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The writing of exoticism in the libretti of the Opéra-Comique, 1825–1862

Published online by Cambridge University Press:  27 August 2008

Hervé Lacombe
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Extract

Considerations of exoticism and particularly of orientalism in opera seem to focus, either explicitly or implicitly, on generalities – even when scholars have looked at only a few isolated works taken almost exclusively from ‘serious’ or ‘great’ repertories. However, in order to understand this complex phenomenon in its contemporary context, it is necessary to work from a knowledge of the extraordinary diversity of ‘exotic’ opera.

Type
Research Article
Information
Cambridge Opera Journal , Volume 11 , Issue 2 , July 1999 , pp. 135 - 158
Copyright
Copyright © Cambridge University Press 1999

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References

1 In France, the Opéra-Comique, the Opéra (also called the “Grand Opera”, or the “Académie de Musique”) and the Théàtre-Italien, designate both institutions and houses. Theoretically these institutions possess a repertory bound to a particular genre: opéra comique to the Opéra-Comique; grand opéra to the Grand Opéra and Italian opera to the Théàtre Italien. See Lacombe, H., ‘Définitions des genres lyriques dans les dictionnaires français du XIXe siècle’, in Le théàtre lyrique en France au XIXe siècle, ed. Prévost, Paul (Metz 1995);Google ScholarLacombe, H., ‘De la différentiation des genres: Réflexion sur la notion de genre lyrique français au début du XIXe siècle, Revue de muskologie, 84/2 (1998), 247–262.Google Scholar Traditionally, the sung parts of an opéra-comique were in verse and the spoken dialogue in prose. The spoken dialogue quoted in this article have been translated without also giving the original French (as have the stage directions).

2 One should consult the rich bibliographic references that Locke, Ralph P. proposes in ‘Constructing the oriental “Others”: Saint-Saëns's Samson et Dalila' this journal, 3, (1991) 261–302.Google Scholar

3 Dance participates simultaneously in the scenic spectacle by virtue of its choreography, in the literary aspect of the work when the text evocatively suggests that a song also be danced to, and finally in the music, which realises its sonorous form.

4 See my essay on this subject, Les voies de l'opéra français au XIXe siècle, Paris 1997, especially chapter 8.Google Scholar

5 It would be necessary, following this study, to consider the libretti with the scores, comparing the productions of the Opéra with those of the Théàtre-Lyrique in order to analyze the reception of the various works.

6 Especially conceptions of ‘exotic space’. For exoticism in French opera of the nineteenth century, see Lacombe (n. 4), 183–209, 307–08.

7 This is the case even if the composer writes without the aid of the text, which is added afterwards by the librettists who trace their verses onto the “monster” (verse written by the composer in order to compose the vocal parts). The composer writes for a particular feeling or situation.

8 See, for example, s.v. ‘Orient’ in Larousse's, PierreGrand dictionnaire universel du XIXe siècle (Paris 1866–1879), 17 vol.;Google Scholar or Thornton's, Lynne preface to her Les Orientalistes, peintres-voyageurs, 1828–1908 (Paris 1983).Google Scholar

9 Hugo, Victor, ‘Preface’ [01, 1829], Les Orientales (Paris 1972), 209.Google Scholar

10 These differences are not greater than those between Spanish exoticism and Egyptian exoticism; both countries being considered part of the ‘Orient’. Flora and Fauna, architecture and curious costume, dark hued men, slaves, the desert, a burning sun, etc., are all markers of both Oriental and American exoticism, despite some differences between these types.

11 Said, Edward W., Orientalisme, L'Orient créé par l'Occident, new edn (Paris 1997), 17.Google Scholar This book first appeared in English in 1978.

12 I have assigned this year as the date of origin (at the Opéra-Comique) of this work.

13 Soubies, Albert, Soixante-neuf ans à l'Opera-Comique en deux pages, de la première de ‘La Dame Blanche’ á la millième de ‘Mignon’, 1825–1894 (Paris 1894).Google Scholar

14 In order to approximate a ‘final’ version of the libretti and avoid any confusion among the various types of sources, I have limited myself to these edited versions, without recourse to the nearly complete collection of manuscript libretti preserved at the National Archives of Paris, which often contain a modified version of the original. Each work would ideally require individual study in order to determine what has been retained for its creation. On the subject of ‘the work in progress’ see Lacombe (n. 4), particularly pages 25–33.

15 Fétis ‘Théâtre de l'Opera-Comique’, Revue musicale, IXe année, n. 25 (21 06 1835), 195, 197.Google Scholar

16 To give an idea of how Grétry's works have been recycled, I will cite: Le Tableau parlant of 1769 (1825–31; 1833; 1835–38; 1851–53; 1855–56; 1863–65), Zémire et Ayr of 1771 (1826–30; 1832; 1834–36; 1846–48; 1862), L'Amant jaloux of 1878 (1825–28; 1850–51), L'Epreuve villageoise of 1784 (1825–28; 1831; 1853–61; 1866–68; 1888), Richard Coeur-de-Lion of 1784 (1825–27; 1841–47; 1856; 1873–76; 1880–84; 1886–89; 1891–93).

17 Théophile Gautier, Poésie complète vol. II (Paris 1880).Google Scholar