La Maupin: An Opera Film
Coming 2026
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. . .
Above: art by Faith Schaffer
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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 opera come from?
Most of the text of the opera 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