La Maupin

On Translations

In the course of putting these pages together, I've needed to have a number of sources translated from the French or other languages. As I speak next to no French and only very little German, I have been hugely indebted to the Internet for help in this area. It has brought me both human volunteers — first, François Velde, then "La Maupin 13", and most recently Rappar — and automated tools such as Systrans and Google's translation services that have enabled me to make my own crude translations.

Originally, I kept the originals and the translations in my pages, especially for those I did with the help of automated tools. As I have gotten more assistance from human translators, and the opportunity to have my pages translated to French have appeared, it has become more conventient to include only the translations in my main pages and move the originals and side-by-sides to their own page, here.

From "More Sources"

From "l'Eveil culturel"

The section From "l'Eveil culturel" contains a brief passage quoted from an article from the on-line archive of the Swiss magazine "l'Eveil culturel" (cultural Awakening), originally published in issue #15 of the magazine, entitled "Composer au féminin" by Catherine Buser.

The following table contains the original French and German versions of the passage from "l'Eveil culturel", and the raw Systran translations of each:

French (l'Eveil)	C’est également à cette époque qu’ont vécu Emilie d’Aubigny, plus connue sous le nom de la «Maupin», cantatrice réputée pour ses frasques rocambolesques et la Demoiselle Chantilly, épouse du directeur de l’opéra comique avec qui elle entreprit d’explorer toutes les facettes du métier.
raw Systran	It is also at that time that lived Emilie d'Aubigny, more known under the name of the "Maupin", professional singer considered for her escapades rocambolesques and the Chantilly Young lady, wife of the director of the comic opera with which it undertook to explore all the facets of the trade.
German (l'Eveil)	In derselben Zeit lebte auch eine Frau namens Emilie d'Aubigny, eine Sängerin mit dem Spitznamen «Maupin», die für ihre hanebüchenen Streiche berüchtigt war, und Demoiselle Chantilly, die Gemahlin des Operndirektors der komischen Oper, mit dem sie sich anstellte, sämtliche Facetten des Berufs auszukundschaften.
raw Systran	In the same time also a woman lived a singer with the pointed name "Maupin", which were notorious for their hanebuechenen capers, and Demoiselle Chantilly, which wife of the director of opera of the amusing opera named Emilie d'Aubigny, with whom she employed itself to explore all facets of the occupation.

From "Musica et Memoria"

The section on "Musica et Memoria" cites a passage from Musica et Memoria, the on-line journal of the Elisabeth Havard de la Montagne Association, in an article entitled Women and Music. (Again the English text is based on automated translation, cleaned up by hand. This time I used combined the results from Systran and Google, with an assist by Rappar — Merci.

French	English
La Cercamanen (Anne de Fonteaux) née vers 1630 et décédée vers 1719, chantait déjà à la Cour en 1656.	La Cercamanen (Anne de Fonteaux) born about 1630 and deceased about 1719, was already singing at Court by 1656.
Louée pour la beauté de sa voix, elle fut l'une des rares femmes de sa génération à obtenir le titre de musicienne ordinaire de la Chambre du Roi.	Praised for the beauty of her voice, she was one of rare women of her generation to obtain the title of ordinary musician of the Chamber of the King.
Elle devait en grande partie son triomphe a son admirable interprétation de La Pastorale d'Issy (1659) créée par Perrin et Cambert, qui fut un grand succès.	She owed her triumph mainly to her admirable interpretation of La Pastorale d'Issy (1659) created by Perrin and Cambert, which was a major success.
Marthe Le Rochois (v.1658-1728), formée par Lully, fut son interprète idéale notamment avec Persée, Amadis et surtout Armide qui fut son plus grand triomphe.	Marthe Le Rochois (v.1658-1728), formed by Lully, was her ideal interpreter in particular with Persée, Amadis and especially Armide which was her major triumph.
Après la mort de Lully (1687), elle joua Médée (1693) de Marc-Antoine Charpentier et Issé (1697) de Destouches.	After the death of Lully (1687), she played Médée (1693) by Marc-Antoine Charpentier and Issé (1697) by Destouches.
Curieusement deux célèbres cantatrices, Marie-Louise Desmatins, née en 1670, et la Maupin (Mlle d'Aubigny), née à la même époque, moururent toutes les deux jeunes, à l'âge de 38 et 37 ans en 1708 et 1707.	Curiously two famous professional singers, Marie-Louise Desmatins, born in 1670, and la Maupin (Mlle d'Aubigny), born at the same time, both died young people, at the ages of 38 and 37 years in 1708 and 1707.
Elles connurent le succès après la retraite de Marthe Le Rochois (1698) dans des œuvres de Campra; Calypso dans Télémaque (1704) pour la Desmatins et Clorinde dans Tancréde (1702) pour la Maupin.	They met with success after the retirement of Marthe Le Rochois (1698) in works of Campra; Calypso in Télémaque (1704) for Desmatins and Clorinde in Tancréde (1702) for Maupin.
La première, atteinte d'embonpoint se retira en 1708 et mourut la même année.	The first, suffering an "attack of plumpness", withdrew in 1708 and died the same year.
Quant à la seconde "petite, très jolie, séduisant femmes et hommes, elle s'habillait souvent en cavalier et se battait en duel..." (R. Legrand), elle quitta la scène en 1705 et mourut retirée du monde dans la solitude.	As for the second "small, very pretty, tempting women and men, she often dressed as a cavalier and fought in duels..." (R. Legrand), she left the scene in 1705 and died withdrawn from the world in loneliness.