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Home , Adriana Lecouvreur, Adrienne Lecouvreur, Anita Rachvelishvili, Arturo Colautti, Francesco Cilea

LE BUGUE

SAMEDI 12 JANVIER 18H25

LELELELE BUGUE BUGUEBUGUEBUGUE

Salle Eugène Le Roy Réservation : Maison de la Presse Le Bugue 05 53 07 22 83

Francesco Cilea

ADRIANA LECOUVREUR

Rivals to life and on stage, the famous tragedian of the Comédie-Française and the Princess de Bouillon are both in love with the officer Maurice de Saxe. In the backstage of the theater, the jealousy of one will lead to the death of the other, poisoned by a bouquet she thought she received from her lover.

The grand trio , and Piotr Beczała engage in love jealousies in Sir David McVicar's new production. From the backstage of the famous French theater to sumptuous ball residencies, Parisian life takes possession of the Met's stage.

Soprano Anna Netrebko joins the ranks of , Montserrat Caballé, and , taking on—for the first time at the Met—the title role of the real-life French actress who dazzled 18th-century audiences with her on-and offstage passion. The is joined by Piotr Beczała as Adriana's lover, Maurizio. The principal cast also features mezzo- soprano Anita Rachvelishvili and . Gianandrea Noseda conducts. Sir David McVicar's staging, which sets the action in a working replica of a Baroque theater, premiered at the Royal House in London, where the Guardian praised the "elegant production, sumptuously designed ... The spectacle guarantees a good night out."

Conductor Adriana The Principessa Gianandrea Anna Anita Noseda Netrebko Rachvelishvili

soprano Mezzo-soprano

Maurizio The abbé Prince de Piotr Carlo Bouillon Beczala Bosi Maurizio Muraro tenor tenor basse

DATE : Saturday January 12 2019 Heure : 6.25pm Opera in 4 acts by

ADRIANA LECOUVREUR

World Premiere: , , 1902. Adriana Lecouvreur occupies a unique place in the repertory: largely dismissed by experts from its premiere to the present day yet cherished by its fans for the dramatic possibilities provided by the lead roles. The opera is a deft combination of frank emotionalism and flowing lyricism, with pseudo-historical spectacle. Based on a play by Eugène Scribe, the story was inspired by the real-life intrigues of famed actress Adrienne Lecouvreur and the legendary soldier—and lover—Maurice of Saxony. Cilea's operatic retelling quickly became a favorite of charismatic soloists. The title character in particular is a quintessential diva role.

Setting

Adriana Lecouvreur unfolds in in 1730. The setting reflects a nostalgia for the Rococo era that swept over Europe and the Americas around the turn of the last century when Cilea was composing, evident in other (for instance, Puccini’s Manon Lescaut) and in architecture.

Music

Adriana Lecouvreur's score is based on elegance and skillful weaving of themes rather than symphonic grandeur. A neo-rococo style is evoked, especially in the Act III dance sequences, but the score is usually used to highlight the singers. Lyricism abounds in the solos, especially in the "dolcissima effigy" of the tenor in Act I and in Adriana's Act I, "Io son l'umile ancella", by Adriana of the same Act, whose The theme of the singer "humble servant of the creative genius" made it a kind of soprano hymn.

Although the is sometimes confusing, many secondary twists disrupting the main plot, it remains nonetheless that Cilea wrote there a powerful melodrama cleverly combining romance and verism. His very Neapolitan melodic style is tinged with French influence. The orchestration is limpid and the vocal writing very nuanced, from the brilliant levity of the opera buffa to the deepest expression of the drama. Cilea uses recurring motifs that characterize each character, a passionate and youthful cantilena for Maurizio, and, contrary to the dark and rhythmic motif of the princess of Bouillon, the tender, melancholy theme borrowed from Adriana's spirituality. From the air of entry to the end, the arias of the heroine transmit an emotion which always upsets.

The adaptation interweaves real life and theater allowing the composer to deploy a brilliant and expressive musical writing to serve a wide range of passionate feelings. The fictionalized life of the famous tragedian allows to exploit the theme of the dual rivalry, love and professionalism, which ends tragically with the death of Adrienne caused by the toxic smell of a poisoned bouquet. Cilea uses recurring patterns that provide a continuity that is characteristic of her orchestral know-how in a work from which stand out beautiful tunes that are easy to isolate from the context and often given in concert where they highlight all the vocal possibilities of the music. 'interpreter. The role of Adrienne who declares from the outset: "my voice is a breath", then "the goal of my art: the truth", calls for a great mastery to reach the emotion beyond a text that has a little aged. The work was a great success from its creation; the famous Caruso sang the role of Maurice. The final version by Cilea is the result of a reprise in in 1930 at the San Carlo Theater.

Composer Francesco Cilea 1866-1950

Born in Palmi, near Reggio di Calabria, Cilea quickly showed his aptitude for music. At the age of four, he heard a performance of by and was deeply affected by it. Sent to study music at the Conservatorio di San Pietro a Majella in Naples, he quickly demonstrated his diligence and early talent by winning a gold medal from the Ministry of Education (Ministero della Pubblica Istruzione).In 1889, for his final exam at the end of his studies, he submitted his opera Gina, with a libretto by , adapted from the old French play Catherine, or La Croix d'Or by Baron Anne-Honoré-Joseph Duveyrier of Melésville (1787-1865). This melodramma idilico was performed in the university theater and attracted the attention of the publishers Sonzogno, who organized a second production in in 1892.

Sonzogno also commissioned Cilea La Tilda, a three-act opera inspired by Mascagni's . With a libretto by Angelo Zanardini, La Tilda succeeded for the first time in April 1892 at Teatro Pagliano in Florence. After several performances in several Italian theaters, she arrived at the Exhibition on September 24, 1892, alongside other works by Sonzogno's cabinet. The composer has never shown much sympathy for this work, which he reluctantly agreed to set to music to please Sonzogno and avoid spoiling a rare professional opportunity. The loss of the orchestral score has prevented the modern renaissance of this work, whose fresh and catchy melodies can nevertheless be discovered in the transcription for voice and piano.

In 1897 (November 27), the Teatro Lirico of Milan inaugurated Cilea's third opera, L'Arlesiana, based on 's play, with a libretto by Leopoldo Marenco. Among the cast was the young , who successfully performed Lamento di Federico: solita storia del pastore, the romance that was to perpetuate the memory of opera until today. In fact, L'Arlesiana was a failure to which Cilea, convinced of the value of the work, constantly tried to remedy, making drastic and detailed changes throughout his life.

In the score we hear today, it is difficult to find a single measure that is totally unchanged from the original.The revised opera had, however, not been successful, except for a brief period in the 1930s, when it enjoyed the political support the composer had established through his personal contacts with Mussolini.

Also at the Teatro Lirico in Milan, on November 6, 1902 and again with Enrico Caruso, the composer won an enthusiastic reception for Adriana Lecouvreur, an opera in 4 acts with libretto by , which takes place in the 18th century in Paris after a play by Eugene Scribe. Adriana Lecouvreur is Cilea's most internationally known opera house to date. It reveals the spontaneity of a melodic style from the Neapolitan school, associated with a harmonic and tonal nuance inspired by French composers such as Massenet.

As an interpreter, there are a number of examples of Cilea's art. On the piano, Cilea accompanied Caruso in the recording of a part of the Non piu nobile duet and made another recording with the baritone De Luca at the same time (November 1902). In 1904, he accompanied tenor Fernando De Lucia in Adriana Lecouvreur's L'anima ho stanca for Gramophone and in the song Lontananza, an effort that critic Michael Henstock (in his biography of De Lucia) declares little inspired by the great performances of From Lucia. Even considering the raw recording techniques of the time, Cilea's piano playing seems square and lifeless.

Cilea's last opera, premiered at in Milan on April 15, 1907, under the direction of , was 's tragedy in 3 acts, accompanied by a libretto by Colautti, based on a Victorian play Sardou. The opera was removed after only two performances; and the failure of this work, even if the composer attempted a later revision, was enough to induce him to abandon the operatic scene. There are, however, indications of later unrealized opera projects, which remain as parts or sketches of , such as 's Il Ritorno dell'amore, Ettore Moschino's Malena and La rosa di Pompei, also from Moschino (dated "Naples, May 20, 1924"). Some sources also refer to an opera from 1909, completed but never played, called Il matrimonio selvaggio, but no copy of it survived and Cilea himself did not mention it in his volumes of memoirs (" Ricordi ").

Nevertheless, he continues to compose chamber music and orchestral music. In 1913, he produced a symphonic poem in honor of with verses by Sem Benelli, which was performed for the first time at the Teatro Carlo Felice in . After that, he devoted himself mainly to education and became director of the Conservatorio Vincenzo Bellini in , then to his alma mater, the Conservatorio San Pietro a Maiella in Naples, where he ended his teaching career in 1936.

In her later years, Cilea lost her sight, but her mind was active enough to encourage and work with the singers of the day. As part of his latest musical activities, he championed the soprano (1910-2014), whose performances of the lead role of Adriana Lecouvreur he particularly admired. Cilea died on November 20, 1950 in , a town near in , which gave him the citizenship of honor and where he spent the last years of his life. The Conservatorio di Musica and the Teatro Communale of Reggio di Calabria have been renowned in his memory, and his home town of Palmi has built a mausoleum to his memory, adorned with scenes from the myth of Orpheus.

Synopsis

ACT I

Paris, 1730. Backstage at the Comédie-Française, the director Michonnet and the company prepare for performance, in which both Adriana Lecouvreur and her rival, Mademoiselle Duclos, will appear. The Prince of Bouillon and the Abbé de Chazeuil enter, looking for Duclos, who is the prince’s mistress. They encounter Adriana and compliment her, but she says that she is merely the servant of the creative spirit (“Io son l’umile ancella”). The Prince hears that Duclos is writing a letter to someone and arranges to have it intercepted. Left alone with Adriana, Michonnet confesses his love to her, only to be told that she is in love with Maurizio, whom she believes to be an officer in the service of the Count of Saxony. Maurizio enters, declaring his love for Adriana (“La dolcissima effigie”), and the two arrange to meet after the performance. Adriana gives him a bouquet of violets as a pledge of her love. During the performance, the prince intercepts the letter from Duclos, in which she asks for a meeting with Maurizio, who is in fact the Count of Saxony himself. He is to meet her later that evening at the villa where the prince has installed her. Determined to expose his seemingly unfaithful mistress, the prince arranges a party at the villa for this same night. Unknown to him, Duclos has written the letter on behalf of the Princess of Bouillon who was having an affair with Maurizio. Maurizio, receiving the letter, decides to meet the princess who has helped him pursue his political ambitions. He sends a note to Adriana to cancel their appointment. Adriana is upset, but when the prince invites her to the party and tells her that the Prince of Saxony will be one of the guests, she accepts in the hope of furthering her lover’s career.

ACT II

The princess anxiously awaits Maurizio at the villa (“Acerba voluttà”). When he appears she notices the violets and immediately suspects another woman but he quickly claims they are a gift for her. Grateful for her help at court, he reluctantly admits that he no longer loves her (“L’anima ho stanca”). The princess hides when her husband and the Abbé suddenly arrive, congratulating Maurizio on his latest conquest, who they think is Duclos. Adriana appears. She is astounded to learn that the Count of Saxony is Maurizio himself but forgives his deception. When Michonnet enters looking for Duclos, Adriana assumes that Maurizio has come to the villa for a secret rendezvous with her. He assures her that the woman hiding next

door is not Duclos. His meeting with her, he says, was purely political and they must arrange for her escape. Trusting him, Adriana agrees. In the ensuing confusion, neither Adriana nor the princess recognize each other, but by the few words that are spoken each woman realizes that the other is in love with Maurizio. Adriana is determined to discover the identity of her rival, but the princess escapes, dropping a bracelet that Michonnet picks up and hands to Adriana.

ACT III

As preparations are under way for a party at her palace, the princess wonders who her rival might be. Guests arrive, among them Michonnet and Adriana. The princess recognizes Adriana’s voice as that of the woman who helped her escape. Her suspicions are confirmed when she pretends Maurizio has been wounded in a duel and Adriana almost faints. She recovers quickly, however, when Maurizio enters uninjured and entertains the guests with tales of his military exploits (“Il russo Mencikoff”). During the performance of a ballet, the princess and Adriana confront each other, in growing recognition that they are rivals. The princess mentions the violets, and Adriana in turn produces the bracelet, which the prince identifies as his wife’s. To distract attention, the princess suggests that Adriana should recite a monologue. Adriana chooses a passage from Racine’s Phèdre, in which the heroine denounces sinners and adulterous women, and aims her performance directly at the princess. The princess is determined to have her revenge.

ACT IV

Adriana has retired from the stage, devastated by the loss of Maurizio. Members of her theater company visit her on her birthday, bringing presents and trying to persuade her to return. Adriana is especially moved by Michonnet’s gift: the jewellery she had once pawned to secure Maurizio’s release from prison. A box is delivered, labeled “from Maurizio.” When Adriana opens it, she finds the faded bouquet of violets she had once given him and understands it as a sign that their love is at an end (“Poveri fiori”). She kisses the flowers, then throws them into the fire. Moments later, Maurizio arrives, summoned by Michonnet. He apologizes and asks Adriana to marry him. She joyfully accepts but suddenly turns pale. Michonnet and Maurizio realize that the violets were sent by the princess and had been poisoned by her. Adriana dies in Maurizio’s arms (“Ecco la luce”).

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