The Royal Opera continues its fruitful partnership with the Centre des monuments nationaux at Le Thoronet Abbey, launched in 2023, bringing voices and instruments once again to life within this historic setting.

Although 17th- and 18th-century society did not encourage women to aspire to anything beyond the roles of wife and mother, a remarkable number nevertheless succeeded in establishing themselves as composers and musicians. The obscurity into which they were so swiftly consigned is, fortunately, now coming to an end…

Prima Donna Composers

Élisabeth Jacquet de La Guerre (1665–1729)
Overture to Céphale et Procris
Le Sommeil d’Ulysse, Troisième cantate à voix seule et symphonie

Mademoiselle Duval (1718–1775)
Sarabande
« Tiran d’un cœur fidèle et tendre »
Passacaille
« Douce erreur, charmante sirène »
Rondeau (Marche)
Tambourin

Wilhelmine of Bayreuth (1709–1758)
Concerto in G minor for Harpsichord

Mademoiselle Laurant (fl. 1690)
Ouverture
« Qu’on est heureux dans ce charmant bocage » (Premier Air)
Gigue

Maddalena Laura Sirmen (1745–1818)
Violin Concerto in A major, Op. 3 (Andante)
Quartet in F minor

Guesdon de Presles (early 18th century–1754?)
« Rendez-vous, trop aimable Bergère »

Madame Papavoine (1735–1761)
« Le Cabriolet » – Cantatille for solo voice