Royal Opera of Versailles
The Royal Opera of Versailles is the main theatre and opera house of the Palace of Versailles. Designed by Ange-Jacques Gabriel, it is also known as the Théâtre Gabriel. The interior decoration by Augustin Pajou is constructed almost entirely of wood, painted to resemble marble in a technique known as faux marble. The excellent acoustics of the opera house are at least partly due to its wooden interior.
The house is located at the northern extremity of the north wing of the palace. General public access to the theater is gained through the two-story vestibule. Some parts of the Opera, such as the king's Loge and the king's Boudoir represent some of the earliest expressions of what would become known as Louis XVI style.
Jean-Baptiste Lully's Persée — written in 1682, the year Louis XIV moved into the palace — inaugurated the Opera on 16 May 1770 in celebration of the marriage of the Dauphin — the future Louis XVI — to Marie Antoinette.
The Opera Royal can serve either as a theater for opera, stage plays, or orchestral events, when it can accommodate an audience of 712, or as a ballroom, when the floor of the orchestra level of the auditorium can be raised to the level of the stage. On these occasions, the Opera can accommodate 1,200.
The French Enlightenment
During the French Enlightenment, the theatre became a place where political and social ideas were considered myths and superstitions were tested. As more Enlightenment thinkers began to question the tenets of religion, many eighteenth-century citizens began to replace the pulpit with the stage, and looked to the theatre for their moral instruction as well as entertainment. The nobility had a lot to do with the rise of theatre during this time. Louis XIV, who is known as the "Sun King" for playing the allegorical character of the sun in Ballet Royal de la Nuit in 1653, moved his royal court from the capital, Paris, to Versailles, aspiring to get more control of the government. The Opera, which was built for Louis XV, however, was not built until later. His mistress, Madame de Pompadour, patronized artists, actors, and musicians while bankrupting France. Meanwhile, the aristocracy and church paid no taxes, and the bourgeoisie paid for the monarchy's tastes. Yet, it was not until after the death of Louis' mistress that the construction of the Opera began.The importance of early theatre in French society
Long before the Opera Royal was dreamed of, theatre was becoming an important part of French society. Beginning with the reign of Louis XIII, the frequency and regularity of theatrical performances had increased: the show was considered as much an entertainment as it was an expression of power. The idea of it being an expression of power can be traced to one of Louis XIII's ministers, Cardinal Richelieu. Richelieu wanted to create an image of the king that displayed well roundedness in all things, a society who dabbled not only in politics or court, but music and art and theatre. He envisioned a force to lead the way, culturally. Attending a theatrical performance was quickly becoming a sign of stature, and though few permanent theatre spaces were created at this time, theatre found itself performed anyway. It is pertinent to note that until the final installation of the Versailles court, performances of operas and ballets, comedies and tragedies, were performed mainly in the gardensSoon, however, spaces that were frequently used for performances would become specific performance spaces. In time the royal residences equipped themselves little by little with fixed theatres, although they often continued to use temporary structures and installations one could disassemble in various places, such as galleries, staircases, lounges, and gardens. These staged productions were important for many reasons. Little divertissements for the court, they also were at times used by royalty for their own reasons. Louis XIV's performance during the Ballet Royal de la Nuit, for example, was a statement of his power, his coming of age, and the fact that he was ready to take the throne with no regents. Indeed, his performance as Apollo is what earned him the name Sun King. Stage productions such as operas and ballets were important during the reigns of the Bourbon monarchs in France. Louis XIV in particular employed these and similar art forms extensively not only to entertain the noblemen in his court but also to promote his own self-image and the gloire of his country. Although he desired an Opera for his beloved Versailles, during the second half of Louis' reign, most operas, ballets and other staged divertissements for court and the public appeared indoors, in theatres or in other sites arranged as required for individual productions.
Temporary theatres 1664 to 1674
During the early years of his reign of Louis XIV, theatres were often temporary structures, built for a particular event and destroyed after their use. The first such theater was constructed for the fête of The Pleasures of the Enchanted Island, which was held in 1664. In the area west of what is now the Bassin d'Apollon, a temporary theater was constructed in which Molière's La Princesse d'Élide débuted on 8 May. During this fête an additional theatre was erected inside the chateau for the presentation of three other plays by Molière: Les Fâcheux, Le Mariage Forcé, and Tartuffe, which premiered in an incomplete, albeit contentious, form. None of these theatres survived this fête.The Grand Divertissement royal of 1668, which celebrated the end of the War of Devolution, witnessed the construction of a luxurious temporary theater built in the gardens on the site of the future Bassin de Bacchus. Constructed of papier-mâché, which was either gilded or painted to resemble marble and lapis lazuli, the theater seated 1,200 spectators who attended the debut of Molière's George Dandin ou le Mari confondu on 18 July 1668. As with The Pleasures of the Enchanted Island, this theater was destroyed shortly after the end of the fête.
The third fête or, more accurately, a series of six fêtes - Les Divertissments de Versailles - were held in July and August 1674 to celebrate the second conquest of Franche-Comté. The fête featured a number of theatrical productions that were staged throughout the grounds in temporary theaters. On 4 July, Jean-Baptiste Lully's Alceste was performed for the court in the Cour de Marbre; on 11 July, Philippe Quinault's L'Églogue de Versailles was staged near the Trianon de Porcelaine; eight days later, the Grotte de Thétys served as the setting for Molière's The Imaginary Invalid; and Jean Racine's Iphigénie debuted on 18 August in a theater constructed in the Orangerie.
Creation of permanent theatres
La salle de la Comédie, 1681 to 1769
In spite of the need for a permanent theater at Versailles, it would not be until 1681 that a permanent structure would be built. In that year, the Comptes des Bâtiments du Roi record payments for a theater that was constructed on the ground floor of the château between the corps de logis and the Aile de Midi. The interior of the theater – known as the salle de la Comédie – contained a semicircle of row seating with loges set into the bays of the lateral walls. On the south wall of the theater, abutting the wall of the Escalier des Princes, was the royal tribune, which contained a central room octagonal loge and two smaller loges on either side. The salle de la Comédie would function as a de facto permanent theater at Versailles until 1769, when it was destroyed in order to provide direct access to the gardens from the Cour Royale.Small theatre, 1688 to 1703
In 1688, Louis XIV ordered a small theater to be constructed in the north wing of the Grand Trianon. This structure was destroyed in 1703 to accommodate a new apartment for the King.Because the salle de la Comédie was designed for stage plays, Versailles lacked a theatre in which more elaborate productions could be staged. For larger productions, the Grand Manège in the Grand Écurie was converted for more elaborate entertainments, but the space had limitations. In 1685, Louis XIV approved plans for the construction of a larger permanent theater that could the more elaborate productions, such as pièces à machines.
The pièces à machines were theatrical presentations using ballet, opera, and special staging effects that required a theatre that could accommodate the complicated machinery used in the production of these plays. The Salle des Machines at the Tuileries Palace in Paris, designed by Carlo Vigarani, was the closest to Versailles. However, with Louis XIV's dislike for Paris – due in large part to his flight from the Tuileries in 1651 – and his increasing wish to keep his court at Versailles, the King approved the construction of a larger theater in 1685. With a plan more grandiose than the theatre of the Tuileries, the construction of this new theatre was much lauded by contemporary descriptions of Versailles.
Construction was planned for the northern end of the Aile des Nobles, and was well underway when the War of the League of Augsburg, which began in 1688, permanently halted construction. It would not be until the reign of Louis XV that construction on this site would resume.
Return to temporary theatres and conversions, 1729 to 1770
With the return of the court to Versailles in 1722, spaces used by Louis XIV were once again pressed into service for the needs of the court. In 1729, as part of the festivities in celebration of the birth of the Dauphin Louis, a temporary theatre was constructed in the Cour de Marbre. The salle de la Comédie and the Manège of the Grand Écurie continued to be used as they had during the reign of Louis XIV.However, owing to Louis XV proclivity for more a more intimate theater, a number of temporary theaters known as the théâtres des cabinets were created. These theaters were most often constructed in one of the rooms of the petit appartement du roi, with the petite galerie being the most frequently used starting from 1746. In 1748, the Escalier des ambassadeurs was converted into a theatre, in which Madame de Pompadour staged and acted in a number of plays. Two years later, the theatre was dismantled when the Escalier des ambassadeurs was destroyed for the construction of the appartement de Madame Adélaïde.
Acutely aware of the need for a larger and more permanent theater, as early as the 1740s Louis XV, seriously considered reviving Louis XIV's plans for a permanent salle de spectacle to be constructed at the northern end of the Aile de Nobles. However, owing to the Seven Years' War, construction would not be able to commence for nearly 20 years. When fire destroyed the Grand Écurie and the theatre of the Manège in 1751, and since the salle de la Comédie had become an unfeasible venue due to its size for theatrical productions, Louis XV finally authorized Ange-Jacques Gabriel to design the Opera in 1763.