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== Career ==
== Career ==
Sainctonge began her professional career by having a work of hers celebrating the return to health for the king of France at the time, King Louis XIV ("Idyll sung in the [royal] apartments for the King's return to health" (Idille chantée aux apartemens sur le Rotour de la Santé du Roi) be preformed at court.<ref name=":0" /> After her original success, Sainctonge wrote the libretto for the [[Didon (Desmarets)|Dido]] (Didon in French).<ref name=":0" /> This work was so successful that it received multiple performances, and a revival in Paris in 1704, as well as receiving the attention of the king.<ref name=":0" /> Sainctonge was asked to present a copy of the Dido to him—she described this as the best moment of her life.<ref>{{Cite book|title=Poésies Diverses 1.61-1.65|last=|first=|publisher=|year=|isbn=|location=|pages=}}</ref> The next large performance was Circe, which again received much acclaim.<ref name=":0" /> Soon afterwards, she was asked to write a piece entitled "The Charms of the Seasons (1695)," (Les Charmes des Saisons) an opera with lyrics—as was the common trend of the time, however a different writer was chosen over her own work.<ref name=":0" /> In 1696, Sainctonge published two works: Poésies Galantes, and Secret History of Lord Antoine King of Portugal, Drawn from the Memoirs of G. Vasconcellos de Figueredo.<ref name=":0" /> The librettist wrote a few more works before publishing a complete collection of her works in Dijon.<ref name=":0" /> Sainctonge was a part of a group of women writers who were publishing more frequently than ever.<ref>{{Cite journal|last=Seifert|first=Lewis C.|date=1995|title=Les Fées Modernes: Women, Fairy Tales, and the Literary Field in Late Seventeenth-Century France|url=|journal=Going Public: Women and Publishing in Early Modern France|volume=|pages=|via=}}</ref>
Sainctonge began her professional career by having a work of hers celebrating the return to health for the king of France at the time, King Louis XIV ("Idyll sung in the [royal] apartments for the King's return to health" (Idille chantée aux apartemens sur le Rotour de la Santé du Roi) be performed at court.<ref name=":0" /> After her original success, Sainctonge wrote the libretto for the [[Didon (Desmarets)|Dido]] (Didon in French).<ref name=":0" /> This work was so successful that it received multiple performances, and a revival in Paris in 1704, as well as receiving the attention of the king.<ref name=":0" /> Sainctonge was asked to present a copy of the Dido to him—she described this as the best moment of her life.<ref>{{Cite book|title=Poésies Diverses 1.61-1.65|last=|first=|publisher=|year=|isbn=|location=|pages=}}</ref> The next large performance was Circe, which again received much acclaim.<ref name=":0" /> Soon afterwards, she was asked to write a piece entitled "The Charms of the Seasons (1695)," (Les Charmes des Saisons) an opera with lyrics—as was the common trend of the time, however a different writer was chosen over her own work.<ref name=":0" /> In 1696, Sainctonge published two works: Poésies Galantes, and Secret History of Lord Antoine King of Portugal, Drawn from the Memoirs of G. Vasconcellos de Figueredo.<ref name=":0" /> The librettist wrote a few more works before publishing a complete collection of her works in Dijon.<ref name=":0" /> Sainctonge was a part of a group of women writers who were publishing more frequently than ever.<ref>{{Cite journal|last=Seifert|first=Lewis C.|date=1995|title=Les Fées Modernes: Women, Fairy Tales, and the Literary Field in Late Seventeenth-Century France|url=|journal=Going Public: Women and Publishing in Early Modern France|volume=|pages=|via=}}</ref>


== Early life ==
== Early life ==

Revision as of 21:29, 21 May 2018

Louise-Geneviève Gillot de Saintonge (sometimes Sainctonge), née Gillot de Beaucourt, (1650 – 24 March 1718) was a French femme de lettres and celebrated librettist. She was also the first woman to have a work preformed at the Royal Academy of Music in France (the Dido).[1]

The daughter of Pierre Gillot de Beaucourt and Geneviève de Gomez de Vasconcelle, a novelist, playwright, and descendent of Portuguese nobility, Louise-Geneviève Gillot married M. de Sainctonge, a politician.[1]

Career

Sainctonge began her professional career by having a work of hers celebrating the return to health for the king of France at the time, King Louis XIV ("Idyll sung in the [royal] apartments for the King's return to health" (Idille chantée aux apartemens sur le Rotour de la Santé du Roi) be performed at court.[1] After her original success, Sainctonge wrote the libretto for the Dido (Didon in French).[1] This work was so successful that it received multiple performances, and a revival in Paris in 1704, as well as receiving the attention of the king.[1] Sainctonge was asked to present a copy of the Dido to him—she described this as the best moment of her life.[2] The next large performance was Circe, which again received much acclaim.[1] Soon afterwards, she was asked to write a piece entitled "The Charms of the Seasons (1695)," (Les Charmes des Saisons) an opera with lyrics—as was the common trend of the time, however a different writer was chosen over her own work.[1] In 1696, Sainctonge published two works: Poésies Galantes, and Secret History of Lord Antoine King of Portugal, Drawn from the Memoirs of G. Vasconcellos de Figueredo.[1] The librettist wrote a few more works before publishing a complete collection of her works in Dijon.[1] Sainctonge was a part of a group of women writers who were publishing more frequently than ever.[3]

Early life

Sainctonge's early life had an impact on her future, as she was the daughter of a writer and translator, her mother.[1] Sainctonge's father worked in law, however.[1]

Works

  • Poésies galantes J. Guignard, Paris, in-12. (1696)
  • Poésies diverses de Mme de Sainctonge, 2nd edition A. de Fay, Dijon (1714)
  • Histoire secrète de dom Antoine, roi de Portugal, J. Guignard, Paris (1696)
  • La Diane de Montemayor, ou Avantures secrètes de plusieurs Grands d'Espagne, avec l'Heureux larcin, la Princesse des Isles inconnues, et l'Amant ingénieux, contes. Ensemble, l'Origine des contes, ou le Triomphe de la folie sur le bon goût. P. Prault, Paris (1733)
  • Didon, tragédie en musique with music by Desmarest, impr. de C. Ballard, Paris (1693) Read online on Gallica
  • Circé, tragédie en musique presented by the Académie royale de musique; music by Henry Desmarets, (1694) by A. Schelte (in Amsterdam according to the copy printed in Paris), (1695) Read online on Gallica
  • data BNF

Notes

  • add the dates of publication for the works!!
  • also link!! the!! works!!

Sources

  • Louis de Veyrières, Sonnettistes anciens et modernes, t. 5, Paris, Bachelin-Deflorenne, 1849, p. 91.
  1. ^ a b c d e f g h i j k 1650-1718., Sainctonge, Louise-Geneviève Gillot de, (2010). Dramatizing Dido, Circe, and Griselda. Smarr, Janet Levarie, 1949-, Victoria University (Toronto, Ont.). Centre for Reformation and Renaissance Studies., Iter (Toronto, Ont.). Toronto: Iter Inc./Centre for Reformation and Renaissance Studies. ISBN 9780772720696. OCLC 614855701. {{cite book}}: |last= has numeric name (help)CS1 maint: extra punctuation (link) CS1 maint: multiple names: authors list (link)
  2. ^ Poésies Diverses 1.61-1.65.
  3. ^ Seifert, Lewis C. (1995). "Les Fées Modernes: Women, Fairy Tales, and the Literary Field in Late Seventeenth-Century France". Going Public: Women and Publishing in Early Modern France.
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