Robinson Crusoé is an opéra comique with music by Jacques Offenbach and words by Eugène Cormon and Hector-Jonathan Crémieux. It premiered in Paris on 23 November 1867.
The writers took the theme from the 1719 novel Robinson Crusoe by Daniel Defoe, though the work owes more to British pantomime than to the book itself. Crusoé leaves his family in England and runs away to sea. He is marooned on an island with only his friend and helper Vendredi (Man Friday) for company. His fiancée and two family servants come to the island in search of him, and after narrow escapes from cannibals and pirates they seize the pirates' ship and set sail for home.
The opera was written for the prestigious Opéra-Comique in Paris, his second work for that theatre, following the unsuccessful Barkouf seven years earlier. The music is on a grander scale than that of most of the composer's earlier works. The opera was well received but ran for only 32 performances. In the 20th century it was not revived until the 1970s (in London) and was not seen again at the Opéra-Comique until 1986.
Background and first production By the mid-1860s Offenbach had established himself both in Paris and internationally with his opéras bouffes Orphée aux enfers (1858), La belle Hélène (1864), La vie parisienne (1866) and La Grande-Duchesse de Gérolstein (1867) and many others. These were box-office successes in commercial theatres, but the composer's only work for the prestigious state-owned Opéra-Comique, Barkouf (1860), had been a failure, hampered by a plot described by Hector Berlioz as puerile. Since then Offenbach had hoped for a triumphant return to the Opéra-Comique, which commissioned a new work from him for the 1867 season. The piece was described as an opéra comique – regarded by the musical establishment as a superior genre to Offenbach's more usual opéra bouffe.; and Audiences at the Opéra-Comique were more straight-laced than those at the Bouffes-Parisiens, Variétés and other Parisian theatres where Offenbach's works were usually seen, and Offenbach, determined not to alienate them, chose a familiar subject, Robinson Crusoe. It was well known to Parisian audiences from stage adaptations, particularly one by René-Charles Guilbert de Pixérécourt described by Le Figaro as "a happy amalgam of Shakespeare and Daniel de Foë" . In the version by Offenbach's librettists, Eugène Cormon and Hector Crémieux, the first act opened with a reassuringly bourgeois scene: Crusoé senior reading the Bible while his wife busies herself at the spinning wheel. Later in the piece came the expected can-can and the equally required waltz-song.White, Don (1980). Notes to Opera Rara CD set OR228
Robinson Crusoé opened at the Opéra-Comique (Salle Favart), on 23 November 1867. Among the cast, playing Vendredi, was Célestine Galli-Marié, later to achieve fame as the first Carmen. The opening night was reported by Le Figaro as a considerable success, with many numbers being encored, but the piece ran for only 32 performances.
Roles
+RoleVoice typePremiere cast, 23 November 1867,Conductor: Jacques OffenbachRobinson CrusoétenorAchille MontaubryVendredi (Man Friday)mezzo-sopranoCélestine Galli-MariéEdwige, Robinson's fiancéecoloratura sopranoMarie CicoSuzanne, a servantsopranoCaroline GirardToby, a servanttenorCharles-Auguste PonchardJim Cocks, a neighbour then cannibal cheftenorCharles-Louis Sainte-FoySir William CrusoébassCrostiLady Deborah Crusoémezzo-sopranoAntoinette-Jeanne RévillyWill AtkinsbassFrançois BernardSailors, natives, etc
Synopsis
Act 1 At the Crusoé family home in Bristol, Lady Crusoé, her niece Edwige and Suzanne, the maid, prepare for Sunday tea, while Sir William pointedly reads aloud the parable of the Prodigal Son from his Bible. Robinson finally arrives disgracefully late, but, a cherished only child, he easily persuades his parents to forgive him. Taking Toby aside, he explains that he has booked passages to South America for them both that very night on the schooner in the harbour. Edwige, realising that she is in love with Robinson, begs him to stay. He is tempted to remain, but she realises she will lose him if he forgoes his dream for her sake. Toby withdraws from the venture – at Suzanne's insistence – but Robinson knows he has to go alone to seek his fortune.
Act 2 Six years later, Robinson is on a desert island at the mouth of the Orinoco, having escaped from pirates who attacked his ship. He has only one companion, Vendredi, whom he earlier rescued from being sacrificed to the gods by the cannibal tribe on the island. Robinson dreams of Edwige, and tries to explain his feelings to Vendredi.
In another part of the island, Edwige, Suzanne and Toby have arrived to look for Robinson. They too have been attacked by and escaped from pirates. Toby and Suzanne are captured by the cannibals, and meet their old Bristol neighbour Jim Cocks. He had run away to sea ten years earlier, and, captured by the cannibals, has become their cook. He cheerfully informs Suzanne and Toby that they will be the cannibals' dinner that evening. At sunset, Edwige is brought in by natives, who believe that she is a white goddess. She is to be sacrificed to their god, Saranha. Vendredi spies all this, and is smitten with Edwige. When the fire is lit, he fires Robinson's pistol, the natives flee, and he rescues Edwige, Suzanne, Toby and Jim Cocks.
Act 3 The next day Robinson discovers Edwige sleeping in his hut and they are blissfully reunited. Vendredi explains that the pirates have left their ship, allowing the English group the chance to seize it and to return to England while the pirates feast and dance. Robinson, feigning insanity, fools the pirates with a story of treasure buried in the jungle and they go off to find it, but are caught by the cannibals. Robinson wields the pirates' guns and the pirates plead to be saved. Robinson agrees, and all set sail for Bristol once again, with the pirate chief, as ship's captain, marrying Robinson and Edwige at sea.
Numbers
Act 1 Overture Introduction – "Et la maison était calme et prospère" Air de Robinson – "Voir, c'est avoir; allons courir" Ensemble – "A table donc, on fait grâce" Ronde – "Debout, c'est aujourd'hui dimanche" Ariette – "Tom était un danseur ingambe" Quatuor – "Ne le voyez-vous pas?" Romance – "S'il fallait qu'aujourd'hui" Ensemble – "Le voilà pris!" Duo – "Apprenez, mon cousin" Rondo – "Mon bon ami, j'ai réfléchi" Prière – "Seigneur, que ses jours soient bénis" Final – "Edwige, adieu"
Act 2, scene 1 Entr'acte symphonique Grand air de Robinson – "Au seul bruit de mes pas … Salut, chaumière" La chanson de Vendredi – "Tamayo, mon frère" Duo – "Mon âme à ses regrets ne veut plus se rouvrir" Scène et rêve – "Le soleil fuit, l'ombre s'avance"
Act 2, scene 2 Entr'acte – Marche des sauvages and Lever de rideau Mélodrame Chanson du pot-au-feu – "Je prends un vase de terre" Duo – "O mon Toby, mon doux ami" Mélodrame Choeur dansé – "Allons, guerriers des plages désertes" Scène – "Femmes, amenez la belle fiancée" Valse chantée – "Conduisez-moi vers celui que j'adore"
Act 3, scene 1 Entr'acte Berceuse – "Beauté qui viens des cieux" Ariette – "Oui, c'est un brun, mais c'en est un" Trio – "Âme de mon âme" Sextuor – "Terrible homme des bois" Romance – "Je veux partir, bénissez-moi" Couplets – "Maître avait dit à Vendredi" Quatuor – "Veux-tu, mon bonhomme"
Act 3, scene 2 Mélodrame Choeur de matelots – "Buvons, chantons" Scène – "Le chant des Tamayos" Final – "Partons, amis"
Revivals In January 1868 Offenbach travelled to Vienna to oversee a production at the Theater an der Wien,"Music", The Sunday Times, 26 January 1868, p. 3 and the opera was staged at the Théâtre Royal de la Monnaie in Brussels the following month."Music", The Morning Post, 21 February 1868, p. 5 A German version for production in Darmstadt was planned for 1870 but the outbreak of the Franco-Prussian War put paid to that.Sterne, Ashley. "Defoe Defied", Radio Times, 23 April 1937, p. 8 The piece was given in the US by a children's company; a heavily adapted version was presented in Germany as Robinsonade in the 1930s; and the BBC broadcast an abbreviated version of the opera on several occasions in the 1930s and 1940s."Offenbach: Robinson Crusoe", BBC Genome, BBC. Retrieved 19 March 2019
The first professional stage revival in the 20th century was in 1973, at the Camden Festival, London. It was given in an English adaptation by Don White. The cast was: Sir William Crusoe – Wyndham Parfitt; Lady Deborah Crusoe – Enid Hartle; Edwige – Janet Price; Suzanne – Sandra Dugdale; Will Atkins – Wyndham Parfitt; Robinson Crusoe – Ian Caley; Toby – Noel Drennan; Man Friday – Sandra Browne; Jim Cocks – Peter Lyon. The Camden production was licensed to the London Opera Centre in 1974, and presented at Sadler's Wells Theatre, with two different casts. Among the first cast were David Bartleet (Robinson Crusoe), Angela Bostock (Edwige), Ann Murray (Friday), Anna Bernadin (Suzanne), Michael Scott (Toby) and Clive Harré (Jim Cocks). The LOC revived the production in 1976. Marcus Dods conducted both revivals."Sadler's Wells – Robinson Crusoe", The Stage, 12 August 1976, p. 12 In 1983 Kent Opera presented the work in a production by Adrian Slack using the Don White English version; Roger Norrington (who "lavished as much care on the score as if it had been by the real Mozart") conducted,Milnes, Rodney. British Opera Diary – Robinson Crusoe; Kent Opera at the Orchard Theatre, Dartford. Opera, January 1984, Vol. 35, No. 1, pp. 90–91. and the cast included Neil Jenkins (Robinson); Gerwyn Morgan (Sir William); Vivian Tierney (Edwige); Eirian James (Friday); Eileen Hulse (Suzanne); Andrew Shore (Will Atkins) and Gordon Sandison (Jim Cocks).Russell, Clifford. "Neglected Crusoe", The Stage, 10 November 1983, p. 16
Robinson Crusoé was revived at the Opéra-Comique in 1986–1987, in a production directed by Robert Dhéry. There were two casts: Robinson – Gérard Garino, Christian Papis; Sir William Crusoé – Fernand Dumont, Jean-Louis Soumagnas; Toby – Antoine Normand, Christian Papis; Jim Cocks – Jean-Philippe Marlière, Michel Trempont; Atkins – Michel Philippe; Vendredi – Cynthia Clarey, Sylvie Sullé; Edwige – Danielle Borst, Lucia Scappaticci; Suzanne – Eliane Lublin, Marie-Christine Porta; Deborah – Anna Ringart, Hélia T'Hézan. The conductors were Michel Tabachnik and John Burdekin."Robinson Crusoe", MémOpéra, Opéra National de Paris. Retrieved 19 March 2019. It was not seen again in Paris until December 2025, when a production by Laurent Pelly was mounted at the Théâtre des Champs-Élysées with Sahy Ratia in the title role, Julie Fuchs as Edwige, Adèle Charvet as Vendredi, Marc Mauillon as Toby and Laurent Naouri as Sir William, conducted by Marc Minkowski.Blanmont, Nicolas. Reports from Paris. Opera March 2026, Vol. 77 No. 3, p. 404-5.
Opera della Luna's 1994 production of the work toured and was revived at the Iford Arts Festival in 2004."Theatre Week", The Stage, 9 June 1994, p. 10 The work was again presented at Sadler's Wells in 1995: British Youth Opera was conducted by Timothy Dean."Sadler's Wells – Robinson Crusoe", The Stage, 28 September 1995, p. 15 Ohio Light Opera produced the work in 1996.Clarke, Kevin. "Offenbach and Opera Rara" , Operetta Research Center, 19 March, 2018. Retrieved 14 March 2019 In London there have been productions by the students of two conservatoires: the Guildhall School of Music and Drama (1988), with Susannah Waters as Edwige,Forbes, Elizabeth. Student Performance – Robinson Crusoe; Guildhall School of Music and Drama. Opera, August 1988, Vol. 39, No. 8, pp. 1012-1013. and the Royal College of Music (2019).
The first production in Russia took place in March 2022 by the Stanislavsky and Nemirovich-Danchenko Music Theatre directed by Alexander Titel and conducted by Arif Dadashev.Alexandre Matoussevitch. Report from Moscow. Opear, September 2022, Vol.73 No.9, p1126-27.