Opera as Social Duty

In this text the author paints a picture of French social values in the mid 18th century by describing musical life in regard to the opera. The main aspects of the opera that reveal French values include the behaviors of the audience, the setup of the theatre, and what was most valued in performance.
The behaviors of the audience include a concern with appearances and manners; as we will see in the setup of the opera house, the most important thing in attending the opera was being seen. It was the meeting place of the richest nobility, seated in reserved boxes in "prime" locations, flanked by the outer edges of upper-middle class society crammed into the parterre and the higher box-seats. Many were equipped with lorgnettes, studying in detail the idosyncracies and nuances of individual's interactions with each other. The purpose of scrutiny was the judgement of etiquette. Established by noble tradition, Johnson suggests that etiquette at this time stemmed from Cardinal Richelieu's "attempts in the 17th century to ensure respectful behavior towards the monarch from an unruly aristocracy." In this way Johnson suggests social behavior at the opera becomes a testament of devotion to the ruling power structure.
The setup of the opera house reflects the social desire to be seen as well as the structure of power and influence at the time. "Not a clear view of the opera was of paramount importance in any way: to be seen was a higher priority." To attend was "social power displayed," as signified by the visibility of one's seat in the house. Moreover, the most visible boxes were the most ornate and the most expensive, signifying the wealth of their occupiers.
The performance itself was not treated with nearly as much attention as modern audiences would pay. As aforementioned, people were there mainly to be seen and thus the music was "little more than an agreeable ornament to a magnificent spectacle, in which they themselves played the principle part." Audiences were more amused by than absorbed into the performance, and "attentivenesss was a social faux pas."
Through outlining these main aspects of the opera, Johnson exposes that the existing social structure in France was fueled by reverence for the monarchy. The reigning etiquette was derived from the nobility: "from the fleur-de-lys on the proscenium to the personalities on display, you saw reminders of Versailles." The setup of the theatre supported this notion by providing a lense on the rest of society and an opportunity to judge said etiquette. The opera experience provides a glimpse into the suffocating sociopolitical structure of the time, setting a backdrop to the changes in society and music that were to follow as the enlightenment continued and French Revolution neared.