According to most sources (cf Le magazine de l'opéra baroqueArchived 2016-03-22 at the Wayback Machine), tenor (haute-contre) Jélyotte performed the role of 'L'Amour' (Cupid), which is however notated in the soprano clef (cf 1733 printed score at Gallica - BNFArchived 2016-11-15 at the Wayback Machine or period vocal score at IMSLPArchived 2015-12-08 at the Wayback Machine). It seems therefore more likely that he was actually entrusted with the prologue role of a follower of 'L'Amour', which is called 'un Amour' in the scores and is notated in the alto (haute-contre) clef. In the main body of the opera, Jélyotte also took the haute-contre travesti role of a Fate, the other two being allotted to a baritenor and a bass. In the 1742 revival Jélyotte, having meanwhile become the leading tenor of the company, performed the title role of Hippolyte, whereas a soprano, Mlle Bourbonnais, took the role of Cupid, and the deputies of Jélyotte, M La Tour and Jean-Antoine Bérard, those of the follower of Cupid and the Fate (cf 1742 original librettoArchived 2016-02-16 at the Wayback Machine).
imslp.nl
According to most sources (cf Le magazine de l'opéra baroqueArchived 2016-03-22 at the Wayback Machine), tenor (haute-contre) Jélyotte performed the role of 'L'Amour' (Cupid), which is however notated in the soprano clef (cf 1733 printed score at Gallica - BNFArchived 2016-11-15 at the Wayback Machine or period vocal score at IMSLPArchived 2015-12-08 at the Wayback Machine). It seems therefore more likely that he was actually entrusted with the prologue role of a follower of 'L'Amour', which is called 'un Amour' in the scores and is notated in the alto (haute-contre) clef. In the main body of the opera, Jélyotte also took the haute-contre travesti role of a Fate, the other two being allotted to a baritenor and a bass. In the 1742 revival Jélyotte, having meanwhile become the leading tenor of the company, performed the title role of Hippolyte, whereas a soprano, Mlle Bourbonnais, took the role of Cupid, and the deputies of Jélyotte, M La Tour and Jean-Antoine Bérard, those of the follower of Cupid and the Fate (cf 1742 original librettoArchived 2016-02-16 at the Wayback Machine).
According to most sources (cf Le magazine de l'opéra baroqueArchived 2016-03-22 at the Wayback Machine), tenor (haute-contre) Jélyotte performed the role of 'L'Amour' (Cupid), which is however notated in the soprano clef (cf 1733 printed score at Gallica - BNFArchived 2016-11-15 at the Wayback Machine or period vocal score at IMSLPArchived 2015-12-08 at the Wayback Machine). It seems therefore more likely that he was actually entrusted with the prologue role of a follower of 'L'Amour', which is called 'un Amour' in the scores and is notated in the alto (haute-contre) clef. In the main body of the opera, Jélyotte also took the haute-contre travesti role of a Fate, the other two being allotted to a baritenor and a bass. In the 1742 revival Jélyotte, having meanwhile become the leading tenor of the company, performed the title role of Hippolyte, whereas a soprano, Mlle Bourbonnais, took the role of Cupid, and the deputies of Jélyotte, M La Tour and Jean-Antoine Bérard, those of the follower of Cupid and the Fate (cf 1742 original librettoArchived 2016-02-16 at the Wayback Machine).
operamanager.com
Raffaele Mellace, article on Fedra, in Gelli, Piero and Poletti, Filippo (ed.),Dizionario dell'Opera 2008, Milano, Baldini Castoldi Dalai, 2007, pp. 463-464, ISBN978-88-6073-184-5; (reproduced in Opera ManagerArchived 2016-11-03 at the Wayback Machine)
According to most sources (cf Le magazine de l'opéra baroqueArchived 2016-03-22 at the Wayback Machine), tenor (haute-contre) Jélyotte performed the role of 'L'Amour' (Cupid), which is however notated in the soprano clef (cf 1733 printed score at Gallica - BNFArchived 2016-11-15 at the Wayback Machine or period vocal score at IMSLPArchived 2015-12-08 at the Wayback Machine). It seems therefore more likely that he was actually entrusted with the prologue role of a follower of 'L'Amour', which is called 'un Amour' in the scores and is notated in the alto (haute-contre) clef. In the main body of the opera, Jélyotte also took the haute-contre travesti role of a Fate, the other two being allotted to a baritenor and a bass. In the 1742 revival Jélyotte, having meanwhile become the leading tenor of the company, performed the title role of Hippolyte, whereas a soprano, Mlle Bourbonnais, took the role of Cupid, and the deputies of Jélyotte, M La Tour and Jean-Antoine Bérard, those of the follower of Cupid and the Fate (cf 1742 original librettoArchived 2016-02-16 at the Wayback Machine).
Raffaele Mellace, article on Fedra, in Gelli, Piero and Poletti, Filippo (ed.),Dizionario dell'Opera 2008, Milano, Baldini Castoldi Dalai, 2007, pp. 463-464, ISBN978-88-6073-184-5; (reproduced in Opera ManagerArchived 2016-11-03 at the Wayback Machine)
