Personne : François Beaumavielle

D'une troupe

Role Troupe De à
chanteur
Académie royale de musique (Paris) 1671 1688

Performance Rôle Troupe Date
Pomone (1671-03-03) chanteur Académie royale de musique (Paris) 1671-03-03
Achille et Polyxène (1687-11-07) chanteur Académie royale de musique (Paris) 1687-11-07
Cadmus et Hermione (1673-02-01) chanteur Académie royale de musique (Paris) 1673-02-01
Persée et Andromède (1682-04-17) chanteur Académie royale de musique (Paris) 1682-04-17
Atys (1676-01-10) chanteur Académie royale de musique (Paris) 1676-01-10
Isis (08-1677) chanteur Académie royale de musique (Paris) 08-1677
Isis (1677-01-05) chanteur Académie royale de musique (Paris) 1677-01-05
Amadis de Gaule (1684-01-15) chanteur Académie royale de musique (Paris) 1684-01-15
Proserpine (1680-11-16) chanteur Académie royale de musique (Paris) 1680-11-16

  • Grove Music Online
    Philip WELLER : 'Beaumavielle, François', Grove Music Online ed. L. Macy (Accessed 17 March 2004), http://www.grovemusic.com :
    "Beaumavielle, François (d 1688). French baritone (basse-taille). Recruited in Languedoc, he first sang in Paris in 1671, in Cambert’s Pomone (as Vertumne) and Les peines et les plaisirs de l’amour. He joined the Opéra in 1672. The Parfaict brothers (MS, F-Pn) attributed the creation of the title role in Cadmus (1673) to Beaumavielle; Durey de Noinville (writing in 1753) to Gaye. The casts may have been different for the court and public performances, as in Bellérophon (1679), when Jobate was apparently sung by Gaye at St Germain but by Beaumavielle in Paris. Pluto (in Lully’s Proserpine, 1680) was similarly divided between them.
    The principal basse-taille roles between 1676 and 1686 were taken mostly by Gaye, and later by Dun. Those sung by Beaumavielle included four in further works by Lully: Time (Atys, 1676), Jupiter (Isis, 1677), Phineus (Persée, 1682, both in Paris and at Versailles; also the revival, 1687) and Priam (Achille et Polyxène 1687). The Parfaicts described Beaumavielle as ‘Languedocien, grand, laid, mais ayant l’air noble au théâtre’; Titon du Tillet allowed him a ‘visage gracieux’. He sang Aegeus in the 1688 revival of Lully’s Thésée, but died during rehearsals for Collasse’s Thétis et Pélée. […]"
    AS