Watch March 14 - April 14

“The film quickly gathers momentum… a tangled tale of impossibly possible dimensions, all heated emotion and blistering derring-do overhung with triumphant accounts of dazzling swordplay and dangerously feverish duels…”

Ian Ritchie, Opera Going Toronto

Video Description: A trailer for new queer musical film, La Maupin featuring whimsical footage from the film. Camille, the narrator says “It's unlikely that all these stories are true, but it's possible, and my heart clings to that possibility. Because if someone wrote it down, that means someone dreamed it up. In the end, I get to decide what I believe. The Maupin I know may not be real, but I still reach out to her across the centuries. I have to believe in her, so I can believe in myself.”

Creative Team

A headshot of Colin McMahon, the composer, a white person with short brown hair and beard with turtoise rectangle glasses. They’re wearing a dark denim button up.

Composer: Colin McMahon

A headshot of Camille Rogers, the librettist and producer, wearing a light brown button up. They are white, have short curly brown hair and are wearing silver rimmed circular glasses.

Librettist & Producer: Camille Rogers 

with poetry from Aphra Behn

A headshot of Lauren Halász, the director. They are white and wearing a light green ruffled shirt with a dark green vest overtop. They have shoulder length dark brown curly hair with bangs and are wearing pink lipstick.

Director: Lauren Halász

Maupin: Camille Rogers

Violin 1: Hee-Soo Yoon

Violin 2: Noa Sarid

Viola: Lucy Gelber

Cello: Andrew Ascenzo

Piano: Zain Solinski

Music Recording and Mixing: Colin McMahon

Film Production Company: Coffeeshop Film & Creative 

Director of Photography/Editor: Stephen Bell

Camera Operator: Eric Moniz

Choreographer: Jennifer Nichols

Production Manager: Maryam Remtulla

Camera Assistant: AJ White

Gaffer: Roham Abtahi

Key Grip: Aiden Grossman

Swings: Ben Abedi & Mehrad Haghighi

Sound: Albert Quan

PAs: Mahan Ashtar & Zoitsa Gotziaman

Assistants: Jessie-Ann Baines & Sky Cameron

ADDITIONAL CREDITS

Dramaturg: Kemi King

Animations: Weiwei Xu

Mannequin Head: Emily Neufeld and Mabel Wonnacott

Wig Stylist: Smokin’ Dolorés

Poster Art: Faith Schaffer

La Maupin: A Musical Film

Digital Streaming March 14-April 14!

A person dressed in drag as a historical figure wearing an ornate jacket and grey wig. They're reacting with a silly suprised face.

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The not-so-tall tale of real-life queer opera singer and swashbuckler Julie d'Aubigny Maupin, retold by the legend herself. . .

Julie d'Aubigny, more often known by her stage name Mademoiselle Maupin, was a queer and gender-non-conforming opera singer who lived at the end of the 17th century into the beginning of the 18th century.  She was a mezzo-soprano, sang at the Paris Opéra, was highly skilled in swordplay, and defeated many men in duels throughout her life. But besides the dates of her performances at the Opéra, there's very little else we know for sure about Maupin's life — although there are many sensational stories, which may or may not be 100% true. . .

Art by Faith Schaffer

La Maupin is supported by OperaQ’s residency with Tapestry Opera at the Nancy & Ed Jackman Performing Arts Centre. We acknowledge the support of the Canada Council for the Arts and Community One Foundation.

Support a queer-led indie film

Led by a team of queer, trans, and non-binary artists, La Maupin is already majority funded by the Canada Council for the Arts and Community One Foundation, and needs your generous support in order to create a finished product of the highest artistic quality.

As a donor, you can access exclusive perks such as behind-the-scenes updates, bonus video content, and even a place in the film’s credits!

Learn More

Was Maupin queer or trans?

Because the words we use today to describe gender and sexuality weren't in use in the 18th century, we don't know exactly how Maupin would have identified if she had lived today.  We do know that she often wore men's clothing, but did not attempt to live or "pass" as a man.  For that reason in our opera we use she/her pronouns to refer to her — although it's entirely possible that if she had lived today she might have used gender neutral pronouns such as they/them.

She was romantically involved with both men and women throughout her life, and actively sought out lovers of all genders.  Today we would probably describe her as "bisexual," but that label didn't exist when she was alive.  We generally use the umbrella term "queer" as a shorthand to describe her sexuality, but that's not really historically accurate either.  (One of the many challenges of talking about queer history!)

Where does the text of the film come from?

Most of the text of the film is based on translations of biographies written about Maupin in the 19th and early 20th centuries. We wanted to show how historians talked about her and projected all sorts of moral panic onto her life story.  Because we don't have any primary documents written by Maupin herself, we also wanted to give Maupin a chance to comment on other peoples' gossip and opinions about her — and that's where the music comes in.  Composer Colin McMahon worked to include a lot of tongue-in-cheek moments where Maupin playfully relates her story as it has been told by others — while giving us a little musical wink to let us know that might not be exactly how it happened.

The Epilogue and Prologue as well as a few aria-like sections in the middle movements draw from the poetry of Aphra Behn, a poet who lived in England in the 17th century.  She may also have been involved romantically with women, and many of her poems and plays include sapphic themes.  We included her poetry to give a sense of the historical context of the 17th century, specifically around how people talked about and viewed gender and sexuality at that time.

What did Maupin sing?

Maupin sang over 25 roles during her 15-year career at the Paris Opéra, many of which reflected her offstage romantic escapades and her skill with a sword. She was unique among singers at the Opéra, playing multiple different kinds of roles (tragic, villainous, and comic) when most performers were typecast into just one.

"Enfin, il est en ma puissance" from Armide (Jean-Baptise Lully, 1686)

Maupin sang this role in a revival in 1703, filling in for the soprano Mlle Desmatins, who fell ill.  Legend has it that Maupin sang the role transposed down a tone to better suit her voice, which was condemned by critics as disrespectful to the memory of the composer Lully.

Camille Rogers, mezzo & Louise Hung, harpsichord

Video by Ryan Harper

"Mon cœur brûle" from La Vénitienne (Michel de La Barre, 1705)

Isabelle was the last role written for Maupin, and her last appearance on the stage.  While not a true trouser role (a woman playing a male character), Isabelle disguises herself as a man in this scene in order to thwart the plans of her unfaithful lover Octave.

Camille Rogers, mezzo & Louise Hung, harpsichord

Video by Ryan Harper

"Estes-vous satisfaits" from Tancrède (André Campra, 1702)

The role of the warrior princess Clorinde was written specifically for Maupin, and was one of her most successful and celebrated roles.

Camille Rogers, mezzo & Louise Hung, harpsichord

Video by Ryan Harper

"Lietto brilla il cor" from Le Carnaval et La Folie (André Cardinal Destouches, 1703)

In this opera Maupin played the character Folie, the embodiment of Folly and a clear reference to the coquette archetype.

Camille Rogers, mezzo & Louise Hung, harpsichord

Video by Ryan Harper