Jean-Philippe Rameau's 1735 opera Les Indes galantes (The Amorous Indes) presents problems of several kinds. It is not a continuing story but a series of tableaux, each set in a different part of the world. It follows the French court-opera tradition where aria merges into recitative, and both are interrupted for dances. And it is built entirely on ethnic stereotypes (albeit benevolent ones); there is even an act called "The Savages"! Yet there have been at least four major new productions in the past decade alone; why has it suddenly become so popular? One reason is surely its gorgeous music and genial tone. But another is that directors have become fascinated with the problem of making it relevant to the present age. Laura Scozzi in Bordeaux, for example, uses a comic touch to address issues such as environmentalism, consumerism, and globalization. And Clément Cogitore in Paris (pictured above) assembles a multiracial cast and a repertoire of street dances as a contemporary response to the casual racism of the earlier century.

If you want a very brief sample in advance, look at this trailer for a production in Geneva; it is not one of the ones I am going to play, so no spoilers. However, if you want trailers for the two actual productions to be shown in class, here they are: Scozzi (warning, naked dancers!) and Cogitore (longer, but narration is in French).

This week's handout (see links above) also contains a synopsis of the opera. Other links and video excerpts will be posted immediately after class.