Opéra comique

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Opéra comique (French:  [ɔpeʁa kɔmik] ; plural: opéras comiques) is a genre of French opera that contains spoken dialogue and arias. It emerged from the popular opéras comiques en vaudevilles of the Fair Theatres of St Germain and St Laurent (and to a lesser extent the Comédie-Italienne), [1] which combined existing popular tunes with spoken sections. Associated with the Paris theatre of the same name, opéra comique is not always comic or light in nature; Carmen , perhaps the most famous opéra comique, is a tragedy.

Opera artform combining sung text and musical score in a theatrical setting

Opera is a form of theatre in which music has a leading role and the parts are taken by singers, but is distinct from musical theater. Such a "work" is typically a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor.

Aria musical piece for a single voice as part of a larger work

In music, an aria is a self-contained piece for one voice, with or without instrumental or orchestral accompaniment, normally part of a larger work.

Théâtre de la foire is the collective name given to the theatre put on at the annual fairs at Saint-Germain and Saint-Laurent in Paris.

Contents

Use of the term

A poster for Carmen, probably the most famous opéra comique 1875 Carmen poster.jpg
A poster for Carmen , probably the most famous opéra comique

The term opéra comique is complex in meaning and cannot simply be translated as "comic opera". The genre originated in the early 18th century with humorous and satirical plays performed at the theatres of the Paris fairs which contained songs ( vaudevilles ), with new words set to already existing music. The phrase opéra comique en vaudevilles or similar was often applied to these early stage works. In the middle of the 18th century, composers began to write original music to replace the vaudevilles, under the influence of the lighter types of Italian opera (especially Giovanni Battista Pergolesi's La serva padrona ). This form of opéra comique was often known as comédie mêlée d'ariettes , but the range of subject matter it covered expanded beyond the merely comic. By the 19th century, opéra comique often meant little more than works with spoken dialogue performed at the Opéra-Comique theatre, as opposed to works with recitative delivery which appeared at the Paris Opéra. Thus, the most famous of all opéras comiques, Georges Bizet's Carmen , is on a tragic subject. As Elizabeth Bartlet and Richard Langham Smith note in their Grove article on the subject, composers and librettists frequently rejected the use of the umbrella term opéra comique in favour of more precise labels. [1] [2]

A vaudeville is a French satirical poem or song born of the 17th and 18th centuries. Its name is lent to the French theatrical entertainment comédie en vaudeville of the 19th and 20th century. From these vaudeville took its name.

Giovanni Battista Pergolesi composer from Italy

Giovanni Battista Draghi, often referred to as Giovanni Battista Pergolesi, was an Italian composer, violinist and organist. His best-known works include his Stabat Mater and the opera La serva padrona. His compositions include operas and sacred music. He died of tuberculosis at the very young age of 26.

<i>La serva padrona</i> opera by Giovanni Battista Pergolesi

La serva padrona is an opera buffa by Giovanni Battista Pergolesi to a libretto by Gennaro Antonio Federico, after the play by Jacopo Angello Nelli. The opera is only 45 minutes long and was originally performed as an intermezzo between the acts of a larger serious opera.

History

Beginnings

Opéra comique began in the early eighteenth century in the theatres of the two annual Paris fairs, the Foire Saint Germain and the Foire Saint Laurent. Here plays began to include musical numbers called vaudevilles, which were existing popular tunes refitted with new words. The plays were humorous and often contained satirical attacks on the official theatres such as the Comédie Française. In 1715 the two fair theatres were brought under the aegis of an institution called the Théâtre de l'Opéra-Comique. In spite of fierce opposition from rival theatres the venture flourished and leading playwrights of the time, including Alain René Lesage and Alexis Piron, contributed works in the new form. [1] [3] [4]

Alexis Piron French poet

Alexis Piron was a French epigrammatist and dramatist.

Late 18th century

André Ernest Modeste Grétry, the most famous composer of opéra comique before the French Revolution André Ernest Modeste Grétry.jpg
André Ernest Modeste Grétry, the most famous composer of opéra comique before the French Revolution

The Querelle des Bouffons (1752–54), a quarrel between advocates of French and Italian music, was a major turning-point for opéra comique. Members of the pro-Italian faction, such as the philosopher and musician Jean-Jacques Rousseau, attacked serious French opera, represented by the tragédies en musique of Jean-Philippe Rameau, in favour of what they saw as the simplicity and "naturalness" of Italian comic opera (opera buffa), exemplified by Pergolesi's La serva padrona , which had recently been performed in Paris by a travelling Italian troupe. In 1752, Rousseau produced a short opera influenced by Pergolesi, Le devin du village , in an attempt to introduce his ideals of musical simplicity and naturalness to France. Its success attracted the attention of the Foire theatres. The next year, the head of the Saint Laurent theatre, Jean Monnet, commissioned the composer Antoine Dauvergne to produce a French opera in the style of La serva padrona. The result was Les troqueurs , which Monnet passed off as the work of an Italian composer living in Vienna who was fluent in French, thus fooling the partisans of Italian music into giving it a warm welcome. Dauvergne's opera, with a simple plot, everyday characters, and Italianate melodies, had a huge influence on subsequent opéra comique, setting a fashion for composing new music, rather than recycling old tunes. Where it differed from later opéras comiques, however, was that it contained no spoken dialogue. In this, Dauvergne was following the example of Pergolesi's La serva padrona. [1] [5]

The Querelle des Bouffons, also known as the Guerre des Bouffons and the Guerre des Coins, was the name given to a battle of rival musical philosophies which took place in Paris between 1752 and 1754. The controversy concerned the relative merits of French and Italian opera.

Jean-Jacques Rousseau Genevan philosopher, writer, and composer

Jean-Jacques Rousseau was a Genevan philosopher, writer and composer. Born in Geneva, his political philosophy influenced the progress of the Enlightenment throughout Europe, as well as aspects of the French Revolution and the development of modern political and educational thought.

Tragédie en musique, also known as tragédie lyrique, is a genre of French opera introduced by Jean-Baptiste Lully and used by his followers until the second half of the eighteenth century. Operas in this genre are usually based on stories from Classical mythology or the Italian romantic epics of Tasso and Ariosto. The stories may not have a tragic ending – in fact, they generally don't – but the atmosphere must be noble and elevated. The standard tragédie en musique has five acts. Earlier works in the genre were preceded by an allegorical prologue and, during the lifetime of Louis XIV, these generally celebrated the king's noble qualities and his prowess in war. Each of the five acts usually follows a basic pattern, opening with an aria in which one of the main characters expresses their feelings, followed by dialogue in recitative interspersed with short arias, in which the main business of the plot occurs. Each act traditionally ends with a divertissement, offering great opportunities for the chorus and the ballet troupe. Composers sometimes changed the order of these features in an act for dramatic reasons.

The short, catchy melodies which replaced the vaudevilles were known as ariettes and many opéras comiques in the late 18th century were styled comédies mêlées d'ariettes. Their librettists were often playwrights, skilled at keeping up with the latest trends in the theatre. Louis Anseaume, Michel-Jean Sedaine and Charles Simon Favart were among the most famous of these dramatists. [4] Notable composers of opéras comiques in the 1750s and 1760s include Egidio Duni, Pierre-Alexandre Monsigny and François-André Danican Philidor. Duni, an Italian working at the francophile court of Parma, composed Le peintre amoureux de son modèle in 1757 with a libretto by Anseaume. Its success encouraged the composer to move to Paris permanently and he wrote 20 or so more works for the French stage. [6] Monsigny collaborated with Sedaine in works which mixed comedy with a serious social and political element. Le roi et le fermier (1762) contains Enlightenment themes such as the virtues of the common people and the need for liberty and equality. Their biggest success, Le déserteur (1769), concerns the story of a soldier who has been condemned to death for deserting the army. [7] Philidor's most famous opéra comique was Tom Jones (1765), based on Henry Fielding's novel of the same name. It is notable for its realistic characters and its many ensembles. [8] [9]

Louis Anseaume was a French playwright and librettist.

Michel-Jean Sedaine French writer

Michel-Jean Sedaine was a French dramatist and librettist, especially noted for his librettos for opéras comiques, in which he took an important and influential role in the advancement of the genre from the period of Charles-Simon Favart to the beginning of the Revolution.

Charles Simon Favart French writer

Charles Simon Favart was a French playwright.

The most important and popular composer of opéra comique in the late 18th century was André Ernest Modeste Grétry. Grétry successfully blended Italian tunefulness with a careful setting of the French language. He was a versatile composer who expanded the range of opéra comique to cover a wide variety of subjects from the Oriental fairy tale Zémire et Azor (1772) to the musical satire of Le jugement de Midas (1778) and the domestic farce of L'amant jaloux (also 1778). His most famous work was the historical "rescue opera", Richard Coeur-de-lion (1784), which achieved international popularity, reaching London in 1786 and Boston in 1797. [10] [11]

<i>Zémire et Azor</i> opera by André Grétry

Zémire et Azor is an opéra comique, described as a comédie-ballet mêlée de chants et de danses, in four acts by the Belgian composer André Grétry. The French text was by Jean-François Marmontel based on La Belle et la bête by Jeanne-Marie Leprince de Beaumont, and Amour pour amour by P. C. Nivelle de La Chaussé. The opera includes the famous coloratura display piece La Fauvette in which the soprano imitates birdsong.

<i>Le jugement de Midas</i> opera

Le Jugement de Midas is a French comédie mêlée d'ariettes, in three acts by André Grétry first performed on 28 March 1778 in the apartments of Madame de Montesson at the Palais-Royal in Paris. The libretto is by the Irish playwright Thomas Hales with additional contributions by Louis Anseaume. It was based on the burlesque opera Midas (1760) by Kane O'Hara.

<i>Lamant jaloux</i> opera by André-Ernest-Modeste Grétry

L'amant jaloux, ou Les fausses apparences is a French comédie mêlée d'ariettes in three acts by André Grétry first performed at Versailles on 20 November 1778. The libretto is by the Irish playwright Thomas Hales with the verse passages provided by F. Levasseur. It was based on the play The Wonder: A Woman Keeps a Secret (1714) by Susannah Centlivre.

Between 1724 and 1762 the Opéra-Comique theatre was located at the Foire Saint Germain. In 1762 the company was merged with the Comédie-Italienne and moved to the Hôtel de Bourgogne. In 1783 a new, larger home was created for it at the Théâtre Italien (later renamed the Salle Favart). [12]

Revolution and the 19th century

Title page of the first edition of the full score of Médée by Cherubini, 1797 Medea Cherubini titelblad.jpg
Title page of the first edition of the full score of Médée by Cherubini, 1797

The French Revolution brought many changes to musical life in Paris. In 1793, the name of the Comédie-Italienne was changed to the Opéra-Comique, but it no longer had a monopoly on performing operas with spoken dialogue and faced serious rivalry from the Théâtre Feydeau, which also produced works in the opéra comique style. Opéra comique generally became more dramatic and less comic and began to show the influence of musical Romanticism. [4] The chief composers at the Opéra-Comique during the Revolutionary era were Étienne Méhul, Nicolas Dalayrac, Rodolphe Kreutzer and Henri Montan Berton. Those at the Feydeau included Luigi Cherubini, Pierre Gaveaux, Jean-François Le Sueur and François Devienne. [13] The works of Méhul (for example Stratonice , 1792; Ariodant , 1799), Cherubini ( Lodoiska , 1791; Médée , 1797; Les deux journées , 1800) and Le Sueur ( La caverne , 1793) in particular show the influence of serious French opera, especially Gluck, and a willingness to take on previously taboo subjects (e.g. incest in Méhul's Mélidore et Phrosine , 1794; infanticide in Cherubini's famous Médée). Orchestration and harmony are more complex than in the music of the previous generation; attempts are made to reduce the amount of spoken dialogue; and unity is provided by techniques such as the "reminiscence motif" (recurring musical themes representing a character or idea). [4]

In 1801 the Opéra-Comique and the Feydeau merged for financial reasons. The changing political climate – more stable under the rule of Napoleon – was reflected in musical fashion as comedy began to creep back into opéra-comique. The lighter new offerings of Boieldieu (such as Le calife de Bagdad , 1800) and Isouard ( Cendrillon , 1810) were a great success. [4] Parisian audiences of the time also loved Italian opera, visiting the Théâtre Italien to see opera buffa and works in the newly fashionable bel canto style, especially those by Rossini, whose fame was sweeping across Europe. Rossini's influence began to pervade French opéra comique. Its presence is felt in Boieldieu's greatest success, La dame blanche (1825) as well as later works by Auber ( Fra Diavolo , 1830; Le domino noir , 1837), Hérold ( Zampa , 1831), and Adolphe Adam ( Le postillon de Longjumeau , 1836). [14]

See also

Category:Opéras comiques

Musical theater

Related Research Articles

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Opéra-Comique opera company in Paris

The Opéra-Comique is a Parisian opera company, which was founded around 1714 by some of the popular theatres of the Parisian fairs. In 1762 the company was merged with, and for a time took the name of its chief rival the Comédie-Italienne at the Hôtel de Bourgogne, and was also called the Théâtre-Italien up to about 1793, when it again became most commonly known as the Opéra-Comique. Today the company's official name is Théâtre national de l'Opéra-Comique, and its theatre, with a capacity of around 1,248 seats, sometimes referred to as the Salle Favart, is located in Place Boïeldieu, in the 2nd arrondissement of Paris, not far from the Palais Garnier, one of the theatres of the Paris Opéra. The musicians and others associated with the Opéra-Comique have made important contributions to operatic history and tradition in France, and to French opera. Its current mission is to reconnect with its history, and discover its unique repertoire, to ensure production and dissemination of operas for the wider public. Mainstays of the repertory at the Opéra-Comique during its history have included the following works which have each been performed more than 1,000 times by the company: Cavalleria Rusticana, Le chalet, La dame blanche, Le domino noir, La fille du régiment, Lakmé, Manon, Mignon, Les noces de Jeannette, Le pré aux clercs, Tosca, La bohème, Werther and Carmen, the last having been performed more than 2,500 times.

Egidio Duni Italian composer

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Pierre-Alexandre Monsigny French composer

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French opera Opera in the French tradition

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Le déserteur is an opéra comique by the French composer Pierre-Alexandre Monsigny with a libretto by Michel-Jean Sedaine. It was first performed on 6 March 1769 by the Comédie-Italienne at their public theatre, the Hôtel de Bourgogne in Paris.

The French term comédie mêlée d'ariettes was frequently used during the late ancien régime for certain types of opéra comique.

The comédie en vaudevilles was a theatrical entertainment which began in Paris towards the end of the 17th century, in which comedy was enlivened through lyrics using the melody of popular vaudeville songs.

<i>Le peintre amoureux de son modèle</i> opéra comique

Le peintre amoureux de son modèle is an opéra comique in two acts by the composer Egidio Duni with a libretto by Louis Anseaume. It was first performed at the Théâtre de la Foire Saint-Laurent in Paris on 26 July 1757. The Italian Duni had been working at the court of Parma, where French culture was highly fashionable, and travelled to Paris to see the premiere of his opera. He remained in France for the rest of his career. Le peintre marked an important stage in the development of opéra comique, since its musical numbers were almost entirely original music, whereas previous opéras comiques employed either popular vaudevilles or ariettes appropriated from other works.

<i>Lécole de la jeunesse</i> opera

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Intermède is a French term for a musical or theatrical performance involving song and dance, also an 18th-century opera genre.

Les troqueurs is a comic opera in one act by the French composer Antoine Dauvergne, first performed at the Foire Saint-Laurent in Paris on 30 July 1753 and revived by the Opéra-Comique at the Hôtel de Bourgogne on 26 February 1762. The libretto, by Jean-Joseph Vadé, is based on the tale in verse of the same name by La Fontaine.

<i>Blaise le savetier</i> opera

Blaise le savetier is a 1759 one-act opéra comique, by the French composer François-André Danican Philidor. The libretto was by Michel-Jean Sedaine, after a story by Jean de La Fontaine entitled Conte d'une chose arrivée à Château-Thierry.

Clairval French singer, actor and librettist

Clairval, real name Jean-Baptiste Guignard, was an 18th-century French operatic singer (tenor), comedian and librettist. He played with the same authority drama, comedy and opera, in a considerable number of roles. Among the most notable were:

La Rosière de Salency is a three-act comedy, mingled with ariettes, by Charles-Simon Favart, music by Blaise, Philidor, Monsigny and Duni. It was presented at Château de Fontainebleau 25 October 1769 and at Comédie-Italienne 14 December.

References

Notes

  1. 1 2 3 4 M. Elizabeth C. Bartlet and Richard Langham Smith. "Opéra comique", Grove Music Online. Oxford Music Online. 19 November 2009
  2. Oxford Companion to Music pp. 862 and 889
  3. Oxford Illustrated pp. 91–94
  4. 1 2 3 4 5 Grove
  5. Oxford Illustrated pp. 93–94
  6. Holden, article on Duni, p.294
  7. Holden, article on Monsigny p. 674
  8. Holden, article on Philidor, pp. 775–777
  9. Oxford Illustrated pp. 94–95
  10. Oxford Illustrated pp. 91–94 and 114–18
  11. Holden article on Grétry.
  12. Oxford Illustrated, pp. 91, 114
  13. Oxford Illustrated p. 127
  14. Oxford Illustrated pp. 135–37

Sources