA

SsE-CON

TIN•u

tzad

T

A

N

CR

E D

E,

TRAGEDIE.

B

ASSE-COMTINUI.

BA

s

sS-Co

T

I1

U

A&LYL&LA 19318







tioned as

supernumeraries

n

the

Pompadour

produc-

tion.

Twice

soldiers

accompany

their

commander's

entrance

only

to exit

without

havingsung

(Act

1,

scene

1;

and Act

5,

scene

2).58 Although

both the

libretto

and

printed

score

signal

these

entrances,

neither

indicates

when the

soldiers

exit. In

both

cases,

prompt

notes mark

the exits before the

moment

that main

characters

egin

privateconversations.

Unfortunately,

he

promptbook

is mute

about

how

much

and what

kind of

acting

ook

place

n

this

produc-

tion.59

Nonetheless,

Luynes's

omment

that the

bass duet

('Suivons

a

fureur')

was

perfectly

xecuted,

as much for

the

music as for the

acting

[le

jeu

de

theatre]'

uggests

a

lively

performance.6

Furthermore,

one

prompt

note

specifically

indicates that

'[Clorinde]

walks

about'61

during

the

eight-bar

musical

interlude that

separates

recitative

rom air in

Act

2,

scene i.

Clorinde,

alone on

stage,

admits in her

recitative

hat love

has

conquered

her warlike

nature;

n her

air,

she calls

upon

reason to

banish Tancrdde rom her

heart. The

director's nstruc-

tion,

which

gives

dramatic

emphasis

to the

warrior's

soul-searching,

s remarkable

vidence,

for

this

period,

of

stage

movement not

connected to a

specific

action.6

Because

sources similarto the

Tancrede

romptbook

are

lacking,

we cannot

presume

that all of the

staging

procedures

describedabove

constitute

standard

practice

for

French

Baroqueopera.

Nevertheless,

he

staging

cap-

abilitiesof the

petits

appartements

heatre

and the active

participation

f

professionals

rom the

Opera,

ncluding

its

inspecteur-general

s

conductor,

stronglysuggest

hat

much of the Tancrederomptbookreflectsstagingpro-

cedures

at the

Opera

around

mid-century

f

not

earlier.

The first

attempt

by Pompadour's

roupe

to

stage

a

full-

scale,

five-act,

serious

opera

apparently

required

more

than a

little

direction.

Perhaps

a

wish to

follow the

Opera's

well

established

model

contributedto the wel-

come

thoroughness

of the

promptbook

tself.

Besides he

scholars

acknowledged

bove,

I

would like to

thank

Craig

Monson

or

his

useful

suggestions

t various

stagesof

this

project.

Antonia

Banducci s a

Visiting

Assistant

Professor

f

Music

Historyat the University fIowa. She is currentlyrepar-

ing

materials

o

accompany

full-score

acsimile of

Tan-

crdde

(New

York:

endragon

Press,

orthcoming),

which

will includea

glossed

ist

of

the

prompt

notes

rom

1748.

'Tancrede,

ragedie,

mise en

musiquepar

Monsieur

Campra

Paris,

1702),

F-V,

MSD

58

in

4'

[hereafter

MSD

58].

The

inclusion of a

revised

version

of

the

penultimate

scene

suggests

that the

exemplar

actually

dates from

1707,

when Ballard

eissuedthe

score

in

conjunc-

tion with the

opera's

irstrevivalat the

Opera.

I

have not

found men-

tion of the Tancrede

rompt

notes

elsewhere.

'For

two excellentand

complementary

ntroductionsto

18th-cen-

tury promptbooks,

see L.

Hughes,

'The evidence

from

promptbooks',

London heatre

world,

166o-18oo,

d. R. Hume

(Carbondale, L,

1980),

pp.118-42,

and

E.

Langhans,

Eighteenth-century

ritish and

Irish

promptbooks:

descriptive

bibliography

New York,

Westport,

and

London,

1987),

pp.xv-xxxiv.

For an overviewof

operatic

stagingprac-

tices

during

the

17th

and

18th

century,

ee M. Boetzkesand

R.

Savage,

'Staging',

hapters

6 and

12

n

History

of

Opera,

d. S. Sadie

(New

York

and

London,

199o), pp.47-61,135-54.

31

m unawareof

any

other extant

opera promptbooks

or

produc-

tions between1600 and

1750

apart

romthe

prompt

copy

of

Handel's

Radamisto,

n annotated

printed

ibretto discussed n

J.

Milhous

and

R. D.

Hume,

'A

prompt copy

of

Handel's

Radamisto',

Musical

times,

cxxvii

(1986),

pp.316-21,

and

reprinted

in The librettos

of

Handel's

operas,

d.

E.

Harris

New

Yorkand

London,

1989),

ii;

and the

manu-

script

ibretto

of

Rospigliosi's

omic

opera

Dal maleil

bene,

described

by Savage

op

cit,

P.59),

whose

detailed

staging

notes

were

presumably

used for the Roman

premiere

n

1654.

The

Bibliotheque

Nationale

F-

Pn),

the

Bibliothbque

de

l'Opera

(F-Po),

and

the

Archives

Nationales

(F-Pan)

in Pariscontaina small number

of librettos

dating

from

the

latter

part

of

the

18th

entury

which

include

staging

annotations.

will

discuss this information

in a

separate

tudy. My experience

with

the

Tancrede

romptbook

underscores

Langhans's

bservation,

however:

"'Undiscovered"

promptbooks

and related

materialsare not

really

undiscovered; heyhave been seen, but by eyes that werenot looking

for theatrical documents':

E.

Langhans,

Restoration

promptbooks

(Edwardsville,

1981),

p.xxvi.

4For

example,

the names

of

ten

members of

Pompadour's roupe

appear

n the

promptbook

and

two sizeable

deletions marked

n

the

score

(two

airs n Act

5)

correspond

o deletions n the libretto

ssued

for the

production.

Neither

deletion occursin librettos

ssued for

the

Academie

Royale

de

Musique productions.

For furtherdiscussion

of

this evidenceand other

details hat

identify

he

score with the

Pompa-

dour

production,

see A.

Banducci,

AntoineDanchet's

ndAndre

Camp-

ra's

Tancr'de:

erformance istory

nd

reception

1702-1764)

PhD

diss.,

Washington

U.,

199o), pp.10o1-1o.

he

petits

appartements

heatre

has

been discussed

extensively

n both

primary

nd

secondary

ources.

For

example,

Pierre

Laujon,

who wrote three librettos

for

Pompadour's

theatre,

described

the

troupe's operation

in

'Spectacles

des

petits

cabinets de Louis XV',Oeuvreschoisiesde P Laujon(Paris,1811), ,

pp.71-90.

The Duc de

Luynesgave

a

daily

account

of the

performances

in

his

journal

MImoires

du Duc de

Luynes

ur la cour de Louis

XV

(1753-1758),

d. M.

L. Dussieux and

E.

Soulie

(Paris,1860-65),

viii-x.

The most

important

secondary

ources nclude

E.

Campardon,

Mme

de

Pompadour

t

la

cour

de

Louis

XV au milieu

du

XVIIIF

iecle

Paris,

1867),

pp.78-125;

A.

Jullien,

Histoire du

theaitre

de Madame de

Pompa-

dour

(Paris,

188o/R1978);

nd W.

Kaehler,

The

operatic

repertoire

f

Madamede

Pompadour's

heatre

es

PetitsCabinets

1747-1753)'PhD

diss.,

U. of

Michigan,

1971).

5Luynes,

Mimoires, x,

p.157.

61I

etermined

hese measurements rom

J.-F.

Blondel's loor

plan

of

Versailles,

Architecture

frangaise,

v

(Paris,

1756),

ii/l,

pl.8.

Louis

XV

ordered

he

stairs

destroyed

n

1752

o accommodatea clusterof

dom-

estic

rooms and an

interior court.

Engravings

of

the

staircase

are

reproduced

n R.

Berger,

Versailles:he

chateau

of

LouisXIV

(Univer-

sityParkand London,1985), igs.35-9.For a somewhatfanciful,wide-

angle

view of a

production

in

the

petits appartements

heatre,

see

the

engraving by Adolphe

Lalauze

(1838-1906)

after

Charles-Nicolas

Cochin

reproduced

n

N.

Mitford,

Madamede

Pompadour

London,

1968),

pp.120-21.

On the

physical

attributes of the

Opera

theatre,

see B.

Coeyman,

'Theatres or

opera

and ballet

during

the

reigns

of

Louis

XIV and

Louis

XV',

Early

music,

xviii

(1990o),

pp.31-4.

7Luynes,

Mdmoires, x,

p.133.

This

relatively spacious

theatre

replaced

a much

smaller one set

up

the

previous

year

in the

petite

gallerie.

188

EARLY

MUSIC

MAY

1993







8Luynes,

Mimoires,

x,

p.133.

9Luynes,

Mimoires, x,

pp.2,

356;

x,

p.43.

'"On

how

such

scene

changes

were

accomplished,

see R.

Southern,

Changeable

cenery

London,1952),

pp.213-16.

"TANCREDE,

ragedie,

Represent&e

evant

e

ROI,

sur

le Theatredes

petits

Appartemens

Versailles,

ans

Prologue. mprimbepar expres

Commandement

e

Sa

Majest.

M.

DCC.

XLVIII,

n

Divertissemens u

Theatredes

petits appartemens

Pendant

l'Hiver

de

1748

a

1749

(n.p.,

n.d.).

2For discussionof the

boy sopranosemployed

at

court,

see L. Saw-

kins, 'For and

against

the order of Nature:who

sang

the

soprano?'

Early

Music,

xv

(1987),

pp.316-19.

'3Pompadour's

rchestra ncluded

a

harpsichord,

5

first

violins,

5

seconds,

2

violas,

7

cellos,

3

bassoons,

2

flutes,

2

oboes and

1

trumpet.

For a

discussion

of

the

Opera

orchestra

during

his

period,

see

J.

de La

Gorce, L'orchestre

e

l'Opera

et son

evolution

de

Campra

a

Rameau',

Revue

de

musicologie,

xxvi

(1990),

pp.23-43.

'4For

descriptions

of

the

costumes used

in

the

Tancrade

roduction,

see 'Inventaire

General

des habits et

ustanciles

du

theatre des

petits

appartemens

ous

la

garde

de madame

Schneider,

ait en

l'annee

1749,

Bibliotheque

de l'Arsenal

(F-Pa),

MS

3090,

ff.57r-58v,84r-85v;

the

entire

manuscript

s

transcribed

n

Campardon,

Mme de

Pompadour

t

la cour de

Louis

XV,

PP.447-99.

5'Memoire

de

toutes

les fournitures

de

peruques

et

accommodages

faits

pour

les

petits appartemens,par

Notrelle,

peruquier

des

menus

plaisirsdu Roy,sous les ordres de M. le duc de LaVallibre, n 1747et

1748'

transcribed

n

Campardon,

Mme de

Pompadour

t

la cour

de

Louis

XV,

pp.415-24.

16Laujon,

'Spectacles

des

petits

cabinets

de

Louis

XV'

pp.82-3.

'7I

would like to thank

Lois Rosow for

apprising

me of Rebel's

appointment

and

responsibilities

s court

musician

during

his

period,

which,

along

with

his

co-surintendant

Frangois

Francoeur,

ncluded

directing operatic

productions

held

in

the salle de

manege

heatre at

Versailles

n

the

mid-174os

and the Fontainebleau

ntertainments

of

the

early

1750s.

18Pompadour's

troupemight

even

have

used

the

Opera's

wn

theatre

at

the Palais

Royal

for a dress

rehearsalof

Tancr~de.

ccount records

show that her

troupe

made

the

trip

to

Paris o

hold rehearsals here at

least

twice

during

the

1747/8

eason. See 'Etatdes

avances aites

par

le

sieur

Peronnet

pour

les

ballets

des

petits appartements

depuis

e

mois

de

d&cembre

747

usques

A

a

fin

de

mars

1748',

ranscribed

n

Cam-

pardon,

Mmede

Pompadour

t la courde Louis

XV,

pp.425-6.

19The

annotations

n

the

Tancredecore are

n

two differentuniden-

tified

hands:

he

majority,

ncluding

those

that

refer o

staging,

are

in

one

hand;

a

small

number that direct

page

turns,

for

example,

are

in

another.

2oSee

note

15

above.

2For

a

description

of the

inspecteur

eneral's

uties,

see

L.

Rosow,

'From

Destouches to Berton:

editorial

responsibility

at the

Paris

Opera',

Journal

of

the

American

Musicological

Society,

xl

(1987),

pp.285-309.

In a

recent

personal

communication,

Rosow

has

pointed

out to

me an

intriguing

report

uncovered

by

Tom

Greenwith

regard

o

Rebel'sand

Francoeur's irectionof

the Fontainebleau

ntertainments

(see

note

17

above).

According

o the Gazettede

France

23

November

1754),

p.561,

one

inspecteur

directed what

took

place

on

stage

[le

thedtre]

and the

other directed the

orchestra.

22A

similar isting appears n thepetitsappartementsibrettosdating

from November

1748

until the close of the

theatre

n

January

750.

23Laujon, Spectacles

des

petits

cabinets de

Louis

XV',

p.83.

24For n

accountof the cuts and

changes

n

scoring,

see

Banducci,

'Antoine

Danchet's and

Andre Campra's

Tancr~de',

p.

o106-8,

and

appendix

III.

A

complete transcription

f the

annotations ound

in

the

score

will

appear

n

an

appendix

o A.

Campra,

Tancrade,

acsimile

edi-

tion,

'Introduction'

by

A.

Banducci,

French

opera

n the

17th

and

18th

centuries,

viii

(New

York,

orthcoming).

"5Theection on

stagemachineryby

Giraultand Radel n the

Ency-

clopedie,

u dictionnaire aisonne

es

sciences,

d. D. Diderot

and

J.

L.

R.

d'Alembert,

llustratesall of these

items;

see

'Machines

de

thiatre',

Recueils

es

planches,

(Paris,

1772),

n.p.

Foran excellent

ntroduction

to the

types

of

mechanics

nvolved,

see C.

Visser,

Scenery

and

tech-

nical

design'

London heatreworld:

166o-18oo,

pp.94-116.

26MSD

58,

p.251.

Here and

elsewhere,

will

give

the

prompt

notes

in

italics to

distinguish

them from

printed

sources.

I

have not

altered

spelling,

nor added

accents.

27MSD

58,

P.257:

Monter a

rampe/Lejour'.

he French

ballet

master

Jean-Georges

Noverre,

n his Lettresur a

danse,

ur esballets t

les

arts

(St

Petersburg,

803),

ii,

p.24,

strongly

objected

o such an

effect,

argu-

ing

that the

rampe's

aylight

reversed he order

of

nature,

striking

he

body

frombelow instead

of from above:citedin A.

Nagler,

Machinen

und

Machinisten der

Rameau-Ara',

Maske und

Kothurn,

ii

(1957),

p.138.

28MSD

58,

p.61:

Le tonnere es eclairs

et les tombeaux e

brisent'.

29MSD

58,

p.69:

'tout

cesse'.

30MSD

58,

p.2oo:

'La

Vangeance

t/la

Danse aux

trapes'.

3MSD

58,

p.2o8:

Leschoeurs ortent

des

Enfers

vec a

Vangeance'.

32MSD

58,

p.118:

les

ch.[oeurs]

ortentet

vont/prendre

es/habits

de

faunes

et

Driades'.

33MS

3090,

f.85v

Campardon,

Mme de

Pompadour

t la courde

Louis

XV,

p.476-7).

34MSD

8,

p.180:

LesDlles

quittent

es

oureaux'.

35See

M. Carlson's eminal

article,

Hernani's

evolt from the

tradi-

tion of Frenchstage composition' Theatre urvey,xiii/i (May

1972),

pp.1-27.

36D.

Barnett,

Theart

ofgesture:

he

practices

nd

principles

f

l8th

cen-

tury acting

(Heidelberg,

1987),

pp.[3871-429.

37One

hardly

needs

to be

reminded

of

the

strong

connections

between

French

politics

and

opera

n

the

Baroque

period.

For the stan-

dard work

on

the

subject,

see

R.

Isherwood,

Music

n the

service

f

the

King:

France n the

seventeenth

entury

Ithaca,

NY,

1973).

t

is interest-

ing

to note that

Metastasio,

n

rejecting

rank

as a

determining

actor

for

stage

position,

observed

hat

'[stage] right

is not the most

noble

side in all

countries';

ited in D.

Barnett,

The

performance

practice

of

acting:

the

eighteenth

century.

Part

I:

Ensemble

acting',

Theatre

research

international,

xii/3

(1977),

p.169.

38J.-B.

Sauvede

Lanoue,

La

coquette orrige

Paris,1756);

ited in

G.

Bergman,

Les

agences

heatrales

t

l'impression

des mises

en

scene

aux

environs

de

18oo',

Revue d'histoire

du

thditre,

viii

(1956),

p.237

(my

translation).

39MSD

8,

p.244:

Dans

le

desespoir

qui

me

presse,

Je

n'auraypas

long-temps

a

gemire

oin de

vous'; 'll

sort

d.l.R.'

40See

C.

Wood,

'Orchestra nd

spectacle

n

the

tragedie

n

musique,

1673-1715:

racle,

sommeil

nd

temprte',

roceedingsf

the

Royal

Musical

Association,

cviii

(1981-2),

p.40.

4'MSD

58,

p.260:

'Mais,

ce

bruit

&clatant,

m'annonce

e

Vainqueur,

HAtons-nous

d'&claircir

es

troubles

de

mon

coeur.'

42MSD

8,

p.261:'

Tancrede

u milieudes

choeurs 'hommes

aroit

sur

la/dernidre

mesure

'epee

a la

main'.

43MSD

8,

p.260:

'Les

hommes

paroissent/l'epte

a

la

main/tan-

crede/au

milieu'.

This

note,

crossed

out,

appears

next

to the

scene

rubricsabove the martial

music.

44MSD

8

p.281:

Clorinde

paroit

blessee/dans

a seconde

coulisse/du

cote d.l.R.

soutient/par

deux

guerrieres'

45MSD 58, p.151:

'danslefond/d.R.'.

46MSD 8, P.159:

La

Danse et les Dlles

paroissent

dans le

fond

du

theatre'. he

libretto and score make

clear

that 'La

Danse' refers o a

group

of

femaledancersand 'les

D[emoise]lles'

to

sopranos.

47For videnceon

the use of the

upstage

areaat the

Opera

n

the late

17th

century,

eeJ.

de

La

Gorce,

Berain:dessinateur uRoi Soleil

Paris,

1986),

pp.82-5.

(I

would like to thank Lois Rosow for

calling

my

atten-

tion

to

de

La

Gorce's

work on

this

topic.) By comparison,

none of

the

prompt

notes for

Handel's Radamisto calls for an

upstage

entrance

by

a

soloist.

According

to Sven

Hansell,

common

practice

directed

singers

EARLY

MUSIC MAY

1993 189







~------I~Early

Music

.

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1

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NO

VATON SECONDHAND

NSTRUMENTS

The

Early

Music

Shop,

Dept

EM.,

38

Manningham

Lane,

Bradford,

West

Yorkshire

D1

3EA.

Tel:

(0274)

393753 Fax:

(0274)

393516

in

18th-century

talian

productions

f

opera

eria

to enter the

proscenio

from

ust

behind he

proscenium

rch

or

from between he first wo flats

of the

scenery'

eeS.

Hansell,

Stage

eportment

nd

scenographic

esign

in

the Italian

opera

seria

of the

settecento',

nternational

Musicological

Society

Congress

eport,

x

(Copenhagen,

972),

,

p.416.

48Because

o

set

designs

or

this

production

are

extant,

whether

he

entrances

t

therearof the

stage

were

at

variancewith the

perspective

n

the

painted

sets-a

phenomenon

criticized

by

Noverre

(Lettres

ur la

danse,

ur

es

ballets t

les

arts,

Lettre

VI'

pp.50-53),

or

example-cannot

be established.

49I

would like to

thank

RebeccaHarris-Warrick

nd Carol

Marsh

or

answeringmy

questions

n

this

regard.

For

a

discussion

of related

per-

formance

practice

onsiderations evealed

y

Jean

Favier's

horeography

of Le

mariage

e la

Grosse

Cathos,

divertissement

robably

erformed

t

Versailles

n

February

688,

ee

R. Harris-Warricknd

C.

Marsh,

Musical

theater t the court

of

Louis

XIV:

he

example

f

'Le

mariage

e la

Grosse

Cathos'

Cambridge,

n

press),

chap.4.

I am

grateful

o the

authors

or

sending

me a

copy

of

this

chapter

before ts

publication.

50L.

Rosow,

Performing

choral

dialogueby

Lully'

Early

music,

xv

(1987),

PP-329-30.

eealso L. de Cahusac's rticle

Choeurs',

ncyclopMdie,

iii

(Paris, 753),

p.362.

5'As

Rosow

has

suggested,

he order

in which the choristers' ames

appear

n

librettos

or

Operaproductions robably

ndicates

position

on

stage:

The ists

of

men

'on the

king's

ide'

begin

withbassesand

typically

conclude

with

tenors;

hoseof men 'on

the

queen's

ide'

begin

withbasses

and usuallyconcludewith hautes-contre'Rosow, Performing choral

dialogueby

Lully',

.330).

These

ibrettosdo

not

specify

oice

types,

how-

ever.

n

contrast,

he

1748

Tancrade

ibretto

pecifically

dentifies he

voice

types

of all

the choristers nd

ists

hem

according

o

the

following

order:

female

sopranos,

boy

sopranos,

hautes-contre,

enors,

and basses.

520ne

wonders,

or

example,

f

Laujon's

ccountof the

Op6ra

horus's

entrance

was he standard e made

t

out

to be:

The

men on

one sideand

the women on the other

passed

each other

as

they

arrived nd then re-

entered he

wings;

hen,

in

order

of

seniority hey

came on

stage

once

again,

his time

to

place

hemselves

n

line

on each

side'

(cited

n

Rosow,

'Performing

choral

dialogueby Lully'p.329),

a manoeuvre

which must

have

required

considerable mountof time

and considerable

currying

behindthe

scenes.

53Rosow,

Performing

choral

dialogueby

Lully',

P.330o.

54Rosow,

Performing

choral

dialogueby Lully', .329.

Work

by Mary

Cyralsomodifies he notion of acompletelymmobile horus.Basingher

argument

on

iconographic

vidence,

Cyr

has

suggested

hat

the

chorus

may

have

gestured

while

singing.

am

grateful

o

Prof.

Cyr

or

sending

me

a

copy

of

her

unpublished

rticle,

Thechorus

of

the Paris

Op6ra

during

Rameau's

areer'

55MSD

8,

P.34:

qui

F[ont]

cercle'

ppearsdirectly

after the

printed

'choeurde

guerriers' ignals

heir

reply.

56Argant

nd Ism6nordouble he basssolo

line;

he men's

choruscon-

sists of

hautes-contre,

enors

and basses.

57MSD

8,

p.45:

les

ch.

se

remettent/sur

es cotis'.

58MSD

8,

p.i: 'M.rs/Godon[esche]/Daigremon[t]/Benoi[st]/Richi[er]/

precedent/Argant.

he libretto dentifies

hese men as members

of

the

vocal chorus.

See

also note

42

above.

59For

ypes

of

gestures

nd movements hat

may

havebeen

employed,

see

Barnett,

The

performance

ractice

f

acting'

6oLuynes,

M

nmoires,

x,

p.147.

6"MSD

58,P-75:Elle epromene.

"6Barnett

as

pointed

out

that

a

specific

eason or an action

usually

ic-

tated

18th-century

tage

movement

'The

performanceractice

f

acting',

PP.[4261-433).

he instructionn the Tancrade

romptbook

resembles,

however,

he recommendations f two

early

16th-century

talians,

he

composer

Marcoda

Gagliano

nd he

anonymous

uthor

f

Icorago.

Both

suggested

hat

he

singer

move

about

during

nstrumentalitornellos. ee

R.

Savage,Prologue:Daphne

ransformed',

arlymusic

xvii

(1989),

p.485;

and

Savage,'ll

Corago'

nd he

staging

f

early pera:

our

chapters

roman

anonymous

treatise circa

1630',

Early

music xvii (1989), p.5oo.

190

EARLY MUSIC

MAY

1993

Documents

Tancrede Promptbook