Andromède (Andromeda) is a French verse play in a prologue and five acts by Pierre Corneille, first performed on 1 February 1650 by the Troupe Royale de l'Hôtel de Bourgogne at the Théâtre Royal de Bourbon in Paris.Powell 2000, p. 25; Garreau 1984, p. 554. Regarding the date of the premiere, Powell says: "The Troupe Royale of the Hôtel Bourgogne finally produced Andromède during 1–22 February 1650", citing G. Mongrédien, "Sur quelques représentations d'Andromède", XVIIe siècle, vol. 116 (1977), pp. 59–61, . Garreau merely says "early 1650". The Notice de spectacle (Andromède) of the BnF gives 26 January 1650; Jean Claude Brenac's Le magazine de l'opéra baroque ("Andromède") says: "représentée en 1650 (pendant la Fronde)". The story is taken from Books IV and V of Ovid's Metamorphoses and concerns the transformation of Perseus and Andromeda.Corneille 1651a, "Argument"; 1651b, "Argument". The play has rarely been revived and is mostly remembered today for the set of six engravings by François Chauveau depicting the elaborate Baroque set designs of Giacomo Torelli.
Background The play was commissioned by Cardinal Mazarin in 1648 but wasn't finished until 1650. Corneille dedicated the piece to an unknown woman designated by four uppercase M's.Corneille 1651a, "Epistre"; 1651b, "Epistre". According to Abel Lefranc, the M's represent Madame de Motteville, the confidante of Anne of Austria.Abel Lefranc, "Le mythe d'Andromède dans la tragèdie de Corneille", Comptes rendus des séances de l'Académie des Inscriptions et Belles-Lettres, vol. 72 (1928), no. 3, pp. 246–248. .
Plot Prologue: Respects to the King Act I: Venus predicts the marriage of Andromeda while a final victim will be chosen for the monster Cetus. Act II: Andromeda is designated as the victim. Act III: Perseus kills the monster; the Nereids promise to avenge it. Act IV: Phineus wants to kill Perseus and gets the aid of Juno. Act V: Perseus astounds Phineus; all the characters ascend to heaven to become gods.
Characters The list of characters is from Corneille.1651b, "Acteurs".
Gods in the Machines Jupiter, King of the Gods Junon, Goddess of Marriage, Jupiter's wife Neptune, God of the Sea Mercure, God of Messages Le Soleil (The Sun) Vénus, Goddess of Love and Beauty Melpomène, Muse of Tragedy Aeole, Keeper of the Winds Cymodoce, first Nereid Ephyre, second Nereid Cydippe, third Nereid Eight Vents (Winds)
Mortals Cephée, King of Ethiopia Cassiope, Queen of Ethiopia Andromède, their daughter Phinée, Prince of Ethiopia Persée, son of Jupiter and Danaë Timante, Captain of the Royal Guards Ammon, friend of Phinée Aglante, a nymph of Andromède Cephalie, a nymph of Andromède Liriope, a nymph of Andromède A page of Phinée Chorus of People Retinue of the King
Premiere The premiere production incorporated spectacular scenery, set changes, and special effects, designed by Giacomo Torelli. Many of the sets were recycled from Torelli's production of Luigi Rossi's opera Orfeo, performed at the Palais-Royal in 1647. A series of six engravings created by François Chauveau, depicting scenes from the prologue and five acts of Andromède, were published in Rouen in 1651, both separately and with the second edition of the play.Powell 2000, p. 25; John 1996; Coeyman 1998, p. 63; Howarth 1997, pp. 205–209. Charles d'Assoucy composed incidental music, which included airs, duets, and choruses, that primarily functioned to cover up the noise of the stage machinery during scene changes and special effects, such as the descent of Jupiter, Juno and Neptune in the final act. Corneille did not look too favorably on the music: "I have employed music only to satisfy the ear while the eyes are looking at the machines, but I have been careful to have nothing sung that is essential to the understanding of the play because the words are generally badly understood in music."Quoted and translated by Isherwood 1973, p. 126. Most of the music has been lost, except for two choruses published in Airs à quatre parties (Robert Ballard, Paris, 1653).Powell 2000, p. 25 note 63; Margaret M. McGowan, "Dassoucy, Charles” in Grove Music Online.
Engravings by Chauveau
Later productions 1655: Andromède was revived at the Théâtre du Marais with machinery and sets designed by Denis Buffequin.Powell 2000, p. 26; Howarth 1997, p. 210. 1682: A revival at the Théâtre Guénégaud by the Comédie-Française with music composed by Marc-Antoine Charpentier included a live horse flying through the air. According to the Parfaict brothers, the horse was persuaded to portray a "warlike ardor" by a severe fast, and "when he appeared a theatre employee was in the wings sifting oats. The horse overcome by hunger, neighed, stamped his feet and thus acted exactly as it was wished he should. [...] This acting on the part of the horse greatly contributed to the success the tragedy enjoyed at that time."Howarth 1997, pp. 355, 357.
Notes
Bibliography Coeyman, Barbara (1998). "Opera and Ballet in Seventeenth-Century French Theatres: Case Studies of the Salle des Machines and the Palais Royal Theater", pp. 37–71, in Opera in Context: Essays on Historical Staging from the Late Renaissance to the Time of Puccini, edited by Mark A. Radice. Portland, Oregon: Amadeus Press. . Corneille, Pierre (1651a). Andromède, 1st edition. Rouen: Laurens Maurry. Copy at Gallica. Corneille, Pierre (1651b). Andromède, 2nd edition with engravings. Rouen: Laurens Maurry. Copy at Gallica. Garreau, Joseph E. (1984). "Corneille, Pierre", vol. 1, pp. 545–554, in McGraw-Hill Encyclopedia of World Drama, Stanley Hochman, editor in chief. New York: McGraw-Hill. . Howarth, William D., editor (1997). French Theatre in the Neo-classical Era, 1550–1789. Cambridge: Cambridge University Press. . Isherwood, Robert M. (1973). Music in the Service of the King. France in the Seventeenth Century. Ithaca: Cornell University Press. . John, Richard (1996). "Torelli, Giacomo", vol. 31, pp. 165–166, in The Dictionary of Art (34 volumes), edited by Jane Turner. New York: Grove. . Also at Oxford Art Online (subscription required). Powell, John S. (2000). Music and Theatre in France 1600–1680. Oxford: Oxford University Press. .