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Andre Grétry
Apr. 24th, 2015 10:21 amSeems it is going to be another fine day , which is a good thing, as i am off to Bromley today but first a stint at the Office before i do so.
One of the visits is a charity shop, so i might have some wonderful goodies to bring back wit me.
For now , here is a hidden treasure and a composer that is new to me, but only heard about from an issue of History Today , Sept 2014 which i found for 20 pence.
He is Andre Grétry , and this is his Richard Coeur de Lion (Richard The Lion Heart)
he apex of French composer André-Ernest-Modeste Grétry's {1741-1813} long and successful career saw the Parisian production of "Richard, Coeur-de-lion" (1784) together with the success at the Opéra of "La caravane du Caire" (1783) - works which are often noted as the epitome of musician's innovations to the genre of opéra comique. The various temptations to create further large-scale entertainments for the Opéra led to further engagements which, however, proved the beginning of a gradual twilight for Grétry. Still, the composer's works remained in vogue well into the 19th century, while his role in establishing Italianate operatic elements in the musical landscape of 18th century France could not be denied. But then Grétry was one of the first French composers to have been blessed with a long formative period in Italy {1760-66}, and, indeed, seemed aware of the possibilities this formation allowed him. "Many [in France] have tried to write music in the Italian taste but have had no success, since the prosody of the language was incorrect... I believe I have overcome this problem", - wrote the composer as early as 1767. In this case, we will approach an excerpt from "La caravane" which certainly speaks in favor of Grétry's self-assessment.
And his Le caravane du Caire (1783) ~ "Frà l'orror della tempesta"
≈ Narrative ≈
"Le caravane" basically operates as a traditional Orientalist rescue opera: the brave Saint-Phar (tenor) and his wife Zelime (soprano) have been captured by the slave-merchant Husca (bass). The young man manages to secure his freedom by protecting the caravan against a group of Arabs but Zelime is ultimately bought in Cairo by the Pasha (bass). Saint-Phar does, of course, attempt to steal his wife away during a grand feast, is captured and saved by the French commander Florestan (baritone) who turns out to be the fellow's father, precluding the possibility of any bad blood with the Pasha.
≈ Music ≈
While "Le caravane" is on the whole a work of rather characterful music for all parties involved, the coup de theater is achieved in the long virtuoso aria which is presented by the Italian slave girl. It is, in fact, a section of a grand divertissement which occurs in Act II, as the Pacha selects a new woman to add to his seraglio. The text derived from Metastasio is familiar enough territory - an invocation of a treacherous tempest which finally gives way to "a ray of hope" - but it forms the base of a brilliant showpiece recalling in some gestures {if not in dramatics} Mozart's "Martern aller Arten" written just a year before and wonderfully capitalizing on the past century's history of "storm arias". The aria is preceded by an extended prelude: after a dramatic ornamental sweep from the violins against the long tones of the oboe|brass {0:12} the solo flute proceeds through a richly decorated version of main thematic material {0:33} which is then taken up by the soprano in the aria proper {1:30}, the singer gradually moving from an initially imperious manner to the expected but delightful series of quadruplets and triplets {2:16} The orchestra actively supports the voice, frequently replicating, echoing and even prompting the lines of the soloist. Moreover, Grétry provides light touches of textual painting, such as the descending duplets {1:38} or the brisk surges {2:04} in the violins on the word "storm" or the enchanting exchanges between flute|violins above the soprano's musings on the "ray of hope" {1:48}. The brief B section moves into minor, as the soprano, against the descending lines of the oboe|alt|bass and the descending figures in the violins, once again recalls "the terrors of the tempest" {3:14}. A cadenza for the flute {3:37} returns us to a recapitulation of the A section. Initially, the da capo replicates the earlier material but a different transition is used {4:16} to set up the second, even longer and more extravagant series of coloratura passages ending with an impressive flourish covering practically the soprano's entire range {4:48}. A final daring ornamental flight {5:52} is followed by a traditional coda setting up the possibility of an unaccompanied cadenza for the soloist fully realized in the present case {6:24}. All these light touches turn what could have been basic coloratura fair into a wonderfully animated concentrato for solo voice.
One of the visits is a charity shop, so i might have some wonderful goodies to bring back wit me.
For now , here is a hidden treasure and a composer that is new to me, but only heard about from an issue of History Today , Sept 2014 which i found for 20 pence.
He is Andre Grétry , and this is his Richard Coeur de Lion (Richard The Lion Heart)
he apex of French composer André-Ernest-Modeste Grétry's {1741-1813} long and successful career saw the Parisian production of "Richard, Coeur-de-lion" (1784) together with the success at the Opéra of "La caravane du Caire" (1783) - works which are often noted as the epitome of musician's innovations to the genre of opéra comique. The various temptations to create further large-scale entertainments for the Opéra led to further engagements which, however, proved the beginning of a gradual twilight for Grétry. Still, the composer's works remained in vogue well into the 19th century, while his role in establishing Italianate operatic elements in the musical landscape of 18th century France could not be denied. But then Grétry was one of the first French composers to have been blessed with a long formative period in Italy {1760-66}, and, indeed, seemed aware of the possibilities this formation allowed him. "Many [in France] have tried to write music in the Italian taste but have had no success, since the prosody of the language was incorrect... I believe I have overcome this problem", - wrote the composer as early as 1767. In this case, we will approach an excerpt from "La caravane" which certainly speaks in favor of Grétry's self-assessment.
And his Le caravane du Caire (1783) ~ "Frà l'orror della tempesta"
≈ Narrative ≈
"Le caravane" basically operates as a traditional Orientalist rescue opera: the brave Saint-Phar (tenor) and his wife Zelime (soprano) have been captured by the slave-merchant Husca (bass). The young man manages to secure his freedom by protecting the caravan against a group of Arabs but Zelime is ultimately bought in Cairo by the Pasha (bass). Saint-Phar does, of course, attempt to steal his wife away during a grand feast, is captured and saved by the French commander Florestan (baritone) who turns out to be the fellow's father, precluding the possibility of any bad blood with the Pasha.
≈ Music ≈
While "Le caravane" is on the whole a work of rather characterful music for all parties involved, the coup de theater is achieved in the long virtuoso aria which is presented by the Italian slave girl. It is, in fact, a section of a grand divertissement which occurs in Act II, as the Pacha selects a new woman to add to his seraglio. The text derived from Metastasio is familiar enough territory - an invocation of a treacherous tempest which finally gives way to "a ray of hope" - but it forms the base of a brilliant showpiece recalling in some gestures {if not in dramatics} Mozart's "Martern aller Arten" written just a year before and wonderfully capitalizing on the past century's history of "storm arias". The aria is preceded by an extended prelude: after a dramatic ornamental sweep from the violins against the long tones of the oboe|brass {0:12} the solo flute proceeds through a richly decorated version of main thematic material {0:33} which is then taken up by the soprano in the aria proper {1:30}, the singer gradually moving from an initially imperious manner to the expected but delightful series of quadruplets and triplets {2:16} The orchestra actively supports the voice, frequently replicating, echoing and even prompting the lines of the soloist. Moreover, Grétry provides light touches of textual painting, such as the descending duplets {1:38} or the brisk surges {2:04} in the violins on the word "storm" or the enchanting exchanges between flute|violins above the soprano's musings on the "ray of hope" {1:48}. The brief B section moves into minor, as the soprano, against the descending lines of the oboe|alt|bass and the descending figures in the violins, once again recalls "the terrors of the tempest" {3:14}. A cadenza for the flute {3:37} returns us to a recapitulation of the A section. Initially, the da capo replicates the earlier material but a different transition is used {4:16} to set up the second, even longer and more extravagant series of coloratura passages ending with an impressive flourish covering practically the soprano's entire range {4:48}. A final daring ornamental flight {5:52} is followed by a traditional coda setting up the possibility of an unaccompanied cadenza for the soloist fully realized in the present case {6:24}. All these light touches turn what could have been basic coloratura fair into a wonderfully animated concentrato for solo voice.
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