Features of drama and music of the opera “The Huguenots”. The inconsistency of Meyerbeer's artistic appearance
The humanistic idea of the opera "The Huguenots", its brilliant theatricality, connections with modernity and national artistic traditions aroused the admiration of many prominent people of France, including Balzac and Georges Sand. However, the majority of advanced musicians in Europe (Rossini, Schumann, Wagner, Serov) reacted sharply negatively to Meyerbeer. The reason for this lies in the contradictory nature of Meyerbeer’s own creative image.
Unlike Berlioz, Wagner, Schumann and many other romantic composers, Meyerbeer was not in ideological opposition to modern society. His sphere of activity was the Parisian Grand Opéra, which enjoyed the support of the “golden bags”. Meyerbeer did not, like Wagner, think about a radical reform of musical theater. He did not expose the spiritual misery of bourgeois culture, as Berlioz, Schumann, and Liszt did in their journalistic works, and he did not rebel against it in his work. He consciously compromised, trying to reconcile advanced artistic aspirations with the reactionary views of the environment on which his career depended.
This duality characterizes the ideological concept of even Meyerbeer’s best work, “The Huguenots” (and to an even greater extent, “The Prophet”). Raising the topical issues of our time - the theme of the fight against clerical reaction for freedom of thought and feelings - gravitating towards the heroic embodiment of these themes, Meyerbeer, together with Scribe, nevertheless interpreted them in the spirit of that superficial entertainment and hedonism that are characteristic of the art of French bourgeois society of the Restoration period and July Monarchy.
And Meyerbeer's music is marked by compromise and contradictory artistic decisions.
On the one hand, it delights with its innovative features. Striving to embody the most vivid and colorful stage image, Meyerbeer discovered many previously unknown expressive properties of musical art.
He achieved especially strong artistic effects in numerous crowd scenes, among which the picture of the bloody massacre of St. Bartholomew's Night stands out.
Among his contemporaries, Meyerbeer had no rivals in the art of constructing large musical and dramatic forms. In this he surpassed Rossini, whose “William Tell” served as his model. The masterpieces of his operatic composition include the scene of the Catholic conspiracy from the second act of “The Huguenots,” where a remarkable internal unity is created through end-to-end orchestral development and a single tonal plan (E-A-E).
In the bright folk scenes of the third act (as in a number of other crowd scenes), the composer managed to combine scattered contrasting stage episodes into one musical whole.
The composer's brilliant theatrical flair is evidenced by many other musical effects he discovered for the first time. Meyerbeer's romantic, sometimes sophisticated, harmonic language was inextricably linked with the stage image. As an example, we can point to the bold harmonies through which the composer repeatedly characterizes the Catholics in “The Huguenots.” Thus, the mystical flavor of the scene in the chapel is created by a plagal comparison of chords:
The consecration of swords in the episode of the Catholic conspiracy is built on unusual and poignant-sounding, colorful comparisons:
In the final scene of the mass pogrom, ominous images of Catholic murderers are expressed in an archaic motif on the shrill sound of trumpets:
Sometimes, along with the simplest tonic-dominant combinations, Meyerbeer resorts to extremely complex, even polytonal ones, as, for example, in the opera “Camp in Silesia,” where the simultaneous sound of different tonalities characterized the joint exit of various military regiments *.
* “Camp in Silesia” (1844) - Singspiel written for Berlin. Meyerbeer maintained contact with Germany during the Parisian period. In 1842 he was appointed chief music director at the Prussian court.
The historical flavor of the music of “The Huguenots” is also achieved by the sound of an authentic Protestant chorale of the 16th century, which characterizes the Huguenots in the opera. The ancient instrument viola d'amour, which accompanies Raoul's romance (in the first act), transports the listener to a distant era.
In the instrumentation, Meyerbeer especially revealed a subtle dramatic flair. Together with Berliozov's, it constituted an entire era in the history of orchestral music. Along with ancient instruments, Meyerbeer also uses the newest ones, such as the saxophone. He introduces an organ to achieve a special power of sound, uses trombones and bassoons, as Berlioz did to depict diabolical fantastic images (in Robert the Devil).
The strengths of Meyerbeer's music also include the wide implementation of the latest achievements of the musical art of France, Germany and Italy.
More than a quarter of a century passed between Meyerbeer's first and last great Parisian opera, a time rich in musical innovation in Europe. Each of Meyerbeer's operas reflected the latest stage of his development. Thus, the musical language of “Robert the Devil” is still to a large extent connected with the range of images and intonations of the romantic singspiel and Rossini’s operas. The music of “The Huguenots” speaks of the enormous influence of the dramaturgy of “William Tell” and the symphony of Berlioz. It is noticeable that “The Prophet” was created after the author became acquainted with the works of Liszt and Wagner. In "The African Woman", completed in 1864, shortly before the composer's death *,
The latest trends in French lyric opera are clearly noticeable (the predominance of sophisticated lyricism, exotic “oriental” tendencies, harmonic sophistication characteristic of this genre).
The music of the Huguenots is based on a variety of stylistic sources. Here you can find Italian bel canto, French declamation, German symphonic development, Berlioz’s orchestral discoveries, and some techniques of romantic opera in Germany. For example, the drinking song of the knights (in the first act) or the song of the Huguenot soldier of Marseille are associated with the musical style of the comic genres. This music is distinguished by its closeness to folk songs, simple harmonies, dance or march rhythms:
Italian coloratura dominates the roles of the page Urban (picture in the first act) and Margarita (introduction and aria of the second act). The subtlety of French operatic declamation is palpable in the recitative scenes.
In some episodes of the opera, Meyerbeer achieves great expressiveness. One of his musical peaks is the magnificent love scene of the fourth act, which was highly appreciated by P.I. Tchaikovsky:
“Excellent music with its most amazing, superior love scene among all works of this kind, with its excellent choirs, with its instrumentation full of novelty and original techniques, with its impetuously passionate melodies, with its skillful musical characterization of Marseille, Valentina, the religious fanaticism of the Catholics and the passive the courage of the Huguenots,” he wrote.
From the love duet of the fourth act, threads stretch to Berlioz's Romeo, to Verdi's Aida and Wagner's Tristan.
And, however, despite the undeniable theatrical merits of Meyerbeer's music and its innovative features, advanced musical circles did not forgive her for compromise. This music more often arose as a result of brilliant calculation than as a result of artistic inspiration, and Meyerbeer’s fluency in all modern means of expression often acquired a superficially eclectic character. Truly symphonic development is rare in his operas. There are few bright, individual, purely musical images in them. “Music, colorful like a Harlequin dress, because it’s all made up of pieces,” A. N. Serov wrote about Meyerbeer, “From pieces a la Weber, from pieces a la Rossini, a la Auber, a la Spohr, a la tutti quanti.” .
Characteristic of Meyerbeer is also the frequent mixing of sharply expressive moments with banal ones. False pathos and melodramatic sensitivity break out in him even in the most intense places (as, for example, in the last duet of Valentina and Raoul). Indicative in this regard is the overture, constructed in the form of a variation on the theme of a Protestant chorale. In the strict, majestic sound of the chorale, sentimental expressions that are alien in style suddenly appear, and in the last variation the theme takes on the character of a gallop or a circus march:
Unexpected features of Meyerbeer's artistic individuality are manifested in his comic opera Dinora (1859). This opera is, in the full sense of the word, the antipode to the magnificently theatrical, motley music of Meyerbeer's previous works. Her music is marked by stylistic completeness and a subtle rendering of lyricism. Folk scenes built on folklore elements are also original. Exquisite instrumental paintings depicting night landscapes anticipate impressionism. Fantastic images also receive original refraction.
Grand opera, associated with the social and civil traditions of the national theater of France, received complete expression in the works of Meyerbeer - Scribe. A significant stage in the development of these national traditions was completed in their creativity. By the beginning of the new period that arose after the revolution of 1848, the genre of grand opera had exhausted itself. Nevertheless, the historical and heroic images of Meyerbeer's works, their magnificent dramatic composition, vivid theatricality and musical effectiveness had a great influence on modern composers and on musicians of subsequent generations, both with their strong and weak artistic sides.
Chapter V. “The Huguenots” and other works of Meyerbeer
Although a historical figure is depicted in “Robert the Devil,” it is in such a fantastic, supernatural setting that this opera cannot in any way be called historical, which is why it is not “Robert the Devil,” but “The Huguenots” that is Meyerbeer’s first and most brilliant historical opera , in which his genius reached its greatest strength, expressiveness and beauty.
The plot of “The Huguenots” is borrowed from the troubled time of the struggle of religious parties in France, which ended with the bloody Night of St. Bartholomew, against the backdrop of which the tragic love story of the Catholic Valentina for the Huguenot Raoul develops in the opera.
The first act begins with a feast in the castle of Count Nevers, a Catholic who invited Raoul to his place as a sign of reconciliation between the warring parties. In the midst of the fun, excited by the wine, everyone wants to tell each other their love affairs; Raoul has to start, telling his interlocutors that he recently, during a walk, met a slowly moving stretcher, which was attacked by a riotous crowd of young people. Raoul rushed to the rescue, dispersed the brawlers and, approaching the stretcher, saw in them a young woman of dazzling beauty, who instantly ignited a strong passion in him. But he still doesn’t know who his beautiful stranger is. In the midst of the feast, they come to report to the owner that some lady wants to talk to him. Count Nevers, a brilliant nobleman who has won more than one victory over women's hearts and is accustomed to such mysterious visits from the beauties he has captivated, goes to the lady waiting for him in the garden. Intrigued guests run to the window to look at the visitor, and, horror of horrors, Raoul recognizes her as the stranger he saved. Following her departure, Queen Margaret's page appears with a letter in which the queen informs Raoul that before sunset her messenger will come for him and, blindfolding him, will bring him to the palace. Everyone surrounds Raoul, congratulating him on his happiness, thinking that the queen’s love and the honors associated with it await him; The one who rejoices most at Raoul’s happiness is his servant, Marcel, an ardent Huguenot with an unyielding, devoted heart, Raoul’s good genius, whom he never leaves, protecting him both from dangers and from temptations that could confuse his soul. Disguised people appear and take Raoul away.
The second act presents the beautiful garden at the court castle of Chenonceau. In the depths you can see the river where Margaret’s court ladies bathe; others run around the garden, amusing themselves with all sorts of games, while the queen herself is busy talking with her beloved maid of honor Valentina, daughter of the governor of the Louvre, the Catholic Count of Saint-Bris. From their conversation we learn that Valentina is the same mysterious stranger who came to Count Nevers, to whom she is engaged; the meeting with Raoul disturbed her peace of mind, arousing such deep love in her that she decided to go to her fiancé to beg him to refuse to marry her. Margarita, the confidant of her heartfelt secrets, not only patronizes her love for Raoul, but even intends to arrange her marriage with him in the hope that the union of a Catholic with a Huguenot will strengthen peace among these hostile parties, for which she calls Raoul to her castle. Left alone with him, she explains her intentions to him and, having received his consent to marry a Catholic, calls on all her nobles, including the Count of Nevers and Saint-Brie, who brings his daughter to Raoul. Raoul is horrified to recognize in his bride the girl who came to Count Nevers on a date, and, offended by the scene he saw, refuses to call her his wife. Valentina, not understanding the real reason for this behavior, is heartbroken; She, half unconscious, is taken to another room. Nevers and Saint-Brie, indignant and furious at the insult inflicted on them, demand an explanation, and since Raoul remains stubbornly silent, they challenge him to a duel, wanting to wash away their insult with his blood. Margarita, with her intervention, stops the bloody denouement, arrests Raoul, thus saving him from the wrath of his enemies, and announces to Nevers and Saint-Bris the king’s order to appear in Paris that day. Not daring to disobey, they leave, threatening sooner or later to take revenge on Raoul for his action.
The action of the third act takes place in Paris, on the square, on the right side of which the entrance to the church is visible. There, soon after the curtain rises, a marriage procession passes: Valentina, having lost all hope of reciprocity on the part of Raoul, yields to her father’s insistence and agrees to become the wife of Count Nevers, whom she asks after the wedding to leave her alone in the chapel until the evening, where she wants to pray in solitude with fervent prayer. to ask God for consolation and reassurance of his suffering soul, still loving the treacherous Raoul. Nevers fulfills the wish of his young wife and, returning from church with Saint-Brie, runs into Marcel, who arrived after them in Paris with Raoul, whose letter he hands to Saint-Brie. To his horror, from the words of Saint-Brie, Marcel learns that the letter contained a challenge to a duel; the faithful servant decides to watch for the arrival of his master in order to come to the rescue in time and prevent the danger that threatens his life. Saint-Brie hides the contents of the letter from Nevers, not wanting to disturb the happiness and peace of his young husband; Having retired with Morever to the chapel, they form a conspiracy for Raoul’s life. Unnoticed by them, Valentina hears everything and runs out of the chapel in horror. Having recognized Marcel, she tells him about the conspiracy and decides with him to save the life of her loved one. Soon after Raoul, his opponents arrive with a crowd of armed men who surround Marcel and Raoul. Marseille, in desperation, calls the Huguenots, and instead of a duel, a clash of a large crowd begins. The sudden appearance of the queen along with Count Nevers, who has come for his wife, ends the struggle of the warring parties, which diverge, threatening each other.
In the fourth act, Raoul, having learned that Valentina loves him, enters her palace and explains to her the reason for the sad misunderstanding that deprived them both of happiness. Raoul barely has time to hide when the nobles enter with the Count of Nevers and Saint-Brie, who conveys to those present a plan for the bloody extermination of the Huguenots. The unbeliever, indignant, refuses to take part in the vile deed, considering it disgraceful to his honor. The hidden Raoul thus learns of the danger threatening the Huguenots, and immediately after the conspirators leave, he wants to flee to save his brothers or die with them. Valentina's tears, pleas and despair shake his resolve for a minute, but when the screams and groans of those being beaten come to him from the window, he entrusts Valentina to God and throws himself out of the window.
In the fifth act, which is usually skipped, the bloody massacre of St. Bartholomew's Night is shown. Noble Nevers dies saving Marcel's life. Valentina accompanies Raoul everywhere and, wanting to share his fate, joins the Huguenot party. Saint-Brie, leading a squad of killers, orders to shoot at all the Huguenots he encounters and receives retribution for his cruelty, recognizing his daughter in the woman he killed.
Such a rich plot, full of interest, dramatic, exciting situations, could not leave the composer indifferent, and Meyerbeer set to work with passionate energy. Long before the end of the opera, all the newspapers vied with each other in praising the maestro’s new work; The audience, excited by them, awaited the opera with feverish impatience. Finally the opera was handed over to the management; They were just about to start learning it when Madame Meyerbeer became dangerously ill and had to go to the waters to improve her health. Meyerbeer followed his wife and, to the despair of the director, took the opera with him, preferring to pay a penalty of 30 thousand francs than to entrust the fate of his brainchild to the care of others. To everyone’s delight, Madame Meyerbeer’s illness was short-lived, the whole family soon returned to Paris, and the first performance of “The Huguenots” was scheduled for February 29, 1836, and the director of the theater was so noble that he returned 30 thousand back to Meyerbeer. Mirecourt says that on the eve of the very day of the performance, after the dress rehearsal, Meyerbeer, excited and pale, ran into the apartment of his friend Gouin.
- What happened to you? - Gouin asked him, frightened by his upset appearance.
The maestro sinks into a chair in despair and says:
- The opera will fail! Everything is going wrong. Nuri claims that he will never be able to sing the last number of the fourth act, and everyone agrees with him.
- Why not write another aria?
- Impossible. Scribe doesn't want to change anything else in the libretto.
- A! Scribe refuses to improvise? It's clear. How many poems do you need?
- No, very little: only as much as is needed for the andante - that’s all.
- Fine! Wait here about ten minutes, I'll find someone.
A devoted friend, despite the late hour - 11 pm - gets into a cab, flies to Emile Deschamps, whom he finds composing hexameters, and brings him to Meyerbeer. After some time, the desired poems were written, the delighted Meyerbeer rushed to the piano, and less than three hours passed before the new duet was ready. Meyerbeer, who had spent a sleepless night, was already with Nuri with the duet in his hands at the first rays of dawn.
“Look,” he told him, “maybe you’ll like this new duet better?”
Nuri took the paper, sang the aria and fell into the composer’s arms with a cry of delight.
“This is a success,” he said. - Great success! I guarantee you, I swear to you! Hurry up and get your instrumentation ready! Don't waste a minute or a second!
Thus, one of the most brilliant numbers of this opera was created. The roles were distributed among the best forces of the troupe; the orchestra was directed by Gabenek, who, according to Bury, enjoyed the boundless trust of the artists. Finally, the long-awaited day of the first performance arrived. “Yesterday the Parisian audience presented a wonderful sight, dressed up, gathered in the large opera hall with reverent expectation, with serious respect, even reverence. All hearts seemed shocked. It was music! - writes Heine. The success was phenomenal and turned into an ovation for the brilliant composer. When the duet of the fourth act was sung, “the orchestra burst into frantic applause. Gabenek, jumping over the ramp, rushed to the maestro, to Nuri and Madame Falcon. All the musicians followed their conductor, and Meyerbeer was solemnly brought onto the stage amid deafening delight. Raoul applauded, Valentina cried.”
Soon the fame of “The Huguenots” spread beyond the borders of France, and the opera made a triumphal march throughout Europe; in strictly Catholic countries it was staged under the title "The Guelphs and the Ghibellines" or "The Ghibellines in Pisa" for fear that the opera would offend the religious feelings of Catholics. The “Huguenots” brought Meyerbeer many insignia; among other things, he received the Belgian Order of Leopold and the Austrian musical society sent him its honorary diploma.
"The Huguenots" undoubtedly ranks first among all of Meyerbeer's works, and in general this opera ranks among the best works of operatic literature. The musical depiction of the characters is especially remarkable in it: the iron Marcel, the hypocritical prude Saint-Brie, Valentina - all these personalities are outlined very clearly and vividly; As for the famous duet of the last act, L. Kreutzer said about it: “This is one of the best hymns of love, which the composer tore from his heart and threw it, still trembling, onto the stage.”
“The Huguenots” have become one of the most popular, beloved operas in Europe: half a century has passed since their first appearance, but they still remain in the repertoires of theaters in all countries and still equally attract audiences and shake the hearts of listeners.
Greeted with enthusiasm by all nations, the “Huguenots” found condemnation and enemies only in Germany. German critics, with some special gloating, looked for shortcomings in the new creation of their compatriot and excelled in front of each other in eloquently desecrating those beauties that were inaccessible or incomprehensible to them. Even the great Schumann himself mercilessly, although unsuccessfully, tried to debunk the “Huguenots.”
“Often I want to grab myself by the head , he writes, to make sure that everything is in its place when weighing Meyerbeer's success in sound, musical Germany. One witty gentleman said about the music and action of “The Huguenots” that they take place either in gay dens or in churches. I am not a moralist, but a good Protestant is outraged when his holy songs are heard on the stage, outraged when the bloody drama of his religion is turned into a farce in order to gain money and cheap fame; we are outraged by the entire opera, from the overture with its amusingly vulgar sanctity, to the end, where at least they want to burn us alive. After “The Huguenots” there is nothing else left to do but to execute criminals on stage and bring dissolute women onto the stage... Debauchery, murder and prayers - there is nothing else in “The Huguenots”; in vain you will look in them for pure thoughts and truly Christian feelings. Meyerbeer pulls his heart out with his hands and says: look, here it is! Everything there is made up, everything is only external and false.”
In general, Meyerbeer's music was completely contrary to Schumann's romantically sublime nature and inspired him with such disgust that he was unable to overcome. After numerous visits to the “Huguenots”, he did not change his opinion about them and signed the words under the article: “I have never signed anything with such conviction as I did today. Robert Schumann."
Shortly after the production of Les Huguenots in Paris, Meyerbeer took a short trip to improve his health, visited Baden-Baden and visited his mother in Berlin, where, by the way, he found a new plot, based on which Scribe immediately wrote the libretto for The African Woman. . This time Scribe did not particularly please the tastes and desires of Meyerbeer, who began to insist on various changes in the text and brought Scribe to such a point of irritation with his demands that he began to threaten him with trial. The matter would, no doubt, have ended in a scandal if Meyerbeer had not been suddenly recalled to Berlin, where King Friedrich Wilhelm, recognizing all the merits of the respected composer, awarded him the Order of Pour le mérite and appointed him Generalmusikdirector (general director of music) to replace the retired Spontini resigns. Meyerbeer accepted this appointment, but refused four thousand in salary in favor of the orchestra.
Recognition of Meyerbeer's merits in his homeland made his stay in Berlin more pleasant and brought great satisfaction to his pride, which had suffered so much in Germany. Here, as elsewhere, he became a favorite of the public; in addition, the king, and behind him the whole society, tried to show the famous artist all kinds of attention. The king loved to surround himself with outstanding people and tried to attract artists and scientists to his court, with whom he loved to talk about all sorts of issues of science and the arts. Meyerbeer became an ordinary visitor to the palace, where he was often invited either for an evening or just for dinner, and he found true pleasure in being in the enlightened society that surrounded the royal family, which was distinguished not only by its love of music, but also by its great musicality, so that some princes and even princesses composed their own.
Despite such favorable living conditions in Berlin, Meyerbeer was drawn to Paris, whose mild climate was especially beneficial for his poor health. Due to his delicate nature, he also did not know how to cope with the intrigues that reign in any institution, and soon resigned from his position, retaining only an honorary title, which allowed him to spend most of the year in Paris and only come to Berlin for a short time, where he conducted court concerts or operas if one of his operas was on. In Berlin, although somewhat later, our famous compatriot Glinka met Meyerbeer, who showed great interest in the works of the brilliant Russian composer.
“January 21(9) , - Glinka writes to her sister, - in the royal palace a trio from “A Life for the Tsar” was performed... The orchestra was conducted by Meyerbeer, and it must be admitted that he is an excellent conductor in all respects.”
But although everyone who heard Meyerbeer as a conductor spoke of him with great praise, he himself conducted reluctantly and did not like to learn his operas, since numerous mistakes in the first rehearsals upset him too much, and the rehearsals themselves took up a lot of his time. It happened that he had to go to rehearsal just at the time when inspiration came to him, when rich melodies were crowding in his head, and he looked up from work with displeasure.
“I was upset for the whole day then, - he says,- because I lost not only time, but also thoughts.” "I'm not very fit to be a conductor, - he writes to Dr. Schucht. – They say that a good conductor must have a large dose of rudeness. I don't want to say this. I have always been disgusted by such rudeness. It always makes a very unpleasant impression when an educated artist is addressed with words that cannot be said to a servant. I do not demand rudeness from the conductor, but he must act energetically, must be able to make strict suggestions without being rude. Moreover, he needs to be friendly in order to gain the favor of the artists; they must love and at the same time fear him. He must never show weakness of character: it terribly undermines respect. I cannot act as sharply and energetically as is necessary when learning, and therefore I willingly leave this task to the bandmasters. Rehearsals often made me sick."
Meyerbeer's activities as director general of music were marked by many humane and noble decisions. By the way, he ensured that composers and dramatic poets received 10 percent of the box office receipts each time, and after their death, their heirs retained this right for 10 years; He also ensured that at least three operas by contemporary German composers were given annually. He took the responsibilities he assumed very seriously, updated and significantly expanded the operatic repertoire, including many outstanding operas, including Mozart’s Don Giovanni, which he himself carefully learned. With his generosity and nobility, Meyerbeer gained universal love, and many of his former opponents now became his friends. He often gave concerts, the proceeds of which went to charity.
Many of Meyerbeer's works date back to this time; Wanting to please his mother and honor the memory of his early deceased brother, Meyerbeer wrote music for Mikhail Behr’s tragedy “Struensee”. This work, consisting of an overture with intermissions, was performed for the first time in 1846 and although it made a strong impression, it did not remain in the repertoire, except for the overture, which is one of the best works of this kind and is still performed with great success in concerts . This overture is not only a simple introduction to the drama, but it depicts the whole drama very vividly, so that it is a complete work of great beauty and significance. In addition, Meyerbeer wrote many cantatas, psalms and other things. At the request of Friedrich Wilhelm, he had to write music for some Greek tragedy and began to compose choruses for Aeschylus’s Eumenides, but did not finish them, having no attraction to subjects from the ancient world. On this occasion he writes to Schucht:
“You are asking me if I had a desire to set to music, like Mendelssohn, ancient tragedies, for example, Sophocles. I'll say it straight: no; This kind of plot is too distant from our time and does not fit modern music: forcing people of hoary antiquity to sing and recite modern music is, in my opinion, the greatest absurdity that is only conceivable in art. Where poets and composers tried their best, before us are not Greeks, Romans or ancient Greek heroes, but modern people like ourselves. Ancient clothing and weapons mean nothing; they do not depict ancient characters. When they try to create ancient music, characteristic music, similar to that of the Greeks and Romans, then this is simply ridiculous and indicates a complete ignorance of the history of culture. The ancient peoples did not have music that could be even approximately compared with ours. This is indicated to us not only by the history of the spiritual development of peoples, but also by the history of the development of music.”
For the day of the grand opening of the new opera house in Berlin, Meyerbeer wrote “Camp in Silesia.” This time the libretto was compiled not by Scribe, but by the famous Berlin critic Ludwig Rellstab; it was not distinguished by great scenic merits and consisted of anecdotal events in the life of Frederick the Great. The music of this opera is of a purely German nature and therefore could not be successful in other countries. The main role - the role of Fielka - was written for Jenny Lind, who later performed it in Vienna, where the opera was performed under the name "Fielka" and aroused terrible delight. Jenny Lind was elevated to a deity, a medal was minted in honor of the composer, and he himself was almost deafened by applause. “Fielka” was performed in London with the same success. Subsequently, Meyerbeer remade this opera, for presentation in Paris, into “Star of the North,” replacing its German heroes with Russian ones, transforming old Fritz into Peter the Great. Such transformations led to various inconsistencies, to a discrepancy between the text and music, which was the reason for the failure of the opera, despite the fact that there are places of extraordinary beauty in it.
In the midst of the celebrations, Meyerbeer learned that an old, poor widow, the last representative of the Gluck family, lived in Vienna. He found her, gave her great assistance and obtained for her interest income from performances of Gluck's operas in Paris.
Having visited London with Jenny Lind, Meyerbeer enjoyed his holiday in Franzensbad for some time. The autumn of 1847 was spent in learning for the king's birthday Richard Wagner's opera "Rienzi", after which he returned to Paris to stage his new opera "The Prophet", written on a libretto by Scribe, with whom he again made peace and entered into previous friendships.
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The opera "The Huguenots" is Meyerbeer's best work, which was written in 1835. The opera premiered on February 29, 1836. The duration of the work was four hours. The opera made a strong impression on the audience. This is due to the professional acting, magnificent bright scenery, and complex intrigue. It was all these elements that made the opera truly popular.
The work “The Huguenots” consists of five acts. Events take place during the bloody wars in France. The first act tells how Catholics and Protestants fight. But their war was interrupted in 1752, when Margaret of Valois married Henry of Bourbon and united Catholic and Protestant families. But the bloody Night of St. Bartholomew completely destroyed the Huguenots’ hopes for their supremacy.
One of the leaders of the Catholic nobles, Count de Nevers, welcomes guests in his palace, which is located near Paris, in Touraine. All guests relax and have fun. Nevers asks all guests to be tolerant of the expected guest, despite the fact that he is a Huguenot. And so, when Raoul de Nanji is introduced to those present, the guests cannot restrain themselves and do not very kindly discuss Nanji’s appearance. The fun begins, toasts are made, and then a toast sounds to the beloved of each guest. But Nevers refuses such a toast, since his heart is occupied. He says that he once saved a beauty from the harassment of students. From that moment on, Nevers' heart was occupied by a stranger.
The feast is interrupted because the owner has received a letter from a lady who is waiting for him in the garden. All the guests are convinced that this is another love affair of Nevers, which regularly continues, despite the fact that he is engaged. Guests want to eavesdrop on the conversation and find out who really came. It turned out that the lady was a beautiful stranger who owned Nevers’ heart. But he convinces everyone that this lady is the protégé of the girl to whom he is engaged, and she came to ask for the termination of the engagement, to which Nevers agrees. Soon another messenger arrives - this time to Raoul. A message from the king's sister, she demands that Raoul come to the indicated place with his eyes closed.
The second act takes us to the castle of Margarita Vaula, who is awaiting the arrival of Raoul de Nangis. She wants to marry him to Valentina, the daughter of one of the Catholic leaders. This marriage was supposed to end civil conflicts. Margarita also demanded that Valentina give up her engagement to Count Nevers. Valentina was even happy about this request, since she is in love with Raoul. But she does not know who Margarita invited her to marry, she shows her dissatisfaction with the fact that she does not want to be a simple pawn. Finally, Raoul is brought in blindfolded. He is left alone with Margarita. He is amazed by her beauty and does not know that she is a princess. He takes an oath to carry out all her orders. When the princess's page returns, Raoul understands whom he took an oath to serve. He learns that he must marry a girl he has never even met. Raoul agrees. The Comte de Saint-Brie brings his daughter Valentina, and Raoul realizes that this is the same girl who was supposed to marry Nevers. He categorically refuses to marry her. Saint-Brie and Neveu are already preparing for a fight, but the princess stops them. Raoul decides to go to Paris, Valentina loses consciousness, and her angry father promises to take revenge on the heretic.
In the third act we learn that Valentina and Nevers are preparing for their wedding. At the wedding itself, Marcel comes to the church and gives Valentina’s father a message from Raoul. This turns out to be a challenge to a duel. Saint-Brie's friend, Maurever, says that a duel is too dangerous, because there are other ways to get rid of Raoul, for example, murder. They leave to discuss the plan in detail. Valentina enters the church to pray and overhears Maurever and Saint-Brie talking. Even though Raoul rejected her, she wants to save him. She informs Marcel about her insidious plans, but he says that Raoul has already left for Paris. Marcel comes to the tavern to deal with the Catholics, and a battle begins. Then Princess Margarita drives by, and she stops the bloodshed. Maresle tells her that a woman under a veil overheard a conversation between Saint-Brie and Morevere. When the veil is removed, everyone sees Valentina. Saint-Brie is amazed that his daughter betrayed him, and Raoul is grateful to her for saving him. He is in love with her again.
Act four shows us a sad Valentina, who yearns for her lost love. Then Raul bursts into the house to say goodbye to Valentina. Catholics learn about the general extermination of Protestants. Nevers refuses to take part in this and is taken away. Saint-Brie distributes white scarves to his followers so that during battle the Catholics can be distinguished from the Protestants. Raoul is watching this whole scene. He wants to warn all his friends, but all the doors are closed. Valentina confesses her feelings to him, Raoul is amazed. He points out a terrible sight through the window and jumps out of it. Valentina loses consciousness.
The final fifth act tells how the Huguenots celebrate the wedding of Margaret and Henry. Raoul interrupts the feast with sad news about what is happening on the street. In the church, Valentina, Raoul, and Marcel are surrounded by enemies. Valentina says that her feelings for Raoul are so great that she renounces her Catholic faith. Miraculously, all three manage to escape from their pursuers. But, unfortunately, they are being killed. Margarita drives by and sees three corpses, this time she is powerless.
Montserrat Caballe. Margarita's Aria - opera "The Huguenots"
Zara Dolukhanova Cavatina Page Nobles seigneurs salut!
Sergei Lemeshev sings Raoul's romance from Meyerbeer's opera "The Huguenots"
Opera in 5 acts. The libretto based on Prosper Merimee's story “Chronicle of the Times of Charles IX” was written by E. Scribe and E. Deschamps.
The first performance took place on February 29, 1836 in Paris.
Characters:
Marguerite of Valois, queen, soprano
Comte de Saint-Brie, Catholic, baritone
Valentina, his daughter, soprano
Comte de Nevers, Catholic, baritone
Raoul de Nangis, Huguenot, tenor
Marcel, his servant, bass
Urban, page, soprano
Catholics:
Cosset, tenor
Tavan, tenor
Tore, bass
De Re, bass
Meryu, bass
Morever, bass
First action. Castle of the Comte de Nevers near Paris. The Count is expecting a new acquaintance for dinner - the young nobleman Raoul. His Catholic friends gathered at Nevers were perplexed - how could the count invite their common sworn enemy into his home? After all, Raoul is a Huguenot. But Nevers did this deliberately: he wants to peacefully eliminate the discord between Catholics and Huguenots. Having heeded the count’s persuasion, everyone present warmly welcomes Raoul. A remarkable incident recently happened to Raoul. On one of the streets of Paris, he saved a beautiful young lady from an attack by a crowd of drunken revelers. At first sight the young man fell in love with her, but could not find out her name. To his amazement, looking out the window, he sees that the recently rescued stranger has arrived at the count. However, joyful surprise quickly gives way to anger and indignation - Raoul decided that the lady he saved was Nevers mistress. He does not know that this is the count's fiancee - Valentina de Saint-Brie. She came to ask Nevers to renounce the marriage that Valentina’s father is forcing her against her will. Nevers is generous and noble. He agrees to give his bride complete freedom.
Raoul's thoughts about the beautiful stranger are interrupted by the arrival of a page who hands the young man a letter. He is called to a mysterious date, where he must arrive blindfolded.
Second action. First picture. Queen Margaret of France, wanting to reconcile the Catholics with the Huguenots, decided to marry the Huguenot Raoul with Valentina, the daughter of the Catholic leader de Saint-Brie. Valentina agrees. Not only gratitude to the savior, but also love guides her. Having released the girl, Margarita orders Raoul to be brought in. He enters blindfolded and, having removed the blindfold, is amazed: in front of him is the queen. It was she who called him on a secret date.
Second picture. Hall in the royal palace. The Queen introduces Raoul to his future wife, Valentina. But the young man indignantly rejects this marriage. He does not want to become the husband of Count Nevers' mistress. And although Raoul did not publicly announce the reason for his refusal, he inflicted a grave insult on the girl. Saint-Brie vows to take cruel revenge on his daughter’s offender.
Third action. Square in Paris. The wedding of the Comte de Nevers to Valentina has just ended in the temple. Raul's refusal plunged the girl into despair, and she agreed to marry the unloved. But Saint-Brie did not forget about the insult inflicted on his daughter and sent the offender a challenge to a duel. Raoul's faithful servant, the old soldier Marcel, gives Saint-Brie the answer: Raoul accepts the challenge. However, you can deal with the enemy much easier without exposing yourself to danger. The Catholic Morever invites Saint-Brie to kill Raoul by sending loyal people to the place of the duel. Valentina listens with fear as an insidious plan is developed. No, she will not allow it to happen, she will not allow the one she still loves to be killed. However, Marcel, sent by Valentina, did not have time to warn Raoul, and the young man came to the square. But faithful Marcel calls Huguenot soldiers from a nearby tavern to help. Clashes break out between Huguenots and Catholics. Growing more and more, it soon turns into a fierce battle. Only the appearance of the queen stops the bloodshed. Raoul happily learns from her the true reason for Valentina’s visit to Count Nevers. The young man is happy - the queen told him that Valentina loves only him.
Fourth act. At the Castle of Nevers. Raoul sneaked to Nevers's wife, Valentina, to beg her forgiveness at any cost. An incident helps him learn about a conspiracy being prepared by Catholics against the Huguenots. Hiding behind a column so as not to be caught with Valentina, he hears the head of the Catholics, Saint-Bris, proposing to attack the Huguenots that very night. Raoul jumps out the window and hurries to warn his comrades about the impending danger.
Fifth act. First picture. In the hall of the Nel Hotel in Paris, Huguenots gathered on the occasion of Margarita's marriage to Henry of Navarre. At the height of the celebration, a wounded, bloodied Raoul appears and reports on the mass murder of unarmed Huguenots by Catholics: St. Bartholomew's Night has begun on the streets of Paris.
Second picture. The Huguenots, among whom there are many old men, women and children, rush to hide from their pursuers in the temple. A bleeding Raoul, Valentina and Marcel also come here along with the crowd. Raoul had just nearly died in an unequal battle with the Catholics and owed his salvation to the Count de Nevers, who died a heroic death in this difficult battle. So Count de Nevers is dead - Valentina is now free and can forever unite her fate with the fate of Raoul. Old Marseille blesses the lovers.
Night falls over the city, and the square in front of the temple becomes empty. Left alone, Raoul, Valentina and Marcel hear the measured tread of the approaching detachment: it is Saint-Brie leading his soldiers on the offensive. Seeing the vague outlines of three human figures in the darkness, he asks - Who is there? - and hears Raoul’s exclamation in response - Huguenots! The silence of the night is broken by a rifle salvo. Three unarmed people fall dead on the pavement. Coming closer to the dead, Saint-Brie recognizes his daughter.
With a libretto (in French) by Augustin Eugène Scribe, revised by Emile Deschamps and the composer himself.
CHARACTERS:
MARGARET VALOIS, sister of King Charles IX of France, bride of Henry IV (soprano)
URBAN, her page (mezzo-soprano)
Catholic nobles:
COUNTE DE SAINT-BRY (baritone)
COUNTE DE NEVERS (baritone)
COUNT MAREVER (bass)
Catholics:
COSSE (tenor)
MERU (baritone)
TORE (baritone)
TAVAN (tenor)
VALENTINE, Daughter de Saint-Brie (soprano)
RAOUL DE NANGY, Huguenot (tenor)
MARSEILLE, Raoul's servant (bass)
BOIS-ROSE, Huguenot soldier (tenor)
Time of action: August 1572.
Location: Touraine and Paris.
First performance: Paris, February 29, 1836.
It was the opera “The Huguenots” that made Meyerbeer in 1836 the king of opera not only in Paris, but almost everywhere. Meyerbeer had enough detractors of his talent even during his lifetime. Richard Wagner called Meyerbeer's libretto "a monstrous medley of historical-romantic, sacred-frivolous, mysterious-bronze, sentimental-swindling mishmash" and even after Meyerbeer had achieved a prominent position and could no longer be so easily disparaged, he constantly attacked him with all sorts of blasphemy (although once, having committed a rare honest act for him, he admitted that the fourth act of “The Huguenots” had always deeply worried him). It did not occur to Wagner that his characterization of such librettos was quite applicable to his own librettos. At the same time, Wagner’s own librettos, no matter how sharply they were criticized by their contemporaries, were never taken so seriously as to frighten adherents of other political views and official censors. Les Huguenots was taken quite seriously, and opera producers in many cities where the Catholic faith was respected had to mask the religious conflict that the opera deals with. In Vienna and St. Petersburg the opera was performed under the title "The Guelphs and the Ghibellines", in Munich and Florence - as "Anglicans and Puritans", in the latter city also as "Renato di Kronwald".
Today it is difficult to take the pseudo-history told by Meyerbeer and Scribe seriously, and - more importantly - the musical effects of the opera seem to have lost much of their impact. In France the opera is still staged frequently. But in Germany it happens much less often. As for Italy, England and the United States of America, here it can hardly be heard at all. Individual numbers from it are sometimes included in concert programs, and also exist in recordings. Thus, some of the music of the opera is still heard in our time, but it seems very doubtful that there could now be a gala performance in any major opera house in the United States for which a cast similar to that performed could be assembled in 1890 at the Metropolitan Opera, when the ticket price rose to two dollars. The program of this “evening of seven stars,” as it was stated in the announcement, included such names as Nordica, Melba, two De Reschke, Plancon and Maurel. As early as 1905, Caruso, Nordica, Sembrich, Scotti, Walker, Jornet and Plancon could be heard in the Huguenots. But those days are gone forever, and perhaps the Huguenots along with them.
OVERTURE
The overture consists of a series of repetitions ("variations" is too strong a word) with dramatic contrast in dynamics, tessitura and orchestration, of the Lutheran chant "Ein feste Burg" ("The Mighty Stronghold"). This magnificent melody is used many times later in the action to illustrate dramatic conflicts.
ACT I
The time in which the opera takes place is the time of bloody wars in France between Catholics and Protestants based on religious fanaticism. Their succession was interrupted by an alarming pause in 1572, when Margaret of Valois married Henry of Bourbon, thus uniting the leading Catholic and Protestant dynasties. But the massacre that occurred on St. Bartholomew's Night put an end to the Huguenots' hopes for their dominance. The opera begins with the events that took place shortly before St. Bartholomew's Night.
The Comte de Nevers, a Catholic nobleman, one of the leaders of the young Catholic nobles, receives guests at his family castle, located a few leagues from Paris, in Touraine. Everyone is having fun. Nevers is the only one present who has a strong-willed character, and he calls on those present to show tolerance towards the expected guest, despite the fact that he is a representative of the Huguenot party. However, when the handsome, but clearly provincial-looking Raoul de Nangis is introduced to society, the guests of Nevers make not very kind remarks about his Calvinist appearance.
The feast begins and an enthusiastic choir sings praises to the god of food and wine. The next toast is proposed to the beloved of each of those present, but Nevers admits that since he is going to get married, he must decline this toast: he finds this circumstance rather embarrassing. The ladies seem to persuade him more ardently before his arguments become known to the viewer. Then Raoul is obliged to tell his heart secret. He talks about how he once protected an unknown beauty from harassment by dissolute students (implying Catholics). His aria (“Plus blanche que la blanche hermine” - “Whiter than white ermine”) is notable for the use of a forgotten instrument - the viola d’amore, which gives it a very special flavor. Since then, Raoul's heart has belonged to this stranger - a romantic gesture that evoked only indulgent smiles from his experienced listeners from among those present at the feast.
Raoul's servant, Marcel, a respectable old warrior, does not like at all that his master makes such acquaintances, and he tries to warn him against it. He bravely sings the Lutheran chant “A Mighty Stronghold” and proudly admits that it was he who left a scar on the face of one of the guests, Cosse, in battle. The latter, being a peace-loving person by nature, invites the old soldier to have a drink together. Marcel, that adamant Calvinist, refuses, but instead offers something more interesting - “The Song of the Huguenot,” a passionate and courageous anti-papist war song, a characteristic feature of which is the repeated syllables “bang-bang”, indicating the bursts of bullets with which Protestants crush Catholics.
The fun is interrupted when the owner is called to present him with a letter from a certain young lady who has appeared in the garden. Everyone is sure that this is another love affair of Nevers, which continues, despite the fact that his engagement has already taken place. The lady, as it turns out, went to the chapel and is waiting for him there. Guests are seized by an irresistible temptation to spy and eavesdrop on what is happening there. Raoul, along with others, having witnessed Nevers meeting with a lady, is amazed to recognize in the lady who came to Nevers the same unknown beauty to whom he had made a vow of love. He has no doubt: this lady is the beloved of the Count de Nevers. He vows revenge. He does not listen to Nevers when he, returning after this meeting, explains to the guests that his visitor - her name is Valentina - is a protégé of the princess engaged to him, but now she has come to ask him to terminate their engagement. The unbeliever, although deeply upset, reluctantly agreed to this.
The fun is interrupted again: this time it is another messenger from another lady. This messenger is the page Urban. He is still so young that his role in the opera is assigned to a mezzo-soprano. In his cavatina (“Une dame noble et sage” - “From a lovely lady”), once very popular and aroused the admiration of listeners, he reports that he has a message from an important person. It turns out that it is not addressed to Nevers, as everyone assumed, but to Raoul, and it contains a request for Raoul to arrive where he is called, in a palace carriage, and certainly blindfolded. Looking at the envelope, Nevers recognized the seal of Margaret of Valois, the king's sister. This royal sign of respect for the young Huguenot arouses respect among the assembled small Catholic nobles, and they immediately showered Raoul with pleasantries and flattering praise, assuring him of their friendship and congratulating him on the fact that he had been given such a high honor. Marcel, Raoul's servant, also gives his voice. He sings "Te Deum", and the words that Samson defeated the Philistines sound like an expression of his belief in the victory of the Huguenots over the Catholics.
ACT II
In the garden of her family castle in Touraine, Marguerite Valois awaits Raoul de Nangis. The maids of honor sing and praise the delights of rural life, as does the princess herself. Margaret - this is clear from the scene - sent for Raoul to arrange the marriage of this prominent Protestant with Valentina, daughter of the Count de Saint-Brie, one of the leaders of the Catholics. This union of a Catholic woman with a Huguenot, rather than the marriage of a girl with some other Catholic, could put an end to civil strife. And it was she, Margarita Valois, who demanded from Valentina that she achieve the termination of her engagement to the Comte de Nevers, which Valentina willingly fulfilled, since she was in love with Raoul, her recent protector. And now, being with the princess, Valentina, not yet knowing who Margarita is promising her as a wife, expresses her reluctance to be an insignificant pawn in this political struggle, but for a long time this has been the lot of girls from aristocratic families.
The page Urban arrived at the palace. He is in joyful excitement because he is accompanying a handsome gentleman, and besides, everything is so unusual: the guest is walking blindfolded. This page, reminiscent of Cherubino, is in love with both Valentina and Margarita and, one might say, with the entire female race. But everything in it is somewhat rougher than in Cherubino - rougher to the same extent that Meyerbeer's music is rougher than Mozart's. The impression Urban makes on women is reflected in his Peeping Tom antics: he spies on the girls bathing so seductively in the background and so tantalizingly showing off their charms to the audience and while the choir sings.
And at a sign from the princess, Raoul is brought in blindfolded. He is left alone with Margarita. Now only he is allowed to remove the scarf from his eyes. A woman of extraordinary beauty appears before his eyes. He doesn't know that this is the princess. The beauty of a noble lady prompts him to take a solemn oath to serve her faithfully. Margarita, for her part, assures him that there will certainly be an opportunity to use his services.
It is only when Urban returns to announce that the entire court is about to arrive that it becomes clear to Raoul who he has sworn an oath to serve faithfully. And when the princess tells him that Raoul's service should be that he marry the daughter of the Count of Saint-Bris for political reasons, he readily agrees, even though he has never seen this girl before. The courtiers enter to the melody of the minuet; they stand on either side of the stage - Catholics and Huguenots, with Nevers and Saint-Bris leading the Catholics. Several letters are brought to the princess; she reads them. In the name of King Charles IX, she demands that the Catholics not leave Paris, since they must participate in the implementation of some important (but not explained) plan. Before leaving, the princess insists that both parties take an oath to maintain peace between them. Catholics and Protestants swear. The Catholic and Huguenot chorus (“And with the sword of war”) is the most impressive in this action.
The Comte de Saint-Brie brings his daughter Valentina, whom Raoul is supposed to marry. With horror, recognizing her as the lady he saw at Nevers during their feast in his castle, and still considering her Nevers’ beloved, Raoul categorically declares that he will never marry her. Saint-Brie and Nevers (who, as we remember, refused the engagement) are offended; Catholics and Protestants draw their swords. Blood is avoided only thanks to the intervention of the princess, who reminds that the gentlemen must urgently go to Paris. In a grand finale in which passions flare up rather than die down, Raoul is determined to go to Paris. Valentina loses consciousness from everything she has heard and seen. The enraged de Saint-Brie publicly swears revenge on the despicable heretic. Marcel sings his chorale "A Mighty Stronghold".
ACT III
If you visit the Pré-au-Claire district of Paris today, you will find it heavily built-up, with the Boulevard Saint-Germain as the main crowded street. However, in the 16th century there was still a large field here, on the edge of which stood a church and several taverns. It is here that the third act begins with a cheerful chorus of townspeople enjoying their day off. A group of Huguenots also performs a spectacular number - a choir imitating the sound of drums. In it they speak contemptuously of Catholics and praise their famous leader, Admiral Coligny. This is followed by the third choral number - a choir of nuns singing "Ave Maria", which precedes the procession heading to the church. Raoul, as we know, has renounced Valentina, and now she is again engaged to Nevers; they are preparing for the wedding. As the procession, including the bride, groom and father of the bride, enters the church, Marcel, pushing through the crowd, rather unceremoniously addresses the Comte de Saint-Brie, the father of the bride; a collision is avoided only thanks to the confusion that occurred due to the performance of a group of gypsies entertaining the townspeople and Huguenot soldiers with their songs.
Finally, all the wedding rituals are completed, and the guests leave the church, leaving the newlyweds alone so that they can pray. Marcel takes the opportunity to convey his message to the Count de Saint-Brie, which contains a challenge to a duel from Raoul. Saint-Brie's friend, Maurever, expresses the idea that there are other ways to deal with Raoul than a dangerous duel, and the surest one is a blow with a dagger, that is, murder. They retire to the church to discuss a plan to carry it out.
After the curfew signal disperses the crowd, the conspirators exit the church, discussing the final details of their treacherous plan. A moment later, Valentina runs in in confusion: while praying in a distant corner of the chapel, she heard everything these Catholics were talking about. Valentina still loves the man who rejected her and wants to warn him of the danger looming over him. Fortunately, Marcel, Raoul's servant, was nearby, and she turns to him to warn his master about the danger. But Marcel says it’s too late: Raoul is no longer at home, he had to go to Paris. After their long duet, Valentina returns to the church again. Meanwhile, Marcel is determined to protect his master and vows that if necessary, he will die with him.
Marcel doesn't have to wait long. The main characters arrive (each brings two seconds), and in the ensemble that now sounds like a concert number, everyone swears to firmly adhere to the rules of honor in the upcoming duel. However, Marcel knows that Maurever and other Catholics are waiting nearby for the right moment to treacherously engage in a duel, and he loudly knocks on the door of the nearest tavern, shouting at the same time: “Coligny!” Huguenot soldiers come running to his cry. On the other hand, Catholic students also respond to the cry, and many women gather. A massacre breaks out, more and more people are drawn into it, and blood flows.
Fortunately, Marguerite Valois passes by at this time, and she again manages to prevent an even greater massacre. She announces to both parties that they have broken this oath. Marcel tells her that he learned about the treacherous attack of the people of Saint-Bris from a woman whose face is covered with a veil. And when Valentina leaves the church and Saint-Brie takes off her veil, everyone freezes in shock: Saint-Brie - because his daughter betrayed him, Raoul - that it was this girl who served him such a service and saved him. He is in love with her again.
Well, what about our fiance, Nevers? His supposed father-in-law, the Comte de Saint-Brie, carefully hid his insidious plan from him, and here he, Nevers, always smiling and unsuspecting, sails along the Seine on a festively decorated ship to claim his bride. A wedding is always an occasion for people (or at least opera choruses) to pour out more peaceful feelings, and the scene thus ends with the general joy of the people, including those very gypsies who have now returned, having heard about the upcoming wedding celebrations and hoping for reward for your songs. The Huguenot soldiers refuse to take part in the fun; they express their dissatisfaction. But who is truly in mourning are the leading soprano and tenor: Valentina is heartbroken at having to marry a man she hates, while Raoul is overcome with rage at the thought of his beloved leaving for his rival . All these varied emotions provide excellent material for the finale of this action.
ACT IV
August 24, 1572, the eve of St. Bartholomew's Night - the night of the terrible massacre. Valentina, alone in her new husband's house, indulges in painful thoughts about her lost love. There is a knock on the door - and Raoul appears in the boudoir. Risking his life, he made his way into the castle to see his beloved for the last time, to tell her the last “Farewell!” and, if necessary, die. Valentina is confused: she tells Raoul that Nevers and Saint-Brie can come here at any moment. Raoul is hiding behind the curtain.
Catholics gather. From the Comte de Saint-Brie they learn that Catherine de Medici, the Queen Mother, gave the order for the general extermination of Protestants. It should happen this very night. This will be the most opportune moment, since the leaders of the Huguenots will gather this evening at the Hotel de Nesle to celebrate the marriage of Margaret of Valois and Henry IV of Navarre. Nevers, one of the rare noble baritones in the history of opera, refuses the offer to participate in such a shameful affair; With a gesture full of drama, he breaks his sword. Saint-Brie, believing that Nevers might betray their plan, ordered him to be taken into custody. Never is taken away. A second impressive oath scene follows, entitled "The Blessing of the Swords." As a result, the Count de Saint-Brie distributes white scarves to his followers, which were brought into the hall by three monks, so that the Catholics who tied them during the upcoming massacre could be distinguished from the Protestants.
The witness to all this, however, was Raoul. He heard Saint-Bris give detailed orders about who should take what positions at the first ring of the Saint-Germain bell, and that at the second stroke the massacre should begin. As soon as everyone has dispersed, Raoul quickly jumps out of his hiding place to run to his own, but all the doors are locked. Valentina runs out of her room. Their long duet sounds, which at one time excited even Richard Wagner himself. Raul strives to warn his Protestant friends as soon as possible. In vain are the pleas of Valentina, who is horrified at the thought that Raoul will be killed; Tears, reproaches, confessions are in vain. But when she tells him of her love, he is touched and asks her to run away with him. But then the bell rings. With his blow, a sense of duty flares up in Raoul, and a terrible picture of the upcoming massacre opens to his inner gaze. When the bell rings for the second time, it leads Valentina to the window, from where she can see the heartbreaking spectacle unfolding on the streets. Raoul jumps out the window. Valentina falls unconscious.
ACT V
Les Huguenots is a very long opera, and in many productions the last three scenes are simply omitted. They are, however, necessary to complete the story's subplots. They also contain some wonderful musical sequences.
Scene 1. Famous Huguenots celebrate - by the way, with the participation of ballet - the marriage of Margarita and Henry at the Hotel de Nesle. Raoul, already wounded, interrupts the fun with terrible news about what is happening on the streets of Paris: Protestant churches are on fire, Admiral Coligny has been killed. After an excited chorus, the crowd draws their swords and follows Raoul into the streets to participate in the battle.
Scene 2. In one of the Protestant churches, surrounded by Catholics, Raoul, Valentina and Marcel reunited; the latter is seriously wounded. Raoul is eager to return to the streets to participate in the battle. Valentina convinces him to take care of his own salvation. He has this opportunity: if he ties himself a white scarf and goes with her to the Louvre, he will find there the intercession of Marguerite of Valois, now the queen. But since this is tantamount to becoming a Catholic, Raoul refuses to do so. Even the news that the noble Nevers, trying to prevent bloodshed, fell at the hands of his own co-religionists and that now Raoul can marry Valentina, does not convince him to save his life by sacrificing his principles. Eventually Valentina declares that her love for him is so great that she renounces her Catholic faith. The lovers kneel before Marcel, asking him to bless their union. Marcel blesses the marriage of a Catholic and a Protestant. From the church comes the singing of a choir, singing - this time too - “A Mighty Stronghold”.
The sound of the choir is rudely interrupted by the furious, jubilant cries of Catholics breaking into the church. The three main characters are kneeling in prayer. Their terzetto sounds. Marcel expressively describes the vision of paradise that opened up to his inner gaze. The Huguenots refuse to renounce their faith; they continue to sing their chorale. Then the Catholic soldiers drag them out into the street.
Scene 3. By some miracle, Valentina, Raoul and Marcel manage to elude their pursuers, and among other bravely fighting Protestant warriors, Valentina and Marcel help the mortally wounded Raoul; they make their way along one of the embankments of Paris. Saint-Brie appears from the darkness at the head of a military detachment. In a commanding voice, he asks who they are. Despite all Valentina’s desperate attempts to force Raoul to remain silent, he proudly shouts: “Huguenots!” Saint-Brie gives the order to his soldiers to shoot. A volley is heard. Approaching the dead, the count discovers with horror that one of the victims is his own daughter. But it’s too late: with her last breath, she says a prayer for her father and dies.
It happens again that Marguerite Valois passes through these same places. She is overwhelmed with horror, seeing three corpses in front of her and recognizing the bodies. This time her efforts to keep the peace were in vain. The curtain falls, and the Catholic soldiers still vow to destroy all Protestants.
Henry W. Simon (translated by A. Maikapara)
History of creation
Soon after the production of Robert the Devil, the management of the Paris Grand Opera Theater ordered a new work from Meyerbeer. The choice fell on a plot from the era of religious wars based on the novel by P. Merimee (1803–1870) “Chronicle of the Times of Charles IX,” which was a resounding success when it appeared in 1829. The composer's permanent collaborator, the famous French playwright E. Scribe (1791–1861), gave in his libretto a freely romantic interpretation of the events of the famous St. Bartholomew's Night from August 23 to 24, 1572. Scribe's play “Huguenots” (which means oath comrades) is replete with spectacular stage contrasts and melodramatic situations in the spirit of French romantic drama. The theater writer E. Deschamps (1791–1871) also took part in the creation of the text; The composer himself played an active role.
According to an agreement with the theater management, Meyerbeer undertook to present a new opera in 1833, but due to his wife’s illness he interrupted work and had to pay a fine. The opera was completely finished only three years later. The first production on February 29, 1836 in Paris was a huge success. Soon the triumphant procession of “Huguenots” began across the theater stages of Europe.
The historical basis of the plot was the struggle between Catholics and Protestants in the 16th century, accompanied by mass persecution and ruthless mutual destruction. Against this background, the love story of the main characters of the opera, Valentina and Raoul, unfolds. Before the moral purity and strength of their feelings, the cruelty of religious fanaticism turns out to be powerless. The work has a strong anti-clerical orientation, which was especially acutely perceived by contemporaries; it is permeated by the humanistic idea of the right of every person to freedom of belief and true happiness.
Music
"The Huguenots" is a vivid example of the French "grand opera". Grandiose crowd scenes and spectacular performances are combined with a touching lyrical drama. The contrasting richness of stage images made it possible to combine various stylistic means in music: Italian melodiousness with methods of symphonic development coming from the German school, Protestant chorale with gypsy dances. The romantic elation of expression enhances the tension of the musical dramaturgy.
The overture features the melody of a 16th-century Protestant chorale, which then runs throughout the opera.
The first act is dominated by a festive atmosphere. Nevers’ sensitive and gallant aria with the chorus “Moments of Youth Are Rushing” is presented in serenely enlightened tones. Raoul's arioso “Here in Touraine” is imbued with courageous determination. The chorus “Pour into the Cup” is a lively drinking song. Raoul's dreamy romance "All the Loveliness is in Her" is accompanied by a solo from the ancient string instrument of Viola d'Amour. The contrast is introduced by the stern Protestant chorale performed by Marcel. The song “Your destruction is decided” sounds militantly, accompanied by visual effects (imitation of shots). Page Urban's graceful cavatina "From a Lovely Lady" is an example of Italian coloratura. The finale ends with a drinking song.
The second act falls into two clearly defined sections. The first is dominated by a feeling of bliss and tranquility. Margarita’s aria “In the Native Land” captivates with its dazzling virtuosic brilliance. The music of the second section of the act, at first solemn and majestic (the appearance of Catholics and Protestants), soon becomes intensely dramatic. The unisons of the oath sound restrainedly and sternly - the quartet with the choir “And with a fighting sword.” The final choral scene is imbued with stormy, rapid movement, sometimes excited and anxious, sometimes actively strong-willed.
The dramaturgy of the third act is based on sharp contrasts. The militant conscription song of the Huguenot soldiers is accompanied by a choir imitating the sound of drums. The expanded duet of Valentina and Marcel leads from a sense of wariness and hidden expectation to a courageous and strong-willed upsurge. An energetic septet with a marching rhythm culminates in a broad melodic climax. In a dynamic quarrel scene, four different choirs collide: Catholic students, Huguenot soldiers, Catholic women and Protestants. The final scene is united by the joyful melody of the “Bright Days” choir.
The fourth act is the pinnacle in the development of the lyrical-romantic line of the opera. Valentina's romance “Before Me” reveals the purity and poetry of her appearance. The ominously harsh conspiracy scene leading to the dramatic climax - the consecration of the swords - has a different flavor. The duet of Valentina and Raoul, full of passion, is dominated by a cantilena of wide breathing.
In the fifth act the drama reaches its denouement. Raoul's aria “Fires and Murders Everywhere” is full of excited recitation. The gloomy chorus of murderers is accompanied by the harsh timbres of brass instruments. In the scene in the temple, the themes of the Protestant chorale and the choir of their persecutors, the Catholics, collide.
M. Druskin
"The Huguenots" is Meyerbeer's best opera, a shining example of French grand opera. The Russian premiere took place only in 1862 at the Mariinsky Theater (for censorship reasons it was banned from production for a long time) directed by Lyadov. The heavily modified production that had previously been performed on the stage of the Italian Opera of St. Petersburg was called “The Guelphs and the Ghibellines”). The opera has many bright pages: the duet of Valentina and Raoul from episode 4. “O ciel! Ou courez-vous? ”, Urban’s aria (2 d.), etc. A major event was the production by La Scala in 1962, conductor Gavazzeni, soloists Sutherland, Simionato, Corelli, Cossotto, Ghiaurov, Tozzi, Ganzarolli). Among the best performers of the role of Raoul these days is the American singer R. Leach.
Discography: CD - Decca. Conductor Boning, Marguerite (Sutherland), Valentina (Arroyo), Raoul (Vrenios), Comte de Saint-Brie (Bacquier), Comte de Nevers (Cossa), Urban (Tourangeau), Marcel (Guzelev).
