Bellerophon 1st edition, 1679

Although not the first of the Jean-Baptiste Lully's tragédies lyriques, Bellérophon was the first of Lully's opera scores to appear in print.  The Ballard first edition was printed in 1679 to accompany the premiere, on January 31 of that year, at the Palais Royale. 

Bellérophon was the second of two operas (the first was Psyché) created by Lully without librettist Philippe Quinault after the scandal associated with Isis that led to Quinault's temporary dismissal as royal librettist. After an extended illness during which he did not compose, Lully collaborated with Thomas Corneille and Bernard le Bovier de Fontenelle for the second time to create one of his most unqualified successes. Following the first performance in January 1679, Bellérophon played for nine months at the Palais Royale. Indeed, the French newspaper Mercure reported that the king was so taken with the opera that he halted it to have certain portions repeated (Isherwood, 222). 

Restraint marks Bellérophon more than other Lully operas. Lully often equated the heroes in his operas with his patron King Louis XIV; the symbolism of Bellérophon conquering the lion, dragon, and goat referred to Louis' recent triumph over the Dutch, the Spanish, and the Holy Roman Emperor. The symbolism extended to gentle political commentary, as Bellérophon showed restraint and moderation when dealing with his vanquished foes. It was hoped that the king would as well.

In the Prologue, Apollo calls the Muses together on Mount Parnassus. As they prepare a concert for the king, choruses of shepherds and the servants of Bacchus enter and sing to the glory of the greatest of rulers: "Let us redouble our efforts and prepare our sweetest sounds." 

Act I takes place in the King's Palace in the city of Patare, capital of the kingdom of Lycie. Stenobée, widow of Pretus, king of Argos, laments the death of her husband, but confides to her confidante Argie that she has fallen in love with Bellérophon, a young hero in the army of Jobate, king of Lycie. Bellérophon, however, loves (and is loved by) Philonoé, daughter of Jobate. Philonoé, who, in accordance with the king's decree, is to have her husband chosen by Stenobée, has requested Bellérophon. The king enters and announces to Stenobée that he approves of the union of Bellérophon with his daughter. This enrages Stenobée. Although chastised by the king for her pettiness, she begins her plans to make Bellérophon her own. 

Act II begins in a beautiful garden, where Philonoé sings of the glories of love. She is joined by Bellérophon who assures her that he returns her her love. Philonoé exits and Stenobée enters, explaining to Bellérophon her reasons for having placed him in exile many months earlier. [NOTE: Bellérophon was exiled from Argos to Lycie for causing the accidental death of his brother; that Stenobée did not help exonerate him is her reason for telling him now - Lully's audience would have been familiar with these details of the plot.]. Stenobée tells Bellérophon that at one time she feared him, but that now she loves him. Bellérophon refuses her advances. Stenobée then seeks out the magician Amisodar to help her seek vengeance in an impassioned air: Hâtez-vous, hâtez-vous (Hasten! hasten!). Through his magic, Amisodar changes the island into a terrible prison filled with his magicians. He orders them to fashion a hideous monster drawn from the evil of three separate creatures. They create the Chimera. 

Act III takes place in the vestibule of the temple of Fire, the oracle for the city of Patare. Argie, confidante of Stenobée, tells her that the Chimera is causing great fear among the citizens. Stenobée lies to the king, telling him that that the monster has come not to destroy his empire but to punish him for not fulfilling the terms of Bellérophon's exile - his execution. Appalled and unable to comply, the king warns Bellérophon of the danger and then consults the oracle for guidance. In an extended scene with interjections from the chorus, the high-priest offers sacrifices to Apollo to beseech the god's favor. Apollo descends and informs them that the son of Neptune will defeat the monster and win the hand of Philonoé. Bellérophon assures Philonoé that his determination to save the people will not be set aside. 

As Act IV begins, Amisodar is discovered on a high and precarious cliff, anticipating the gory spectacle to follow in an exultant air: "Quel spectacle charmant" ("What a charming spectacle"). Argie enters, imploring Amisodar to destroy the Chimera in order that Bellérophon might live and wed Stenobée. Amisodar refuses and exits, announcing the arrival of the Chimera. Wood nymphs (Dryads) and mountain nymphs (Napée) describe the battle between Bellérophon and the Chimera, lamenting "let us join our sighs with our tears." After an interruption during which the king warns Bellérophon not to be fooled by bravado, Bellérophon sings Heureuse mort, tu vas me secourir (Happy death, you will rescue me). In the ensuing battle Bellérophon, assisted by the goddess Pallas Athene, defeats the Chimera. 

The Act V curtain rises on the foyer of the Palace, which is decorated with signs of victory. The king announces that the heavens have brought forward a hero who fulfills the oracle's prophecy - Bellérophon is actually the son of Neptune and can now be wed to Philonoé. The people rejoice at the new royal bloodline. The king notices that Stenobée is listless and inquires as to the source of her unhappiness. She confesses her duplicity in trying to kill Bellérophon and that, as punishment, she has poisoned herself. Philinoé, exclaiming "what an excess of rage," runs to embrace her love. The king commands his subjects to think not on death but on the victorious Bellérophon.

Title from title page: BELLEROPHON / TRAGEDIE / MISE EN MVSIQUE
Genre: tragédie lyrique
Siglum from Lully thematic catalog: LWV 57
Composer: Jean-Baptiste Lully, 1632-1687
Librettist: Thomas Corneille (1625-1709), Bernard le Bovier de Fontenelle (1657-1757), and Nicolas Boileau-Despréaux (1636-1711)
Libretto based on: Hesiod's Theogeny
Setting: Various mythological places
Premiere: Paris, Palais-Royal, 31 January 1679
First published: Paris: Christophe Ballard, 1679
Volume in the UNT Lully Collection: First edition, Paris: Christophe Ballard 1679

For further reading on Bellérophon, see:

Newman, Joyce.  Jean-Baptiste Lully and his Tragédies Lyriques.  UMI Research Press, 1979. 

Rosow, Lois and Marita P. McClymonds.  "Bellérophon."  In Grove Music Online.  Edited by Laura Macy.  Accessed 4 May 2005 <http://www.grovemusic.com>

See the Lully bibliography for suggested reading.

Full score: 2° in 4s: ² A-2P4 2Q². Numbered folios. P2, 1-106, 110 [i.e.107], 108-120, 122, 121, 123, 125 [i.e.124; corrected in pencil], 126-149, 15 [i.e.150], 151-254. 36 ½ x 24 ½ cm.

M1500 .L95 B4

Bellérophon was the first of Jean-Baptiste Lully's tragédie lyriques to be printed, perhaps because of the enormous popularity of the work. The first edition was printed by Ballard in 1679 not long after the premiere. The volume in the Lully Collection is a first edition with the Christophe Ballard printing mark on the title page.

Condition: This volume has seen very cavalier treatment, and is the most fragile of the books in the Lully Collection. The binding is a contemporary full calf with a panelled spine. The leather has fallen off the spine, revealing the padding. The paste-down endpapers have come loose from the cover, revealing binding stiffeners cut from an earlier vellum manuscript (apparent business transactions recorded in an elegant court hand, probably 16th century). Water damage, mildew, some foxing, damaged corner, mold, termites, vermin damage.

Provenance: This volume was purchased from Orlinde in 1963 for $60 by Isaac Lloyd Hibberd, a faculty member at North Texas State University. The name "Louise Morel" is handwritten on the title page in a contemporary hand.

RISM A/I, L2974