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OVERVIEW
| Role | Voice Type | Range ? | Character Description |
|---|---|---|---|
| Maupin | middle-high | A3-A5 | A queer, gender-non-conforming opera singer, living in France at the turn of the 18th century |
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SYNOPSIS
Julie d'Aubigny (1673-1707), more often known by her stage name "Mademoiselle Maupin," was a queer and gender-non-conforming opera singer. She was a mezzo-soprano, and sang some of the first leading roles written specifically for the mezzo voice at the Paris Opéra. She was also highly skilled in swordplay, and defeated many men in duels throughout her life. Besides the dates of her performances at the Opéra, there's very little else we know for sure about Maupin's life- although there are many sensational stories, which may or may not be 100% true. . . This one-person opera features Maupin sharing some of her most famous adventures with her audience.
MUSIC DESCRIPTION
SCORES FOR PURCHASE
PREMIERE PRODUCTION INFORMATION
| Role | Name |
|---|---|
| Maupin | Camille Rogers |
| Role | Name |
|---|---|
| Consulting Director | Lauren Halasz |
| Piano | Trevor Chartrand |
CREATION
QUOTATIONS FROM CREATIVE TEAM
Was Maupin queer or trans?
Because the words we use today to describe gender and sexuality weren't in use in the 18th century, we don't know exactly how Maupin would have identified if she had lived today. We do know that she often wore men's clothing, but did not attempt to live or "pass" as a man. For that reason I use she/her pronouns to refer to her- although it's entirely possible that if she had lived today she might have used gender neutral pronouns such as they/them.
She was romantically involved with both men and women throughout her life, and actively sought out lovers of all genders. Today we would probably describe her as "bisexual," but that label didn't exist when she was alive. I generally use the umbrella term "queer" as a shorthand to describe her sexuality, but it's not really historically accurate either. (One of the many challenges of talking about queer history!)
Where does the text of the cantata come from?
Most of the text of the cantata is based on my translations of biographies written about Maupin in the 18th and 19th centuries. I wanted to show how historians talked about her and projected all sorts of moral panic onto her life story. Because we don't have any primary documents written by Maupin herself, I also wanted to give Maupin a chance to comment on other peoples' gossip and opinions about her- and that's where the music comes in. The composer Colin McMahon and I worked to include a lot of tongue-in-cheek moments where Maupin playfully relates her story as it has been told by others- while giving us a little musical wink to let us know that might not be exactly how it happened.
The Epilogue and Prologue as well as a few aria-like sections in the middle movements draw from the poetry of Aphra Behn, a female poet who lived in England in the 17th century. She may also have been involved romantically with women, and many of her poems and plays include sapphic themes. I wanted to include at least some text from the 17th century to give a sense of historical context, specifically around how people talked about and viewed gender and sexuality at that time.
- Camille Rogers, Librettist
AWARDS
Funding provided by the Mark S. Bonham Centre for Sexual Diversity Studies
ADDITIONAL RESOURCES
MEDIA
PRODUCTION PHOTOS
VIDEOS
PRODUCTION VIDEOS
La Maupin (2022)
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