Reconstruction
Royer's Le Pouvoir de l'Amour
What does a musical director do when a 260-year-old opera is incomplete?
This was the challenge faced by Professor of Harpsichord Lisa
Goode-Crawford in bringing the French baroque opera-ballet Le
Pouvoir de l'Amour (The Power of Love) by Joseph-Nicolas-Pancrace
Royer to life, in performances in Finney Chapel in February 2002.
Co-produced
by the Centre de Musique Baroque de Versailles (CMBV) and supported
by a grant from the Florence Gould Foundation, the idea to perform
Le Pouvoir de l'Amour originated in 1979 when Crawford took
leave from Oberlin to study Royer's harpsichord works. The result:
a critical edition of Royer's Pieces de clavecin, as well
as an abiding interest in Royer's opera-ballets, virtually unknown
today. "Royer's works have remained in libraries unedited,
unperformed, and for the most part unexamined," says Crawford.
She received another research status grant in 2000 to complete
work on the opera edition, and make preparations for the production.
Three performance scores of Le Pouvoir de l'Amour are extant
in the libraries of the city of Versailles and at the Paris
Opera. None of them, however, includes instrumental parts. In
French operas of this period, the music played by the violas is
usually absent from the published score, necessitating the challenging
task of reconstruction for modern performance. During much of
2001, Gerard Geay, chercheur at the CMBV, did just that
for Le Pouvoir de l'Amour, using as models the inner parts
from other operas by Royer and his contemporaries.
Other mysteries remained. "Another chorus was only hinted
at in the music score. It was only when I discovered the printed
libretto that I found that the chorus was present in the scene,"
says Crawford. "So, Gerard wrote the inner parts for that
as well."
The cast included Conservatory stu- dents, as well as professional
singers, instrumentalists, and dancers, many Oberlin alumni, and
featured several significant collaborations. Olivier Schneebeli,
Director of the Choir of the CMBV, instructed the opera chorus
in French baroque styles of declamation. Catherine Turocy, Artistic
Director of the New York Baroque Dance Company, created the choreography,
and members of the company joined the production. Rhetorician
Patricia Ranum instructed the cast in declamation of the text.
Victoria Vaughan, Assistant Director of Oberlin Opera Theatre,
was stage director and harpsichordist Michael Sponseller '97,
was associate music director.
Crawford's critical edition of the opera, including the reconstructed
parts by Geay, is to be published by the CMBV.
- Charity Lofthouse '99
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