Julie d'Aubigné born (0)

1670 was made up by Letainturier-Fradin

"Persée et Andromède" at the Grandes Écurie (59)

Several sources indicate that the opera "Persée" was performed in the Grand Manège of the Grandes Écurie. CESAR shows that "Persée et Andromède(Lully, Quinault)" was performed at "Château de Versailles, Versailles France". I will take it that these are one and the same and that Persée et Andromède was performed at the Grandes Écurie. Julie should be living at the Grandes Écurie at the time, and it is not unreasonable to think that she might have seen the performance. It makes a good early scene.

From CESAR:

Credits

Chanteur(euse)(s)

• Mlle Marie Aubry (1656 - 1704)
• M. François Beaumavielle (16?? - 1688)
• M. Duménil / Dumesnil / du Mesnil / du Mesny (16?? - 171?)
• Mlle Marie / Marthe le Rochois (165? - 09 novembre 1728)

Danseur(euse)(s)

• Mlle la Fontaine / Lafontaine (1655 - 1738)

Apparently, the title roles both at the Pallais Royal and the Écurie were played by Dumesnil and la Aubry. Dumesnil's career overlaps with la Maupin's, but la Aubry will retire due to obesity about 2 years after the performance.

"Le Triomphe de la paix" premieres in Marseilles (98)

While it is before la Maupin's career, it may help to chart out the history of the opera in Maseilles. Gaultier's Le Triomphe de la paix premiered in Marseilles Jan 28 1685. The opera, like Le Jugement du soleil is llost.

"Le Jugement du soleil" premieres in Marseilles (99)

While it is before la Maupin's career, it may help to chart out the history of the opera in Maseilles. Gaultier's Le Jugement du soleil premiered in Marseilles Feb 5, 1687. The opera, like Le Triomphe de la paix, it is lost.

Affair with d'Armagnac (37)

With M. Maupin (35)

3 months to tire of and dispose of M. Maupin

Marriage (36)

Wild in Paris (34)

3 Months with Serannes in Paris

Marseille (33)

3 months Singing and fencing in Marseille

Marseille Opera (32)

6 Month opera career in Marseille

Lully's "Phaëton" in Rouen (100)

Phaëton played at the opening of the Rouen branch of the Académie Royale de Musique. This could be why both la Maupin and Thévenard were there when they met. The opening should have been in the first couple of months of the year, as Bernard Vaultier obtained royal permission to open the theater on September 15, 1688, and permission of the Lieutenant general of Rouen in January of 1689.

This should be about a year or so before la Maupin arrives, but it is quite possible that Thévenard actually appeared on the stage there or auditioned.

"la Marseilaise" (95)

This event subsumes the last few weeks of la Maupin's singing career in Marseilles, her pursuit of the young Marseillaise to the convent of the Visitandines in Avignon, and their three months together afterward. My original account of it in my web page runs as follows:

After a while she became bored with Sérannes, and she declared, with men in general. Having experienced the attentions of young ladies who at first mistook her for a man, she thought it would make a charming contrast for a virile woman such as herself to be seen around town with a young girl, and a blonde would show off her own dark coloring. Soon a beautiful young blonde, perhaps mistaking La Maupin for a man, demonstrated some infatuation for La Maupin, who reciprocated with ardor. The young lady's parents, not surprisingly, did not approve of the liaison, and quickly sent her into the Visitandines convent in Avignon in order to keep the two apart. Our heroine followed, entering the convent herself as a novitiate. Shortly thereafter, one of the nuns died. La Maupin disinterred the body of the deceased nun and, placing it in the bed of her beloved, set the room afire so that the two could flee in the ensuing confusion.

They disappeared for three months before La Maupin abandoned the young novice who returned in shame to her family and the convent. A tribunal of the Aix Parliament tried La Maupin in absentia and condemned her to death by fire for her crimes, which seem to have included kidnapping the novice, body snatching, setting fire to the convent, and failing to appear before the tribunal. The condemnation, interestingly, was of "sieur" d'Aubigny, perhaps to conceal what was considered one of the more delicate aspects of the whole affair, the homosexual nature of her relationship with the young lady. (See the footnote on cross-dressing^(CrossDress) for another explanation of this.)

Upon her condemnation by the tribunal, La Maupin fled Marseilles for Paris, a journey that would take her several months. We find her next in Orleans, down on her luck. Returning to eking out a living singing in taverns and inns she makes her way along the Loire valley. She seems to have thrown herself into this occupation with the zeal that seems to be her most defining characteristic. She is quoted as saying of this time, "I tried even to compose the words and airs of some chansonettes, which were liked well enough by my rough audiences."

The earliest reference to this event is a little oblique. Parfaict writes in 1756 that, "Une aventure particulier, & qui n'a aucun rapport à notre ouvrage, fut cause que certes dernier quitta Marseille au bout de quelques annees." ("A singular adventure, which has no relevence to our work, was what ultimately caused them to leave Marseilles after a few years.") Laporte in 1775 gives the details.

Sapphic infatuation (97)

La Maupin becomes enamored of la Marseillaise

Convent (31)

1 month in the convent

3 month romance (30)

3 months between the fire and the break-up

On the run (44)

From fleeing with Sérannes until she is cleared and returns to Paris.

On the road (Loire valley mostly) (96)

La Maupin is on the run from the law. She may have a couple of violent encounters. Ends in Poiters

Marechal (28)

6 months training with Marechal

meets d'Albert (29)

It's  short ride from Poiters to Villeperdue, so la Maupin meets d'Albert almost immediately after the death or incapacitation of Marechal. Once he is healed it is off to the army for him.

Meet Thévenard in Rouen (27)

2 months on the road to meet Thévenard in Rouen, make their plans and head for Paris. He joins the Opera immediately. The actual time with Thévenard should be short.

Rouen had a branch of the Opera, which opened early in 1689. In September 1688, royal permission was obtained to open a Rouen branch of the Académie Royale de Musique, and in January 1689, the leieutenant-general gave his permission.  Not long after that, the tennis court, le Jeu de Paume des Deux-Maures (or "Salle des Deux-Maures"), was converted to that purpose, and Lulli's tragédie de Phaëton, mise en musique opened.

Thus at the time that they meet the Académie. is still new, and both could have traveled there specifically to join it. There is, apparently a second theater in Rouen at the time, at a different Jeu de Paume, one that has had at least one serious incident involving rampaging lackeys. I don't know if Thévenard appeared with the Rouen Opera or if he was a wannabe, and la Maupin convinced him to try Paris instead.

Appeal/audition (26)

2 months to obtain pardon and make the contacts to join the opera

Opera Rehersal (25)

Debut = Join + 2 months (per Clayton)

First stint with the Paris Opera (40)

From a few months before her debut until the month after Les Saisons opens.

Opera Debut (Pallas in Cadmus et Hermoine) (1)

La Maupin made her debut as Pallas in Cadmus et Hermoine in December, 1690. According to Parfaict's article on Cadmus, this was the 5th time the opera was staged. The 6th was in April 1691 with the same cast and the 7th on 21 Sep 1703 had Mlle Loignon in the role of Pallas. In his biographical article on Maupin herself, he lists her birth year as 1673 and her debut in Cadmus in 1695, a performance explicitly absent from the Cadmus list.

Caning of Dumesnil (54)

Dumesnil insulted la Maupin. She challenge him in the Place de Victoires and when he refused to take up the sword, caned him. She began to leave but returned and took his watch and snuff box. The next day he claimed he was set upon by three or more robbers, but la Maupin produced the watch and box and revealed that she was his sole assailant. This seems to have happened shortly after her debut.

Cadmus et Hermione reprise (91)

First siege of Namur (61)

Battle of Steenkerque (63)

"Didon" opens (55)

Lully's Amadis opens in Brussels (68)

According to Jean-Claude Brenac of "Le magazine de l'opéra baroque", Lully's Amadis opened "à Bruxelles, au Quai au Foin, le 20 janvier 1695"., and Jean-Philippe van Aelbrouck suggests that la Maupin may have appeared in Amadis in that city.

There are problems with this chronology.

Second Siege of Namur (62)

"Les Saisons" opens (57)

Les Saisons premiered in October 1695, and was reprised in February 1700, according to Parfaict, who gives the cast listing only for the 1700, when la Maupin played Cérès.

Letainturier-Fradin, in Répertoire Chronologique des Rôles tenus par la Maupin, says she played the role in the 1695 performance, but apparently in 1695 Cérès was a dancing role, making it unlikely that la Maupin filled it.

Leris gives the date of the premiere as October 18, 1695, but does not give the cast.

Gustave Chouquet gives that date and July 12, 1700 for the reprise.

Our own Clorinde tells us that she was in fact in the 1695.

The Ball (64)

The ball must have occurred some time between October 1695, her last appearance that year at the Paris Opera and the beginning of her time in Brussels. If Jean-Philippe van Aelbrouck is correct about her appearance in Armide in Brussels, then it could be no later than March 1697. if Rogers is correct that she was away from Paris for three years, then the ball should be as close to November 1695. If it was as late as March or April 1696, one might still round it up to "three years" ending in November 1698.

It is said that she went to a ball thrown by Monsieur, the Duc d'Orleans dressed as a chevalier, and romanced the women, culminating with a beautiful marquise, the belle of the ball, whom she propositioned on the dance floor. Three young men took umbrage and she agreed to meet them in the Rue St Thomas across the street from the Pallais. There she skewered them and returned to the ball reporting to Monsieur that their life's blood was ebbing an a surgeon should be sent. She confessed or bragged that it was she who laid them low. The King forgave her, perhaps because he had only forbidden the "men of Paris" from dueling, not the women. Still the families of her victims were out for revenge and she fled to Brussels.

It occurs to me that Saint Simon says of the Marquise de Florensac that she was perhaps the most beautiful woman in France, and all evidence is that she was la Maupin's last great love. Could she have been the little marquise of the Ball?

3 Years away from Paris (42)

Rogers and others indicate that she was absent from Paris for 3 years after the Ball.

de la Reynie retires (74)

Gabriel Nicolas de la Reynie was the first Lieutenant-General of Police in Paris, and served from March 1667 to January 1697. He is succeeded by the Marquis d'Argenson.

With the Brussels Opera (38)

According to Jean-Philippe van Aelbrouck:

The presence of Mlle. Maupin in Brussels is attested from November 1697 to July 1698. She appears under the name of Mlle. d'Aubigny among the salaried artists of l'Opéra du Quai au Foin and appears in particular in Lully's Thésée, and probably in Amadis and Armide, as well. (Archives de la Ville de Bruxelles, Fonds ancien 3458).

According to Jean-Claude Brenac of "Le magazine de l'opéra baroque", Thésée was performed "à Bruxelles, le 10 novembre 1697, au Quai au Foin", and Armide "à l'Opéra du Quai au Foin de Bruxelles en mars 1697", and Lully's Amadis "à Bruxelles, au Quai au Foin, le 20 janvier 1695". If van Aelbrouck is correct, it would push the dates back to at least early '97 or even '95. The Amadis date is a problem as we have her appearing in les Saisons in Paris in October of '95. Perhaps it was reprised in Brusells at a time not given by Brenac (or Dorothy Keyser of the University of North Texas).

I'm currently running with just the Armide and not the Amadis.

Lully's Armide opens in Brussels (67)

According to Jean-Claude Brenac of "Le magazine de l'opéra baroque",Lully's Armide opened  "à l'Opéra du Quai au Foin de Bruxelles en mars 1697".

Lully's Thésée opens in Brussels. (66)

According to Jean-Claude Brenac of "Le magazine de l'opéra baroque", Thésée was performed "à Bruxelles, le 10 novembre 1697, au Quai au Foin".

Brussels->Spain->Paris (41)

Star of the Paris Opera (39)

La Maupin returns to Paris at just about the same time that La Rochois retires, and fairly consistantly plays staring role for the next nearly seven years.

"Thésée" opens in Paris (56)

The fifth reprise of Lulli's "Thésée" opens in November 1698, marking her return to the Paris stage in the role of Minerve. Dumesnil, ("le Sieur Du Mesny") plays the title role (as he did 10 years before in the fourth reprise).

Duel with Baron Servan (73)

The Baron Servan was hanging out in the green room at the opera and insulted a number of the women. La Maupin, dressed as a cavalier and calling herself "chevalier de Raincy" (or perhaps "de Rainey") challenged him to a duel and beat him badly. Some accounts have her using a sword and some a pistol. The baron was chagrined to learn that he had been bested by a woman and retired to his country estate. La Maupin was treated very warmly by her colleagues after this. There is some suggestion that this was immediate upon her return to Paris.

Falling out with Thévenard (53)

Gabriel Letainturier-Fradin says that their falling out was soon after la Maupin returned to the Parisstage.

Thétys et Pelée opens (69)

La Maupin played Cidippe in Fontenelle and Colasse's tragedy "Thétys et Pélée".

Prosperine opens (70)

La Maupin played Cérès in Lully's "Prosperine".

Marthèsie, Reine des Amazones opens (71)

La Maupin plays Cybèle, and la Grande-Prêtresse du Soleil in La Motte and Destouches's "Marthésie, reine des Amazones". According to Parfaict, the opera was also performed in October, 1699 at Fontainebleau. He does not say if the cast was different.

les Saisons opens (4)

According to Letainturier-Fradin, "La Maupin reprit en février 1700 le rôle de Cérés dans les Saisons, ballet de l'abbé Pic, musique de Lully." Parfaict agrees.

"Triomphe des Arts" opens (5)

La Maupin plays Venus in de La Motte/La Barre's "Triomphe des Arts".

"le Carnaval" opens (6)

La Maupin plays a shepherdess and musician in a reprise of Lully's le Carnaval.

Downfall of d'Albert (43)

The period between the duel over Mme. de Luxembourg and d'Albert's departure to Brussels.

The English translation of the memoirs of Saint Simon give the following account of the incident:

Soon after this the King ordered the Comtes d'Uzes and d'Albert to go to the Conciergerie for having fought a duel against the Comtes de Rontzau, a Dane, and Schwartzenberg, an Austrian. Uzes gave himself up, but the Comte d'Albert did not do so for a long time, and was broken for his disobedience. He had been on more than good terms with Madame de Luxembourg—the Comte de Rontzau also: hence the quarrel; the cause of which was known by everybody, and made a great stir. Everybody knew it, at least, except M. de Luxembourg. He was the only one in ignorance of it; and yet in every direction he asked the reason; but, as may be imagined, could find nobody to tell him ; so that he went over and over again to M. le Prince de Conti, his most intimate friend, praying him for information upon the subject. M. de Conti related to me that on one occasion, coming from Meudon, he was so solicited by M. de Luxembourg on this account, that he was completely embarrassed, and never suffered to such an extent in all his life. He contrived to put off M. de Luxembourg, and said nothing, but was glad indeed to get away from him at the end of the journey.

The French edition reads,

Le roi ordonna que les comtes d'Uzès et d'Albert, accusés de duel contre les comtes de Rantzau, Danois, et de Schwartzenberg, Autrichien, se remettraient à la Conciergerie; ils prirent le large. Barbésieux envoya courre après son beau-frère, qui sur sa parole se remit; le comte d'Albert ne revint que long-temps après dans la même prison. Il fut cassé pour sa désobéissance, et le roi voulut que Monseigneur disposât de son régiment de dragons qu'il avait. A la fin ils sortirent l'un et l'autre, mais le comte d'Albert, avec tout le crédit de M. de Chevreuse, et la belle action qu'il avait faite de s'être jeté dans Namur à travers les assiégans et y être entré à la nage son épée entre ses dents, ne put jamais être rétabli. Il était plus que bien avec madame de Luxembourg, Rantzau aussi', cela fit la querelle dont la raison fut sue de tout le monde et fit un étrange bruit. M. le prince de Conti me conta en revenant de Meudon qu'il n'avait jamais été si embarrassé, ni n'avait tant souffert en sa vie. II était, comme on l'a vu, ami intime de feu M. de Luxembourg et l'était demeuré de même de celui-ci. A Meudon on ne parlait que de ce combat et de sa cause.

M. de Luxembourg était le seul qui l'ignorât. Il la demandait à tout le monde, et comme on peut croire personne ne la lui voulut apprendre ; lui aussi ne comprit jamais ce secret, et alla à maintes reprises à M. le prince de Conti pour le savoir, avec des presses et des instances à le mettre au désespoir. Il en sortit pourtant sans le lui dire, et il m'assura qu'il n'avait jamais été si aise de sortir de Meudon et de la fin du voyage, pour éviter. M. de Luxembourg jusqu'à ce qu'il n'en fût plus question.

Letainturier-Fradin's account, as usual adds substantial detail to this. According to him, the King heard immediately of the duel and ordered the Counts to the Conciergerie. Before they could be captured, they fled to Brussels. D'Uzes' brother-in-law went after them and on August 19, 1700, brought d'Uzes back. Ten days later on August 29, the King orders the duc d'Orleans to rescind d'Albert's commission in the dragoons. This suggests that the duel took place in late July or early August.

Letainturier-Fradin quotes the official records as follows:

A Paris, le 25 may 1701.

Le procez de Messieurs les comtes d'Albert et d'Uzès a esté jugé ce matin. Il a esté ordonné qu'il seroit plus amplement informé pendant trois mois et cependant qu'ils seroient mis en liberté. On a ouvert les portes de la Conciergerie au dernier, mais, à l'esgard de M. le comte d'Albert, il y a esté retenu suivant les ordres qu'il a plu au Roy de m'en donner.

Votre très humble et très obéissant serviteur.
Daguesseau.

Three months of trial suggests that it began in late February, and so we begin to have something of a plausible chronology. Letainturier-Fradin cites the journal of Dangeau as saying that on December 29, 1702 the king had Pontchartrain order d'Albert's release from the Conciergerie. In April of 1703, he journeys with Marshal Villars to Brusells, where he soon begins to serve the Elector.

d'Abert's and d'Uzes duel the foreigners (75)

In late July or early August, d'Albert and the comte d'Uzès fight a duel with the counts Rantzau and de Schwartzenberg over Mme de Luxembourg. This draws the King's wrath and leads to d'Alberts downfall.

Count d'Uzes surrenders (9)

M. Barbézieux, brother of Count d'Uzes, went looking for them to decide to return to his parent, his arguments were persuasive, and the young man (d'Uzes) went to the Conciergerie (August 19, 1700). As the count to Albert, he refused to follow his friend.

d'Albert stripped of command. (10)

On August 29, 1700, the King strips d'Albert of command of his regiment of dragoons for his failure to surrender.

the "Key"—Sep 6, 1700 (2)

At about 9:00PM on September 6, 1700, la Maupin got into a heated argument with her landlord M. Langlois and his servant, Marguerite Fouré. Langlois retreated and la Maupin attacked Fouré with a large key. The ruckus drew a crowd of neighbors, and the police were called. Commissioner Jean Regnault investigated and reported the presence of la Maupin's "sister" and two lackeys. The next day, depositions were taken from several of the neighbors. So far as we can tell, la Maupin was never charged or punished.

"Canente" opens (7)

La Maupin plays l'Aurore, Nérine—confidente de Circé, and la Nuit in Canente, by de la Motte/Colasse.

d'Albert surrenders (11)

D'Albert surrenders and is thrown in the Conciergerie.

Hésione opens (8)

La Maupin plays the Priestess of the Sun and a Priestess of Flora in Danchet/Campra's Hésione.

d'Uzes and d'Albert tried (12)

The trial took place in the early months of 1701.

Mme de Florensac returns to Paris (65)

The Marquise Florensac, having been exiled due to the attentions of the Daupin, returned to court in April of 1701 according to Saint Simon. Presumably, her affair with la Maupin starts after that.

d'Uzes and d'Albert convicted. d'Uzes released. (13)

On May 25, Count d'Uzes was discharged from prison, but the King had not yet forgiven d'Albert. The Attorney-General to Parliament writes:

A Paris, le 25 may 1701.

Le procez de Messieurs les comtes d'Albert et d'Uzès a esté jugé ce matin. Il a esté ordonné qu'il seroit plus amplement informé pendant trois mois et cependant qu'ils seroient mis en liberté. On a ouvert les portes de la Conciergerie au dernier, mais, à l'esgard de M. le comte d'Albert, il y a esté retenu suivant les ordres qu'il a plu au Roy de m'en donner.

Votre très humble et très obéissant serviteur.
Daguesseau

Reunited with M. Maupin. (49)

According to Gabriel Letainturier-Fradin:

Dans le courant de cette année 1701, Mademoiselle Maupin eut un remords de l'abandon dans lequel elle laissait son mari. Sa fortune lui permettait alors de faire assez bonne figure, et la présence d'un époux rendrait plus piquantes les amours défendues. Elle fit donc revenir Maupin près d'elle et reprit la vie conjugale, sans pour cela rompre avec les aventures galantes. Son mari, d'ailleurs, ferma les yeux et vécut tranquille, avec la volonté d'ignorer les frasques de sa femme.

As the year 1701 passed, Mlle Maupin regretted having abandoned her husband as she had done. His wealth improved her status and the presence of a spouse would lend an extra spice to her extramarital affairs. Thus she had M. Maupin brought back to Paris and resumed her married life, without leaving off her amorous adventures. Her husband, however, closed his eyes and lived in peace, as he was willing to ignore the antics of his wife.

Apparently M. Maupin died not terribly long thereafter.

death of M. Maupin (47)

Apparently M. Maupin died within a year or two of reuniting with la Maupin.

Gilbert says that it distracted her from her threats on Mme de Luxembourg, putting it in early 1703.

Others cite it as 1701.

Affair with chevalier de Bouillon (50)

Her affair with chevalier de Bouillon appears to be late in 1701.

Aréthuse opens (3)

La Maupin plays a nymph and Thetis in Aréthuse by Danchet/Campra

"Scylla" opens (72)

Duché and Théobalde's tragedy "Scylla" opens on 16 Sep 1701. La Maupin plays the roles of la France, Ismène, une magicienne, and Thétys.

Parfaict lists two stagings, with la Maupin listed as la France, Ismène, and une magicienne in the September 16th show, and Thétis in a 20 Dec 1701 show. (She is the only actress shown in any of these roles. Different roles are listed in the different shows.)

Reprise of "Scylla" opens (94)

Parfaict gives a different cast list for the prologue, showing la Maupin in the role of Thétis, but says the cast of the tragedie and ballet were the same. (see the Sep 16 premiere)

Phaéton opens (76)

"La Fille Capitaine" incident. (18)

Mme. Auroy, the bookseller, complains to Rene d'Argenson, the 2nd Lieutenant-General of Police, that chevalier de Mailley, having been commissioned to spice up the biographical novel "La Fille Capitaine", went extremely overboard, defaming the woman with sordid tales including the burning of the convent. d'Argenson runs de Mailly out of the country. When he returns 9 years later he spends a month in jail and retires to the country. Less than a year after this event, Mme Auroy  publishesd a rather risque version (though not as scandalous as de Mailly's work was said to be) of the biography of Genevieve Premoy, aka chevalier Baltazar, an actual captain in the dragoons.

It has long been assumed that the the book involved in the incident was a biography of la Maupin because of the convent story. Pierre Louÿs in a 1904 article makes the case that it was chevalier Baltazar instead. I find his reasoning persuasive.

Baltazar encounters (48)

Hypothetical encounters with Baltazar, starting with the dust-up between Mme Auroy and chevalier de Mailly over the "La Fille Capitaine", and ending with Baltazar's death.

Acis et Galatée opens (78)

Wolf Hunt Performance (102)

From Le Mercure Galant:

On Monday, July 7th. 1702, after a wolf hunt in the forest of Senart, supper was served at 7 o'clock and afterwards there was a concert given by Messieurs Cocherot and Thevenard of the opera and Mesdemoiselles Couperin and Maupin. The first is one of the King's Musicians and niece of Monsieur Couperin, organist to His Majesty, who accompanied on the spinet.

Médus opens (79)

La Maupin played Médée in the Lagrange-Chancel/Bouvard tragedy Médus, a role that Parfaict tells us Mlle Pochois did not want to undertake.

Un entr'autres où elle a excellé, au rapport même de Mlle Rochois, qui avouoit qu'elle n'auroit pas voulu l'entreprendre, c'est celui de Médée dans la Tragédie de Médus, de M. De la Grange, qui parut en 1702. & que Mlle Maupin joua d'original d'une manière distinguée. Ce role de Magicienne est d'autant plus difficile, qu'elle paroit toûjours sans baguette, sans mouchoit & sans éventail.

mechanically something like:

One among others, where she excelled in the report even Miss Rochois, who confessed that she would not have wanted to undertake is that of Medea in the tragedy of the Medusa, Mr. De la Grange, who appeared in 1702. And that Ms. Maupin played original in a distinguished manner. The role of magician is more difficult, it always appears without a wand, without snuff & without fan.

les Fragments de M. Lulli (80)

Tancrede opens (23)

Tancrède, the first opera composed for a contralto opens Nov 7, 1702.

Omphale opens (77)

Letainturier-Fradin says 12 Nov 1702

Campardon says 1701

Since Tnacrède opens 7 Nov 1702 it is probably really 1701

d'Albert released (14)

Finally, the king gave orders to M. de Pontchartrain to write to Paris to release Count d'Albert from the Conciergerie, December 29, 1702.

Threatens Mme. Luxembourg (15)

It was after the release of d'Albert that la Maupin threatened the Duchess de Luxembourg:

One day when the duchess went to mass at Saint-Roch, la Maupin approached her prie-dieu to tell her in a threatening tone that if she if she ventured to see d'Albert again, she might have her brains burned with a pistol.

"Histoire de la Dragone" published. (19)

According to Pierre Louys:

Après les formalités du privilège (1er octobre) et de l'enregistrement (13 octobre), le livre s'imprima et parut enfin le 15 janvier 1703, sous le titre suivant:

« Histoire de la Dragone, contenant les Actions Militaires et les Avantures de Geneviève Premoy, sous le nom du chevalier Baltazar. — Dédie au Roi. — A Paris, chez Amable Auroy, à l'entrée du quai des Augustins, du côté du Pont Si-Michel, au grand Saint-Jérôme. — MDCCIII. »

After the formalities of privilege (1 October) and Registration (October 13), the book finally appeared imprinted and January 15, 1703, as the following:

"History of the Dragon, containing military action and adventures of Genevieve Premoy under the name of Sir Balthazar. - Dedicated to the King. - In Paris, at Amable Auroy at the entrance to the Quai des Augustins, on the side of the bridge Si-Michel, the great St. Jerome. - MDCCII. "  

Ulysse et Pénelope opens (81)

"Persée et Andromède" opens (60)

d'Albert leaves France (16)

After a few months in Paris, d'Albert  went with Villars to Brussells and the court of the Elector of Bavaria.

Poem/Letters (17)

La Maupin, perhaps with the ghost-writing of Benserade, writes a poetic love letter to d'Albert, who replies with one of his own.

Psyché opens (83)

affair with la Florensac? (22)

From about 1703 through 1705 there are no scandals, no risque songs about either la Maupin or la Florensac. Could it be that from mid 1703 until her death in 1705, Florensac became the one love of la Maupin, who then is crushed by her death?

To quote Gabriel Letainturier-Fradin:

Their affair lasted probably from 1703 to 1705, and for two years, they lived on the tenderness they thought ideal, ethereal, and beyond the reach of the filth of men; the young women isolated themselves, enamored, not appearing at occasions where their presence was essential. In fact we find, after 1702, any songs or satire against the two women, except for critiques of the performances of Maupin, who never left her job at the Opera.

Here's the fuller context, still quite in need of decent translation: (It was mostly OK. I fixed it up a bit -- Clorinde)

Cadmus et Hermione reprise 1703 (92)

Cadmus et Hermione was revived yet again in 1703, but this time, unlike 1790 and 1791, the role of Pallas was not played by la Maupin.

les Muses opens (93)

La Maupin played the role of Ericine, Amante d'Eraste in the Danchet/Campra ballet, les Muses according to Parfaict. Lajarte says that she played "L'amour médecin". Neither Letainturier-Fradin nor Campardon list this performance.

Armide opens (82)

Only Letainturier-Fradin mentions this opera, which he says la Maupin played the title role in. According to Lajarte and Parfaict, the role of Armide was sung by Mlle Desmatins, not Mlle Maupin.

d'Albert + Mme de Mussy (51)

Not long after returning to Paris as the Elector's messenger, d'Albert took up with Mme de Mussy (or de Muci). That should make it early 1704. One interesting aspect of this is the claim made in conjunction with this affair that d'Albert had to leave Brusells because he became too familiar there withe la Maupin, driving the Elector to jealousy.

Didon opens (90)

only Campardon mentions this opera date 1704

The Elector & la d'Arco attend "Folie" (58)

According to Émile Faure, in "Grands seigneurs et comédiennes. Premiere série: l'homme s'agite et la femme le mene" (1887), p 86

Le 3 janvier 1704, l'Électeur de Bavière et la d'Arco, qui étaient à Paris, vinrent à l'Opéra, où avait lieu la représentation de le Carnaval et la Folie, et y virent la Maupin créer le rôle de la Folie.

On January 3, 1704, the Elector of Bavaria and Arco, which were in Paris, came to the opera, which had held the representation of the Carnival and Madness, and there saw la Maupin create the role of Madness.

While not a particularly significant event, it is great detail for the story.

Le Carnaval et la Folie opens (84)

Isis opens (89)

La Maupin plays Junon in Lulli and Quinault's tragedy.

• Parfaict gives a date of 14 Febuary, 1704
• Campardon mentions this opera with date 1704
• Letainturier-Fradin does not list it.

Télémaque opens (85)

La Maupin plays La Félicité, Thétis, & une Nymphe de Calypso in Télémaque arranged by
Danchet & Campra.

• Letainturier-Fradin and Parfaict give the date as 6 May 1704
• Campardon has 1705

Iphigénie en Tauride opens (88)

La Maupin plays the rol of Diane in Duché/Desmarets tragedy.

1. Parfaict gives the date as 6 May 1704.
2. Campardon gives only 1704.
3. Letainturier-Fradin does not list it.

Baltazar dies (20)

From "Intermediary", dated August 10, 1870 and December 25, 1873:

Au registre des décès de la paroisse Saint-Sulpice, année 1704, à la date du 26 octobre, on trouve cette mention :

« A esté fait le convoy et enterrement de Geneviève Prémoya, ditte le Chevalier Ballazard, honorée de la qualité de commandeur de l'ordre de Saint-Louis, et cy-devant capitaine dans le régiment de Turbilly, femme de Jean Gounie dit Dupont, lieutenant dans la même compagnie, décédée le jour précédent, rue Illerimbertin, chez Madame Rousseau, marchande limonadière. »

In the death register of the parish of Saint-Sulpice, 1704, as of October 26, we find this statement:

"Has been made the funeral convoy and Genevieve Prémoya, aka Chevalier Ballazard, honored as the Commander of the Order of St. Louis, and heretofore captain in the regiment Turbilly, wife of John Goune said Dupont, Lieutenant in the same company, died the day before Illerimbertin Street, home of Madame Rousseau, lemonade merchant. "

Alcine opens (86)

Letainturier-Fradin says 15 Jan 1705, as does Parfaict

Campardon says 1703

"La Vénitienne" opens (24)

This is la Maupin's last role.

La Vénitienne opens (87)

Mme de Florensac dies (21)

The Marquise de Florensac dies suddenly after being sick (of "purpur") for just two days, on July 2, 1705.

Final letters with d'Albert (45)

She writes to d'Albert about leaving the opera and the world. He replies.

Retires to a convent (46)

She retires to the convent and dies in late 1707

Tancrede opens (sans Maupin) (101)

Julie dies (52)