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Phaeton 2nd edition, 1709

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Background

Like many of the operas created by composer Jean-Baptiste Lully and Philippe Quinault, his favorite librettist, Phaëton is filled with solar symbolism--a reference to the "Sun King," Louis XIV. The story also provides a political lesson: the haughty youth unable to contend with his position of power served as a warning to anyone brash enough to challenge the rigid mores of Louis' court. In addition to this political interpretation, the story is also a character study of a reckless juvenile whose arrogance destroys him. Phaëton's misguided and inappropriate attempts to make his lineage public bring about his downfall. The plot, like that of several of Lully's operas, is based on an episode in Ovid's Metamorphoses.

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Plot

The Prologue takes place in the Palace Gardens of the goddess Astrée. The goddess, who has developed a partiality for humanity, prays for the return of peace and the "Golden Age." Saturn, god of the Golden Age, appears, promising a return to peace and suggesting Astrée return to earth. 

The setting for Act I is particularly elaborate, including a garden in the foreground, a grotto in the middle, and the sea visible in the distance. Libya, daughter of Merops, king of Egypt, loves Epaphus, son of Jupiter and the nymph Io, but her role as daughter of the king must take precedence over that love. Meeting Theona, daughter of Proteus, in the forest, Libya seeks to understand the love Theona shares with Phaëton. Theona begins to explain that Phaëton's recent irrational behavior has given her reservations but is interrupted when Phaëton appears looking for his mother. Theona admonishes him and reminds him of their youthful love. Queen Clymene, Phaëton's mother, arrives, and Theona leaves. Phaëton reveals to his mother his fears that Libya will indeed be married to Epaphus, which would make Epaphus Phaëton's king. Clymene reassures her son that he can win both Libya's hand and the throne of Egypt if he no longer pursues Theona. Phaëton assures her that he will not let love interfere with his rise to power. To better ascertain her son's fate, Clymene questions the sea god Proteus. After avoiding her questions by changing into various animals, Proteus warns the queen that her vanity will lead to her son's death. 

The curtain for Act II rises on a room in the palace of the King of Egypt, decorated and prepared for a great ceremony. Clymene tries in vain to discourage Phaëton's ambition for the throne by encouraging a renewed interest in Theona. Phaëton will have nothing to do with his former love, who chastises him for his empty promises in a moving air: "Il me fuit, l'inconstant!" ("He flees me, the inconstant one!"). As King Merops announces that Phaëton will be his daughter's husband, the two accept that theirs will be a marriage of convenience. Festivities begin to celebrate the upcoming marriage. 

The Temple of Isis provides the setting for Act III. Theona demands vengeance from the gods after Phaëton tells her his plans to marry Libya. At the temple of Isis Epaphus, enraged by the denial of his marriage to Libya, casts doubts on Phaëton's noble lineage. Phaëton pledges to provide irrefutable evidence. During this tumultuous interruption to the wedding ceremony, Clymene attests to her son's parentage. The act ends with the four winds conveying Phaëton to the Palace of the Sun. 

Act IV moves to the Palace of the Sun. Amid the celebrations at his arrival, the Sun asks Phaëton the reason for his sadness. Phaëton explains that his lineage has been questioned. The Sun swears to help him prove his legitimacy by whatever means Phaëton wishes. Phaëton asks to command his father's chariot in its daily course. Unable to persuade him of the danger, the Sun agrees. 

Act V takes place in a pleasant countryside. As the dawn breaks, Phaëton appears in the sky at the reins of the sun-chariot. Epaphus, outraged at this show of bravado, entreats his parents to end his humiliation. The people of Egypt are awestruck by their new sun god, but Theona recalls the prophecy of impending ruin. Phaëton loses control over the chariot, which threatens to incinerate the earth. The Egyptians now fear for their lives. Answering Epaphus' pleas, Jupiter hurls a thunderbolt at the chariot, whereupon Phaëton plummets to his death.  

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Bibliography

Title: PHAËTON / TRAGEDIE / MISE EN MUSIQUE
Genre: tragédie lyrique (Tragédie en musique)
Siglum from Lully thematic catalog: LWV 61
Composer: Jean-Baptiste Lully, 1632-1687
Librettist: Philippe Quinault, 1635-1688
Libretto based on: Ovid's Metamorphoses
Premiere: Versailles, court, 6 January 1683
First published: Paris: Christophe Ballard, 1683
Volume in the UNT Lully Collection: Second edition, Paris: H. de Baussen, 1709

For further reading about Lully's Phaëton, see:

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

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

See the Lully bibliography for suggested reading.

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Physicals

M1500 .L95 P52 1709

Reduced score: Engraved. 2°: ² A-3G². P4, 1-211. 37 ¼ x 26 ¼ cm.

The first edition of Jean-Baptiste Lully's Phaëton was printed in 1683 by Christophe Ballard, who held the privilège for music printing under Louis XIV until his death in 1715. Between 1708 and 1711, engraver Henri de Baussen assisted in the production of engraved "second editions" of several of Lully's operas which sparked a lawsuit between the Ballard firm and those responsible for the engraved editions. The volume in the Lully Collection is one of those second editions engraved by de Baussen, who is credited on the title page and who signed the final plate with "De Baussen Sculpsit." Other de Baussen engraved second editions in the Lully Collection are Atys (1708) and Atys (1709), Roland (1709) and Thesée (1711). The recto of the title leaf of this volume contains a "Catalogue des Opera [sic] de Mr. de Lully" available from the bookseller Foucaut in the Rue St. Honoré. 

Condition: The present binding is a contemporary sprinkled calf with corners restored, and gilt geometric motifs in the panels of the jointed spine. The title appears on a red morocco paste-on label. The original loose endpaper and flysheets have been replaced with new laid paper. The paper used for the engraving is coarse, like that of the other engraved volumes in the Lully Collection. There is some water damage, foxing, tears, stains and discolorations to the paper. Several pages have apparently been used to try out a new pen nib, and a handwritten draft of a rather sentimental poem appears on p. 207.

Provenance:  unknown

RISM A/I, L3003

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