Enguerrande is a lyrical drama in four acts and five scenes with music by Auguste Chapuis and libretto by Victor Wilder based on the poem by Émile Bergerat. First performed at the Opéra-Comique (Paris) on 2 May 1892, conducted by Jules Danbé, with Henri Carré as choir director and costumes by Costume designs, Gallica
Roles + Role Voice type Premiere cast, 2 May 1892Conductor: Jules Danbé Enguerrande dramatic soprano Miss Boucart Gaëtan tenor Étienne Gibert Noéma, a flower girl soprano Jane Horwitz (1866–1909) A woodcutter bass or baritone René FournetsPau, 1858 – Paris, 1926 Arias tenor Mr. Julien Mélibée baritone Lucien Fugère Orlitz bass C. Bernaert The archbishop lyric bass (Hippolyte ?) Fierens Chorus: Notables of Palermo, courtiers, courtesans, commoners, soldiers
Reception The author of the libretto, Victor Wilder,Jérôme Albert Victor van Wilder (1835 Wetteren, Belgium – 8 September 1892, Paris. Wilder's funeral took place on 12 September 1892 at Passy Cemetery : Gil Blas, 13 September 1892, Gallica was a Belgian musicologist, librettist, and journalist who wrote music reviews for several newspapers, notably Le Ménestrel and then Gil Blas. He was best known as the translator and adapter of numerous opera libretti into French, including those of Richard Wagner.About Wilder: Pierre Larousse, Grand dictionnaire universel du XIXe siècle, Gallica. Wilder is also the author of biographies: Mozart, l'homme et l'artiste (Paris, 1881) and Beethoven, sa vie et son œuvre (Paris, 1883). As a critic, he was well known for his harshness. At the time of the premiere of Enguerrande, he was a former member of Le Ménestrel, where there were still people who had scores to settle with him. He was also active in the Wagnerian camp. The review of Enguerrande in Le Ménestrel was signed by Henri Moreno—alias Henri Heugel, son of the founder of Le Ménestrel. Le Ménestrel defended traditional French musical art and was critical of the aesthetic excesses of Wagnerism"…Le Ménestrel remains one of the most valuable reflections on musical life in France between 1833 and 1940, the year it ceased publication. A champion of French music, particularly the works of Ambroise Thomas and Félicien David, as well as composers published by Heugel, the editor of Le Ménestrel, who called upon the most serious writers, declared himself vehemently anti-Wagnerian." Opendeditions (and the composer, Théodore Dubois, was an anti-wagnerian). One columnist summed up this trend by stating that "Wagner brought boredom to the theater on a truly epic scale.": Adelaïde De Place, 'La critique musicale dans les journaux au XIXe siècle', p. 17-29, on Openedition In his article, Moreno recalls one of Wilder's caustic remarks at the premiere of Aben-Hamet (Théodore Dubois's opera on a libretto by Léonce Détroyat) on 16 December 1884: "Zulema, the mother, is a silly old goose, and Alfaïma and Bianca are two gobbling turkeys. As for Aben-Hamet, he's not just the last of the Abencerrages — he's also the biggest donkey you'll ever see on stage." V. Wilder, Gil Blas, 18 December 1884, Gallica
The harshest criticisms on Enguerrande undoubtedly come from Moreno, in Le Ménestrel: : Le Ménestrel, Gallica he recalls that while the public and critics had praised Dubois's opera, "the small clan of certified Wagnerians had vilified it, particularly those Wagnerians who were exclusive and close-minded, grumpy and arrogant", undoubtedly a description of Wilder. The premiere of Enguerrande thus gave anti-Wagnerian critics the opportunity for a rematch. Moreno criticised the libretto, stating that "His 'drama' Enguerrande is nothing more than old Scribe, minus the skill and finesse that this author, so despised by the new decadent classes, knew how to bring to this kind of thing." In this libretto, Moreno recognised "two distinct currents, each following its own path without ever uniting or merging": the one due to Bergerat ("impulsive, more than brilliant, dazzling, casually throwing around rare terms and picturesque rhymes, full of exuberance and fantasy"); the other due to a man "who never quite managed to shed his Flemish roots, despite more than twenty years of Parisian asphalt, stale common sense, pondering over each point and every comma, never uttering a word without having carefully weighed it, a solid fighter, with a somewhat limited, yet not insignificant, vocabulary."
The audience's reaction was not enthusiastic. Even during the dress rehearsal, they laughed a little too much. Moreno regrets that the authors did not "push things even further." He adds: "They would have had the chance to repeat the legendary success of L'Auberge des Adrets [by Benjamin Antier, Polyanthe and Saint-Amand], which is famous for its character Robert Macaire,Théâtre de l'Ambigu-Comique (2 July 1823) which was initially a dark drama lacking any kind of spice, and which Frédérick Lemaître's verve transformed, in a stroke of genius, into an epic comedy. The transformation would have been just as easy for Enguerrande, and it is regrettable that the authors did not think of it. It is so good to laugh a little!"
Moreno has reservations about the quality of the performance: "The singers were thrown off balance by the sarcasm of the audience, who had decided to laugh at everything rather than be bored." A. Ragourd, the critic of La Diane, is less harsh, noting that "Mr Gibert is improving; he sings the role of Gaëtan with accents of tenderness to which his brilliant but somewhat rough voice has adapted." Ragourd also compliments the orchestra and its conductor, but begins by pointing out that "the play flopped from the very first night." La Diane, Gallica He added: "The play was staged without much expense or care by the management; then, having searched in vain for an Enguerrande in Paris, they fell back on a provincial singer who was not up to the task of playing such a role; finally, the libretto, which had been reworked and reworked, was too fanciful; so the enthusiastic audience laughed at everything, listening for the slightest word to make fun of." The critic of La Cocarde: La Cocarde, Gallica notes that "in many places, the 'lyrical' (?) version is written in a form and language that are not worthy of the purest poetry", which undoubtedly reveals his consummate mastery of understatement.
The critics hailing the new opera : Gil Blas 11 May 1892, Gallica are essentially those writing in Gil Blas, and . They are conscious of some weaknesses but do not really acknowledge them. O'Monroy attempts to justify the libretto's excessive fantasy by placing it within a grand tradition that includes Shakespeare and Molière: the libretto says that the story is set in a fantastical version of Sicily during an imagined time. He reminds his readers of the historical and cultural significance of Italy, especially Sicily, as a setting for lyrical poetry and drama. The island's diverse and dramatic landscapes have inspired poets, including Shakespeare and Molière. The article specifically mentions Molière's Le Sicilien ou l'Amour peintre, a play full of fantasy and imagination, which was soon to be revived at the Comédie-Française.Molière, Le Sicilien ou l'Amour peintre (The Sicilian, or Love the Painter) was revived on 30 May 1892 at the Théâtre français, with incidental music by Camille Saint-Saëns
His colleague takes issue with the staging – but in a light-hearted, humorous way: "I seem to remember seeing the backdrop in Cavalleria rusticana, and the palace on the left in Benvenuto Cellini, but hey, Italy is still Italy."
Basically, what bothered them most was the music. For Massiac there were in the past too many "pages without real meaning, without sincerity, without depth." He concludes that "art needed to be reformed and renovated, and powerful minds came along and sparked a 1789-style revolution in dramatic music." The French are at the forefront of this movement, and Chapuis "is one of the best in this noble battalion." This explains why some (not real musicians) may not have loved the opera : "Furthermore, although the young musician's work as a whole may be a little dense, heavy and overflowing, it nonetheless contains remarkable qualities, qualities of the highest order for any musician." The work is therefore a great success, even if the young Chapuis still has room for improvement: "If only the orchestration were not so abundant! Mr Chapuis, like all beginners, has yet to learn the art of moderation; he wants to say everything, and say it all at once! Nevertheless, his score is of the utmost interest..."
In the second article devoted to Enguerrande in that day's edition of Gil Blas, O'Monroy begins by mentioning the presence of notable figures, the Prince of Sagan and the Marquis de , and later places himself under the authority of the very popular Rodolphe Salis (owner of Le Chat Noir) to win over the audience. He then recounts the plot of the opera, highlighting the encores and curtain calls that certain numbers elicited.
The critic of La Diane points out, however, that it was the composer whose name "was applauded when the curtain fell", while Moreno emphasises the fact that although the libretto gave Chapuis a hard time, he managed quite well: "His score, somewhat dull on the whole and often disjointed, nonetheless contains passages that do him credit. The choruses are remarkably well handled and beautifully sonorous. We love the entire beginning of the work, solidly grounded with its pretty ballad of the Seagulls, the Woodcutter's song in the second act, which has style, the entire vigorous finale of the call to arms, and the love duet in the fourth act. At times, there is a little muddiness in the orchestration, and at other times, inexplicable gaps. In summary, it is a work that shows promise for the future, without being subversive in any way."
Summary Source:https://gallica.bnf.fr/ark:/12148/bpt6k7525005s/f3.item.r=enguerrande.zoom : Gil Blas, 11 May 1892
The first act begins in a public square in Palermo. King John III is dying. In the cathedral, the people sing a "Kyrie eleison" to thank the Lord for finally delivering them from this "fatal tyrant whom no friend mourns", has caused the deaths of many innocents, has sold justice, and has exiled his best subjects. However, the archbishop emerges from the palace and touches the hearts of the people with his words of charity. They follow him to the cathedral, where he prays for the dying man. Only Noema, a young flower girl, remains behind, unwilling to join the others. Her father is exiled. When will she see him again? She abandons herself to a touching, melancholy reverie, which is interrupted by a gentleman who questions her. The king's heir is Gaetan XII. He is beloved in Palermo, and Noema herself speaks enthusiastically of him. Everything is fine; he will be king. But Noema objects, saying that Gaetan would refuse the crown. Why? Could he be in love? Without a doubt. With whom? With everyone! "He will be king!" exclaims the delighted gentleman. "I will be the one to force him to accept!"