13 Apr 2008
MASSENET: Le Cid
Le Cid: opéra in four acts and ten tableaux.
Hamlet: Opéra in five acts. Music composed by Ambroise Thomas. Libretto by Michel Carré and Jules Barbier after The Tragedy of Hamlet, Prince of Denmark by William Shakespeare.
Advertised in the program as the first opera written in the New World, La Púrpura de la Rosa (PR) was premiered in 1701 in Lima (Peru), but more than the historical feat, true or not, accounts for the piece’s interest.
Das Liebesverbot: Grosse komische Oper in two acts.
Opera in three acts. Words and music by Richard Wagner.
Parsifal. Bühnenweihfestspiel (“stage dedication play”) in three acts.
“German poet, dramatist and novelist. One of the most important literary and cultural figures of his age, he was recognized during his lifetime for his accomplishments of almost universal breadth. However, it is his literary works that have most consistently sustained his reputation, and that also serve to demonstrate most clearly his many-faceted relationship to music. . . .
This theme relates to operas based on the works of Friedrich von Schiller.
Here are operas based on French literature from Balzac, Hugo and beyond:
Le Cid, Opéra in 4 acts
I puritani, opera seria in three acts
Zaira, Tragedia lirica in two acts.
Athalia: Oratorio (sacred drama) in 3 acts
Lucrezia Borgia: Melodramma in a prologue and two acts.
La Esmeralda: Opéra in four acts.
Ernani: Dramma lirico in four parts.
Oberst Chabert (Colonel Chabert): Tragic opera in 3 acts.
Otello: Dramma lirico in four acts.
Music composed by Giuseppe Verdi. Libretto by Arrigo Boito after The Tragedie of Othello, the Moore of Venice by William Shakespeare.
A Midsummer Night’s Dream, a comedy in five acts with incidental music.
Le Marchand de Venise (“The Merchant of Venice”): Opéra in three acts.
Gli Equivoci (The Comedy of Errors): Opera in two acts.
Le Cid: opéra in four acts and ten tableaux.
Music composed by Jules Massenet. Libretto by Adolphe d’Ennery, Edouard Blau and Louis Gallet based on Le Cid (1637) by Pierre Corneille.
First Performance: 30 November 1885, Opéra, Paris.
|Chimène, daughter of Count Gormas||Soprano|
|L’Infante, Daughter of Don Fernand||Soprano|
|Rodrigue (Le Cid)||Tenor|
|Don Diègue (Don Diego), father of Rodrigue||Bass|
|Le Roi, Don Fernand, King of Castille||Baritone|
|Le Comte de Gormas (Count Gormas)||Bass|
Setting: Eleventh Century Burgos, capital of Castille.
Rodrigue has returned from victory over the Moors, and the first act shows him receiving knighthood from King Ferdinand, at the house of Count Gormas, whose daughter, Chimène, is in love with the warrior. The King and his family approve, although the King’s daughter herself loves Rodrigue. The latter match, however, is impossible since the hero is not of royal blood. The King bestows upon Don Diego, father of Rodrigue, a governorship expected by Count Gormas. The enraged Count insults Don Diego, who, too old to fight, calls upon his son to uphold his honor—without naming his adversary.
Although grieved upon learning his adversary’s identity, Rodrigue is obliged to go through with the duel, and more by accident than design kills the Count. Chimène swears vengeance.
The next scene takes piace in the great square before the palace of the King at Seville, where a crowd of merrymakers has gathered, for this is a festival day. In the midst of the revelry Chimène appears and begs the King to bring revenge upon Rodrigue. The King refuses, and learning that the Moors are advancing, bids her delay her vengeance until the close of the campaign, for Rodrigue is to lead the Spanish forces. Before departing, Rodrigue gains an interview with Chimène, and finds that her love is as strong as her desire for retribution.
At first seemingly near defeat, Rodrigue prays and resigns his fate to Providence. Then there is a sudden turn of fortune and the Spaniards are victorious.
First reports come that the army has been defeated and its leader slain. Chimène has her revenge, but is prostrated with grief and fervently declares her love. A second report reverses the news and Rodrigue returns to find his beloved still implacable. The King, shrewdly enough, now promises Chimène he will punish the warrior, but Solomon-like asks her to pronounce the death sentence. This unexpected decision causes her once more to change her mind, and when Rodrigue draws his dagger and threatens to end his own life if she will not wed him, she is compelled to acknowledge that Love is triumphant.
[Synopsis Source: The Victor Book of the Opera (10th ed. 1929)]