1.
Jacques Offenbach
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Jacques Offenbach was a German-born French composer, cellist and impresario of the romantic period. He is remembered for his nearly 100 operettas of the 1850s–1870s and he was a powerful influence on later composers of the operetta genre, particularly Johann Strauss, Jr. and Arthur Sullivan. His best-known works were revived during the 20th century. The Tales of Hoffman remains part of the opera repertory. Born in Cologne, the son of a cantor, Offenbach showed early musical talent. At the age of 14, he was accepted as a student at the Paris Conservatoire but found academic study unfulfilling, from 1835 to 1855 he earned his living as a cellist, achieving international fame, and as a conductor. His ambition, however, was to compose pieces for the musical theatre. Finding the management of Paris Opéra-Comique company uninterested in staging his works, there he presented a series of his own small-scale pieces, many of which became popular. In 1858, Offenbach produced his first full-length operetta, Orphée aux enfers, during the 1860s, he produced at least 18 full-length operettas, as well as more one-act pieces. His works from this period included La belle Hélène, La Vie parisienne, La Grande-Duchesse de Gérolstein, Offenbach became associated with the Second French Empire of Napoleon III, the emperor and his court were genially satirised in many of Offenbachs operettas. Napoleon III personally granted him French citizenship and the Légion dHonneur, with the outbreak of the Franco-Prussian War in 1870, Offenbach found himself out of favour in Paris because of his imperial connections and his German birth. He remained successful in Vienna and London, however and he re-established himself in Paris during the 1870s, with revivals of some of his earlier favourites and a series of new works, and undertook a popular U. S. tour. In his last years he strove to finish The Tales of Hoffmann, but died before the premiere of the opera, Offenbach was born Jacob or Jakob Offenbach to a Jewish family, in the German city of Cologne, which was then a part of Prussia. His birthplace in the Großen Griechenmarkt was a distance from the square that is now named after him. He was the son and the seventh of ten children of Isaac Juda Offenbach né Eberst and his wife Marianne. Isaac, who came from a family, had abandoned his original trade as a bookbinder and earned an itinerant living as a cantor in synagogues. He was generally known as der Offenbacher, after his native town, Offenbach am Main, in 1816 he settled in Cologne, where he became established as a teacher, giving lessons in singing, violin, flute and guitar, and composing both religious and secular music. When Jacob was six years old, his father taught him to play the violin, within two years the boy was composing songs and dances, and at the age of nine he took up the cello
2.
Les deux aveugles
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Les deux aveugles is an 1855 one-act French bouffonerie musicale by Jacques Offenbach. The libretto was written by Jules Moinaux and was a condensation of his 3-act Les musiciens ambulants, the half-hour long piece is a comic sketch about two blind beggars, consisting of an overture and four numbers. Offenbach was bold in making light of the poor. Most Parisians had been pestered by beggars on Parisian street corners, the little piece was an instant hit, praised for its catchy dance tunes, and it soon spread Offenbachs name and music around the world. Les deux aveugles premiered on the night of the Bouffes-Parisiens on 5 July 1855 at the companys first theatre. It was the hit of the evening and was performed at the Salle Lacaze into the fall, after Offenbachs new winter theatre, the Salle Choiseul, opened in December, the show continued to be presented there. A revised version was presented in Paris at a gala at the Opéra-Comiques second Salle Favart on 28 May 1858, with revivals on 6 November 1900,14 December 1910. The first work by Offenbach to be presented in Vienna, it influenced the subsequent career of Karl Treumann. The Opéra de Monte Carlo performed it in French on 7 May 1902 and it had clearly become one of Offenbachs most successful one-act works. A complete performance of Les deux aveugles forms part of the 1996 television film Offenbachs Geheimnis, with Les deux aveugles Offenbach became the darling of Second Empire Paris. His later pieces would continue to mock customs of the day, Offenbachs early operettas were small-scale one-act works, since the law in France limited musical theatre works to one-act pieces with no more than three singers and, perhaps, some mute characters. In 1858, this law was changed, and Offenbach was able to offer full-length works, when passers-by drop coins, the beggars are able to see well enough to retrieve them. To impress each other, they fabricate wild stories, accompanied by singing, the music consists of an overture and four short numbers, of which the bolero, a duet which begins La lune brille, le ciel scintille, is probably the standout. The Encyclopedia of the Musical Theatre, second edition, london, John Calder,1980 ISBN0714538353 ISBN 0-7145-3835-3, Flemington, NJ, Riverrun Press,1980. Les deux aveugles in Sadie 1992, vol, totowa, New Jersey, Rowman and Littlefield. The New Grove Dictionary of Opera, Jacques Offenbach, His Centenary, translated by Theodore Baker, in The Musical Quarterly, vol. Théâtre de lOpéra-Comique Paris, répertoire 1762-1972, OCLC44733987,2174128,78755097 Yon, Jean-Claude
3.
Le violoneux
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Le violoneux is a one-act operetta by Jacques Offenbach to a French libretto by Eugène Mestépès and Émile Chevalet, first performed in 1855. Le violoneux was part of a performance given in April 1860 for the Emperor at the Théâtre-Italien, along with Orphée aux enfers. Offenbach went to Vienna in 1861 to conduct performances of Le mariage aux lanternes, the Opéra-Comique in Paris staged the work in 1901 with Jeanne Tiphaine as Reinette, Lucien Fugère as Père Mathieu and Ernest Carbonne as Pierre. The scene is a square in Brittany. Reinette asks Père Mathieu to help Pierre who is terrified as he has been conscripted in the army and his uncle has refused to help him with the money and sent him packing. Pierre is not happy when his sweetheart Reinette suggests approaching Mathieu, Père Mathieu inherited the violin from his father along with the mysterious command to break the instrument in pieces if ever Mathieu is in an emergency, which he has yet to do. When Mathieu plays a song he bewitches Pierre, who when it is over runs off, alone with Mathieu, Rienette threatens to run after Pierre and become a cantinière. Alone, Reinette embraces the old fiddle – the livelihood of her guardian, Pierre catches her doing this and angrily smashes the instrument. Among the broken pieces, it reveals its mystery, a letter, Matthieu offers the money for Pierre to avoid conscription and marry Reinette and tears up the letter. Pierre offers to repair the violin, and Matthieu says he will remain a poor fiddler
4.
Ba-ta-clan
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Ba-ta-clan is a chinoiserie musicale in one act with music by Jacques Offenbach to an original French libretto by Ludovic Halévy. It was first performed at the Théâtre des Bouffes Parisiens, Paris, the operetta uses set numbers and spoken dialogue and runs for under an hour. Ba-ta-clan was Offenbachs first big success, and opened his new winter theatre, the witty piece satirised everything from contemporary politics to grand opera conventions. It was frequently revived in Paris, London and New York for decades, in 1858, this law was changed, and Offenbach was able to offer full-length works, beginning with Orpheus in the Underworld. In 1864, a music-hall called Bataclan opened in Paris, named after the operetta, the action takes place in Ché-i-no-or - in the gardens of the palace of the Emperor Fè-ni-han, with kiosks and pagodas. Ko-ko-ri-ko, chief of the guard is the head of a conspiracy to dethrone the Emperor and they leave, and the princess Fé-an-nich-ton reads a book - La Laitière de Montfermeil by Paul de Kock, she notices that Ké-ki-ka-ko is leafing through a copy of La Patrie. They realize that each of them is not Chinese, but French, Ké-ki-ka-ko is the Viscount Alfred Cérisy, once shipwrecked on the coast of China and captured, tortured and brought to the palace and condemned to only repeat the rebels song Ba-ta-clan. The two Parisians reflect wistfully of home, and Fé-an-nich-ton sings the Ronde de Florette and they both decide to run away, dancing as they go. The conspirators return, but when alone, Fè-ni-han laments on his lot, he is actually Anastase Nourrisson, Ko-ko-ri-ko comes back threateningly and he and Fè-ni-han sing a duo in made-up Italian in the style of Bellini. In fact Fé-an-nich-ton and Ké-ki-ka-ko have been caught by Ko-ko-ri-ko while trying to flee, and the emperor has been asked for the death penalty and he now makes the same offer to Ké-ki-ka-ko who naturally refuses, and asks why an insurrection is being plotted. Fè-ni-han, it seems, through not speaking Chinese had accidentally impaled the five most virtuous people in the land, Ké-ki-ka-ko threatens to join the conspiracy so both summon the conspirators with the Ba-ta-clan anthem. All ends happily with a reprise of the Ba-ta-clan anthem, and Fé-an-nich-ton, Ké-ki-ka-ko, while the historical butt of the satire, Napoléon III, has passed, the situation mocked is timeless, the emperor Fé-ni-han being able to represent any great ruler on earth. Kracauer summed up the target of the piece as, “Power is a joke, the Mikado by Arthur Sullivan, first performed in 1885. Information about the operetta Opera-opera plot summary Operadis discography, accessed 11 March 2011
5.
Tromb-al-ca-zar, ou Les criminels dramatiques
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Tromb-al-ca-zar, ou Les criminels dramatiques is a bouffonnerie musicale in one act of 1856 with music by Jacques Offenbach. The French libretto was by Charles-Désiré Dupeuty and Ernest Bourget, with its dialogue containing plays on words and stage business from contemporary Parisian dramas and operas, it is described by Kracauer as satirizing the romantic bandits of grand opera. Tromb-al-ca-zar was premiered in the Théâtre des Bouffes-Parisiens, Salle Choiseul in Paris, as well as extravagant parodies both of specific more serious musical works, the work pokes fun at the brigand element in romantic opera generally. Tromb-al-ca-zar was performed in Brussels in September 1858 and in Vienna in March 1862, the interior of an inn near Saint-Jean-de-Luz The inn-keeper Ignace bemoans his lot at his isolated inn, with no customers. Having abandoned his cousin Simplette he lives in fear of bandit raids, vert-Panné, Gigolette and other members of the company now also seek refuge in the inn. They had all been jeered from the stage during a performance the night in a neighbouring town. In a trio they quote from various stage and popular works of the day, including Félicien Davids chanson Les Hirondelles. They are about to depart when Ignace calls for help to set the table for dinner, as they accept the invitation to eat, Ignace – aside – recognises in Gigolette his cousin, while she – also aside – recognises Ignace. After singing the praises of ham, they accept kirsch from Ignace and he is brought back in on the quartet about the legendary Tromb-al-ca-zar and eventually, after pleading for mercy, Ignace is enrolled in the troupe, despite his lack of dancing skill. After numerous puns on the word Pau, the ends with a reprise of the song in praise of Bayonne ham, Eh bon, bon, bon. que le vin est bon. avec le jambon de pif, paf, pif, pouf. Overture Recitative and aria Ô rage, ô désespoir, Trio Le crocodile en partant pour la guerre Trio Détaillons Couplets La gitana, ah. Trio Un jambon de Bayonne Quartet Un beau jour Introduction, Valse et Reprise du Trio du jambon Léonce, costume by Draner Pradeau, costume by Draner
6.
La rose de Saint-Flour
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La rose de Saint-Flour is a one-act opérette with music by Jacques Offenbach to a French libretto by Michel Carré, first performed in 1856. The characters in the piece use Auvergnat accents in their dialogue and songs, Pradeau was pure Auvergnat, the work was much revived over the next twenty years and staged in Vienna. It was performed in England as The Rose of Auvergne, the scene is a cabaret run by Pierrette in Saint-Flour Alone, Pierrette bemoans her broken cooking-pot and decides to borrow one when she goes out to buy groceries. She muses on her two admirers, the cobbler Chapailloux and the coppersmith Marcachu, as it is the festival of Saint-Pierre, and there will be dancing that night, she longs for a new pair of shoes with sequins to dance in, and a new unbreakable pot. Marcachu brings in as a token of his love a new cooking-pot for Pierrette, hanging it by the fireplace with a bunch of flowers in, Chapailloux next creeps in and puts his present of shoes on the table. When Pierrette returns a tiff with Marcachu turns into a fight and they prepare the soup, into which unexpected ingredients are placed. When Chapailloux arrives, they eat and discover the contents of the soup, another fight ensues, and Marcachu storms off with his marmite. Pierrette decides she would be better off with Chapailloux and he hesitantly agrees, Chapailloux gives his hand to Pierrette just as Marcachu re-enters to make up for all the damage, giving Pierrette a new chair, crockery and the cooking-pot. A bourrée is heard as the signal for dancing, Marcachu concedes, hoping he might be, comm dans la Dame blanche god-father to their children. They dance and sing Nous nétions ni homms ni femmes – Nous étions tous Auvergnats, commnous nous amujames Trio and finale Je vous épouse et je vous tends la main Notes
7.
Le 66
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Le 66 is an opérette in one act of 1856 with music by Jacques Offenbach. The French libretto was by Auguste Pittaud de Forges and Laurencin, gänzl describes the work as in the rustic vein of Le violoneux and Le mariage aux lanternes. The premiere was at the Théâtre des Bouffes Parisiens Paris, on 31 July 1856, Le 66 remained in the Bouffes Parisiens repertoire, and was played by them in Vienna in 1862. It had already been seen at the Carltheater in that city in 1859, was produced in Budapest in 1860 and it was revived in Paris in 1984 at the Studio Bertrand alongside Pépito. Contemporary critics particularly admired in the score the romance and tyrolienne, en route for Strasbourg two starving travellers reach the outskirts of Stuttgart. Grittly has learnt that her sister is in distress and set off to see her. On meeting a pedlar on the road Frantz wins 100,000 florins in a lottery with the ticket 66 and he borrows money from the pedlar and goes off to the town on a spending spree, returning in expensive grotesque clothes. Grittly and he argue – and then discover that the ticket is actually 99, however, the pedlar turns out to be a rich long-lost relation who wanted to give Frantz a lesson in the dangers of extravagance. » Final « Ah. quel bonheur » Notes Original livret de censure of July 1856, accessed 27 July 2011
8.
Le financier et le savetier
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Le financier et le savetier is a one-act opérette bouffe of 1856 with words by Hector Crémieux and Edmond About, and music by Jacques Offenbach, based on the poem by La Fontaine. In 1842 Offenbach had set The Cobbler and the Financier among a set of six fables of La Fontaine, Le financier et le savetier was first performed in Paris, at the refurbished Théâtre des Bouffes-Parisiens, on 23 September 1856, and ran into 1857. In 1858 it was performed by the company at Bad Ems, at the Carltheater in Vienna it was staged as Schuhflicker und Millionär in January 1859. A complete recording of Keck’s critical edition was made in 2007, the drawing-room of rich financier Belazor on his name-day, it is 1856 and nine o’clock in the evening A page waits at the entrance, Belazor paces up and down. Larfaillou can be heard singing off-stage, Larfaillou, the cobbler who works downstairs comes in, uninvited, and is asked to leave by Belazor. Larfaillou says he has come to ask for the hand of Belazor’s daughter Aubépine, Belazor asks how he has come to know the girl, and the cobbler replies that he does the repairs for the pensionnat where she stays. The cobbler also admits that the girl’s potential dowry and inheritance are no barriers to his proposal, Belazor stalls his first guests as he gets rid of Larfaillou. Aubépine, released from the pension for the celebration, enters and she then sings a fable, based on that by La Fontaine, but arranged by her school mistresses. A waltz is heard in preparation for dancing, Belazor has a brainwave, invite the cobbler back up and bribe him with 300 écus. Larfaillou comes in and reluctantly accepts the money, alone with Aubépine – who has fallen in love with him – he admits he is no Prince of Gerolstein, but – in a duo with Aubépine – declares his love for her. They wonder how to get round the problem of his lack of money, Aubépine says that she has learnt from her father how to play the stock exchange but as it is nearly midnight and it is closed, Larfaillou challenges one of the guests to a game of lansquenet. Chance is on his side, in the trio he continually beats the guest. Then Belazor plays against him, but loses 8,16, then 32 million, then his house, his spectacles, the cobbler, donning these fine clothes loses his common accent – while Belazor, in the cobbler’s old clothes begins to speak in slang. As a final attempt to annoy his neighbour the financier tries a song of his own, however, as a millionaire now, Larfaillou can again demand the hand of Aubépine. The end of the trio refers to the duo of Blondel, in the scene of ‘jeu d’oie’ in Act II of La belle Hélène Offenbach referred back to Le financier et le savetier. Notes Fontaines fable Le Savetier et le Financier
9.
La bonne d'enfant
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La bonne denfant is an opérette bouffe, in one act by Jacques Offenbach to a French libretto by Eugène Bercioux. It was first performed at the Théâtre des Bouffes Parisiens, Paris on 14 October 1856, offenbachs early operettas were small-scale one-act works, since the law in France limited musical theatre works to one-act pieces with no more than three singers and, perhaps, some mute characters. In 1858, this law was changed, and Offenbach was able to offer full-length operettas, the piece was seen in 1857 at the St Jamess Theatre in London, and in Vienna in 1862 with Tostée as Dorothée, it was subsequently produced there in Hungarian. Dorothée is tired of being a nanny and wants to marry to become the mistress of her own house and she has two suitors, Mitouflard, the fireman and Gargaillou, the chimneysweep. During an evening when her employers are out of the house and she ends up deciding to marry Brin dAmour, the trumpeter of the Royal Dragoons, but tells her suitors that she will invite them to her wedding. Notes The libretto in French as submitted to the French Censors before the première Information about the première date and location
10.
Croquefer, ou Le dernier des paladins
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Croquefer, ou Le dernier des paladins is a one-act opéra bouffe by Jacques Offenbach to a French libretto by Adolphe Jaime and Étienne Tréfeu, first performed in 1857. The successful premiere was at the Théâtre des Bouffes Parisiens, Rue Monsigny, Paris, on 12 February 1857, subsequently revived, in the Duo Offenbach mocks the Salle Le Peletier, home of the Paris Opéra, and quotes from operas by Meyerbeer, Donizetti and Halévy. Croquefer was revived by the Compagnie Les Brigands at the Théâtre de lAthénée as part of a double-bill with Lîle de Tulipatan in December 2012, a complete performance of Croquefer forms part of the 1996 television film Offenbachs Geheimnis, directed by István Szabó. The scene is the platform of a crenellated castle tower. Beyond, the countryside, on the left a cell with a grill facing the audience, a door leads to the inside of the castle. Boutefeu, the squire of Croquefer, surveys the countryside through a telescope, Croquefer clambers out onto the platform just as he swallows his last sabre. The 23-year war has ruined Croquefer and his castle, and he wants an end to it, although Mousse-à-Mort has lost most of his body parts in battle, Croquefer is still frightened of him, and would like to make peace. Boutefeu lines up models of soldiers to give the impression that Croquefer still has an army. When Mousse-à-Mort nevertheless defies him, Croquefers nephew Ramasse-ta-Tête appears, Croquefer instructs him to keep guard on the daughter of Mousse-à-Mort, also offering him a choice from his drinks. From the cell where she is kept Fleur-de-Soufre calls to Ramasse-ta-Tête and they sing a love duet. Boutefeu and Croquefer enter and also join in with the dance, when Mousse-à-Mort enters Croquefer presents him with two options, either Fleur-de-Soufre will marry him or she will be killed. Independently Boutefeu and Fleur-de-Soufre plot to serve poisoned wine to their adversaries, as armed men loyal to Mousse-à-Mort enter, Ramasse-ta-Tête agrees to submit, provided that he can marry Fleur-de-Soufre. Just as Croquefer and Mousse-à-Mort are about to fight, the effects of the spiked drinks take effect and they both rush off-stage, to return, with Croquefers sword and Mousse-à-Morts tongue returned to their owners. Overture Ballade « Mon château qu’il est chic, » Trio « Oui, c’est moi comme Mars en Carême » Duo « Comment c’est vous, un gentilhomme. » Galop Chanson à boire « A vos santés je bois » Marche Quintet « O ciel, » Final « O vous tous qui m’écoutez »
11.
Vent du soir, ou L'horrible festin
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The work was the first collaboration between Philippe Gille and Offenbach, and the start of a friendship between them which endured until the death of the latter. It also marked the first appearance with Offenbach of the singer-actor Désiré, vent du soir was a success, and was revived in Paris and also performed in Brussels and Vienna. A production in Swedish was presented in 2003 in Stockholm by Teater travers, on an Oceanic island, Vent-du-soir receives a visit from a neighbouring chief Lapin-courageux. Both men get on well, as they had eaten the others wife. Vent-du-soir puts on a spread for his guest. Atala, daughter of Vent-du-soir, meanwhile, has fallen in love with the ship-wrecked stranger Arthur, luckily the diners learn that in fact they have been served a bear, in whose skin Arthur had been hiding. All ends happily and Atala and Arthur are able to marry, ouverture Couplets Petit bébé Couplets et duetto Mon front na pas Trio Grands dieux. Trio Gloire aux Papas-Toutous Trio and chanson nègre Ô fête incomplète Duo, final Que mon sort est doux
12.
Une demoiselle en loterie
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Une demoiselle en loterie is a one-act opérette bouffe of 1857 with music by Jacques Offenbach. The French libretto was by Adolphe Jaime and Hector Crémieux and it was later performed at a café-concert in Brussels in July 1858, by Offenbach’s company in Bad Ems in August 1858 and was adapted for Vienna in 1862 and 1864. Démêloir has been trying for a fortnight to sell 200 lottery tickets at 1,000 francs each, walking back, the prize is the hand of the former horse dancer Aspasie, who will use the proceeds as her dowry. A letter arrives from Anténor Pigeonneau, widowed former goose farmer, Aspasie believe he is a relation. He enters and wants only the ticket number 100, because a goose predicted that it would win, Aspasie claims that the Count Arthur de Blago Colonera Cardinos, who arrived directly by train from Cuba, has already bought ticket number 100. In order to force matters, Démêloir disguises himself as the Spanish rival, overture Rondo et duetto « Voici les billets » Couplets « Monsieur j’arrive en diligence » Trio « C’est elle. » Duo « Va toujours, ma reine charmante » Chanson Bohémienne « Ecoutez cette chanson là » Final « Eh
13.
Le mariage aux lanternes
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Le mariage aux lanternes is an opérette in one act by Jacques Offenbach. The French libretto was written by Michel Carré and Léon Battu and it was first performed at the Salle Choiseul, Théâtre des Bouffes Parisiens, Paris, on 10 October 1857. The operetta was a reworking of Le trésor à Mathurin, with words by Battu, later it was revived at the Opéra-Comique in 1919, Stockholm in 1927 and Berlin in 1930. The work is in Offenbachs more pastoral and sentimental style rather than the bouffonerie of some of his stage works. He hides his feelings by treatly her roughly, driving the young girl to despair, both write to their uncle, him for money, her for advice. At the time of the angélus, Denise enters, reading a letter from her uncle tells her that she will find a good husband underneath the great tree. As Guillot arrives with his spade and lantern, he hears her speak his name in her sleep, by the light of the lanterns of villagers, who have also come to inspect the treasure, they agree to wed, much to the chagrin of the two widows
14.
Mesdames de la Halle
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Mesdames de la Halle is an opérette bouffe in one act by Jacques Offenbach, with a libretto by Armand Lapointe. It was first performed at the Théâtre des Bouffes Parisiens, Paris on 3 March 1858. and was the first work of Offenbachs at the Bouffes with a chorus and it was performed in Berlin in 1858, Brussels in 1860, and Monte Carlo in 1908. It was also produced at the Théâtre des Arts on 3 April 1913, conducted by Gabriel Grovlez, with a cast including Lucy Vauthrin, Marcelle Devries and Maurice Lamy. It was mounted at the Paris Opéra-Comique on 4 May 1940 with René Hérent, Lillie Grandval and Roger Bourdin, the setting is the Marché des Innocents in the reign of Louis XV. At the Paris fruit and vegetable market vendors of all kinds are plying for custom, the drum major, Raflafla, enters with some troops and sings a flattering song to the market women. Madou and Beurrefondu are not interested, they are after the kitchen boy Croûte-au-pot, for whom Mesdames Poiretapée, Madou. Croûte-au-pot enters, but singing of his love for the fruit seller Ciboulette, Madou and Beurrefondu press their wares on him, but when he upturns his basket, Raflafla re-enters and takes Croûte-au-pot off in a barrow. When Raflafla tries to sweet-talk her she repulses him, despite the fact that her heart always misses a beat when she meets him. Poiretapée has bribed the commissaire with a drink and comes back to the market where Raflafla tries it on with her, Croûte-au-pot comes in, having jumped out of a window at the jail, and he and Ciboulette sing a happy duet. Beurrefondu re-enters, disapproving of Ciboulettes liaison with the kitchen-boy, Ciboulette says that as an orphan the consent of her parents will be difficult to obtain. She tells Beurrefondu that her father was a sergeant of guards, Beurrefondu faints into the fountain, and when dragged out claims Ciboulette as her daughter. When Beurrefondu recounts this to Madou she too faints in the leading to a septet over the dilemma. The curtain falls with all acclaiming the unequalled beauties – the ladies of la Halle
15.
La chanson de Fortunio
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La chanson de Fortunio is a short opéra-comique in one act by Jacques Offenbach with a French libretto by Ludovic Halévy and Hector Crémieux. The music was composed within a week, with a week being spent in preparations for the production. Its success was welcome after the failure of Barkouf a fortnight earlier, the librettists based their one-act La chanson de Fortunio around this song – with the story as a sort of sequel to the original play, the melody of the song being heard in the overture. Messager composed an opera Fortunio based on the Musset play, Fortunios song from that work was set in Russian by Tchaikovsky as the first of his six Romances. The first public performance of La chanson de Fortunio took place in the Salle Choiseul of the Théâtre des Bouffes-Parisiens, Paris, on 5 January 1861. Its premiere in Vienna was on 25 April and it continued to regularly on the bill in Paris during 1861 and 1862. It formed the first part of an Offenbach double bill, the half of the programme being M. Choufleuri restera chez lui le. It was recorded on Swedish television in 1981 with Gunnar Björnstrand as Maitre Fortunio, the State Opera of South Australia presented the opera in 2015 on a double bill with Mozarts Bastien und Bastienne. Place, The garden of Fortunios house in Lorraine Time, Seventeenth century Maître Fortunio, an elderly lawyer, is married to a young and attractive wife. Many years ago, when he was a clerk, Fortunio had seduced the wife of his employer with the help of a particularly alluring song which he used as a means of charming her. Fortunio still recalls this episode, and he begins to suspect that his own young wife might be carrying on a clandestine affair. And indeed, his second clerk Valentin has fallen deeply in love with Laurette, Fortunio accuses his wife of infidelity and resolves to dismiss Valentin from his service. In the meantime, however, the clerks have discovered the old song, the song has lost none of its efficacy, as is proved when all the clerks suddenly and miraculously acquire new girl friends. Overture Couplets de Laurette, Prenez garde à vous Ensemble du pain et des pommes, Il est parti
16.
Le pont des soupirs
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Le pont des soupirs is an opéra bouffe set in Venice, by Jacques Offenbach, first performed in Paris in 1861. The French libretto was written by Hector Crémieux and Ludovic Halévy, Offenbach would return to Venice in the Giulietta act of his final work Les Contes dHoffmann. Le pont des soupirs was first performed in a version at the Théâtre des Bouffes Parisiens. A four-act version was given at the Théâtre des Variétés. Its popularity extended further, it was given to Brussels in 1861, Buenos Aires in 1870, in translation it was produced in Vienna in 1862, Berlin in 1862, Graz in 1865 and Budapest in 1865, followed by other local premieres and runs in the French provinces. The first production in England was at St Jamess Theatre in 1872 as The Bridge of Sighs, more recently a production by Jean-Michel Ribes at the Théâtre de Paris in 1987-88 was nominated for a Molière Award. Place, Venice Time,1321 Cornarino Cornarini, the Doge of Venice and admiral of the Venetian fleet, has deserted the navy in fear of defeat in a sea battle, cascadetto and a mob enter denouncing Cornarini. Cascadetto sings a lament on the cowardice of the doge, Cornarini, Malatromba returns and enters the Cornarini palace to seduce Catarina. The doge and Baptiste try to enter also but as the mob return they climb onto the balcony, Catarina is telling Laodice of her love for Amoroso when two cloaked henchmen enter her rooms. Catarina suddenly returns and pleads with her husband to save her from the advances of Malatromba. Fights break out in the places, the four men emerge and in the confusion the room fills with soldiers, spies, squires. Cornarini and Baptiste get arrested but claim to have proof of the Doges demise, at the Council of Ten most of the councillors are asleep and only awake with the entry of a delegation of female gondoliers. Malatromba requests that the Council hear the testimony of the two men about the disgraced doge and they claim to have killed Cornarini, they hope this will allow them freedom and Malatromba hopes he can now become doge. Catarina and Amoroso now appear disguised as knights, claiming that Cornarini is alive, the head of the Council belatedly reads a scroll which had been delivered earlier. This reports that the flight from battle was a ruse to fool the Matalosses who have suffered a devastating naval defeat. With the Council believing they have two doges, Malatromba is temporarily thwarted, the final scene is on the Lido, and the carnival is in progress. Cascadetto announces that to decide which of the two doges should rule, the Council will make them joust on the Orfano canal near the piazza San Marco, Cornarini and Malatromba enter on their individual floats and in the joust the latter loses. In the second version the two doges have to collect a cup from a mast, Malatromba winning and becoming doge, as consolation Cornarini is sent as Venetian ambassador to Spain, with Amoroso as his secretary, and the opera ends with a boléro
17.
M. Choufleuri restera chez lui le . . .
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M. Choufleuri restera chez lui le. is an opéra bouffe, or operetta, in one act by Jacques Offenbach and the Duc de Morny. The French libretto is credited to Morny, though Ludovic Halévy, Hector-Jonathan Crémieux. Also, the young lovers secretly communicate using musical quotes, M. Choufleuri was first performed privately at the Présidence du Corps Légistlatif, Palais Bourbon, Paris on 31 May 1861 in the presence of Napoleon III. The first public performance was given at the Théâtre des Bouffes Parisiens, the Duc de Mornay was the monarchs illegitimate brother and a senior government official, which may explain some of the laudatory reviews of his work. In Le Figaro, however, Henri Rochefort wrote, How fortunate is this author whose participation in a coup detat has saved him from the necessity of living by the pen. The one-hour work is performed, especially by amateur companies. There was a production at La Monnaie, Brussels under Patrick Davin in February 2007, place, Paris Time, January 24,1833 The newly-rich but culturally ignorant M. All three become indisposed at the last minute, in the meantime, Choufleuris daughter, Ernestine, has been secretly seeing a young basoonist, composer and singer, Chrysodule Babylas. When she asked her father to invite the man to the soiree, Choufleuri had refused. Now, Ernestine saves the day by impersonating Sontag and insisting that Babylas impersonate Rubini, recordings may be found on operadis-opera-discography. org. uk Notes Sources Casaglia, Gherardo. Monsieur Choufleuri restera chez lui,31 May 1861, scores at the International Music Score Library Project Libretto as originally submitted for censorship
18.
Apothicaire et perruquier
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Apothicaire et perruquier is a one-act opérette-bouffe with music by Jacques Offenbach to a French libretto by Élie Frébault, first performed in 1861, one of six new works he premiered that year. Faris describes the score as pastiche in the vocal style of the eighteenth century. The libretto was first set to music by Laurent de Rillé, in the face of an irate librettist, Offenbach set to work to compose an operetta in a pastiche of classical style. The premiere of Offenbachs work was on 17 October 1861 at the Salle Choiseul, Paris and it was also on the bill for the premiere of La permission de dix heures in September 1873 at the Théâtre de la Renaissance. A modest room, at the time of Louis XV Boudinet reads a letter from his old friend the apothecary Plumoiseau in La Palisse, Boudinet has agreed as a gesture of goodwill to marry his daughter Sempronia to Plumoiseaus promising son neither of whom have met. It is the day of the wedding and he awaits the bride’s hairdresser, the hairdresser Chilpéric arrives, Boudinet mistaking him for the bridegroom, complimenting and offering him dinner but not allowing him to see the bride. While Boudinet goes to check the final preparations of the ceremony, Chilpéric alone, in a Romance, when Sempronia enters looking for the hairdresser, they recognise each other but she takes him to be the young apothecary. At which point the real apothecary Plumoiseau arrives, Boudinet castigating him for his lateness, the four express their differing feelings in an ensemble. Despite his inability to do so, Plumoiseau is told to go with Sempronia, after more confusion between the father and hairdresser, Sempronia rushes in, her hair a mess, complaining about the supposed hairdresser who has broken her tortoise-shell comb. Chilpéric volunteers to restore her coiffure and they go out, Boudinet and Plumoiseau have a furious argument, the father angry that his daughters hair is not yet ready, the intended bridegroom for being treated so roughly by his fathers old friend. Sempronia re-enters during the uproar, and after more confusion she intervenes, Boudinet refuses to back down from giving her away to a Plumoiseau. On hearing this Chilpéric reveals that his name is also Plumoiseau, in fact he is a cousin of the pharmacist’s son -. But Boudinet summons them back and agrees to the marriage of Sempronia and the hairdresser - with the apothecary in attendance
19.
Monsieur et Madame Denis
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Monsieur et Madame Denis is a one-act opéra comique with music by Jacques Offenbach to a French libretto by Laurencin and Michel Delaporte, first performed in 1862. The work was based on a vaudeville, and included a ‘chaconne’ which became well known in its own right. A ‘chanson de M et Mme Denis’ by Marc-Antoine Désaugiers became a song during the late 18th century. It was included by the Baron de Rougemont in his tableau conjugal Monsieur et Madame Denis performed at the Théâtre des Variétés in 1808, later vaudevilles with a similar subject by Anicet and Delaporte and by Brazier and Simonnin were also successful in the French capital. The premiere was on 11 January 1862 at the Théâtre des Bouffes-Parisiens, Paris, with Darcier, the work was later toured to Brussels and was seen at the Theater am Franz-Josefs-Kai in Vienna. The work was seen in Hamburg in May, Berlin in June, the chaconne was subsequently inserted in other popular shows as a showpiece waltz. The overture has been recorded by Hermann Scherchen conducting the Vienna State Opera Orchestra, the Chaconne was recorded in 2006 by Laura Claycomb as part of an Offenbach anthology. The salon at the house of Monsieur and Madame Denis, Paris,1750 Gaston d’Amboise is the ward of Monsieur and Madame Denis, the Deniss maid Nanette is alone at the house, preparing for the imminent return of Monsieur and Madame Denis from St Germain. Having abducted Lucile from her pension, Gaston arrives with her to seek his blessing for their marriage. Nanette explains their absence, but just as they sit down to eat the Denis food and drink their wine while awaiting their arrival, guards knock at the door, the abduction having been discovered. Gaston and Lucile have time to themselves as Monsieur and Madame Denis, as the guards, led by Bellerose, enter. Gaston, making a brusque movement reveals his sword and his wig slips, Bellerose leaves but returns suddenly with more soldiers. Although the ruse has been discovered, Nanette starts serving the wine and they get drunk, then sing. Lucile sings the chaconne, and the soldiers are tied up with curtains. As Monsieur and Madame Denis arrive home the couple run to greet them. Un jour à mon tour la vieillesse » Duo « Partir seule avec moi » Couplets de Bellerose « Vous voyez en moi Bellerose » Quatuor « Grand Dieu
20.
Les bavards
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Les bavards is an opéra bouffe, or operetta, by Jacques Offenbach, with a French libretto by Charles-Louis-Étienne Nuitter based on a story originally by Cervantes, ‘Los dos habladores’. Les bavards was originally created as Bavard et bavarde in one-act form and performed at the Kurtheater and it entered the repertoire of the Paris Opéra Comique on 3 May 1924 conducted by Maurice Frigara, produced by Albert Carré, with Germaine Gallois as Roland and Marguerite Roger as Béatrix. It was recorded on Swedish television in 1981 with Britt Marie Aruhn, a critical edition has been published as part of the Offenbach Edition Keck, and the work is still occasionally performed. He has fallen in love with Inès, the niece of Sarmiento, a man kept busy counting his money. Going out, Sarmiento meets his wife coming home, talking continuously, next the alcade Cristobal, also a chatterbox, passes by, sympathizing with Sarmiento’s lot. As Sarmiento returns to go back into his house, Roland comes out from his hiding place and he begins a long recitation of his woes and in the ensuing duet agrees to get Béatrix to stay quiet. Sarmiento asks him to come to dinner once he has better clothes. The creditors go off to find Roland while Cristobal and Torribo doze off guarding the front door, Sarmiento and Roland, now finely dressed, return and enter the house. The scene opens with Béatrix bemoaning her lot, as she and Inès prepare to set the table Sarmiento enters with Roland and the young man is introduced to the women. Roland immediately starts talking non-stop and Béatrix is taken aback, even when they sit down to eat Roland’s babbling continues without a break. Sarmiento tells Béatrix, overcome by their guests volubility, that Roland is to stay for seven years, under the guise of finally settling Sarmiento’s dispute, Cristobal and Torribio are admitted and, after being given false information by Roland on ‘his’ whereabouts, depart with Sarmiento. To get Béatrix’s approval for him to wed Inès, Roland reveals to Béatrix what he had agreed with her husband, to revenge herself on Sarmiento, she pretends in dumb-show that she has exchanged billets-doux with Roland. Sarmiento, bewildered by everyone behaving as if they are struck dumb, the alcade and creditors arrive with a message from Roland promising that Sarmiento will pay off his debts. Sarmiento is forced to agree and gives his approval to the marriage, all celebrate the settlement of all their problems. Notes Libretto in French libretto in French & English
21.
Il signor Fagotto
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Il signor Fagotto is a one-act opérette by Jacques Offenbach to a French libretto by Charles-Louis-Étienne Nuitter and Étienne Tréfeu, first performed in 1863. The story of a father outwitted and true love winning is set within “a burlesque of musical styles”. The work was premiered by Offenbach’s company at Bad Ems, before transferring to the Théâtre des Bouffes Parisiens, Rue Monsigny, Paris, a few months later, where it enjoyed several revivals. The work was performed in a form in Vienna shortly after the premiere of Die Rheinnixen in 1864. Il signor Fagotto forms part of the Keck Offenbach edition, Bertolucci has had framed and hung around his salon all the letters sent to him by his musical idol the great Signor Fagotto. Caramello arrives to woo her, the lyre of Pindar under his arm, however, Clorinda is in love with her music tutor Fabricio, a young composer whose work is not music to Bertoluccis ears, but whom Clorinda hopes to wed with the help of her maid Moschetta. Fabricio arrives and gives Clorinda her music lesson, Bertoluccis servant Bacòlo spots an opportunity for him to win the heart and hand of Moschetta, who has spurned him so far, by assisting with a plot to outwit their master and musical snob. This very day Fagotto has consented to be witness at the signing of the contract between Clorinda and Caramelo. Fagotto appears wearing a costume, he then displays some especially gymnastic skills and his talent in imitative music including animals. Fagotto of course is not the real maestro but Bacòlo in disguise, Bertolucci overwhelmed by his artistry and his admiration knows no bounds. When Caramelo declaims an ode, this is met with scorn by Fagotto, having previously treated him with contempt, with Fagotto’s imprimatur Bertolucci would now consent to him marrying his daughter. Caramello is furious and attacks Fagotto, and in the confusion Bacòlo loses his wig, Bacòlo admits that he was the author of the letters received by Bertolucci from his idol. The marriage of Clorinda and Fabricio is agreed and Moschetta, impressed by Bacòlo’s work, agrees she will have him in the end
22.
Lischen et Fritzchen
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Lischen et Fritzchen is a one-act operetta with music by Jacques Offenbach to a French libretto by ‘P Dubois’, first performed in 1863. The premiere was on 21 July 1863 at the Kursaal, Bad Ems, the Paris premiere followed at the newly refurbished Théâtre des Bouffes Parisiens, Paris, on 5 January 1864, sharing the bill with Les deux aveugles, Lamour chanteur and La tradition. Both characters in the use an Alsatian accent in their dialogue. It marked one of the hits for Zulma Bouffar. A story that Offenbach had composed the piece in eight days to win a bet may only be a myth, Offenbach set the fable of The Town Mouse and the Country Mouse in his Six Fables de La Fontaine. Lischen enters, also returning homeward as she cannot make any money in Paris for herself, Fritzchen falls for the young Alsacienne, as they both plan to continue their journey. Lischen sings the story of The Town Mouse and the Country Mouse, adversity draws the two together, and during a conversation in which they admit their mutual love, it seems that they are brother and sister. However, in a letter from Fritzchen’s father it emerges that Lischen was a daughter of his sister. Now that a marriage between Lischen and Fritzchen is possible, in joy the couple join arms and continue their way home
23.
Die Rheinnixen
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Die Rheinnixen is a romantic opera in four acts by Jacques Offenbach. The original libretto by Charles-Louis-Etienne Nuitter was translated into German by Alfred von Wolzogen, the Elves’ Song from Die Rheinnixen was later used in The Tales of Hoffmann, where it became the Barcarolle, in the Giulietta act, Conrads drinking song was also re-used in the same act. The first performance was given in a form on 4 February 1864 at the Hoftheater in Vienna. The first fully staged performance was given in Ljubljana by the Slovenian National Opera under Dieter Rossberg on 13 January 2005, performances followed in Trier and at the Opéra de Lyon under Marc Minkowski later in 2005, and in Cottbus in 2006. New Sussex Opera gave the British premiere of the work, under the title The Rhine Fairies, in October 2009, Gottfried leads a thanksgiving prayer as they approach the house of Hedwig. Hedwig tells Gottfried that she fears for the safety of their lands, she curses war, Armgard sings constantly to conceal a hidden grief, and Hedwig recounts a ballad of the fate of young women who sang too much. By refusing to cease her singing, she gives her mother cause to worry that she too will succumb like the spirits in her ballad, Gottfried declares his love for Armgard, an attachment supported by Hedwig. Armgard is, however, unable to accept his devotion, as she reveals that Franz Baldung, Gottfried offers to help bring Franz back, but the peace is broken by the news that plundering mercenaries have attacked nearby farmsteads. The pillaging troops led by Conrad enter, singing of wine and women, along with Franz, delirious, having lost his memory after a blow to his head, and recalling little of his previous existence. Discovering that the soldiers have arrived on Armgard’s name day, Conrad threatens to kill the family unless she sings for them, as Armgard sings she notices Franz among the soldiers. Franz begins to recover his memory, slowly awakens to his past, having sung the Vaterlandslied Armgard faints, and Franz recognizes her. Inside Hedwigs farmhouse Gottfried and the women lament the death of Armgard, the folk legend decrees that Armgard’s ghost will go off at dusk to join elves at the enchanted stone in the forest. Hedwig reveals to Gottfried that she was abandoned by the father of Armgard and she hurries to the forest, hoping to find Armgard’s shadow, swiftly followed by Gottfried. Franz enters and sings of his love, then Conrad also arrives, Gottfried has been captured and will be bribed to guide them to it. At nightfall Armgard, alive but in a trance, passes through the scene, the Elfenstein in the forest, rocks, waterfalls, pines – moonlight Elves and spirits dance and sing in the forest, where Hedwig appears. Armgard tries to pretend to her that she is a spirit, the men now arrive, expecting to be at the palace, and Conrad boasts of the licentious escapades of his youth. They then realize the trick Gottfried has played on them and he is tied up to be executed next day. Conrad is however sent into a trance by the song of the elves, after Franz has threatened suicide unless he sees Armgard, whom he thinks is now a fairy, she enters, explains all that has happened, and they are reconciled in their love
24.
Barbe-bleue (opera)
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Barbe-bleue is an opéra bouffe, or operetta, in three acts by Jacques Offenbach to a French libretto by Henri Meilhac and Ludovic Halévy based on Charles Perraults 1697 story. The work was composed while Offenbach was travelling during 1865, in Vienna, Brussels and Cologne, other distractions during the period were the marriage on 9 August in Étretat of his eldest daughter Berthe to Charles Comte and problems with gout. It was first performed at the Théâtre des Variétés, Paris on 5 February 1866, yon echoes contemporary critics such as Monselet in judging the libretto to be one of the best constructed the composer set. Productions outside France followed swiftly, London, Vienna and Brussels in 1866, Stockholm, Berlin, Budapest, Milan, the operetta was given in New York City at the Grand Opera House on 24 December 1870 and seen in Sydney, Australia in 1872. It had its Czech premiere in 1874, under Adolf Čech, the work was revived in 1888 at the Variétés in Paris with Jeanne Granier as Boulotte. A1904 Paris revival included Baron as Bobèche, Ève Lavallière as Hermia, in 1941, Mikael Fokine’s final choreography consisted of a ballet reworking by Antal Doráti, staged in Mexico. In 1971 the Théâtre de Paris presented the piece in an edition, musically and textually. Productions were mounted in Geneva in 1984 and in Strasbourg in 1996, Prince Saphir, in love with the flower-girl Fleurette, disguises himself as a shepherd to move near to where she lives. Fleurette loves Saphir but complains that he has not yet proposed marriage, king Bobèche does not want a female heir to his throne, and so he abandoned his daughter Hermia when she was three years old. Now that his son has gone his own way, the king remembers his daughter and he asks his minister Oscar to find her within one day. Oscar meets his old friend Popolani, an alchemist with Knight Bluebeard and it is Popolani’s charge to poison the Knight’s wives upon request, and Popolani has been ordered to find a new wife. Boulotte, having drawn the first prize in the lottery of virtue, is brought to Bluebeard. Oscar finds out by chance that Fleurette is Princess Hermia, and he brings her to the happy king, with the princesss identity now known, Prince Saphir comes out of hiding, removing the last obstacle to the wedding. Boulotte has become Bluebeards sixth wife, however, Bluebeard appears at the royal wedding and falls in love with Princess Hermia. He decides to poison Boulotte that evening and to make Hermia his seventh wife, however, events take a different course. Recordings which appear on operadis-opera-discography. org. uk Libretto in WikiSource Notes Sources Boosey, Information about the New York production Information about English version
25.
La permission de dix heures
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La permission de dix heures is a one act opéra comique of 1867 with music by Jacques Offenbach. Offenbachs opéra comique premiered in Bad Ems and had a Paris production, originally planned for 1866, the premiere of La permission de dix heures was in Bad Ems on 9 July 1867. It received its French premiere at the Théâtre de la Renaissance on 4 September 1873 where it ran for 39 performances. A production was mounted at the Carltheater in Vienna as Urlaub nach Zapfenstreich in February 1868, set in France in the 18th century, in front of the inn Au Coeur Volant The overture sets the military tone. The soldier Larose Pompon meets briefly with Nicole with whom he is engaged, nicole’s aunt, the rich Madame Jobin, has forbidden Nicole to wed until she has herself remarried. Larose wonders whom he can find for Madame Jobin, and the plan to meet again at nine o’clock that evening. Sergeant Lanternick, an honest Alsatian, enters, Larose reckons that he could be the solution, Nicole gives her aunt Laroses name as that of the admirer, and Madame Jobin, who knows the colonel of the regiment, is determined to obtain a permission on his behalf. When Lanternick returns, Nicole tries to awaken his feelings for Jobin, Larose gets his sergeant to write a letter for Nicole but which he will pass to Madame Jobin. Although only one of the soldiers has a leave pass. In the darkness, Larose, affecting an Alsatian accent, asks Madame Jobin to take a walk with him, when the suspicious Broussaille comes on patrol he encounters the two pairs, Larose with Jobin, Nicole with Lanternick. In the confusion each soldier woos the woman, and a kissing quartet ensues. In the confusion Lanternick is discovered kneeling in front of Madame Jobin, overture Air « Faut lui trouver un garçon » Couplets « Faut que j’fasse un p’tit gonnaissance » Trio et Quatuor « Chacun son écot » Couplets « La permission de dix heures » Couplets « Allons. Ne vous désolez pas » Trio de la retraite « Larose, » Couplets « A cette démarche légère » Morceau d’ensemble « Ah. Quelle douce ivresse » Final « La permission de dix heures »
26.
Les brigands
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Les brigands is an opéra bouffe, or operetta, by Jacques Offenbach to a French libretto by Henri Meilhac and Ludovic Halévy. Meilhac and Halévys libretto lampoons both serious and light theatre, the plot is cheerfully amoral in its presentation of theft as a basic principle of society rather than as an aberration. As Falsacappa, the chieftain, notes, Everybody steals according to their position in society. The piece premiered in Paris in 1869 and has received periodic revivals in France and elsewhere, les brigands has a more substantial plot than many Offenbach operettas and integrates the songs more completely into the story. In addition to policemen, financiers receive satiric treatment, les brigands was first performed at the Théâtre des Variétés, Paris on 10 December 1869, this version was in three acts. A four-act version was prepared for a production at the Théâtre de la Gaîté. The piece achieved great success as the Second Empire came to an end, only the outbreak of the Franco-Prussian War in the following months dampened audience enthusiasm. The piece was translated in three acts as The Brigands by English dramatist W. S, Gilbert was displeased with his own work, which he had created merely to secure the British copyright, and he attempted to prevent its performance in London, without success. He also objected to new songs inserted in the piece but written by another lyricist, many of the characters and situations in the piece are echoed later in Gilbert and Sullivans The Pirates of Penzance and The Gondoliers. An earlier English version by H. S. Leigh was presented at the Globe Theatre in London under the name Falsacappa, camille Dubois starred as Fragoletto, Julia Vokins was the Princess of Granada and Nelly Bromley was the Prince of Popoli. This version had also given an 1871 performance in London. A wild rocky place The brigands assemble at dawn, but some of them complain to Falsacappa that they cannot live properly on the rewards of their work and he promises an imminent and profitable venture. The marriage of the Princess of Grenade with the Duc de Mantoue has been announced, and his daughter Fiorella has fallen for the young farmer Fragoletto, whose farm the gang recently raided, and she is beginning to have doubts about their calling. She shows Piétro, the second-in-command a small portrait she has had painted of herself, Fragoletto is brought in by some of the brigands, not unwillingly, as he asks for Fiorellas hand, and to join the band. Falsacappa agrees on condition that Fragoletto prove himself, Fiorella is left with Piétro, and a handsome stranger enters. He – fascinated by her – has lost his way, when Piétro goes to find help, she decides to warn him – in fact the Duke of Mantua – to flee. Fragoletto arrives with a message about the union of the Duke. Falsacappa frees the messenger, replacing the portrait in the briefcase with that of his daughter
27.
Le roi Carotte
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Le Roi Carotte is a 4-act opéra-bouffe-féerie with music by Jacques Offenbach and libretto by Victorien Sardou, after E. T. A. Hoffmann. The libretto, written before the French defeat in the Franco-Prussian War, lampooned Bonapartists, monarchists, staging the piece required elaborate costumes and grand spectacle, including a wide range of locations and numerous scene changes. The opera premiered at the Théâtre de la Gaîté on 15 January 1872, the first run lasted 195 performances, making a daily profit of 3,000 francs, and introducing Anna Judic in a principal operetta role. The work was seen in London in 1872 and Vienna in 1876, Le Roi Carotte in this production won Best Rediscovered Work in the International Opera Awards 2016. The U. S. premiere of Le roi Carotte took place in New York on 26 August 1872, the New York Times said that the music is to be given with additions and alterations made for this country by Offenbach himself. Its run lasted until late autumn, the libretto is in three acts. Disguised as a student, at a brasserie, King Fridolin XXIV explains to his ministers that the frivolous behavior of his youth has all. He therefore plans to wed Cunégonde, the princess of another kingdom, uncertain whether she is at all attractive, he hopes to observe her arrival surreptitiously. Robin-Luron, a student, sings about the pleasures of student life. Fridolin asks Robin-Luron what he thinks of the king and his government and he knows of Fridolins need to marry for money and, when he at last recognizes Fridolin, offers to purchase all the armor in the kings palace. As Fridolin considers his offer, Cunégonde arrives, traveling incognito in hopes of glimpsing Fridolin surreptitiously before agreeing to marry him, Fridolin and Cunégonde flirt, and she asks his opinion of the king, whom Fridolin praises. She sings an aria describing her life leaving the convent. He decides he will marry her, and she leaves for the palace anticipating life in a kingdom that governs its people by festivities and spectacles, Fridolin and his ministers discuss whether his collection of armor is under a spell or if his old palace is haunted. Night has fallen as they march off to inspect it, in the garret of the witch Coloquinte. Rosée du soir, the daughter of the paladin of Moravia, is waking and she has been dreaming of Fridolin, whom she has loved while being held captive here six years. Robin-Luron arrives, claiming students have knowledge of hidden places. Coloquinte enters and she and Robin-Luron argue about their magic powers and he leaves and Coloquinte scolds Rosée du soir for letting him visit. Rosée du soir, alone, dreams of her escape, the gardens of the royal palace
28.
Pomme d'api
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Pomme dapi is a one-act opérette of 1873 by Jacques Offenbach with a French libretto by Ludovic Halévy and William Busnach. Offenbach had heard Louise Théo singing in café-concert in Paris and although her voice was unremarkable, run-throughs of the opera took place during the summer of 1873 at the Villa Orphée home in Étretat which Offenbach had built and furnished with the royalties from Orphée aux Enfers. Théos success in Pomme dapi stimulated Offenbach to create a work around her for the Renaissance. In seven weeks he composed La jolie parfumeuse, which, as with the one-act piece, the première was on 4 September 1873 at the Théâtre de la Renaissance, Paris, on the same bill as La permission de dix heures. On 20 April 1874 Pomme dapi was seen at the Théâtre des Bouffes-Parisiens on a bill with Les rendez-vous bourgeois and La chanson de Fortunio, in 1877 it was staged at the Theater an der Wien. It was not seen in Paris until 1900 when 60 performances were given at the Bouffes-Parisiens, seven separate broadcast recordings were made by the French national broadcasting between 1945 and 1974. A revival was mounted at the Paris Opéra-Comique in 1979 and recorded in the Salle Garnier, Monte Carlo in September 1982, the piece was seen in Bologna and Jesi in 2010. Paris,1873, a room in the house of Rabastens, with doors off As the curtain rises and he awaits a visit from Gustave, his nephew, whose liaison with a girl called Pomme dapi he views with disapproval, and has therefore cut off his allowance. Next the new maid whom Rabastens has engaged via an agency - Catherine - comes in, Rabastens is pleased with her – so much so that he forgets to treat her like a servant, even inviting her to dine with him and his nephew. Gustave recognizes Catherine as his love, but she is indifferent to his regrets, to really test his devotion, Catherine allows Rabastens to make advances. Gustave is so hurt by this that he makes to leave home, Catherine realizes that he must love her and embraces him. Initially furious, Rabastens relents, gives his blessing to Gustaves marriage, overture Couplets « L’employé m’a dit, de quel âge » Romance « Mon oncle ne vous fâchez pas » Couplets « Bonjour monsieur je suis la bonne » Trio « Va donc, chercher le gril. » Duo « C’est un dimanche, un matin » Trio « A table, a table. », Chanson « Versez », Rondeau « J’en prendrai un, deux, trois » Romance « Consultez votre cœur » Finale « J’en prendrai un, deux, trois »
29.
La jolie parfumeuse
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La jolie parfumeuse is an opéra comique in three acts of 1873 with music by Jacques Offenbach. The French libretto was by Hector Crémieux and Ernest Blum, the opera was premiered at the Théâtre de la Renaissance, Paris on 29 November 1873, where it ran for 200 performances, marking Offenbach’s first major success after the fall of the Empire. The piece, which owes something to the 1850 opéra comique Les Porcherons by Sauvage and Grisar, the work was successfully revived again in 1892 at the Théâtre de la Renaissance and in 1898 at the Théâtre de la Gaîté with Mariette Sully. It was seen at the Alhambra in London from 18 May 1874 with Kate Santley, bowdlerized, the Neighbors Chorus Soyez donc bon homme at the opening of act 3 remains a favorite of choral societies, however. Setting, Paris, 18th century The first act is set in a cabaret of Les Porcherons, with a band stand. In the background, shrubs and the entrance, Bavolet, a young clerk who works for the public prosecutor, and god-son of the rich financier La Cocardière, is to marry Rose, who works at the perfume-shop. The wedding celebrations are in full swing at the Cabaret des Porcherons, Clorinde is there with her dancer friends. When La Cocardière arrives at the celebration she teases him as it is clear he is taken with the perfume girl and he wriggles out of the situation and all toast the young couple. He and La Cocardière scheme to get hold of the bride’s garter, Bavolet tells Rose that he is keeping the place of their wedding night a secret until later. La Cocardière announces a band of musicians, and Verrouillaski. They persuade Rose to stand on a table to have her portrait painted, after another dance all prepare to depart. Bavolet explains to La Cocardière that as he not want Rose to live in the little room above her shop, he has rented a room adjacent. He also asks La Cocardière if he will conduct his wife to the new home, after a final dance, La Cocardière leads away Rose to whom Bavolet, surrounded by Poirot and his friends, waves kisses. A salon in La Cocardière’s house with doors leading off. Germain, La Cocardière’s manservant, sings of the pleasant life he leads, La Cocardière and Rose enter, he assuring her that this is her new home – all paid for by Bavolet. Among the decorations she notices pictures of ballet dancers – including the new arrival from Toulouse, to fulfil his commission La Cocardière attempts to kiss and embrace Rose, eventually blowing out the candles, but she evades him. He calls the maids to prepare Rose for bed, although she is ticklish, La Cocardière re-enters pretending to be Bavolet, but his big hands, ears and teeth make her feel like little red riding-hood. Germain suddenly comes in to announce the arrival of Clorinde and her friends, Clorinde sings him a birthday song, but he is not pleased by the surprise visit nor the suggestion of a birthday supper
30.
Bagatelle (opera)
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Bagatelle is a one-act opéra-comique by Jacques Offenbach, with a French libretto by Hector Crémieux and Ernest Blum. It was first produced on 21 May 1874 at Théâtre des Bouffes Parisiens under the direction of the composer, the piece is set in the boudoir of a star of café-concert, Bagatelle. Her maid Finette is having an affair with a clarinetist reduced to playing in the Cirque Fernando band, after a performance, Bagatelle is rehearsing a peasant song when an 18-year-old young admirer enters through the window. He is Georges de Planteville and to ensure they stay together he throws the keys through the window, however Pistache had been hidden in the apartment also, in the morning Finette has to release all three. It emerges that Georges had defended Bagatelle during her show against detractors, so she returns his love
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Madame l'archiduc
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Madame l’archiduc is an opéra bouffe, or operetta in three acts, by Jacques Offenbach, with a French libretto by Albert Millaud first performed at the Bouffes-Parisiens in Paris in 1874. After a slow start Madame l’Archiduc had a run of 100 performances. It was seen in Vienna in 1875 and London in 1876, time, around 1820 Place, the duchy of Parma Scene, an inn Four conspirators meet to discuss the plot to do away with the archduke Ernest. Giletti and Marietta, servants at an inn are getting married, the count of Castelardo, who is in a conspiracy against the archduke, arrives at the inn with his young wife, trying to disguise themselves. Arrested by Fortunato, the couple are sent off to the Castelardo palace. Scene, the palace of Castelardo Giletti and Marietta meet the conspirators, who explain to Giletti that he must assassinate the archduke, but try to escape at his arrival. The archduke Ernest, who himself as the most original of all archdukes. He abdicates in her favour, but she makes the conspirators her ministers – thus allowing his ministers in turn to become plotters. Scene, Fortunato must carry out the orders of the new ruler, the archduke is caught and only saves his skin by revealing his identify to Fortunato, who allows him to escape, only to then turns his attentions on the supposed countess. Giletti appears, being sent on his way to be ambassador to Naples, with a letter setting out his credentials. The archduke, who has now decided to conspire against Marietta, has met at the inn another beautiful girl – who turns out to be the real countess. He retakes his crown, gives 10,000 ecus to Giletti and Marietta, and dispatches the count to Naples with the same, re-sealed, letter
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Whittington (opera)
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Whittington is an opera with music by Jacques Offenbach, based on the legend of Dick Whittington and His Cat. It was premiered in a production at the Alhambra Theatre. Whittington is the major work of Offenbach to have received its premiere in London. The work was commissioned by Wood & Co, publishers for the Christmas season at the Alhambra, based on a scenario by H. B. Farnie, a French libretto was prepared by Charles-Louis-Étienne Nuitter and Étienne Tréfeu, and the Act 1 quartet of the inventory. Offenbachs La chatte métamorphosée en femme also has a prominent role for a feline, in anticipation of the new piece, the Alhambra revived Offenbachs Le roi Carotte, at its premiere Whittington was preceded by Dieu et la Bayadère by Auber and a one-act farce. Whittington then ran for 120 performances in the theatre of the Alhambra. Since 1885 the director of the Théâtre du Châtelet in Paris had wished to mount Whittington in the French capital, finally on 19 October 1893 the work was seen at the theatre as Le Chat du diable. For this, Nuitter and Tréfeu reworked their original libretto, and it ran for 77 performances that year but then fell into neglect. The cast included Sally Bruce-Payne in the title rôle, Constance Hauman, Nerys Jones, Christian Immler and Kevin West, in 2005 University College Opera staged the work at the Bloomsbury Theatre London. The song The Haunted Kickaboo in Act 1 was published separately after the London premiere, no 17 in Act 2, Voici le moment où lon dîne is included in the CD Offenbach anthology Offenbach au menu. Dick Whittington is an apprentice to the draper Fitzwarren whose daughter Alice he is in love with, after an argument with his master, Whittington flees the shop in company of his cat Thomas. Alice and the cook Dorothy track him down in Highgate where he is sleeping on the street with his cat as a pillow, Dick goes on the run again pursued across rooftops by a strange police patrol. He embarks on the sailing ship Z.10 owned by Fitzwarren under the captain Bobstay, in the second act the ship has set in on the exotic island of Bambouli with temples and sacred gardens where Whittington and others witness a grand procession of the local ruler. Employed at the court Dick gains swift promotion thanks to the attentions of Princess Hirvaia, Whittington becomes rich by ridding the island of all its rats with the help of his cat. The third act, after an interlude, is back in London. Now a rich man, Whittington can marry Alice, kind Edward the third receives him at Westminster Hall and names him Lord Mayor of London, and the opera ends with a grand Lord mayoral procession. The vocal score published in London by J. B, cramer & Co,201, Regent Street W contains both the English words of Farmie and the French words of Nuitter and Tréfeu
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Le voyage dans la lune (operetta)
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Le voyage dans la Lune is an opéra-féerie in four acts and 23 scenes by Jacques Offenbach. Loosely based on the novel From the Earth to the Moon by Jules Verne, its French libretto was by Albert Vanloo, Eugène Leterrier and it premiered on 26 October 1875 at the Théâtre de la Gaîté. The production was revived at the Théâtre du Châtelet, on 31 March 1877. The idea for the work was presented to Jacques Offenbach while he was head of the Théâtre de la Gaîté, eventually Albert Vizentini, the new directeur of the Gaîté, took up the idea, and Offenbachs contribution was limited to that of composer. Albert Vanloo and Eugène Leterrier, in association with Arnold Mortier and they were hoping for a repeat of the success of the novels of Jules Verne and the public taste for grand spectacles. This dispute does not seem to have continued, or may have been settled amicably, for by 1877, Jacques Offenbach based his Le docteur Ox on another Jules Verne novel, with his agreement. The première of the opéra-féerie Voyage dans la lune occurred on 26 October 1875 at Théâtre de la Gaîté in Paris. The French correspondent for The Times wrote The piece is, I think, a success, less great, probably, than that of Le Tour de Monde en Quatre-Vingt Jours, but which will be marked. No expense had been spared on the scenery - the 24 majestic sets by Cornil, Fromont and Chéret replicated places, the use of trucs, trap-doors and artifices accentuated the surprise-effects on the spectators. The producers even borrowed a dromedary from the Jardin dAcclimatation, the 673 costumes were designed by Alfred Grévin, and the two ballets choreographed by M. Justament. The principal roles were taken by Zulma Bouffar, Christian, Pierre Grivot, at the première, the Ronde des Charlatans, interpreted by Zulma Bouffar and Christian, won an encore. The success of the show, whose première raised 3,898 francs, Le Voyage dans la Lune left its mark on the year in which it first appeared, seven Parisian winter revues in 1875-1876 made reference to it. The rôle of Caprice was portrayed by Mme Peschard from 16 December 1875 until 16 February 1876, from 28 February 1876, the rôle of Popotte returned to Thérésa. For her, Jacques Offenbach added four airs to the score, Le Figaro noted, Thérésa and her songs produced a great effect. There were two especially, in the act, that she detailed with an exquisite finesse and art. Le Voyage dans la Lune was also put on in London, at the Alhambra Theatre, on 15 April 1876, the last performance at the Théâtre de la Gaîté occurred on 25 April 1876 after 185 performances and 965,000 francs in ticket receipts. The work was revived at the Théâtre du Châtelet from 31 March 1877 with most of the original cast, after two months, with ticket receipts of 226,457 francs, its 247th and last performance night was on 31 May 1877. On Caprices arrival, king Vlan cedes him the crown, but Caprice refuses it, not wanting to govern or to marry but instead to have liberty, movement, air, the moon, then rising, gives him an idea for his next destination
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Pierrette et Jacquot
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Pierrette et Jacquot is a one-act opérette of 1876 by Jacques Offenbach with a French libretto by Jules Noriac and Philippe Gille. The première of Pierrette et Jacquot was on 13 October 1876 at the Bouffes-Parisiens, Salle Choiseul, Paris and it was intended originally as a vehicle for the Grégoire sisters, whom Offenbach had discovered in Vienna. Although it was given 53 times that season, it was not considered a work of the composer. However, the song and the Ronde savoyarde became popular. The house of Cyrille Durand Durand, a bachelor and button merchant, dreams of being a hero. He has moved near the river and even hangs around the most dangerous road junctions for a chance, while awaiting an opportunity for such a feat, five years before he had taken in an abandoned Savoyard boy, Jacquot. Then two years ago at the Gare de Lyon Durand found a girl in rags, Pierrette and she comes to his house every Sunday. In fact this was no hazard, Jacquot had written to his sweetheart Pierrette to tell her to come to Paris, Jacquot wants now to confess to Durand and gain consent for them to wed. It is the day of Saint Cyrille and as a surprise the two young people dress up as natives of Savoy to dance and play the vielle and they hope by this to get Durands consent for them to marry, but he himself has designs on Pierrette. Durand confides in Patacha that indeed he is thinking of marrying, just as Durand announces his intentions and the others react with surprise and horror, news comes of someone drowning in the Seine, the solid bourgeois dashes out. When Durand is gone Pierrette and Jacquot decide instead to him a letter to reveal all. Then Patacha helps Durand back, soaking wet – it was only a dog in the river ended by saving Durand. On the way back Patacha has talked things over, so Durand relents and allows the two sweet hearts to marry, being content to tie the knot with his neighbour Madame Patacha, and the curtain falls with a reprise of the Ronde savoyard
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Le docteur Ox
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Le docteur Ox is an opéra bouffe in three acts and six tableaux of 1877 with music by Jacques Offenbach. The French libretto was by Arnold Mortier and Philippe Gille, adapted from the 1872 short story Une fantaisie du docteur Ox by Jules Verne, Offenbach had already set a libretto based closely on a work by Verne with the opéra-féerie Le voyage dans la lune in 1875. Verne had been a co-librettist for several operas presented at the Théâtre Lyrique, for Le Docteur Ox the novelist collaborated more closely with Offenbach and his librettists, and attended several of the later rehearsals at the Variétés. A first read-through took place on 18 November 1876 and during the course of rehearsals the number of scenes was increased from four to six. In changes to Vernes original story, romance was introduced in the form of Prascovia, a fiancée for Ox, the work is dedicated to Anna Judic. Le docteur Ox had 40 performances in its initial Paris run at the Théâtre des Variétés, Judic, who was the definite star of the evening, was costumed for her entrance as in the 1870 painting Salomé by Henri Regnault. An English language burlesque Oxygen, based on the Offenbach, was performed in both Britain and America in the late 19th century, a revised version of Le docteur Ox was performed in Cologne, premiered on 19 September 1978. The first tableau - the house of Van Tricasse, in Quiquendonne, Monsieur van Tricasse is the mayor of Quiquendone, a peaceful town where things take ten times longer to happen than normal. Dr Ox has noted that a lack of oxygen is causing this languor and he is now housed in a tower inventing a new gas which the Quiquendonniens believe will bring fame to their town but which he hopes will enliven and invigorate the people via a vast lighting system. Van Tricasse, Niklausse and Josse reflect on town business and the oxy-hydrique gas, today they will visit his laboratory, along with a visiting dignitary from the next town, Virgamen. A waltz leads to the arrival of Prascovia, a princess and Schahoura, dressed as gypsies, who want permits to stay in Quiquendone for the festival. As they all leave to go to the office, Docteur Ox and his assistant Ygène enter to collect the regulator key. Ox is horrified when he sees Prascovia, they were engaged, Ox and Ygène enter to prepare the public experiment. Prascovia, Schahoura and the gypsies arrive, intent on revenge, Prascovia and Schahoura confront Ox but he puts them off until the day after tomorrow – by which time he hopes they will be expelled from the city. The Quiquendoniens request to see Ox’s gas, light and gas make everyone behave in a more lively way. Monsieur van Tricasse is attracted to Lotché and Madame van Tricasse falls for Niklausse, Prascovia tries to denounce Ox as a second-hand Don Juan, but she is dismissed. Disguised as traders plying their wares, the plot against Dr Ox. To prevent the marriage of Ox and Suzel, Schahoura plans to kidnap Ox, now Ox dons the costume of the important person as a disguise
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Madame Favart
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Madame Favart is an opéra comique, or operetta, in three acts by Jacques Offenbach. The French libretto was written by Alfred Duru and Henri Charles Chivot, after defeat in the Franco-Prussian War ended Napoleon IIs reign, Offenbachs popularity declined in Paris, and he toured Britain and the United States. He continued producing new operettas in Paris, but most of the decade would pass before he enjoyed another hit, a new production was mounted at the Théâtre des Bouffes-Parisiens on 4 March 1884, then at the Théâtre des Menus-Plaisirs in 1888 with Anna Judic in the title role. Other productions in Paris include 1911 at the Théâtre Apollo and at the theatre in 1913. It was mounted in a version by Julius Hopp at the Theater an der Wien with Marie Geistinger on 7 February 1879, the work was very popular in the 19th century, not only in France. An English version, adapted by H. B, farnie, opened at the Strand Theatre in London on 12 April 1879 starring Florence St. John in the title role, Claude Marius as Favart, and Walter H. Fisher, then Henry Bracy as Hector. The production famously ran for 502 performances, which was successful for the time. At an inn in Arras a coach arrives and the go to their rooms. Among them is Major Cotignac and his daughter Suzanne, who have followed on horseback by Hector de Boispréault. Cotignac is trying to secure a post for a relative to whom the major will offer his daughters once the appointment is confirmed. On discovering that Suzanne and Hector are secretly in love, he agrees that if Hector can obtain the position of police lieutenant, but Justine Favart now arrives at the inn, disguised as a street singer, having escaped the nuns. She is searching for her husband, but is amazed to find an old childhood mate Hector, soldiers now enter to search the inn for Favart, but she manages to get them merry and sends them off on a false scent. Hector is unable to obtain the appointment, but Favart, now in disguise and ready to flee with his wife. Cotignac enters, furious at having made to wait by the Governor. Hector, Suzanne and the Favarts go off to Douai, by act 2, Hector and Suzanne are wed, and he has begun work in Douai, with the Favarts playing his servants. Madame Favart pretends to faint when the Governor tells her that her knows where Favart is in hiding, at a reception for Hector as the new police lieutenant, the Governor arrives, with Mme. Favart in yet another disguise, this time the Comtesse de Montgriffon, Pontsablé dashes off in pursuit, only to return in company with the real Comtesse de Montgriffon who has told him that Madame Favart is disguised as a servant-girl, who is now Suzanne in disguise. He arrests her, believing her to be Madame Favart and sends her to the Camp of Maréchal de Saxe in Fontenoy, the third act takes place in the camp at Fontenoy where Cotignac announces that Parisian star Mme
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La fille du tambour-major
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La fille du tambour-major is an opéra comique, or operetta, in three acts by Jacques Offenbach. The French libretto was written by Alfred Duru and Henri Charles Chivot, the title is an allusion to Gaetano Donizettis La fille du régiment. It was first staged at the Théâtre des Folies-Dramatiques in Paris on 13 December 1879 and this late Offenbach piece followed Madame Favart and would soon be followed by Offenbachs masterpiece, Tales of Hoffman. This was the last of his operas that Offenbach lived to see produced, Offenbachs score is more adventurous and grander in scope than his previous works and adopts an unusually complex style for some of the melody lines. A few of the numbers are also more challenging for the singers than earlier Offenbach works. The patriotic plot, set during the Austrian occupation of Italy as Napoleon invades Lombardy in 1806, is similar in its flavour to that of Donizettis La fille du régiment. The convent of Biella in Northern Italy A company of French soldiers, led by Lieutenant Robert, crosses the Alps to join the army of the first consul who commands the Italian troops. The French invade the convent - the nuns have fled, a room of the palace of the Duke della Volta in Novare Stella falls in love with Robert, but her father has promised her hand to a feeble-minded old marquis, Bambini. However, Lieutenant Robert receives the news that Stella is the daughter, not of the duke, the hotel The Gold Lion in Milan, a square in Milan The war is not over, but Stella searches for Lieutenant Robert. The French troops arrive, and Milan greets the liberators and Stella can marry Lieutenant Robert
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The Tales of Hoffmann
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The Tales of Hoffmann is an opéra fantastique by Jacques Offenbach. The French libretto was written by Jules Barbier, based on three stories by E. T. A. Hoffmann, who is the protagonist of the story. It was Offenbachs final work, as he died a year before the premiere, Barbier and Michel Carré had previously written a play, Les contes fantastiques dHoffmann, which was produced at the Odéon Theatre in Paris in 1851, and which Offenbach had seen. After returning from America in 1876 he learned that Barbier had adapted the play, Salomon handed the project to Offenbach. Work proceeded slowly interrupted by the composition of more profitable lighter works, Offenbach himself had a premonition that like Antonia he would die prior to its completion. He continued working on the opera throughout 1880, attending some rehearsals, shortly before he died he had written to Léon Carvalho, Hâtez-vous de monter mon opéra. Il ne me reste plus longtemps à vivre et mon seul désir est dassister à la première, the stories used in the opera were, Der Sandmann,1816. Das verlorene Spiegelbild from Die Abenteuer der Sylvester-Nacht,1814, the opera was first performed in a public venue, at the Opéra-Comique on 10 February 1881, without the third act. Besides Léon Carvalho, director of the Opéra-Comique, the director of the Ringtheater in Vienna, both men requested the rights, but Offenbach granted them to Carvalho. The opera reached its hundredth performance at the Salle Favart on the 15 December 1881, a new production by Albert Carré was mounted at the Opéra-Comique in 1911, with Léon Beyle in the title role and Albert Wolff conducting. This production remained in the repertoire until World War II, receiving 700 performances, following a recording by Opéra-Comique forces in March 1948, Louis Musy created the first post-war production in Paris, conducted by André Cluytens. The Paris Opera first staged the work in October 1974, directed by Patrice Chéreau with Nicolai Gedda in the title role. Outside France, the piece was mounted in Geneva, Budapest, Hamburg, New York, and Mexico in 1882, Vienna, Prague, and Antwerp in 1883, and Lvov and Berlin in 1884. Later local premieres included Buenos Aires in 1894, St Petersburg in 1899, Barcelona in 1905, and London in 1910. The Muse appears and reveals to the audience that her purpose is to draw Hoffmanns attention to herself and she takes the appearance of Hoffmanns closest friend, Nicklausse. The prima donna Stella, currently performing Mozarts Don Giovanni, sends a letter to Hoffmann, the letter and the key to the room are intercepted by Councillor Lindorf, who is the first of the operas incarnations of evil, Hoffmanns nemesis. Lindorf intends to replace Hoffmann at the rendezvous, in the tavern students wait for Hoffmann. He finally arrives and entertains them with the legend of Zaches the dwarf, Lindorf coaxes Hoffmann into telling the audience about his lifes three great loves
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Musopen
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Musopen Inc. is a 501 non-profit organization located in Tarzana, California, launched by Aaron Dunn in 2005. It aims to set free by providing music to the public free of charge. Some content is free of charge with limitations and registration is required. Musopen provides a library of public domain music recordings and sheet music. It also raises money to finance classical music recordings which are released into the public domain, in 2008, Musopen released newly commissioned recordings of the 32 Beethoven piano sonatas into the public domain. In 2010, the organized a fundraiser via Kickstarter to commission recordings of a larger repertoire, raising a total of $68,359. In July 2012, Musopen announced that the editing of the recordings was finished, after which the files were uploaded to its website. The final list of music was announced in August 2012, in September 2013, a new Kickstarter fundraiser was launched by Musopen to record the complete works of Frédéric Chopin. The fundraiser was successful, exceeding the goal of $75,000 by over $15,000. All recording for this project has been finished and editing was completed in April 2015, Musopen operates under a freemium model, in that some content is available free of charge, but premium downloads require a subscription. Sheet music is available for download to all for free, and recordings can be played using an HTML5 or Flash player
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Orpheus
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Orpheus was a legendary musician, poet, and prophet in ancient Greek religion and myth. For the Greeks, Orpheus was a founder and prophet of the so-called Orphic mysteries and he was credited with the composition of the Orphic Hymns, a collection of which only two have survived. Shrines containing purported relics of Orpheus were regarded as oracles, some ancient Greek sources note Orpheus Thracian origins. The earliest literary reference to Orpheus is a fragment of the sixth-century BC lyric poet Ibycus. He is not mentioned in Homer or Hesiod, most ancient sources accept his historical existence, Aristotle is an exception. Pindar calls Orpheus the father of songs and identifies him as a son of the Thracian king Oeagrus, Greeks of the Classical age venerated Orpheus as the greatest of all poets and musicians, it was said that while Hermes had invented the lyre, Orpheus had perfected it. Poets such as Simonides of Ceos said that Orpheus music and singing could charm the birds, fish and wild beasts, coax the trees and rocks into dance, and divert the course of rivers. Orpheus was one of the handful of Greek heroes to visit the Underworld and return, his music, Orpheus was an augur and seer, he practiced magical arts and astrology, founded cults to Apollo and Dionysus and prescribed the mystery rites preserved in Orphic texts. Pindar and Apollonius of Rhodes place Orpheus as the harpist and companion of Jason, Orpheus had a brother named Linus, who went to Thebes and became a Theban. He is claimed by Aristophanes and Horace to have taught cannibals to subsist on fruit, Horace believed, however, that Orpheus had only introduced order and civilization to savages. Bertrand Russell noted, The Orphics were a sect, wine, to them, was only a symbol, as, later. The intoxication that they sought was that of enthusiasm, of union with the god and they believed themselves, in this way, to acquire mystic knowledge not obtainable by ordinary means. This mystical element entered into Greek philosophy with Pythagoras, who was a reformer of Orphism as Orpheus was a reformer of the religion of Dionysus, from Pythagoras Orphic elements entered into the philosophy of Plato, and from Plato into most later philosophy that was in any degree religious. Strabo presents Orpheus as a mortal, who lived and died in a close to Olympus. Some, of course, received him willingly, but others, since they suspected a plot and violence, combined against him and killed him. He made money as a musician and wizard – Strabo uses agurteúonta, agúrtēs most often meant charlatan and always had a negative connotation. Pausanias writes of an unnamed Egyptian who considered Orpheus a mágeuse, according to Apollodorus and a fragment of Pindar, Orpheus father was Oeagrus, a Thracian king, or, according to another version of the story, the god Apollo. His mother was the muse Calliope, or, a daughter of Pierus and his birthplace and place of residence was in Pimpleia, Olympus
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Operetta
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Operetta is a genre of light opera, light in terms both of music and subject matter. By this time, the part of the genre name had become misleading. With this new connotation, opéra comique had dominated the French operatic stage since the decline of tragédie lyrique, most researchers acknowledge that the credit for creating the operetta form should go to Hervé, a singer, composer, librettist, conductor, and scene painter. In 1842 he wrote the little opérette, LOurs et le pacha, based on the vaudeville show by Scribe. In 1848, Hervé made his first notable appearance on the Parisian stage, with Don Quichotte et Sancho Pança, hervés most famous works are the Gounod-parody Le Petit Faust and Mamzelle Nitouche. Jacques Offenbach further developed and popularized operetta, giving it its enormous vogue during the Second Empire, Offenbachs earliest one-act pieces included Les deux aveugles, Le violoneux and Ba-ta-clan, and his first full-length operetta success was Orphée aux enfers. Offenbachs tradition was carried on by Robert Planquette, André Messager. What characterizes Offenbachs operettas is both the way they portray life, and the extremely frivolous way this is done. The character was modeled after Offenbachs female star Hortense Schneider. Considering how Zolas Nana describes an Offenbach-style operetta performance in Paris, it is not surprising that the mostly male, upper-class audiences in other cities like Vienna and Berlin longed to see these shows in their home towns as well, which inspired worldwide performance of Offenbachs works. The highly erotic way Offenbachs operettas were originally played, with stars like Hortense Schneider created a reaction from certain parts of the general public. Operetta was considered an art form. Indeed, together with its grotesque qualities, frivolity is one of the elements of authentic operetta à la Offenbach. It was only later, when audiences widened and became more middle and lower class, the most significant composer of operetta in the German language was the Austrian Johann Strauss II. His first operetta was Indigo und die vierzig Räuber and his third operetta, Die Fledermaus, became the most performed operetta in the world, and remains his most popular stage work. Its libretto was based on a written by Offenbachs librettists. In all, Strauss wrote 16 operettas and one opera, most with great success when first premiered, many of his lesser operettas are now largely forgotten, since his later librettists were less talented and he often composed independently of the plot. Strausss operettas, waltzes, polkas, and marches often have a strongly Viennese style, the Theater an der Wien never failed to draw huge crowds when his stage works were first performed
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Christoph Willibald Gluck
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Christoph Willibald Gluck was a composer of Italian and French opera in the early classical period. With a series of new works in the 1760s, among them Orfeo ed Euridice and Alceste. The strong influence of French opera in these works encouraged Gluck to move to Paris, fusing the traditions of Italian opera and the French national genre into a new synthesis, Gluck wrote eight operas for the Parisian stages. One of the last of these, Iphigénie en Tauride, was a success and is generally acknowledged to be his finest work. Gluck was born on 2 July 1714 in Erasbach near Neumarkt and his father Alexander was a forester in Erasbach, and after 1717 head forester in Reichstadt, Kreibitz and Eisenberg, all in northern Bohemia. According to some biographers, it was here, in the middle of Lusatian Mountains, in 1727 the family moved to Eisenberg, where his father was admitted to the service of Prince Philip Hyazinth von Lobkowitz. The Alsatian painter Johann Christian von Mannlich says it was as a Bohemian schoolboy that Gluck received his first musical training. Mannlich relates in his memoirs, written in French and published in 1810 and he quotes Gluck as saying, My father was forestmaster at M. in Bohemia and he planned that eventually I should succeed him. In my homeland everyone is musical, music is taught in the schools, as I was passionate about the art, I made rapid progress. I played several instruments and the schoolmaster, singling me out from the other pupils, I no longer thought and dreamt of anything but music, the art of forestry was neglected. Most now claim that the object of Glucks travels was not Vienna but Prague, at the time the University of Prague boasted a flourishing musical scene that included performances of both Italian opera and oratorio. Gluck eventually left Prague without taking a degree, and vanishes from the record until 1737. According to the music historian Daniel Heartz, there has been considerable controversy concerning Glucks native language, Glucks first biographer, Anton Schmid, accepted that Gluck spoke Czech, but thought Salieri incorrect, proposing instead that Gluck learned Czech in Prague. Heartz writes, More devious manoeuvres have been attempted by Glucks German biographers of this century, while the French ones have, without exception, hans Joachim Moser wanted a lyric work in Czech as proof. In fact, the music theorist Larent Garcin, writing in 1770 before Gluck arrived in Paris, in 1737 Gluck arrived in Milan, where he studied under G. B. Sammartini, who, according to Carpani, taught Gluck practical knowledge of all the instruments, apparently this relationship lasted for several years. Set to a libretto by Metastasio, the opera opened the Milanese Carnival of 1742, according to one anecdote, the public would not accept Glucks style until he inserted an aria in the lighter Milanese manner for contrast. Nearly all of his operas in this period were, like Artaserse, set to Metastasios texts, in 1745 Gluck accepted an invitation to become house composer at Londons Kings Theatre, probably travelling to England via Frankfurt and in the company of Georg Christian, Fürst von Lobkowitz
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Orfeo ed Euridice
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Orfeo ed Euridice is an opera composed by Christoph Willibald Gluck based on the myth of Orpheus, set to a libretto by Ranieri de Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a subject with choruses. The piece was first performed at the Burgtheater in Vienna on 5 October 1762 in the presence of Empress Maria Theresa, the opera is the most popular of Glucks works, and one of the most influential on subsequent German opera. Variations on its plot – the underground rescue-mission in which the hero must control, or conceal, his emotions – include Mozarts The Magic Flute, Beethovens Fidelio and Wagners Das Rheingold. Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. This reworking was given the title Orphée et Eurydice, and several alterations were made in vocal casting, francesco Algarottis Essay on the Opera was a major influence in the development of Glucks reformist ideology. Algarotti proposed a simplified model of opera seria, with the drama pre-eminent. The drama itself should delight the eyes and ears, to rouse up and to affect the hearts of an audience, Algarottis ideas influenced both Gluck and his librettist, Calzabigi. Calzabigi was himself a prominent advocate of reform, and he stated, If Mr Gluck was the creator of dramatic music, I provided him with the material or the chaos, if you like. We therefore share the honour of that creation, other influences included the composer Niccolò Jommelli and his maître de ballet at Stuttgart, Jean-Georges Noverre. Noverres Lettres sur la danse called for dramatic effect over acrobatic ostentation, Noverre was himself influenced by the operas of Rameau, the considerable quantity of ballet in Orfeo ed Euridice is thought to be due to his influence. Jommelli himself was noted for his blending of all aspects of the production, ballet, staging, the first lines of arias, choruses, etc. are given in Italian and French. A chorus of nymphs and shepherds join Orfeo around the tomb of his wife Euridice in a chorus of mourning. Orfeo sends the others away and sings of his grief in the aria Chiamo il mio ben/Objet de mon amour and this technique was extremely radical at the time and indeed proved overly so for those who came after Gluck, Mozart chose to retain the unity of the aria. Amore appears, telling Orfeo that he may go to the Underworld, as encouragement, Amore informs Orfeo that his present suffering shall be short-lived with the aria Gli sguardi trattieni/Soumis au silence. Orfeo resolves to take on the quest, in a rocky landscape, the Furies refuse to admit Orfeo to the Underworld, and sing of Cerberus, its canine guardian. When Orfeo, accompanied by his lyre, begs for pity in the aria Deh placatevi con me/Laissez-vous toucher, from the Furies, but they are eventually softened by the sweetness of his singing in the arias Mille pene/Ah
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Galop
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In the same closed position familiar in the waltz, the step combined a glissade with a chassé on alternate feet, ordinarily in a fast 24 time. In Australian bush dance, the dance is often called galopede, an even more lively, faster version of the galop called the can-can developed in Paris around 1830. The galop was particularly popular as the dance of the evening. The Post Horn Galop, written by the cornet virtuoso Herman Koenig, was first performed in London,1844, numerous galops were written by the Waltz King Johann Strauss II. Dmitri Shostakovich employed a posthorn galop as the second, Allegro scherzo of his Eighth Symphony,1943, franz Schubert also composed the fourth movement of his Symphony No.2 on the galop. Particularly famous is the Devils Galop by Charles Williams, the Infernal Galop from Orpheus in the Underworld by Jacques Offenbach and the Comedians Galop from The Comedians by Dmitry Kabalevsky are two other well-known galops. Danish composer Hans Christian Lumbye wrote several galops, of which the Champagne Galop is particularly famous, other notable works include the Copenhagen Steam Railway Galop and the Telegraph Galop. George Gershwin composed the galop French Ballet Class for two pianos for his score to the film Shall We Dance, some galops were also written by Nino Rota. Émile Waldteufel also wrote several galops, of which Prestissimo is particularly famous, streetswings Dance History, Galop William Geary Bunk Johnson, Well-known Soloists From All Walks of Life, Herman Koenig
