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660464-65 Itunes Massenet MASSENET Don César de Bazan Naouri • Dreisig • Lebègue • Bettinger • Helmer • Moungoungou Ensemble Aedes • Les Frivolités Parisiennes Mathieu Romano Jules Émile Frédéric CD 1 74:18 1 Overture 5:48 MA(S184S2–E191N2) ET Act I. Street in Madrid 2 Don César de Bazan (1872) (second version, 1888) No. 1. Introduction: Dès que ton tambour sonne – Ballade aragonaise: Par un frais sentier 5:34 (Chorus, Maritana) 3 Opéra-comique in four acts and four tableaux Scène, Prière et Strette: C’est elle!… – Libretto by Adolphe Philippe d’Ennery (1811–1899), No. 2. Mélodie: L’amour, un amour implacable 8:21 (Charles II, Don José, Maritana, Chorus) Dumanoir (Philippe François Pinel) (1806–1865) 4 No. 3. Air: Partout où l’on chante 3:30 and Jules Chantepie (1843–1885) (Don César) 5 First performance: Paris, Opéra-Comique (Salle Favart 2), No. 4. Quatuor: Le voilà! 6:53 (Captain, Don César, Lazarille, Don José) 30 November 1872 6 No. 5. Finale: Bohème charmante 7:20 Don César de Bazan, a nobleman . Laurent Naouri, Baritone (Chorus, Maritana, Don José, Don César, Alcade, Lazarille) Maritana, a Gypsy street-singer . Elsa Dreisig, Soprano Act II. In a fortress Lazarille, a boy, apprentice arquebusier . Marion Lebègue, Mezzo-soprano 7 Entr’acte 1:59 King Charles II of Spain . Thomas Bettinger, Tenor 8 No. 6. Berceuse: Dors, ami 4:01 Don José de Santarém, first minister to the King . Christian Helmer, Baritone (Lazarille) 9 Captain of the Guard . Christian Moungoungou, Baritone No. 7. Couplets: Riche, j’ai semé les richesses 2:31 (Don César) Men and Women folk, Soldiers, Arquebusiers, 0 No. 8. Duo: Me marier! 7:20 Ladies and Gentlemen of the Court (Don César, Don José) ! Nicolas Chesneau, Vocal Accompanist No. 9. Chanson de Matalobos: À boire, amis – Lecture de l’Arrêt: De par notre Seigneur – Madrigal: En vous je vais placer, Madame 13:51 (Don César, Chorus, Soldier, Judge, Don José) Ensemble Aedes @ No. 10. Romance: Rien ne peut le défendre 2:25 (Lazarille) Orchestre des Frivolités Parisiennes # No. 11. Finale: Grand Dieu! 4:11 Mathieu Romano, Conductor (Maritana, Don José, Chorus, Lazarille, Don César) CD 2 37:47 Jules Émile Frédéric Massenet (1842–1912) Don César de Bazan Act III. In the Palace of San Fernando 1 Background to the Opera conducted by Adolphe Deloffre. The work was performed Entr’acte Sevillana 2:32 2 13 times at the Opéra-Comique, into the following year, No. 12. Romance: Cette splendeur 4:20 The story of this opera is taken from the drama by 1873. Productions followed in German (Vienna 1874), Dumanoir and Adolphe Philippe D’Ennery, in five acts and Swedish (Stockholm 1879) and Portuguese (Lisbon 1907). (Maritana, Chorus) 3 in prose (borrowed in its turn from Victor Hugo’s play Ruy The parts were destroyed in 1887 in the fire at the Salle No. 13. Cavatine: Que de ta lèvre en fleur 2:24 Blas , 1838) produced at the Théâtre de la Porte Saint- Favart, and Massenet composed a second version from (Charles II) Martin in 1844. At a time when Romanticism was still the vocal score published by Hartmann, with new 4 No. 14. Duo: Qui je suis? 6:20 much in favour, the characters of Victor Hugo’s drama – orchestration. This was first performed in Geneva on 20 Ruy Blas, Maritana and Don César de Bazan – became January 1888, then in Antwerp (1889), Lyons (1890), Nice (Don César, Charles II) 5 celebrated. Vincent Wallace (1812–1865), the Irish (1895), Brussels (1896), Paris (Gaîté Lyrique, 12 May No. 15. Duo: Je m’en souviens 6:59 composer, wrote his best work, Maritana (London, 1845), 1912), and finally The Hague (February 1925). The work (Don César, Maritana) about these complex personalities. contains one piece that is sometimes performed The director Camille du Locle (1832–1903), after a separately, the Sevillana arranged for coloratura soprano. series of failures at the Opéra-Comique, was anxious for A modern revival took place in several French cities in Act IV. An oratory in the convent of San Geronimo a success, as long as it could be produced in a few 2016, when the company Les Frivolités Parisiennes staged 6 Entr’acte 2:00 weeks. The librettists put together a text, and after it had a new production, including an appearance at the Théâtre 7 been turned down by Jules Duprato and Samuel David, it de la Porte Saint-Martin, conducted by Mathieu Romano. No. 16. Duo Nocturne: Aux cœurs les plus troublés 3:46 was offered to the young Jules Massenet. The creators A German operetta on the same subject by Rudolf (Lazarille, Maritana) had taken a cynical view of the venerable tradition of Dellinger (1857–1910), Don César (Operette in drei 8 No. 17. Melodrama: Je pénétrai furtivement dans le parc royal – opéra-comique as developed since the 18th century by Akten ; librettist: Oscar Walther) appeared in Hamburg at Grétry, Philidor, Monsigny, Dalayrac, Isouard, Berton, the Carl-Schultze Theatre, 28 March 1885, the most Trio: Je vous l’ai dit – Finale: Le Roi! 9:06 Boieldieu, Hérold, Auber, Halévy and Adam, and successful of Dellinger’s seven operettas, performed (Don César, Charles II, Maritana, Chorus, Lazarille) repudiated the set formulas that had characterised the 1,350 times within 25 years. genre for so long. Massenet accepted the challenge of the At the time it was felt that the subject of Don César was hurried production, and retired to the country to write the not lyrical. The literary origins, disencumbered of emotional score, which was ready in a few weeks. Rehearsal began tirades and descriptive recitals, offers only a few dramatic while he prepared the orchestration. incidents; the action is limited, and the episodes devoid of This was the first full-length opera by Massenet to be that feeling which is the principal source of inspiration for produced, the one-act La Grand’tante having been any composer. The dramaturgy of the opera is not always mounted five years earlier by the same company. Don fluent, with solos and long duets following one on the other, César de Bazan was not a success and it would be making for concentrations of extended music without the another five years, with the premiere of Le Roi de Lahore artful conjuring of variety and swift movement. The in 1877, before Massenet rose to his place among the transition from classic opéra-comique to the fuller opéra- most prominent composers of his time. lyrique was already evident, coming just a year after the Don César de Bazan was created by the singers national disaster of 1870–71, the war with Prussia and the Jacques Bouhy (the future Escamillo in Carmen) , Paul Paris Commune. The young composer was building on Lhérie (the future Don José in Bizet’s opera), Neveu, Charles Gounod’s and Ambroise Thomas’s moves to a François Bernard, Mme Célestine Galli-Marié (the future fuller and more continuous orchestral texture with less Carmen herself) and Mlle Marguerite Priola. It was dialogue (see Mireille 1864 and Mignon 1866 respectively). The trend towards a more symphonic style is much in charm, and joins these to a prodigious facility … useful and delightful on stage, a puppeteer amused or lover unless the King can first be proven to be unfaithful to evidence in Massenet’s score with instances of To return to Don César , it is a light score, brilliant, furious, manipulates the hero out of envy. Schizophrenia her. Charles II (Paul Lhérie) is in love with the beautiful considerable orchestral forcefulness. Apart from the spruce, evidently written by a flowing pen which becomes the emotional law of the heart in this work, the street-singer Maritana (Marguerite Priola), but cannot spoken dialogue and the use of generic types like the can be heard without fatigue. It can be said that it driving force of all the characters: Don César, Maritana, approach her because of her low social station. Don couplet (the default sub-genre of opéra-comique ), the work has nothing in common with the platitudes which Lazarille, and the King of Spain make up a lost quartet. José’s plan is to have Maritana married to Don César an already reflects Massenet’s characteristic mature style. are the favourites of a certain public. M. Each one is caught up in an intimate psychological hour before his execution, so raising her to the station of The preference for promoting the Spanish style and Massenet seems to have taken on the task of meandering, inexorably towards a process of personal Countess of Bazan. He does not disclose his plan but flavour of the couleur locale is also overwhelmingly taming the ogre of criticism: he has carefully stripping, each exposing a soul thirsting for authenticity. Is merely promises benefits if his suggestion is followed: for present. Ludwig Minkus’s ballet Don Quixote (1869) had concealed his lyricism and his symphonic nobility only an inherited title? This question is at the heart Maritana, riches and honour; for Don César, commutation already seen a more sustained experiment with Iberian temperament, and has given us only the basic of this opera: Don César, the Count of Bazan, asks of his sentence from hanging to death by gunfire, and flavour, which to that point was used only sparingly in opera worth of his talent, which is indeed much superior himself: ‘Who am I?’ In conferring his title on Maritana, a assurance that the boy Lazarille will be looked after. for certain atmospheric effects, as in Auber’s Le Domino in joyful craftedness to most of his confreres. girl of the streets, he provokes the question concerning The marriage takes place in the prison, Maritana’s face noir (1837).
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