Rameau - Platee

SYNOPSIS

PROLOGUE

The Prologue, loosely based on classical myth, sows the seeds of the practical joke enacted thereafter. It’s called “The Birth of Comedy” and is set in a Greek vineyard. Thespis, legendary inventor of comedy is asleep, but his repose is short-lived as satyrs, Maenads and others clamour for a song. Momus, god of jollity, and Thalia, muse of Comedy, approach. They want to join up with Thespis in recreating an ancient story whereby Jupiter cured his wife Juno of jealousy and pride. The spirit of Love appears. She’s cross at being left out of the fun. Only she can emphasize the power of true love, she tells them. The others welcome her and the Prologue ends with a chorus in praise of Bacchus.

ACT ONE

The first and remaining acts of Rameau’s Platée take place in a country landscape. Act One begins with a storm symphony. King Citheron speculates on the reasons for such ominous weather conditions. He is joined by Mercury who explains to him that Juno is angry at her husband’s infidelities, but that Jupiter is equally fed up with Juno’s jealous tantrums. Jupiter has therefore sent him, Mercury, to seek out some little diversion. Citheron has the answer: why not let Juno think that Jupiter is planning a new marriage – that should rekindle their ardour. Mercury is delighted and asks for suggestions. Citheron tells him of a marsh-nymph, Platée, whose vanity is such that she believes no-one can resist her charms. Jupiter could pretend to fall in love with her. That would be diverting for him and infuriating for Juno.

Platée herself approaches: “Que ce séjour est agreeable!” she sings as she muses on her surroundings and on her restless heart. She catches sight of her beloved Citheron heading in her direction and commands all the occupants of her swampy domain to share her moment of happiness. Cuckoos and frogs are included in Rameau’s orchestration at this point. Citheron’s protestations of love are not, however, all that Platée hopes for, and amount to little more than respect. She feels betrayed by him and a syncopated chorus takes up her urgent interrogation: “Quoi? Quoi? Dis donc pourquoi?” (“Why? Why? Tell me why you spurn me?”).

A brief orchestral prelude announces the reappearance of Mercury who joins Citheron and Platée. He speaks mysteriously to her of “l’amour d’un grand dieu” (“The love of a great deity”). Platée is most intrigued. A storm gathers – but Platée remains unperturbed; after all, what have marsh dwellers to fear from storms. This one, however, turns out to be particularly ferocious and Platée, nymphs and all are sent running for cover.

ACT TWO

Mercury tells Citheron that he has sent Juno to Athens on a wild-goose chase after Jupiter. Jupiter, accordingly, is free to indulge in the mischief for his entertainment. A short orchestral prelude marks his arrival in a chariot enveloped in a cloud. Platée is fascinated and approaches the cloud cautiously: in one of her most touching Airs (“A l’aspect de ce nuage”) she contemplates it. Jupiter is beginning to enjoy himself. He appears to Platée first in the guise of a donkey, explicitly portrayed by the violins in the orchestra; then as a bird and finally as an owl, handsome to Platée but not to the birds of the swamp who let forth a jarring, orchestral charivari. At last Jupiter, followed by Momus, appears in a more characteristic guise. He’s showing off and dazzles Platée with his lightning torch. He makes mildy amorous advances towards her but she is stifled by his radiant heat and lets out a gasp. Jupiter, unperturbed, instructs Momus to make elaborate wedding celebrations whilst a chorus praises Platée’s aimiability and appearance. The singing is interrupted by a “symphonie extraordinaire” (a quotation from the overture), which signals the arrival of Folly who announces that she has stolen Apollo’s lyre and now intends to show off her skill with it. A chorus applauds her whilst the followers of Momus and Folly, a colourful assembly of pantomime figures in fancy dress, join in the fun. Platée is delighted with all this merriment in her honour.

ACT THREE

Juno has caught up with Jupiter, at last; she is enraged both by her husband’s infidelity and by Mercury’s deceitful role in the proceedings. Mercury calms her down and tells her to be patient, just a while. An incongruous wedding procession approaches in the centre of which Platée, heavily veiled, sits in a chariot drawn by frogs. Jupiter and Mercury attend her on either side. Momus is dressed up as Cupid whilst Folly still clutches her stolen lyre. An elaborate charade follows in the course of which Momus, acting as ‘stand-in’ for the spirit of Love, who is away on other business, enumerates Love’s favours: tears, sweet sorrow, cries and fond hope, each of which is depicted by a minute orchestral vignette, but none of which is at all to Platée’s taste. At last it’s time for Jupiter to make his marriage vows. He knows that Juno is watching and repeats loudly the words “je jure…” (“I swear”).

Juno bursts in on the scene, tears the veil of Platée, and stares incredulously. “Ma surprise est extreme!” she exclaims. Platée is furious and rushes out followed by her nymphs.

Jupiter and Juno are reconciled and return home to Olympus. Platée returns briefly to vent her wrath on King Citheron. In her duet with him she accuses him of being the architect of her misfortune. The chorus teases her mercilessly until, finding the jollity too much to bear, Platée plunges into her swamp. Folly is left in charge of celebrating the reconciliation between Jupiter and Juno.