La Felicité. Ballet-heroique. Representé à Versailles, le Jeudi 17 Mars 1746. [Ballet libretto]. François REBEL, François FRANCOEUR.

La Felicité. Ballet-heroique. Representé à Versailles, le Jeudi 17 Mars 1746. [Ballet libretto]

[Paris]: Christophe Ballard, 1746.

Quarto. Contemporary marbled wrappers. 1f. (recto title, verso identification of librettist, composers, and choreographer), 1f. (dedication), 1f. (recto half-title, verso named cast list), vii-xi (prologue), xii (named cast list), 1f. (synopsis), [3]-55, [i] (blank) pp. With woodcut armorial device to title, decorative woodcut headpiece and initial to dedication leaf and each of the 3 entrées, decorative woodcut tailpieces.

Printed note to verso of title identifies the librettist as [Pierre-Charles] Roy (1638-1764) and the choreographer as Sr. Laval, "Compositeur des Ballets de Sa Majesté."

Wrappers somewhat worn, creased and frayed at edges. Slightly worn and browned; corners creased; title browned, with lower edge and corner soiled, stained, and slightly torn, with minor loss to blank area, small contemporary manuscript annotation to head ("25 XI"); blank lower outer corner of following leaf soiled, with minor loss to blank area.

First Edition. OCLC (copies at the New York Public Library, the Newberry, the Bibliothèque Nationale Paris-Mazarine, and the Bibliothèque Genève).

The ballet consists of a prologue and three entrées and features some of the leading dancers of the period including Camargo, Sallé, Dumoulin, and Dupre and singers Jeliote, Le Maure, and Coupee.

François Rebel, violinist, theorbo player, conductor, composer, and opera director, was the son of Jean-Fery Rebel (1666-1747) and a close friend of Francoeur.

" ... In 1757, the king granted Rebel and Francoeur the licence of the Opéra for a period of 30 years ... The output of Rebel and Francoeur consists mainly of works for the stage (operas, ballets and divertissements). It is difficult to distinguish between the two men's shares in these compositions, and when questioned on the subject they used to reply, ‘This piece is by both of us’. La Borde, however, wrote that the ‘morceaux de force’ were Rebel's and the ‘morceaux de sentiment’ were by Francoeur. Rebel and Francoeur remained supporters of the French operatic tradition of Lully and Rameau. Their works were popular, as can be seen from the 33 consecutive performances of Scanderberg and the new edition of 1779, in which ‘most of the divertissements are newly revised’. Rebel composed few works on his own, and is remembered chiefly for his brilliant career as a theatre director." Catherine Cessac in Grove Music Online.

Item #36096

Price: $750.00  other currencies

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