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Le Magnifique André-Ernest-Modeste GRÉTRY (1741-1813) Le Magnifique Gonzalez Toro Calleo • Krull Thompson • Sulayman Williams • Scarlata Opera Lafayette Orchestra Ryan Brown 1 Ouverture 5:45 André-Ernest-Modeste GRÉTRY Act I 24:13 (1741-1813) 2 Scène 1: Marche: Andante 1:53 Le Magnifique (1773) 3 Tempo giusto 0:42 4 Marche 0:37 Libretto by Jean-Michel Sedaine (1719-1797) 5 Duo: Cʼest lui (Alix, Clémentine) 2:42 Dedicated to the Duc dʼAlbe 6 Scène 2: Pourquoi donc ce Magnifique (Clémentine) 4:55 7 Scène 4: Duo: Ma chère enfant (Aldobrandin, Clémentine) 5:47 First performed at the Paris Comédie-Italienne on 4th March, 1773 8 Scène 6: Ah, cʼest un superbe cheval ! (Fabio) 3:55 Edition by Ryan Brown based on the 18th-century parts from the Bibliothèque 9 Scène 7: Trio: Vous mʼétonnez, vous badinez municipale de Rouen, as well as the 18th-century score engraved by J. Dezauche (Aldobrandin, Le Magnifique, Fabio) 3:42 and printed by Montulay, Paris, 1773, and the 20th-century score published by Breitkopf and Härtel. Act II 29:56 Coaching in French diction has been provided by Denise Massé. The 18th-century parts used by the orchestra were made available by the Bibliothèque 0 Scène 3: Ah ! Si jamais je cours les mers (Laurence) 5:02 municipale de Rouen, with assistance from the musicologist Mr. Johann Elart. ! Scène 6: Duo: Je ne sais pourquoi je pleure (Clémentine, Alix) 3:55 @ Scène 10: Quelle contrainte ! (Clémentine) 3:37 Octave, Le Magnifique . Emiliano Gonzalez Toro, Tenor # Scène 11: Trio: Clémentine, mettez-vous là Clémentine, daughter of Horace. Elizabeth Calleo, Soprano (Aldobrandin, Le Magnifique, Fabio) 17:22 Alix, her governess . Marguerite Krull, Soprano Aldobrandin, tutor to Clémentine . Jeffrey Thompson, Tenor $ Entracte (la fanfare des Courses) 1:49 Fabio, Aldobrandinʼs servant . Karim Sulayman, Tenor Laurence, husband of Alix. Douglas Williams, Bass-baritone Act III 18:17 Horace, a Florentine gentleman . Randall Scarlata, Baritone % Scène 1: Ah ! que je me sens coupable ! (Clémentine) 4:05 ^ Scène 4: Duo: Te voilà donc (Alix, Laurence) 2:53 Opera Lafayette Orchestra & Scène 6: Ô ciel ! Quel air de courroux ! (Alix) 2:11 Ryan Brown, Conductor and Artistic Director * Scène 8: Jour heureux ! (Clémentine) 4:13 ( Scène 13, Finale: Ne me bats pas (Fabio, Laurence, www.operalafayette.org Horace, Aldobrandin, Le Magnifique, Clémentine, Alix) 4:55 Opera Lafayette would like to thank the following for their support: the D.C. Commission on the Humanities, an agency supported in part by the National Endowment The French libretto and an English translation can be accessed at www.naxos.com/libretti/660305.htm, for the Arts, Pernod Ricard, the National Endowment for the Arts, the MARPAT Foundation, as can the complete French text with the spoken dialogue omitted from this recording. Bill and Cari Gradison, Louis and Barbara Hering, Walter Arnheim and Marsha Rehns, Stephen and Mary Sue Kitchen, Mrs. Nell Weidenhammer, Bruce Rosenblum and Lori Laitman, the Isaacson-Draper Foundation, and the Helen Sperry Lea Foundation. André-Ernest-Modeste Grétry (1741-1813) and Michel-Jean Sedaine (1719-1797) Le Magnifique the musician to endeavor to convey them. He almost Le Magnifique always finds the right word and dispenses himself with In his Mémoires, ou Essai sur la musique (1797), Grétry poetical embellishments. He forces the musician to find Jean-Michel Sedaine (1719-1797) H.J. Renkin and Henri Moreau. A Mass and six states “ …I wished to set to music a poem by Mr. Sedaine, new forms to illustrate his original characters.” symphonies earned him a fellowship from the Darchis who seemed to me to be the best person either for the In Le Magnifique Sedaine presents several Born in Paris on 2nd June 1719, Jean-Michel Sedaine Foundation to go on to complete his studies in Rome creation of characters, or for the so rare ability to bring compelling situations: the release of prisoners, a theme was the first of seven children born to Jean-Pierre under Giovanni Casali. His years in Rome not only situations in such a manner as to produce new effects and already illustrated in Sedaineʼs Le Déserteur, to which he Sedaine, a stone-mason and architect, and Marie-Jeanne brought six string quartets Op. 3, but also, and more yet remain true to nature. Le Magnifique was offered to will often return (Richard Cœur-de-Lion [1784], Le Comte Gourdain. Following in his fatherʼs footsteps, Jean-Michel importantly, directed him towards opera and the theatre me by Madame de Lalive dʼEpinay, the intimate friend of d’Albert [1786], Raoul Barbe-bleue [1789]) and which will progressed from journeyman stone-mason to foreman with a commission to compose an intermezzo La J.J. Rousseau…” later inspire Beethovenʼs Fidelio; the confrontation of the and, finally, assistant architect. In his leisure time he vendemmiatrice (1765). From Rome he travelled to Indeed Madame dʼEpinay held a salon where the innocence of a young girl with the cruel realities of the wrote poetry, publishing his first album in 1752. It was a Geneva where he was befriended by Voltaire, and intellectual and literary elite of eighteenth-century Paris world; and, most dramatically, the love declaration and success and a second edition was published in 1760. He composed his first opéra-comique, Isabelle et Gertrude convened. Both major librettists of Grétry, Marmontel and the dropping of the rose. This scene challenged Grétry to soon turned to writing for the stage. His first opéra- (1766). The following year he settled in Paris, where he Sedaine, frequented her salon along with Denis Diderot, new expressive means and was the chief attraction to comique was Le Diable à quatre (1758) after the ballad met the writer Jean François Marmontel. With him he Jean le Rond dʼAlembert, Pierre Carlet de Chamblain de Sedaineʼs libretto. This scene was so successful that opera by Charles Coffey entitled The Devil to Pay, or The collaborated on a series of very successful opéras- Marivaux, Montesquieu and the baron Melchior Grimm, people flocked to the theatre to hear Le Magnifique (sung Wives Metamorphos’d. He then produced three works to comiques: Le Huron (1768), Lucile (1769), L’Amitié à among others. So it is not surprising that the chosen by Clairval) sing his love to Clémentine (Mme Laruette) music by Philidor: Blaise le savetier (Blaise the cobbler), l’épreuve (1770), L’Ami de la maison (1771), and Zémire subject for the libretto of Le Magnifique had a well- and watch her drop the rose. Grétry recounts that a lady 1759; Le Jardinier et son seigneur (The Gardener and his et Azor (1771), the last of these based on the story of established literary history going back to Boccaccioʼs attending the performance and “impatient to see the rose Lord and Master), 1761; and L’Huître et les plaideurs (The Beauty and the Beast). Grétry did not write exclusively to 1353 Decameron (Third day, fifth tale). La Fontaine wrote drop from the hands of modesty, opened her charming Oyster and the Litigants), 1759/61, before meeting librettos of Marmontel, however, but also scored a tale in verse on the same subject (1675). Furthermore, fingers and dropped her fan on the stage. She was as Monsigny, with whom he collaborated on several very successes on texts by Anseaume, Le Tableau parlant Antoine Houdar de La Motte produced a two-act comedy, disconcerted by her action, as was Clémentine a moment successful opéras-comiques. Later, when Monsignyʼs (1769); by Fenouillot de Falbaire, Les Deux avares (1770) Le Magnifique, in 1731 which had been performed at later.” worked more slowly because of failing eyesight, Sedaine and by Sedaine, Le Magnifique (1773). In fact, much to court as recently as 1769. Sedaine, however, in the As beautiful and novel as this scene is, it is not the collaborated with Edgidio Duni (Les Sabots, 1768; and Marmontelʼs chagrin, after composing music for their preface of his libretto, denies having seen or read La only noteworthy piece of the score. The overture is one of Thémire, 1770), with Philidor one last time on Les heroic-ballet, Céphale et Procris, written for the Paris Motteʼs comedy when writing the libretto of Le Magnifique the earliest examples of programmatic music. The Femmes vengées (1775) and with Grétry (Le Magnifique, Opéra in 1773, Grétry essentially put an end to their and acknowledges having been inspired by La Fontaineʼs overture portrays the movements and clamours 1773; Richard Cœur-de-Lion, 1785; Le Comte d’Albert, collaboration. He continued to produce successful tale. Indeed, Sedaine had previously mined the same accompanying a procession of captives and is so 1786; Raoul Barbe-Bleue, 1789; and Guillaume Tell, opéras-comiques such as L’Amant jaloux (1778), Les source for the librettos of On ne s’avise jamais de tout intimately linked to the beginning of the action that it is 1791). Sedaine also had a successful career in the Evénements imprévus (1779), L’Epreuve villageoise (Monsigny, 1761), and Le Faucon (Monsigny, 1771) and necessary for the sceneʼs comprehension. It also has the theatre with plays such as Le Philosophe sans le savoir, (1784), and Richard Cœur de Lion (1784) arguably his had been inspired by La Fontaineʼs fable for the libretto of particularity of juxtaposing music of different styles (march (1765), and La Gageure imprévue, (1768). Ruined by the greatest success. At the Opéra he was similarly L’Huître et les plaideurs (Philidor, 1759). If Grétry wished and plain-song) to illustrate the spectacle of different Revolution, he died in Paris on 17th May 1797, leaving his successful with La Caravane du Caire (1783) and to set a poem by Sedaine to music, Sedaine admitted to processions (captives, soldiers, priests) occurring wife and children penniless.
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