How the Performance of a French Opera About a Neapolitan Revolt Sparked a Belgian Revolution

Egide Charles Gustave Wappers, Wikimedia Commons // Public domain
Egide Charles Gustave Wappers, Wikimedia Commons // Public domain

In the summer of 1830, King William I of the Netherlands scheduled a multi-day birthday bash in Brussels, and he expected everybody in the city to join in the fun. The celebration, however, would not go as planned: Political turmoil, which had been brewing in the city for months, would cause two public events—a fireworks display and a procession—to be canceled. One of the few public events to remain on the schedule would be an August 25 performance of the opera The Mute Girl of Portici, by the French composer Daniel Auber.

Like the other events planned that week, the show would experience a few hiccups.

In the mid 1830s, tensions in the United Kingdom of the Netherlands were at a boil. In the north, most citizens (King William I among them) were Dutch Protestants. In the south, most people were French-speaking Roman Catholics—and they were demanding independence.

Considering this growing atmosphere of discontent, King William I's choice of opera was a questionable one. The plot of Portici's fiery libretto revolves around the Neapolitan revolts of 1647, telling the tale of Masaniello, the real-life Italian fisherman who led an uprising against the rulers of Naples. (The opera itself was revolutionary, too: Among the first of its kind in the genre, this "French grand opera"—called La Muette de Portici in its native language—was a lavish and large-scale spectacle that, most notably, had integrated ballet and mime into the performance.)

One could say the opera's place in history was preordained: It was one of the final public events for King William I's celebration and, after the cancellation of the fireworks and the procession, one of the few events locals could openly protest. Days before the show, the newspaper Courrier des Pays-Bas suggested that concertgoers should leave the performance at the fifth act. Many of the attendees, however, were so moved by the opera's nationalistic music that they left much earlier. During a second act duet, called Amour Sacré de la Patrie—or "Sacred Love of the Fatherland"—the crowd began to cheer so wildly that the performers reportedly had to stop singing and start over.

Eventually, the performers reached the peak of the piece's lyrics—singing Aux Armes, that is: "Call to Arms"—and dozens of spectators stood from their seats and ran to the streets. When the fifth act arrived, audience members began to loudly boo in an attempt to stop the show and incite a riot. "The delirious crowd [hurled itself] out of the hall—and into history," wrote 20th-century French composer Lionel Renieu. "Welcomed by the other crowd which waited outside, it joined in the demonstrations which loosed the revolution of 1830."

Indeed, the musical performance had invigorated the crowd. The audience passionately chanted patriotic slogans, stormed into government buildings, and began destroying factory machinery. Within days, they were flying the flag of Independent Belgium, which was tied to a standard with shoelaces.

The dissent in Brussels was powerful enough to attract the attention of other disaffected working class people in the south, and soon thousands more would join the cause. According to the History Channel, just one month later, "the city fell into bloody street battles between the military and the rebels, who were eventually victorious. They drafted a Declaration of Independence on 4 October, and on 20 December the London Conference declared the United Kingdom of the Netherlands was dissolved." Soon, Belgium was its own independent country.

Years later, in 1871, the German composer Richard Wagner—who had met the elder Auber numerous times and had conducted a production of Portici himself—wrote in his book Reminiscences of Auber, "[S]eldom has an artistic product stood in closer connection to a world event."

The Bittersweet Detail You Might Have Missed in Game of Thrones's Final Episode

Gwendoline Christie in "The Iron Throne," Game of Thrones's series finale
Gwendoline Christie in "The Iron Throne," Game of Thrones's series finale
Helen Sloan, HBO

While the final episode of Game of Thrones was no doubt divisive, many of us can agree that Brienne of Tarth deserved better. One of her last scenes in the episode, "The Iron Throne," showed the newly-appointed knight putting aside any anger she might’ve had toward Jaime Lannister to finish his page in the White Book. The part was bittersweet after watching Jaime leave Brienne to be with his sister, Cersei—making us wish things could’ve turned out differently for our favorite knight.

There is one bittersweet detail in that scene that you might’ve missed, however, which makes it all the more sad. According to NME, one Twitter user voiced that they thought they heard the song “I Am Hers, She is Mine” playing in the background, which Game of Thrones composer Ramin Djawadi considers to be the show’s wedding theme. Fans will remember the melody played when Robb Stark married Talisa back in season 2.

Djawadi has since confirmed it is the song, explaining to INSIDER why he included it:

"It's just a hint of what their relationship—if they had stayed together, if he was still alive—what it could have been. What they could have become. That's why I put that in there. I was amazed some people picked up on it. I was hoping people would go, 'Wait a minute, that's from season two.' And that was exactly my intent. I thought it would be very appropriate."

Though it’s only natural to imagine what could’ve happened if Jaime had stayed at Winterfell, let’s not forget that his honor (and character arc) went out the window when he headed back to King’s Landing.

[h/t NME]

This Poster Showcases Some of Rock 'N' Roll History's Most Iconic Moments

Courtesy of Dorothy
Courtesy of Dorothy

The world of rock 'n' roll has produced larger-than-life personalities and some of the most indelible moments of pop culture. From legendary groups like Queen and the Beatles to solo acts like Prince and Chuck Berry, rock artists have had cultural impact far beyond album releases—and the UK-based design shop Dorothy Studios has attempted to illustrate as many of these moments as possible.

To encapsulate the many on- and offstage moments that have helped shape rock history, Dorothy designers created "Inside Information: Vox AC30," a cutaway-style print that showcases famous people and events within the confines of a Vox AC30 guitar amp—a classic amplifier that soon became an industry standard. If you look closely, you can see everything from the Rolling Stones performing at the outdoor Stones in the Park music festival in July 1969 to Johnny Cash's live album performance at the Folsom State Prison in January 1968.

music poster
Courtesy of Dorothy

The poster print also has a helpful key that explains who, and what, each of the 40 separate illustrations showcase. In a way, the piece also serves as a handy beginner's guide for music fans looking to explore the depth of rock 'n' roll lore.

James Quail, creative director and partner at Dorothy, acted as the designer of the piece (as well as on this alternative music history poster) and explains that inspiration came from his love for diagrams. "The idea for the series came from thinking about memories of scientific cutaways from when I was in high school," Quail tells Mental Floss. "I loved diagrams which showed how machinery worked, or cut the Earth into portions and showing what was happening inside."

Quail also designed all of Dorothy's other pieces in their "Inside Information" collection. After Quail researches the genres being spotlighted and chooses the events he wants to feature, he works with Liverpudlian graphic designer Malik Thomas, who illustrates the print.

music poster
Courtesy of Dorothy

"We had the idea of taking real things apart but introducing levels of fantasy inside, so musical instruments might be filled with the artists and bands who used them, or film cameras filled with all the iconic moments from film that we could think of, and scenes playing out from a different perspective than we were used to seeing them," Quail says.

While the poster is chock-full of references, Quail admits there were still plenty of events they didn't have room for.

"Rock history is so rich with incident and anecdotes that to cover them all we would need a whole wall, but we picked a snapshot, hopefully covering off things that represent most eras, be it era-defining moments like the Beatles playing on The Ed Sullivan Show or the Sex Pistols playing Manchester's Lesser Free Trade Hall," Quail says. "Or moments that meant something big to us personally—like the first time I saw Nirvana playing 'Smells Like Teen Spirit.'"

music poster
Courtesy of Dorothy

This print, "Inside Information: Vox AC30," is available from Dorothy Studios for roughly $38. Other pieces in this collection including the movie-inspired "Director’s Cut," the portable music synthesizer "Minimoog," or the "Apple Macintosh," which chronicles the history of, well, Apple.

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