FRENCH GRAND OPERA
If you have ever experienced an over-the-top production of an opera, such as Franco Zeffirelli’s
Bohème at the Met, you know what “grand” opera is: world-famous stars, casts of thousands, a huge
orchestra, gigantic chorus, immense and impressive sets. These spectacles overwhelm our senses and
leave us “stunned” – ears, eyes, heart having been exercised to the point that we need either a stiff
drink to recover or a very long and deep sleep – perhaps both – in order to get back to our regular lives
in the real world.
What we may not know is that this kind of opera production first occurred in Paris in the 19th century.
Paris had one of the largest and most fully staffed opera houses in the world long before the current
“Opéra” (the Salle Garnier – built in the late 1860s) became a “must-see” attraction there. The house
that established the notion of Paris as the center of the opera world was the Salle Lepeletier, which
opened in 1822. The French government understood the value of grand opera in establishing national
prestige and funded their theaters to make them stand above all other competition. Similar ideas stand
behind government support of major European opera houses today.
From the early 19th century Paris had more theaters, the biggest opera budget, highest paid singers,
largest technical staff, with the most careful and thorough preparation. Most opera were prepared
three to four months in advance, having as many as one hundred rehearsals before opening night.
Opera were long (usually five acts lasting over four hours) and always had at least one elaborate ballet.
This was French Grand Opera.
Your handouts include maps of the location of both the Salle Lepeletier and the Salle Garnier (their
sites just a few blocks from each other, off the Grand Boulevards on the right bank), a list of Parisian
theaters in 1830 that includes three opera houses (one French, one Italian and one Comique, meaning
that spoken words could be included with the singing). You will find drawings, a ground plan and a
section of the Salle Lepeletier (notice that the stage and auditorium are equal in size and there is a
three part division: public, performance and production spaces).
We associate grand opera with Paris but not all composers who wrote for the Opéra were French –
far from it. No matter what their national origin, they all wrote for the standards of a French house and
French audience in the French language. Once “grand” opera developed, all ambitious composers
wrote in this style since one really had not “arrived” until your opera was produced in Paris.
Daniel Auber (1782 – 1871) is considered to be with his “Muette de Portici” in 1828. It may be the
only opera whose main character never sings a note because she is “muette” (mute). It ends with the
eruption of Mt. Vesuvius, an amazing visual effect that created an unprecedented level of excitement
GIUSEPPE VERDI (1813-1901)
DON CARLOS (1867
Libretto by G. Mery and C. du Locle (in French) after Schiller
French version 1884
Verdi’s 24th opera, written for Paris, it was an extravaganza with five acts and extensive
ballet episodes. Verdi created an Italian version in the early 80s, eliminating the ballets
and shortening the first act.
Set in Spain near the end of a war with France, one of the conditions of peace is that the
heir to the Spanish throne, Don Carlos marry Elisabeth, the daughter of the King of
France.
ACT I – outside the French palace of Fontainebleau
Don Carlos has made a secret trip to France to see his prospective bride. As the
princess hunts with her page, Thibault, they are separated from the rest of the party.
They leave to search for their companions while Carlos sings of the love he feels having
seen Elisabeth. Elisabeth enters and Carlos offers to escort her home, saying he is a staff
member of the Spanish envoy. He lights a fire and is questioned by the Princess about
the Spanish prince she is supposed to marry but has never met. Carlos tells her that the
prince will love her and he shows her a portrait. She recognizes him and they declare
their love for one another, singing Di qual amor, di quant’ardor (What poignant and
sweet feelings).
Her page enters and informs her that the Spanish envoy has made a formal request for
her hand in marriage to Philip, the King of Spain, not Don Carlos. Deeply disappointed,
she listens to the crowd who beg her to accept this offer so as to end the war. The
acclaim of the crowd mingled with Carlos’ and Elisabeth’s regrets end the act.
ACT II – The Spanish Convent of San Yuste
Carlos has taken refuge in the convent where his grandfather, Charles V, is buried.
Carlos thinks he sees his grandfather disguised as a monk.
Carlos is delighted to see his best friend, Rodrigo, Marquess of Posa, just returned from
the Spanish province of Flanders. Carlos admits his love for Elisabeth, who is now his
step-mother. Rodrigo is determined to help him and begs him to support the oppressed
people of Flanders. They swear eternal friendship in the famous duet “Dio, che nell’alma
infondere amor” (God, you put hope in our souls).
The King and Queen enter in a procession and the sight of Elisabeth is almost too
much for Carlos, but he is sustained by Rodrigo and the voice of the monk that resembles
Charles V.
Scene 2 – The Garden of the Convent
While the Queen’s entourage waits her appearance, the Princess Eboli passes the time
by singing a Moorish love-romance.
The Queen arrives and Posa gives her a letter from her mother in Paris, simultaneously
slipping her a note from Carlos. She reads it while Rodrigo takes Eboli aside to tell her
the latest news from Paris.
Elisabeth thanks him and tells him to ask for a favor. He does, but for Carlo “Carlo
ch’e sol il nostro amore” (Carlos, our hope). He asks her to receive Carlos for an
interview. Eboli, who is in love with Carlos, thinks Rodrigo loves her. Elisabeth agrees
to see Carlos and hear what he has to say.
Carlos enters and greets her formally, asking her to influence the King to send him to
Flanders. But he can’t help reproaching her for apparent indifference to him. It is clear
that Carlos still loves her very much.
Suddenly he falls senseless at her feet. She fears he is dying, and when he recovers he
takes her in his arms. She is very upset. Carlos rushes away, and she is left asking for
Heaven’s help in this situation.
The King finds the Queen unattended, against his orders. He dismisses the offending
lady-in-waiting. Elisabeth ignores this affront and tries to console the unhappy woman
“Non pianger, mia compagna” (Don’t cry, my companion).
Philip watches the ladies leaves and asks Posa to remain. He asks why he has not asked
for any favor, and Rodrigo replies that serving the king is his reward. He does ask that
the King relax the measures being taken against Flanders. The King says that only
severity will cure such infidels and rebels of their heresies. He wants to bring the peace
and contentment of the Spanish people to Flanders. Rodrigo tells him he is bringing
desolation instead; why not build a kingdom of freedom. The King says don’t worry so
much about him, rather worry about the Grand Inquisitor.
ACT III – A Masked Ball in palace in Madrid
Carlos is waiting in the garden in response to a note that he believes is from the Queen.
When she arrives he pours out his love for her, but he is actually speaking to Eboli. He
can’t conceal his dismay and as Posa approaches, she accuses Carlo of loving the Queen.
Despite Posa’s threats, she vows to bring Carlos down. Posa persuades Carlos to give
him any incriminating papers he may possess.
Scene 2 – A square in Madrid
An auto-da-fe is being prepared, where heretics will be burned at the stake. The people
rejoice as a group of monks bring in the victims. The Queen and King arrive. He repeats
his vow to root out all heretics. Carlos enters with six deputies from Flanders who beg
for mercy and swear their loyalty. The King is adamant and a great cry arises begging for
mercy, while others demand death for the traitors and heretics.
Don Carlos asks to be appointed governor of Flanders so that he can be trained to
deserve the Crown he will eventually inherit. The King refuses and Carlos draws his
sword. The King demands that he be disarmed, but no one moves, till Posa does so. The
burning of the heretics begins and a voice from heaven promises peace in the next world
to those who are suffering in this one.
ACT IV – Philip’s room in the Escorial Palace
Philip is alone and sings of his misery over the failure of his marriage in the famous
aria “She never loved me” “Ella giammai m’amo!”
The Grand Inquisitor enters. He is very old, blind and dangerous. The King explains
that his son has publicly taken the part of the heretic Flemish. He intends to either do
nothing or kill him. He asks if the Inquisitor supports the death sentence. He answers
did not God give up his only son? He then goes on to say that Posa is much more
dangerous than Carlos. The King refuses to give up the only man he believes is truly
loyal to him and the Inquisitor is very angry.
Elisabeth rushes in to demand his help in finding a casket of jewels that has been taken.
He asks if the casket on his table is the one she wants. He orders her to open it, and in
side is a portrait of Carlos. He denounces her for what he believes is adultery and she
faints. Eboli and Rodrigo are called and Philip expresses his regret at being so rash.
Eboli is stricken by what her rumor-mongering has created – she urged the king to look in
the casket. The men leave and the Queen revives. Eboli tells her what she has done, and
admits that she has been the King’s mistress. Elisabeth orders her to leave the court.
Eboli then sings of her grief and misery caused by her fatal beauty – in the aria “O Don
fatale” (O fatal gift). She resolves to try to save Carlos.
Scene 2 – A Prison
Rodrigo visits Carlos. He knows that the letters he has been hiding for Carlos have
been found and that his days are now numbered. He bids farewell to his friend “Per me
giunto e il di supremo” (This is my supreme day). He is shot by an assassin and he tells
Carlos that the Queen will wait for him on the following day outside the Convent of San
Yuste and will see him for the last time. He dies happy at the thought that in Carlos a
champion of liberty survives him.
Philip attempts to give Carlos his sword back but Carlos calls him a murderer.
Meanwhile a mob has entered the prison and is demanding Carlos’ freedom and liberty
for them. Eboli is with them, trying to save Carlos. But the Inquisitor appears and
demands that the crowd go down on its knees to the legitimate ruler.
ACT V The Cloister of San Yuste
Elisabeth prays at the tomb of Charles V, singing sadly of the joys of her youth, of
France and of her love for Carlos. “Tu che le vanita conoscesti del mondo” (You who
know the meaningless of earthly vanities). She prays for peace.
Elisabeth and Carlos meet for a last farewell and look toward the future in which Carlos
will fight for the liberal causes that Rodrigo loved. Philip comes out of hiding and seizes
Elizabeth and demands that the Grand Inquisitor do his duty toward Carlos. He tells the
guards to seize Carlos but as Carlos backs into the tomb of his grandfather, a voice is
heard and the Emperor (or a monk in his guise) appears and takes Carlos to safety.
Giacomo Meyerbeer (1791 – 1864)
L'Africaine – 1865
Libretto by Eugène Scribe
ACT I – The Council Chamber in Lisbon
For two years nothing has been heard of the ship of Bartholomew Diaz, the
explorer, among whose officers was Vasco da Gama, fiancé of Inès, daughter
of the Council President, Don Diego.
She is well aware of the rumor of Vasco’s death but is determined to ignore
it and recalls his song of farewell, “Adieu, mon doux rivage” (Goodbye, my
sweet shore). She rejects Don Diego’s proposal of a future husband – Don
Pedro. The Council meets and interviews a young survivor of Diaz’s
expedition, none other than Vasco da Gama. He plans to discover the land
beyond Africa, and in proof shows them two captives from there, Sélika and
Nélusko.
Don Pedro steals a crucial chart from Vasco’s papers, then persuades the
Council that Vasco’s plans are futile. Vasco’s reaction is to charge the
Council with ignorance and bias. This results in his being thrown into prison.
ACT II – A prison cell
Sélika watches the sleeping Vasco. Only Nélusko knows that she is
actually a queen. In typical operatic fashion, he loves Sélika, who loves
Vasco, who loves Inès. She sings of her love in “Sur mes genoux, fils du
soleil” (I bow to you son of the sun) and it is so strong that it overcomes her
jealousy of Inès and leads her to protect him from the murderous Nélusko.
Nélusko sings of his love in “Fille des rois, à toi l’hommage” (Daughter of
kinds, I pay homage to you). Sélika shows Vasco a map that reveals the
route to the Indies and they sing a duet “Combien tu m’es chère” (How dear
you are to me) in which he seems to return her love. But all that changes
when Inès appears. In return for Vasco’s freedom, Inès will marry Don
Pedro, and she bids Vasco farewell. As a gesture and secure in his
knowledge of the secret route, he offers her Sélika. Don Pedro announces
that he, not Vasco, will lead the new expedition, with Nélusko as his pilot.
ACT III - Don Pedro’s ship
On the ship are Nélusko and the sailors, Inès and her ladies, Don Pedro and
LA JUIVE - 1835
Jacques François Fromenthal Halévy (1799-1862)
Libretto by Eugène Scribe
Setting: Constance, Switzerland: 1414
Background:
Cardinal de Brogni, President of the Council was once chief magistrate of Rome.
During one of his absences from the city the Neapolitans attacked and some of the
Rome was pillaged and burnt, including his home. He returned to find his wife dead and
his child vanished. In his agony, he gave up his civic dignities and joined the Church,
later rising to become the Cardinal of Constance.
ACT I The Constance city square. On one side, the great door of a church and on the other,
the house and workshop of Eleazar, a Jewish goldsmith. Inside the church the choir is
changing a Te Deum, outside a bystander resents the fact that some Jew seems to be
working on a Christian feastday. The young general, Leopold, a prince of the Empire,
has just triumphantly led his armies to victory over the Hussites, is in the city in
disguise. On a previous visit he had met and fallen in love with Eleazar’s daughter,
Rachel and he wishes to see her again. He is recognized by one of his own soldiers but
swears the fellow to silence. He asks the cause of the festivity and is told that it is the
state visit of the Emperor, who has called a great council to unite all Christians of the
world into one unified faith, possible only because of Leopold’s victories of the Hussite
dissidents.
A great choral “Hosanna” resounds from the church and the congregation pours out to
listen to the Emperor’s proclamation, given by Ruggiero, the town provost, naming the
day a public holiday. The people are very pleased but then Ruggiero hears the sound of
work going on in Eleazar’s shop and orders him brought out. Eleazar answers
Ruggiero’s question defiantly. Did he not watch his own sons burned by Christians?
Why should he bow to their laws? Ruggiero threatens him with death but Cardinal
Brogni, passing by, asks what is going on. He recognizes Eleazar and the jeweler
reminds him that it was in Rome that they formerly knew each other. (Brogni had
banished Eleazar from Rome, saving his life after he had been condemned to death for
usury). Brogni sings a smoothly flowing aria “Si la rigueur et la vengeance (If rigor and
vengeance), in which he prays that enlightenment may come to the Jewish unbelievers.
Leopold is alone on stage and stands outside Eleazar’s house. He has been hired their
under the name of Samuel and they believe him to be Jewish. He serenades Rachel with
a charming, high-lying melody and soon Rachel answers him from inside. She asks him
to come that evening when they will all celebrate Passover. Leopold is about to decline
when a crowd rushes into the square, intent on making the most of the Emperor’s
holiday. There are multiple choruses, a brisk dance and much drinking. Eleazar and
Giacomo Meyerbeer (1791 – 1864)
Robert le Diable - 1831
Libretto by Eugène Scribe and Germain Delavigne
ACT I – A tavern near Palermo
A group of knights prepare to compete in a tournament for the hand of Princess Isabelle of Sicily.
Among them are Robert and his friend Bertram. The knights sing in praise of wine women and
gambling (“Versez à tasse pleine” Fill the glass fully). Raimbaut, a Norman minstrel, then sings a
ballad (“Jadis régnait en Normandie” Once there ruled in Normandy), which tells of how a beautiful
princess from Normandy married a demon. The princess had a son, Robert, known as “le diable” (the
devil). Indignantly, Robert reveals that he is the son in question, and orders Raimbaut to be hanged.
He relents when Raimbaut tells him that he is engaged.
Raimbaut’s fiancée arrives, and Robert recognizes her as his foster sister, Alice. She tells Robert that
his mother has died, and that her last words were a warning about a threatening dark force (“Va! Va!
dit-elle, va, mon enfant” Go go, she said, go, my child). She offers Robert his mother’s will, but
Robert asks her to keep it for him. Robert tells Alice of his longing for Isabelle, and Alice offers to
take a letter to her. She warns Robert to beware of Bertram.
Robert ignores Alice’s warnings, and lets Bertram and the other knights encourage him to gamble.
He loses his money and his armor in the process.
ACT II - The palace at Palermo
Isabelle laments the absence of Robert and expresses her anxiety that their marriage will never take
place (“En vain j’espère” I hope in vain). Her mood changes rapidly after she has received Robert’s
letter. Robert arrives, and the two rejoice at being together (“Avec bonté voyez me peine” I happily see
my pain). Isabelle equips Robert with new armor for the tournament.
As Robert prepares to compete, Bertram appears and orders him to hurry to a nearby forest, telling
him that his rival for Isabelle’s love, the Prince of Granada, wishes to fight with him. Robert leaves.
The court prepare for the tournament. The Prince of Granada asks Isabelle to present him with arms
and Isabelle leads the court in a celebration (“La trompette guerrière” The military trumpet), but
privately expresses her sorrow that Robert is not there.
ACT III – The countryside near Palermo
Raimbaut is waiting for Alice, when Bertram arrives and offers him gold. Bertram suggests that
Raimbaut should not commit himself to marriage with Alice (“Ah!’l’honnête homme!” Ah! my good
man). Raimbaut leaves, and Bertram gloats at having corrupted him. He then expresses his love for
his son – Robert – and prepares to commune with the spirits of Hell.
Alice enters, lamenting that she cannot find Raimbaut (“Quand je quittai la Normandie” When I leave
Normandy). She hears strange choral changing, including the name “Robert”, and decides to listen.
Bertram emerges from a cave. Demons have told him that unless he has claimed Robert’s soul by
midnight he will return to Hell. Bertram realizes that Alice has overheard (“Mais Alice, qu’as-tu
donc?” Why Alice what have you done?). He threatens her, and Alice promises that she will tell
Robert nothing.
Robert arrives, sad at the loss of Isabelle. Bertram tells him that he should go to the tomb of Saint
Rosalie, in a nearby deserted cloister, and steal a magic branch. With this he can win her back.
However, Robert must realize that to steal the branch is sacrilege. Robert assures Bertram that he will
be bold (“Des chevaliers de ma partrie” The nobles of my country).
Bertram leads Robert to the cloister. The ghosts of a group of fallen nuns rise from their tombs and
Gioacchino Rossini – Guglielmo Tell – 1829
Based on a play by Friedrich Schiller
Switzerland in the 13th Century
Background – Switzerland is an Austrian province, governed by the cruel Governor,
Gessler. Arnold is a young patriot who has saved the life of Mathilde, a Habsburg
princess. They have fallen in love.
Act I – The shores of Lake Lucerne
A festive village scene, in which a triple marriage ceremony is presided over by
Melcthal, a fisherman. He sings a song that evolves into a quartey with Tell and his wife
and son. Melcthal would like to see his son, Arnold, marry and he does not know of the
love between Arnold and Mathilde. Arnold sings “O mia Matilde io t’amo” which turns
into a duet with Tell, who senses Arnold’s reluctance to defying the Austrians. Arnold is
torn, but remains a loyal Swiss patriot. Tell hears hunting horns, indicating that Gessler
is nearby, and goes to look for him.
The weddings proceed, with some beautiful ballet music, till Leuthold, a herdsman,
arrives saying that he has killed an Austrian who tried to rape his daughter. Tell
volunteers to row him to safety. The Austrians arrive, question the villagers and take
Melcthal as a hostage.
Act II – The mountains overlooking Lake Lucerne
Elaborate choral singing introduces the act. Mathilde, separated from the hunting party,
sings of her love for Arnold “Selva opaca, deserta brughiera”. He appears and they
pledge their love to one another. He tells her that he will win approval of their love by
fighting for the Austrian army outside of Switzerland. Later, in the trio “Allor che scorre
de’ forti il sangue” Tell and Walter Furst, both ardent patriots, tell Arnold that his father
has been murdered by the Austrians, and enflame his patriotic feelings.
The cantons gather and swear an oath to fight the Austrians.
Act III – A chapel in the grounds of the Governor’s palace.
Arnold tells Mathilde that he must fight for Switzerland out of his sense of patriotism,
and to revenge his father’s death. She understands his feelings and sympathizes with
him, but both believe this will end their relationship.
The square at Altdorf.
A celebration takes place marking 100 years of Austrian rule. The Swiss are forced to
kneel before Gessler’s hat. A series of dances take place, and Tell refuses to bow and
Gessler tells him to obey or his son, Jemmy, will be imprisoned. Tell wants to take
Jemmy’s place, but Gessler says that he will be free if he shoots an arrow through an
apple placed on Jemmy’s head. Tell sings to Jemmy “Resta immobile” – Hold still. Tell
fires the arrow successful, but then tells Gessler that the second arrow was meant for him.
Gessler then condemns both Tell and Jemmy to death when Mathilde intercedes and
demands that Jemmy be handed over to her. Tell is taken off to prison.
Act IV – Melcthal’s destroyed house
Arnold wants to avenge his father’s death, and realizes that he must lead the rebellion,
now that Tell is in prison. He looks sadly at the destroyed house and sings “O muto asil
del pianto”, full of high C’s.
The rocky shore of Lake Lucerne, a storm is rising.
Mathilde restores Jemmy to his mother, Hedwige in the trio “Soltato a orribil nembo a
te ri torn oil figlio”. Mathilde pledges herself to save Tell and Jemmy lights a beacon
signaling the time to rebel. All pray for Tell’s safety. Leuthold announces Tell’s stormbound boat, which he is piloting but which also contains Gessler. He lands, pushes the
boat away from shore and fires an arrow into Gessler’s heart. The Swiss are triumphant.
Arnold laments that his father did not live to see the day, and the storm weakens and the
sun appears.
dance, extolling to Robert the pleasures of drinking, gambling and lust. Robert seizes the branch. He
is surrounded by nuns and demons, but manages to escape with his trophy.
ACT IV – The palace at Palermo
Isabelle prepares for her marriage to the Prince of Granada. She hands her bridal crown to a young
couple, as a sign that they will enjoy a happy marriage. Alice enters and tries to tell her about Robert
and the danger that he is in. She is interrupted by envoys of the Prince bearing gifts. Robert arrives
and, using the magic branch, immobilizes everyone except Isabelle. He orders Isabelle to escape with
him, and, seeing her fear, begs her not to reject him. Isabelle implores Robert to repent (“Robert, toi
que j’aime” Robert, I love you.)
ACT V – Outsside Palermo cathedral
A group of monks praise the power of the Church (“Malheureux ou coupable” Unhappy or guilty).
Bertram has rescued Robert from prison, and the two arrive to prevent Isabelle’s marriage. Bertram
attempts to get Robert to sign a document binding the two of them together for all eternity. Robert is
hesitant, but when Bertram reveals that he is in fact Robert’s father, he prepares to sign. However,
before he can do so Alice appears, and tells Robert that the Prince has been prevented from marrying
Isabelle, and that Robert can still win her. Alice prays that Robert’s soul be saved (“Dieu puissant, ciel
propice” (Powerful God, provident Heaven), and that he not sign Bertram’s contract. She hands Robert
his mother’s will, in which Robert is warned to beware of the seducer who ruined her. Bertram and
Alice both struggle for Robert’s soul, while Robert continues to hesitate. Midnight passes and Bertram
must return to Hell. He vanishes, and Robert is reunited with Isabelle, to general rejoicing.
Rachel try to cross the square, are recognized as Jews by Ruggiero and set upon by the
mob. Eleazar confronts them with dignity, but they want to throw him in the lake, when
Leopold rescues them. Though disguised he is recognized by Albert, a sergeant in the
Emperor’s army, who causes the crowd to leave them alone. Rachel is astonished at the
effect Samuel has on the Chrsistians and tries to restrain him from intervening. Eleazar
continues to pour scorn on the Christians.
ACT II – Inside Eleazar’s house.
There is an impressive scene of the celebration of Passover. Eleazar leads the chant
“O Dieu, Dieu de nos pères” (Oh God, God of our Fathers), one of the most remarkable
passages of the opera, which the others repeat after him. Eleazar curses anyone who
dares profane the holy feast (Si trahison ou perfidie” (If treason or perfidy) and then
distributes the matzos (unleavened bread). Samuel is the last to receive it. He thinks he
has escaped notice when he drops it without tasting it, but Rachel has seen his gesture
and is worried what it may mean.
Eleazar prays to God “Dieu, que ma voix tremblante” (God, with trembling voice) and
is barely finished when there is a knock at the door. He commands everyone to put
away the ritual vessels and candles and the table is removed. Leopold is about to depart
when Eleazar commands him to stay. The door is opened and Princess Eudoxie, the
Emperor’s niece enters. She wants to purchase a fine chain for her husband, Leopold,
whom she expects back from the wars that very day. Leopold overhears the
conversation and is filled with remorse at his deceit.
While Eleazar sees Eudoxie to the door Rachel returns and asks Samuel to explain his
conduct when saving them from the mob, and also, that evening, at the Passover service.
He protests that he must see her in great privacy.
Rachel comes back to keep her rendezvous with Leopold but her heart is full of
foreboding, even fear (‘Il va venir! Et d’effroi je me sens frémir” – He will come! And I
shiver in anticipation) – an aria expressive of her mixed feelings, full of apprehension.
Leopold admits that he has deceived her and is in fact a Christian. She reproaches him
for his deception and he can only say that his only thought was his love for her. He is so
passionate that she is on the point of yielding, when her father confronts them. Eleazar
declares that their offence is so great that they must be punished. In a trio they admit
their guilt and express terror at Eleazar’s anger. He tells them that only because Samuel
is a Jew prevents him from killing him on the spot for his false behavior. Leopold says
– kill me then for I am a Christian. Rachel deflects the blow and pleads for her lover –
but she is also guilty. Eleazar says that he is willing to let them marry but his wrath is
extreme when Leopold tells him that he is unable to marry Rachel.
ACT – III The Gardens of the Emperor’s Palace
A festival is taking place in honor of Leopold. The Emperor is seated at the high table,
together with Brogni, Leopold and Eudoxie. A ballet entertains them and at its end
Eleazar and Rachel enter to bring Eudoxie the chain she has purchased. When she is
about to place it on her husband’s neck, Rachel snatches it from her and announces the
Leopold has committed the heinous crime of consorting with a Jewess - her.
All are stupefied with horror. When Eleazar asks if Christian laws are directed only
against Jews or apply equally to themselves - Leopold has silently admitted the charge Cardinal Brogni rises to his feet and pronounces a terrible anathema on all three (“Vous,
qui du Dieu vivant” You, who defy the living God).
ACT IV
Scene one is dramatic. All have been condemned to death but Eudoxie tries to save
Leopold, whom she still loves. She begs Rachel to retract her charge, an act which for a
person of her station is humiliating. At first Rachel refuses but then says she will do
what is asked, explaining that a Jewess can outdo a Christian in magnanimity.
The next scene is equally compelling when the Cardinal confronts Rachel and begs her
to deny her faith and to save herself from death. She refuses.
Brogni resolves to send for Eleazar in a last effort to save Rachel. He pleads with him
to renounce his faith and in so doing to save her life, but the old man is resolute and
refuses to deny his religion. He reminds Brogni of the time when his house and family
perished in the fire; his daughter was saved by a Jew who came to fight the flames, and
she is alive. But although he knows where she is, he will take his revenge by carrying
the secret with him to the grave. Brogni implores him to reveal what he knows but he
remains silent.
In the climax of the opera, Eleazar is torn with doubts. Can he really send his daughter
to her death? He is tortured by this thought and resolves the question in a deeply
emotional manner “Rachel, quand du Seigneur” (Rachel – when God). Here Eleazar is
at his noblest and his most human. He hears the savage cries “Au bûcher, les Juifs” –
The Jews to the scaffold! from the crowd outside and this gives him strength. Rachel
shall die a victim of their hate.
ACT V – The execution site with the scaffold.
Eleazar and Rachel will be killed – Leopold’s sentence has been commuted to
banishment The people howl for the death of the Jews and soon the two come into view.
Just as he is about to be killed Eleazar asks Rachel if she would like to deny her faith
and adopt Christianity, but she proudly disdains such an idea. She is thrown into the fire
at the very moment when Eleazar tells Brogni “The woman who is being killed is your
daughter!
his entourage. The ladies sing first, then the sailors – who pray for
protection. Don Alvaro, who spoke up for Vasco in the Council, warns Don
Petro of Nélusko’s treachery. Nélusko sings “Hola! Matelots” (Hail Sailors)
and then savagely invokes sea and storm to destroy his enemies “Adamastor,
roi des vagues profondes” (Adamastor, king of deep waves).
Vasco’s boat approaches. Don Pedro treats his warning that they are off
course as a mere excuse to see Inès and he is seized. A violent storm occurs
and the ship runs upon a reef. Nélusko’s tribesmen kill or capture everyone
on board.
ACT IV – Before a temple
There is a grand march and elaborate dancing. Sélika is welcomed by her
subjects. Vasco was saved from the shipwreck, and he sings the most famous
aria in the entire opera “O Paradis” (O Paradise) in which he celebrates the
beauties of the new country he and his compatriots have discovered. To save
him from death, Sélika claims that he is her husband, and Nélusko is forced
to verify this as true, which he does after singing “L’avoir tant adore”
(Having loved you so much). The High Priest celebrates the marriage and
Vasco tells her that he truly loves her. But then he hears Inès’ voice. She has
been saved as well, and his old passion returns.
ACT V – The garden of Sélika’s palace
At first Sélika threatens to kill Inès, but recognizing Vasco’s true love, is
able to forgive her. She even persuades Nélusko to help them escape on a
ship.
On a promontory overlooking the sea stands a mançanilla tree, whose
perfume is lethal. Sélika lies beneath its shade and watches the ship carrying
away the man she loves. She sings “D’ici je vois la mer immense et sans
limite” (From here I see the immense and limitless sea). It is her farewell
both to Vasco and to life, and Nélusko arrives to find her dead.
from audience and critics. From then on the audience expected that an opera at the main Parisian house
(the Opéra) was going to have unheard-of scenic effects. The Opéra had a team of designers and
craftsmen who were able to create spectacles that had never appeared, not just natural settings –
snowstorms, avalanches, hurricanes, earthquakes, but activities like ice skating and swimming.
While grand operas were the rage in the 19th century, they fell out of favor in the 20th. We know
their historical development, but they are rarely DVDs of them. Some are being revived today, but
modern productions eliminate up to half of the original version resulting in modern minimalist
productions that omit most of what made them “grand” in the first place. I have been able to find some
examples that do justice to the genre, others will require you to use your imagination, even to the point
of hearing at least one of them in Italian, a change in language that occurred when the opera moved
from Paris into Italian opera houses. You are going to hear operas composed in the late 1820s at the
beginning of grand opera to its end, with a gap of about twenty years between them.
The earliest example we shall see is the last work of one of the greatest opera composers of the early
19th century, Gioachino Rossini (1792 – 1868). He invented the bel-canto style, created comedies that
remain in the standard repertory and wrote dramatic operas that were highly respected at the time. He
stopped composing operas at age 37, moved to Paris and for the last 39 years of his life became a kind
of eminence grise. For many years he directed the Théâtre Italien –as its name implies the home of
Italian opera in Paris and to many at the time, the opera house with the best singers. Paris may have
had a lock on quality productions but Italy lead in the development of operatic composers and singers.
Rossini made sure that they were heard in Paris. His was held in such high regard that the French
government gave him a life-time stipend.
Rossini’s last opera, Guillaume Tell, 1829, written for the Opéra has clear links to his earlier work,
especially those operas that had been translated into French, but it is essentially written in a new style,
influenced by French grand opera’s expansiveness and complexity. It tells a riveting story with highly
effective and beautiful dramatic music and included a ballet.
The most successful and popular composer, whose name epitomizes grand opera, was Giacomo
Meyerbeer (1791 – 1864), an urbane German, well-versed in Italian opera (having lived and worked in
Italy for a decade). Despite his important commissions from the Opéra, he maintained his permanent
residence in Berlin, where his wife and children lived. He stayed in Parisian hotels when preparing his
works for performances. (Insight into the negotiations that were involved in his contract for Les
Huguénots at the Opéra is included in your handouts.) His most famous opera (only recently revived)
was Robert le diable and it struck a profound chord in the French imagination as witnessed by the
many paintings that refer to it (In your handouts there is a portrait of a singer in the costume of
“Robert” by Courbet as well as a painted sketch by Degas of one of the most infamous moments in the
opera (a ballet of dead nuns who had betrayed their vows that takes place in a church burial ground
after the devil awakens them). The opera appealed to the prevalent “romantic taste” for extreme
emotion in which the audience is simultaneously horrified and fascinated.
While Meyerbeer, an observant Jew, had his share of anti-semitic experiences in France, there was no
question of his fame and popularity. Jews had only received the full rights of citizenship under
Napoleon, at the beginning of the century, so it is amazing that within one or two generations,
musicians of Jewish birth rose to the top of the official musical world of Paris, one of the first being
Fromental Halévy, (1799-1862), who is not nearly as well known as his son-in-law, Georges Bizet.
Halévy taught at the Conservatoire from 1827 and composed extensively. His best remembered
work is La Juive, 1835, to a libretto by Eugène Scribe – the most famous French librettist of his day
and perhaps of the entire 19th century.
If Robert sometimes stretches credulity, La Juive is as true, relevant and moving as if written
yesterday. With a libretto expressing the deep seated anti-semitism of the time and an unexpectedly
angry and hostile Jewish response in the main character of Eléazar. Meyerbeer created a strong work
full of love, passion, hatred, and sacrifice to deeply expressive music in an opera that raised the bar and
led to some of the great moments in Verdi, Wagner and even in verismo operas at the end of the
century.
Meyerbeer’s last opera L’Africaine, 1865, first performed after his death, tells the story of the
explorer Vasco da Gama and still holds the stage because of the exquisite music and drama it offers to
a heroic tenor and mezzo.
Our last example will be Don Carlos, 1867, one of the later operas by Verdi – written originally in
French for the Opéra but usually heard and recorded in Italian. That the world-famous Verdi aspired to
write an opera for Paris is the clearest evidence we have of the city’s operatic prestige. And despite his
complaints about working there, he knew that it was the only house in the world that had the potential
for presenting his work in the highest quality production. (Wagner had also aspired for Parisian success
and presented Tannhäuser there, but it failed for a number of reasons, including a kind of music
unfamiliar to the French musicians (it required 170 rehearsals) and the difficult nature of Wagner’s
personality.
Much is made of Tannhäuser’s failure being due to the ballet coming early in the first act rather than
the more usual location much later, usually in the third act. In your handouts you have numerous
paintings by Degas of the ballet at the Paris Opéra – scenes of rehearsals and performances. And in
many of these, elegantly dressed men stand around, look at and/or converse with the ballerinas with or
without their chaperones. These paintings depict a situation in which the Opéra ballet was seen as a
spot of assignation for men about town, often aristocrats or haute bourgeois, who could subscribe to the
opera and in return be given keys to the ballet rehearsal room. For them, the ballerinas were potential
conquests, and for the dancers (many from lower social classes), this was an opportunity for a liaison
that could prove financially beneficial. Degas was a member of this social class and the entire situation
proved a source of inspiration for many of his paintings. In terms of Wagner’s failure, these fellowson-the-prowl would often arrive late to the opera since their main interest was the ballerinas not the
music, and apparently their arrival time was so well known that the ballets were always placed later in
the performances rather than earlier. But of course, Wagner knew better than anyone else, insisting on
his ballet at the very beginning of the opera, which won him no friends among this influential group of
opera goers.
French grand opera represented a style of over-the-top entertainment, sometimes to the detriment of
the dramatic values of 20th century theater, but very popular with the public. Large and rich opera
houses believe that they must produce ever-more exciting productions with ever more expensive and
technically sophisticated equipment. Audiences love this experience, if they can afford it, and the
experience of one of these block-busters remains forever in one’s memory.