525:
himself at the village inn. Rosette hands him a bowl of milk the King, recognising in her his little playmate and sweetheart of younger days, invites her to his chateau. Vincent is jealous and offers himself as a soldier, and
Rosette swoons away. Rosette dreams a dream, and Scene 1 of Act ii shows us her dream: How the King gives a grand ball in her honour, creates her a Marquise, and loads her with jewels and honours; her lover, who has gained renown in the wars, returns, but is hurried away by the King to leave his path clear. Corisandre, another love of the King's, jealous of her rival, informs Vincent, who, surprising the King and Rosette, challenges the King. Scene 2, Act ii finds us where Act i. left us. Vincent has just been accepted as a soldier and is supporting Rosette, who has swooned away. She begs him not to go to the wars on account of her dream; he asks the King to release him from his newly acquired duties and give him permission to return to his gardener's toil. This, His Majesty grants, blesses the happy and blushing pair – tableau, curtain.
151:
430:
55:. His acceptance of refreshment from Rosette, a young woman on a farm, provokes jealousy in her fiancé. The young couple are brought to Henri's court, where they are married and raised to the aristocracy. The King's attentions to Rosette provoke a furious response from her husband. All the events at court turn out to be a dream of the sleeping Rosette. She wakes on her father's farm in time to receive the King who brings her a generous dowry.
231:
potential rival, sends a message to warn
Vincent, who, surprising the King and Rosette together, challenges the King in no uncertain terms. As events move towards a calamitous climax the drama stops and the scene changes to the farm, where Rosette wakes up: all the events at the King's court were in her dreams, and she and Vincent are still on her father's farm. King Henri returns to bless the marriage and gives her a handsome dowry.
398:, the conductor of the production; and the piece was considerably more successful in London and the British provinces than it had been in Paris. There remained points in common between the original and the revised versions: LacĂ´me travelled from Paris to supervise rehearsals, and the leading lady in London, as in Paris, was Juliette Nesville.
19:
401:
The number of acts was cut from four to two, but the main plot was altered only slightly. Henri's interest in
Rosette is sparked in the London version not by his roving eye but by his recognising her as a playmate from his childhood. Rosette's dream takes place not after falling asleep close to her
359:
The composer fared better than his librettists. The critical consensus was that the device of a plot that turns out to be a dream was hackneyed and feeble. The score attracted more favourable comment, although the critics evinced judicious approval rather than wild enthusiasm. There was praise for
524:
The rising of the curtain discloses a farmhouse scene – harvesters hard at work finishing their labours; the last load of corn expected home, and the nuptials of
Rosette and Vincent about to be celebrated. The King, Henri of Navarre, happens to be hunting in the neighbourhood and stops to refresh
230:
The King brings
Rosette and Vincent to his court, creates the latter a Marquis and hosts their wedding ceremony. Immediately after the service Henri sends Vincent away on a distant mission leaving the way clear for him to try to seduce Rosette. Corisandre, the King's mistress, jealous of her
62:, Paris, on 4 February 1890. It made little impact in Paris and closed the next month, but an English version in two acts presented in London in 1892, and subsequently around Britain and in Australia and New Zealand, was considerably more successful. That version, adapted by the librettist
379:
It was quite usual for the librettos of French operettas to be heavily adapted for
English productions. Audiences in London were less broad-minded than those in Paris, and French plots had to be purged of the more conspicuous sexual elements. The London version of
402:
lover, but during a fainting fit caused by her shock at his volunteering for the army. A comic element was introduced in the form of two new characters: Bouillon, a valet, poses as a nobleman to win Martha, who pretends to be a rural
223:, is hunting in the neighbourhood and stops to refresh himself at the farm. Rosette hands him a cup of milk. Henri, notoriously susceptible to female beauty, rewards her with a kiss and bids her bring more milk to his residence, the
218:
in what is now south-west France harvesters are hard at work finishing their labours. The last load of corn is brought home and everyone is looking forward to the forthcoming wedding of
Rosette and Vincent. The King,
634:, complaining that once again "a French work has been tricked out afresh for the English market … presented to a public sated with things of the same in all directions."
78:
Lacôme had written eight full-length opérettes and opéras comiques for Paris theatres between 1873 and 1890, none of them breaking box-office records, but some, such as
84:
89:
694:
985:
966:
417:
in Sydney, in
November 1895. The work was played in New Zealand in the same year. The first British production outside London was staged by
59:
640:
found Lâcome's score so charming that it was regrettable that the producers had thought fit to introduce Carryl's interpolations.
369:
227:. After he leaves, Rosette and Vincent, fatigued after their day's labours, fall asleep close to each other on sheaves of corn.
995:
778:
394:
in 1891. The
English version differed from most French imports in two ways: nearly half the numbers were new, composed by
646:
thought the piece "head and shoulders above anything" in London productions of recent times, the theme almost worthy of
844:
990:
322:
Ensemble (Vincent, Frétillac, Chorus) – Salut, honneur au nouveau dignitaire! (Hail, honour to the new dignitary!)
636:
385:
296:
Crowing couplets (Vincent) – Y a rien d'pus gai, y a rien d'pus drôle (There is nothing gayer, nothing funnier)
63:
654:
s reviewer considered the piece "at once the best-mounted, best-acted, most dramatic musical play seen since
656:
373:
120:
224:
642:
302:
Song of the children of
Gascony (Henri, Rosette, Vincent) – De la terre gasconne (From the Gascon land )
421:
at the Prince's Theatre, Manchester, in April 1899, and then on tour throughout the rest of that year.
1005:
414:
831:
97:
418:
220:
52:
150:
962:
942:
925:
505:
184:
154:
116:
954:
429:
32:
388:, a young writer whose only major theatrical work before that had been as co-librettist of
1000:
573:
Ballad (Vincent) – Think not that I could take the hand who cannot win the heart (Caryll)
472:
433:
410:
390:
124:
442:
105:
40:
345:
Chorus (Chanson béarnaise) – Quand viendra l'aube nouvelle (When will the new dawn come)
100:, but this was his first collaboration with either of the co-authors of the libretto of
605:
Scene (Henri, Rosette, Corisandre and Chorus) – Prithee, prithee pretty maiden (Caryll)
478:
457:
348:
Couplet finale (Henri, Vincent, Rosette, Chorus) – Monarque populaire (Popular Monarch)
36:
319:
Exit (Chorus) – Au seuil de ce discret domaine (At the threshold of this private area)
979:
128:
109:
93:
44:
267:
Finale (Vincent, Rosette) – Dormons gentiment, ma Rosette (Sleep softly, my Rosette)
249:
Duet (Rosette, Vincent) – Nous allons entrer en ménage (We will enter the household)
466:
779:"Dance, Sir George, (died 22 Oct. 1932), dramatic author and director of theatres"
316:
Couplet (Henri) – Marquise, vous voici chez vous (Marquise, here you are at home)
258:
Chanson française (Henri) – Le plus sensible hommage (The most sensitive tribute)
549:
Duet (Rosette and Vincent) – Tomorrow morning, my true love and I will united be
484:
451:
395:
67:
564:
Duet (Martha and Bouillon) – Supposing a stranger to you spoke of love (Caryll)
299:
Chorus – Ma mie Rosette, soyez la bienvenue ici (My dear Rosette, welcome here)
246:
Chorus of harvesters – Hardi, moissonneurs! du courage (Bold reapers! Courage!)
119:
in her operatic debut. She had been at school in England and then attended the
946:
929:
626:
587:
Chorus, with soloists – Lucky the maiden who stirs a chord in Henri's breast
18:
284:
Ensemble – Vers nous elle daigne se rendre (To us she deigns to surrender)
211:
558:
Chorus and Song (King Henri) – Long live the King! I am a man of fashion
334:
Finale – Quelle démence! Quelle témérité! (What madness! What temerity!)
215:
142:
The production opened on 4 February 1890, and ran for 41 performances.
48:
325:
Idylle (Vincent) – Dès ma plus frêle adolescence (From my frail youth)
647:
546:
Chorus of Reapers – Hurrah! Work with spirit, friends and neighbours
88:. He had worked with some of France's leading librettists, including
261:
Couplets (Rosette) – Du logis humble ménagère (The humble housewife)
593:
Ballad (Henri) – Why throbs this longing heart of mine? (Caryll)
428:
331:
Duet (Henri, Rosette) – Ne t'effarouche pas (Do not be frightened)
149:
17:
590:
Rondeau (Rosette) – 'Midst all the beauty and grandeur around me
520:
printed this summary of the plot of the London version in 1892:
384:
required minor changes in that regard; the English text was by
281:
Rondo (Frétillac) – Fier de ma prérogative (Proud of my rights)
695:
2002 "Lacome (Lacôme d’Estalenx), Paul(-Jean-Jacques) (opera)"
82:(1876), described as "decidedly successful" by the authors of
290:
Rondo (Rosette) – Dieu! que c'est beau! (God! how beautiful!)
264:
Exit (Chorus) – Accueillez notre hommage (Accept our tribute)
135:. From this small role she moved to star five weeks later in
561:
Duet (Rosette and Henri) – Noble sire, kneeling at your feet
413:
company took the piece to Australia where it opened at the
112:
and LacĂ´me went on to work on three more operas together.
360:
the staging and the performances of the leading players.
313:
Chorus – De sa robe blanche habillée (In her white dress)
255:
Entrance of the King – Vive le Roi! (Long live the king!)
596:
Duet (Martha and Bouillon) – Here's an instance (Caryll)
436:
as Vincent and Juliette Nesville as Rosette, London 1892
552:
Romance (Rosette) – He was a curly headed boy (Caryll)
868:, 24 April 1899, p. 3; and "Amusements in Brighton",
864:
8 April 1899, p. 11; "Theatrical and Musical Notes",
785:, Oxford University Press. Retrieved 2 December 2018
700:, Oxford University Press. Retrieved 2 December 2018
570:
Duet (Rosette and Vincent) – Why so sad, darling mine
376:
on 26 December, where it ran until 28 February 1893.
328:
Rcmance (Rosette) – O chère image! (O beloved image!)
576:
Finale Act I – When I, my love, am far away (Caryll)
535:
Music by LacĂ´me except where Caryll's name is shown.
608:
Duet (Henri and Rosette) – Hush'd is the busy world
614:Finale – Rosette, Rosette, my mie Rosette (Caryll)
252:Couplets (Rosette) – Il sera roi (He will be king)
293:Song (Henri) – Ma mie Rosette (My dear Rosette)
406:, but has really buried two husbands already.
287:Chorus – J'ai la migraine (I have a migraine )
939:Les annales du théâtre et de la musique: 1890
922:Les annales du théâtre et de la musique: 1876
602:Chorus – See, la belle Rosette is approaching
567:Song (Henri) – Ma mie Rosette, ma mie Rosette
8:
66:, included additional numbers with music by
372:on 17 November 1892 and transferred to the
812:
810:
51:, ruled by the young and famously amorous
816:"Plays of the Month: 'Ma mie Rosette'",
123:, where she had caught the attention of
115:The title role of Rosette was played by
937:Noël, Edouard; Edmond Stoullig (1891).
920:Noël, Edouard; Edmond Stoullig (1877).
796:
794:
689:
687:
674:
85:Les Annales du théâtre et de la musique
278:Chorus – De la Navarre (From Navarre)
58:The opera was first performed at the
7:
941:(in French). Paris: G. Charpentier.
924:(in French). Paris: G. Charpentier.
895:
893:
891:
747:Noël and Stoullig, 1891, pp. 358–359
108:died before the opera was produced;
650:with a soupçon of genuine comedy".
621:Critical reception: London version
447:Colonel Cognac – Lawrance D'Orsay
74:Background and original production
14:
368:The London version opened at the
207:The action takes place in 1579.
725:Noël and Stoullig, 1877, p. 337
681:Noël and Stoullig, 1877, p. 685
959:Operetta: A Theatrical History
611:Chorus – What is this clatter?
127:, who cast her as the page in
80:Jeanne, Jeannette et Jeanneton
60:Théâtre des Folies-Dramatiques
1:
756:"Our London Correspondence",
47:. It is set in 16th-century
986:Compositions by Paul LacĂ´me
783:Who's Who & Who Was Who
492:Therese – Florence Melville
198:Clochette – Mdlle. Germaine
35:in four acts with music by
1022:
906:, 26 November 1892, p. 422
189:Corisandre – Mdlle. Vernon
31:("My Dear Rosette") is an
22:Cover of vocal score, 1890
820:, January 1893, pp. 56–57
804:, 20 November 1892, p. 10
738:, 20 February 1890, p. 10
489:Clochette – Marie Brooke
195:Nicette – Mdlle. Montbars
872:, 2 December 1899, p. 23
835:, 9 November 1895, p. 11
512:Synopsis: London version
168:Frétillac – M. Vandennes
885:, November 1892, p. 443
787:(subscription required)
702:(subscription required)
657:The Yeomen of the Guard
530:Numbers: London version
374:Prince of Wales Theatre
192:Gisele – Mdlle. Thirion
171:Moustajon – M. Bellucci
996:French-language operas
734:"The Drama in Paris",
716:, 4 March 1893, p. 171
664:References and sources
637:The St James's Gazette
498:Petan – Blanche Winter
437:
158:
121:Conservatoire de Paris
23:
961:. London: Routledge.
769:Traubner, pp. 148–149
643:The Pall Mall Gazette
501:Alphonse – Rita Paton
432:
180:Lacoste – M. Fournier
153:
21:
904:The Musical Standard
760:, 1 March 1893, p. 9
516:The London magazine
425:Cast: London version
177:Ségurd – M. Dauteuil
174:Allain – M. Larroque
883:The Ludgate Monthly
829:"Sydney – Lyceum",
712:"Mdlle. Nesville",
630:was unimpressed by
518:The Ludgate Monthly
495:Nichette – Day Ford
165:Henriot – M. Hugert
902:in "The Pillory",
881:"Ma mie Rosette",
860:"Ma mie Rosette",
851:, 11 February 1895
800:"Ma mie Rosette",
714:The London Journal
698:Grove Music Online
438:
419:Robert Courtneidge
214:in the kingdom of
162:Vincent – M. Gobin
159:
24:
968:978-1-138-13892-6
955:Traubner, Richard
849:New Zealand Times
506:Juliette Nesville
462:Winyar – W. Rolph
364:London production
355:Critical response
185:Juliette Nesville
155:Juliette Nesville
117:Juliette Nesville
1013:
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866:The Morning Post
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225:Château de Nérac
221:Henri of Navarre
157:as Rosette, 1890
98:Eugène Leterrier
53:Henri of Navarre
1021:
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991:Opéras comiques
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473:Courtice Pounds
434:Courtice Pounds
427:
411:George Edwardes
391:The Nautch Girl
366:
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210:On a farm near
205:
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125:Sarah Bernhardt
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758:Glasgow Herald
749:
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693:Lamb, Andrew.
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632:Ma mie Rosette
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599:Dance (Caryll)
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479:Jennie McNulty
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458:R. Scott Fishe
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441:King Henri –
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382:Ma mie Rosette
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137:Ma mie Rosette
102:Ma mie Rosette
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28:Ma mie Rosette
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477:Corisandre –
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370:Globe Theatre
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146:Original cast
145:
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134:
130:
129:Jules Barbier
126:
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118:
113:
111:
110:Armand Liorat
107:
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94:Albert Vanloo
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45:Armand Liorat
42:
39:and words by
38:
34:
33:opéra comique
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20:
16:
958:
938:
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848:
845:"Amusements"
840:
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652:The Theatre'
651:
641:
635:
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624:
584:Introduction
534:
533:
517:
515:
467:Cairns James
465:Moustajon –
450:Bouillon –
443:Eugène Oudin
408:
403:
400:
389:
386:George Dance
381:
378:
367:
358:
229:
209:
206:
141:
136:
133:Jeanne d'Arc
132:
114:
106:Jules Prével
101:
83:
79:
77:
64:George Dance
57:
41:Jules Prével
27:
26:
25:
15:
1006:1890 operas
818:The Theatre
485:Jessie Bond
452:Frank Wyatt
396:Ivan Caryll
68:Ivan Caryll
37:Paul LacĂ´me
980:Categories
669:References
555:Intermezzo
504:Rosette –
483:Martha –
471:Vincent –
183:Rosette –
90:Clairville
947:762327066
930:491464809
627:The Times
342:Entr'acte
310:Entr'acte
275:Entr'acte
957:(2016).
543:Overture
456:Segur –
243:Overture
203:Synopsis
914:Sources
870:The Era
862:The Era
832:The Era
802:The Era
736:The Era
404:ingénue
235:Numbers
216:Navarre
49:Navarre
1001:Operas
965:
945:
928:
900:Quoted
648:Goethe
581:Act 2
540:Act 1
415:Lyceum
339:Act 4
307:Act 3
272:Act 2
240:Act 1
212:NĂ©rac
963:ISBN
943:OCLC
926:OCLC
96:and
43:and
660:".
131:'s
982::
890:^
847:,
809:^
793:^
781:,
686:^
409:A
139:.
104:.
92:,
70:.
971:.
949:.
932:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
