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550:. It also restores much of the original material that Fétis and his collaborators had altered in preparation both for the first performance and for the first publication of the work by G. Brandus & S. Dufour (1865). Among these revisions were musical alterations, cuts, tempo indications, and much of the lyrical text. Another change undertaken by Fétis and his collaborators was to change the names of “Sélica” to “Sélika” and “Yoriko” to “Nélusko.” Additionally, the High Priest of Brahma was referred to only under that title (“Le grand prêtre de Brahma”) and not as “Zanguebar.” Meyerbeer, however, used “Sélica,” “Yoriko, ” and “Zanguebar” exclusively throughout his score. The edition restores these character names to the way Meyerbeer wrote them.
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examination of the complex relationship between colonial and sexual exploitation. He makes SĂ©lika acquiescent by shortening or removing scenes in which she is assertive. And he prettifies her suicide, which
Meyerbeer intended as troubling. We don't know what changes Meyerbeer was planning: one hopes he would have sorted out the longueurs in the first two acts. But there's no doubt that FĂ©tis did him a grave disservice.
2272:
849:, the destructive giant of the sea. NĂ©lusko gives orders that will direct the ship into an oncoming storm. De Gama has followed Don PĂ©dro in another ship, and begs him to change course to avoid destruction. Don PĂ©dro refuses, and orders him to be chained. The storm breaks out. NĂ©lusko leads the local people to kill all the Europeans on the ships and only de Gama is spared.
2047:
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the action because of the change in locations given for Acts 4 and 5 on the printed libretto in the vocal score (an island on the east coast of Africa) and in the full score (an island in the Indian archipelago)." Gabriela Cruz has published a detailed analysis of the historical context of the events of the opera and the opera setting itself.
901:
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has written that FĂ©tis "on the whole reached an acceptable compromise between the presumed artistic wishes of
Meyerbeer and the practical necessities of performance", but "retaining the historical figure of Vasco, as well as the Hindu religion depicted in Act 4, led to almost irreparable absurdity in
862:
SĂ©lika is met with a grand celebration and swears to uphold the island's laws, which include the execution of all strangers. De Gama is captured by priests, who intend to sacrifice him. He is amazed by the wonders of the island, and sings the most famous aria of the opera "O Paradis!" (O Paradise!).
876:
The reunion of de Gama and Inès is interrupted by Sélika, who feels betrayed. When she realises the strength of the lovers' affection, she allows them to return to Europe, telling Nélusko to escort them to de Gama's boat. She then commits suicide by inhaling the perfume of the poisonous blossoms of
366:
FĂ©tis's alterations consisted largely of cuts and re-orderings, the aim of which, ostensibly, was to bring the opera within manageable length, and to improve narrative clarity, though the plot, by operatic standards, isn't that difficult. ... But FĂ©tis's changes tone down
Meyerbeer's clear-minded
957:
and Alfred Albert. Engravings depicting the amazing sets appeared in periodicals throughout Europe. The final scene designed by
Desplechin received special praise for its originality. Possibly because of advance publicity and high expectations, the Shipwreck Scene of act 3, executed by numerous
831:
Sélika, who is in fact queen of the undiscovered land, saves de Gama, whom she loves, from being murdered by Nélusko, a member of her entourage. Inès agrees to marry Don Pédro if de Gama is freed; de Gama, not realising that Inès has made this bargain, and noticing her envy of Sélika, gives her
1179:
commented on this recording: "I was so angered by this performance I could almost spit nails, because neither the conductor nor the cast understand
Meyerbeer style in the slightest. As for the missing music, some of it is quite good and some of goes in one ear and out the other."
219:
was originally intended for the principal soprano role of SĂ©lika, but suffered an illness that ended her career. The loss of Falcon and reservations about the libretto caused
Meyerbeer to set the project aside in the summer of 1838, when he shifted his focus to the preparation of
2077:
399:
in the performing edition undertaken by FĂ©tis. Because of the long-running and unprecedented advance publicity, including countless reports in the domestic and international press, the production was a social and artistic sensation. The first night, attended by
426:
per performance (roughly twice what was earned by other programs) and reached its 100th presentation at the Salle Le
Peletier on 9 March 1866. It was given there 225 times before its first performance in a new production at the new Paris opera house, the
449:
The opera elicited a mixed response in
Portugal, the homeland of Vasco da Gama. A descendant of da Gama, the MarquĂŞs de Niza, was displeased with the depiction of his ancestor in the opera and succeeded in having the name of Vasco da Gama changed to
477:. In the 21st century, Meyerbeer's major French grand operas are again appearing in new productions in European opera houses. To mark the 150th anniversary of Meyerbeer's death, the work was performed again at La Fenice in November 2013.
814:, appears at the Grand Council saying he has discovered a new land, and displaying SĂ©lika and NĂ©lusko as examples of a newly discovered race. His request for an expedition is refused, causing de Gama to attack the Grand Inquisitor, who
297:
provided German revisions that were translated into French by Joseph
Duesberg. Meyerbeer himself revised SĂ©lika's death scene in November and December 1863. He died on 2 May 1864, one day after the completion of the copying of the
1634:
The singers in the roles of "le Grand
Inquisiteur" and "Anna" are not mentioned in Letellier, but are identified as David and Levielly by Chouquet. Two seasons later both David and Levielly also sang in the premiere of Verdi's
863:
Sélika saves him by saying that he is her husband, forcing Nélusko to swear this is true. De Gama resigns himself to this new life, but hearing the voice of Inès, who is being taken to her execution, he rushes to find her.
1621:
The bass who performed under the stage name Belval was actually named Jules-Bernard Gaffiot (1823–1879) according to a short biographical note in Letellier's annotated edition of Meyerbeer's diaries (vol. 4, p.
233:(the original working title) in 1841 and completed the first draft and a piano score of the first two acts in 1843, after which he again set the project aside. The original story was set in Spain during the reign of
1869:
Neppi, Carla (2014). "The Composition of the Opera", translated by Susan Marie Praeder, pp. 18–19, in the CD booklet accompanying the CDs of the performance conducted by Frank Beermann. Georgsmarienhütte: CPO.
341:(Zanguebar) was removed, and the spelling of SĂ©lica was changed to SĂ©lika. For the required ballet, which Meyerbeer had not provided, FĂ©tis arranged two cut numbers (SĂ©lika's Lullaby in Act 2 and the sailors'
305:
Since substantial revisions and excisions almost always occur during rehearsals, Meyerbeer requested the opera should not be given, if he died before it was produced. However, Minna Meyerbeer (his widow) and
558:
546:, Berlin. This edition makes available, for the first time, a musical score derived directly from Meyerbeer's surviving autograph and employs the title Meyerbeer and Scribe had assigned to the work,
457:
The opera was enormously successful in the 19th century, but along with Meyerbeer's other operas, it fell into almost complete neglect in the 20th century, except for very occasional revivals.
810:
The beautiful Inès is forced by her father, the Grand Admiral Don Diégo, to marry Don Pédro instead of her true love, Vasco de Gama. De Gama, who is thought to have died in the expedition of
1295:
Letellier 2008, p. 160. Letellier spells the name altered by FĂ©tis and his collaborators to NĂ©lusko as "Yoriko" on p. 159, but as "Yoricko" on p. 160. The latter spelling may be a misprint.
408:, "provided Second Empire society with its most exalted self-presentation in terms of an opera premiere." Hourly reports on the progress of the event and its reception were relayed by
416:, was revealed on the stage at the conclusion of the performance, and with only a few exceptions critics declared the production brilliant and the opera, Meyerbeer's masterpiece.
1609:
262:. Meyerbeer and Scribe changed the setting of Acts 1 and 2 to Lisbon and of Acts 4 and 5 to India. The protagonist became Vasco da Gama, and the working title was changed from
1408:
322:
was already well known to the general public, it was reinstated, and, to achieve consistency of this title with the Hindu references in the libretto, India was changed to
191:
The first contract between Meyerbeer and Scribe for the writing of the libretto was signed in May 1837. The starting point for the story was "Le Mancenillier", a poem by
2320:
293:(December 1857 – April 1858). He worked on the opera almost continuously from March 1860 until a few days before his death. Scribe died on 20 February 1861, after which
59:
832:
SĂ©lika and NĂ©lusko as slaves. Don PĂ©dro announces he is to mount an expedition to the new lands that were de Gama's discovery. NĂ©lusko offers his services as pilot.
164:. The FĂ©tis version was published and was used for subsequent performances until 2013, when some productions and recordings began using Meyerbeer's preferred title,
1597:
195:, in which a girl sits under a tree releasing poisonous vapors but is saved by her lover. The plot is also based on an unidentified German tale and a 1770 play by
2300:
2114:
289:, but Cruvelli's abrupt retirement from the public stage in January 1856 interrupted his plans. He began composing music for the Council Scene of Act 1 in
1430:
241:), who buys SĂ©lika as a slave. While sailing for Mexico in Act 3, his ships are forced to seek shelter on the coast of SĂ©lika's kingdom in Africa on the
2063:
1505:
2350:
2315:
2004:
1914:
1894:
1863:
1848:
1833:
1783:
1768:
2335:
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2340:
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2162:
1530:
438:, London, on 22 July 1865, and in New York on 1 December 1865. It also received its Italian premiere in 1865 in Bologna, conducted by
974:
A well known highlight from the opera is the act 4 tenor aria "Pays merveilleux ... O, paradis", which has been recorded many times.
1977:
1959:
1905:
1416:
337:, and Marie-Joseph-François Mahérault, that the name of the character Yoriko was changed to Nélusko, the name of the high priest of
285:
caused further delay, but Meyerbeer returned to the libretto in September 1855. He had intended the role of SĂ©lika for the soprano
1643:
1598:
https://www.ricordi.com/de-DE/Critical-Editions/Meyerbeer-Giacomo-Critical-Editions/Meyerbeer-Vasco-de-Gama-Critical-Edition.aspx
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at the same theatre and have been identified as Joseph David and Leonia Levielly in the cast list for that performance at
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was nearly the only work presented by the Opéra until 1 November 1865. In its first year it brought in 11,000 to 12,000
845:
NĂ©lusko is navigating the ship, but is secretly planning to destroy the Europeans. He sings a ballad of the legend of
1442:
431:, on 17 December 1877, and reached 484 representations before it was dropped from the repertoire on 8 November 1902.
311:
157:
149:, the French version of his name. The copying of the full score was completed the day before Meyerbeer died in 1864.
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1951:
1821:
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31:
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In 1851–1852, Meyerbeer and Scribe continued working on the libretto. Meyerbeer had read a French translation of
492:. The production was a success with audiences and critics and won the poll of German critics award presented by
2086:
1490:
1340:
535:
462:
294:
192:
1887:
The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers. Growth and Grandeur, 1815–1914
924:
889:
599:
281:
1506:"An Often Entertaining New Production of L'Africaine at Oper Frankfurt : Seen and Heard International"
498:
magazine annually as "Rediscovery of the year" in 2013. This edition was also used for a production at the
180:
1079:
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920:
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307:
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939:
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139:, but around 1852 changed the plot to portray fictitious events in the life of the Portuguese explorer
2295:
1943:
401:
168:, for performing versions with revisions based on the manuscript score. In 2018 the music publisher
1555:
1086:
667:
234:
1759:
Arsenty, Richard, editor, translations; Letellier, Robert Ignatius, editor, introductions (2008).
1232:
Letellier 2006, pp. 247–248. Letellier and Huebner both give the spelling of the working title as
947:
2208:
2146:
1175:
1025:
413:
2138:
1464:
1054:
458:
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216:
203:, in which a Hindu maiden loves a Portuguese navigator, a theme already treated by the composer
2123:
2017:
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1973:
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An Introduction to the Dramatic Works of Giacomo Meyerbeer: Operas, Ballets, Cantatas, Plays
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349:
330:
196:
132:
73:
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The four principal singers at the premiere, from left to right: Naudin, Battu, Sasse, Faure
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It was during the revisions by FĂ©tis and his collaborators, including, besides MĂ©lesville,
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of Act 3). He also moved a duet for SĂ©lika and NĂ©lusko from the Act 3 finale to Act 5.
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between 1868 and 1892. It was also performed in Melbourne, Australia, in July 1866.
2021:
1965:
1804:
1236:, however, Neppi 2014 states: "in its French form it was now supposed to be called
1075:
731:
563:
543:
538:
of Meyerbeer's autograph score, edited by JĂĽrgen Selk, was released as part of the
423:
380:
358:
169:
1800:
1794:
Histoire de la musique dramatique en France depuis ses origines jusqu'Ă nos jours
1763:
L'Africaine, second edition. Newcastle upon Tyne: Cambridge Scholars Publishing.
962:
writing in 1885 identified the scene as the epitome of the company's grand opera
952:
911:
The stage designs for the original production at the Paris Opera were created by
172:
issued a critical edition of Meyerbeer's manuscript full score under that title.
649:
615:
507:
388:
254:
242:
204:
17:
1637:
878:
591:
323:
299:
1716:
1608:
Premiere cast and conductor are from Letellier 2008, pp. 172–174, and
846:
494:
443:
409:
326:. The opera was greatly shortened, damaging some of the logic of the story.
1937:
1933:
958:
stagehands, was deemed by the press to be somewhat disappointing. However,
135:. Meyerbeer and Scribe began working on the opera in 1837, using the title
2046:
1996:
1879:
1875:
769:
Councillors, naval officers, bishops, Brahmins, Indians, soldiers, sailors
815:
662:
209:
1992:
258:, an epic poem that celebrates the discovery of a sea route to India by
2248:
610:
249:
237:. The protagonist was a naval officer by the name of Fernand (based on
454:(an 11th-century monk and music theorist) in the Lisbon performance.
412:
to other European capitals. A bust of the composer, newly executed by
790:
338:
2092:
1856:
The Diaries of Giacomo Meyerbeer: 4. The Last Years, 1857–1864
942:
for scene 2 of Act 5 (The Manchineel Tree). The choreography was by
1304:
Cruz, Gabriela, "Laughing at History: The Third Act of Meyerbeer's
1922:
Giacomo Meyerbeer Werkausgabe, Abteilung 1, BĂĽhnenwerke. Band 17:
1776:
Giacomo Meyerbeer: A Discography of Vintage Recordings 1889 - 1955
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888:
628:
569:
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470:
375:
179:
1223:
Arsenty & Letellier 2006, p. xiv (Introduction by Letellier).
900:
290:
2096:
1854:
Meyerbeer, Giacomo; Letellier, Robert Ignatius, editor (2004).
781:
The opera depicts fictional events in the life of the explorer
1041:(Recording of a performance at the Maggio Musicale, 30 April)
934:
for Act 3 (Sea Scene and Shipwreck) and Act 4 (Hindu Temple);
1858:. Madison, New Jersey: Fairleigh Dickinson University Press.
1588:
Roles and voice types are listed according to Huebner, p. 31.
1148:
Nikolay Borchev, Kouta Räsänen, Martin Gäbler, André Riemer
1261:
Camille Saint-Saëns, (Trans. Edwin Gile Rich),"Meyerbeer",
465:
in San Francisco that premiered on November 13, 1973, with
461:
has sung it in at least two productions: a revival at the
2073:, Italian and English libretto, J. Miles & Co. (1865)
1970:
Décors et costumes du XIXe siècle. Tome I: Opéra de Paris
1828:. Madison/Teaneck: Fairleigh Dickinson University Press.
1650:. Instituto Nazionale di Studi Verdiani. Archived from
1778:. Newcastle upon Tyne: Cambridge Scholars Publishing.
1037:
Orchestra and Chorus of the Maggio Musicale Fiorentino
938:
for scene 1 of Act 5 (Queen's Garden, not shown); and
1774:
Arsenty, Richard; Letellier, Robert Ignatius (2013).
919:
for Act 1 (Council Scene) and Act 2 (Dungeon Scene);
30:
This article is about the opera. For other uses, see
1630:
1628:
1567:
Selk 2018, pp. 13–15 ("Source Valuation and Usage").
1365:
1363:
1265:, Chapter XX. Boston: Small, Maynard & Co., 1919
2130:
1341:"Meyerbeer: Vasco de Gama review – markedly uneven"
1325:Cruz, Gabriela, "Meyerbeer's Music of the Future",
1291:
1289:
1248:
1246:
1146:
Bernhard Berchthold, Guibee Yang, Claudia Sorokina,
87:
79:
69:
39:
152:The opera was premiered the following year by the
1130:NĂ©lusko, Grand Inquisitor, Don Diego, Don Alvar)
387:The opera was premiered on 28 April 1865 by the
314:to edit the music for a performing version, and
1741:"MEYERBEER Vasco da Gama • Frank Beerman, cond"
893:Set designs for the original production at the
530:Critical edition of Meyerbeer's autograph score
1926:, Opéra en cinq actes, Paroles d'Eugène Scribe
2108:
8:
2083:"L'Africaine; A lyric dramma, in five acts"
1972:. Paris: Bibliothèque nationale de France.
1494:, Vol. 67, No. 2, February 2016, pp. 193–4.
2271:
2115:
2101:
2093:
1558:, Ricordi website, accessed 26 March 2019.
1488:Solare, Carlos Maria. Report from Berlin.
58:
36:
2064:International Music Score Library Project
1747:, vol. 38, no. 3 (January/February 2015).
1201:
1199:
1197:
2321:Opera world premieres at the Paris Opera
2076:Visual documentation of the premiere on
1928:, Kritischer Bericht . Berlin: Ricordi.
1691:Arsenty & Letellier 2013, pp. 48–51.
1107:
1087:San Francisco Opera Chorus and Orchestra
1003:NĂ©lusko, Grand Inquisitor, High Priest)
984:
577:
318:to edit the libretto. Because the title
1987:. Paris: Deposé au journal L'Entr'acte
1761:The Meyerbeer Libretti, Grand Opéra 4,
1193:
1104:(based on Meyerbeer's unedited version)
2026:The Concise Oxford Dictionary of Opera
1948:The Career and Legend of Vasco da Gama
1415:. Die Theater Chemnitz. Archived from
1117:(based on Meyerbeer's unedited version
881:tree. NĂ©lusko follows her into death.
310:(the director of the Opéra) appointed
1985:L'Opéra au Palais Garnier (1875–1962)
1378:Pitou 1990, p. 13; Wolff 1962, p. 25.
580:Roles, voice types, and premiere cast
434:The work had its British premiere at
7:
2301:Cultural depictions of Vasco da Gama
2085:, Italian and English, digitized by
1705:on operadis-opera-discography.org.uk
946:, and the costumes were designed by
785:('de Gama' in the French libretto).
1839:Letellier, Robert Ignatius (2008).
1028:, Graziano del Vivo, Mario Rinaudo
1019:Veriano Lucchetti, Mietta Sighele,
793:, at sea, and in an exotic new land
64:Cover of the 1865 piano-vocal score
1999:. Paris: Slatkine (1983 reprint).
480:In 2013, a preliminary edition by
160:, who restored the earlier title,
25:
1906:The New Grove Dictionary of Opera
1397:Press release of Teatro La Fenice
1329:25: 169–202 (Summer–Autumn 2009).
1099:
818:him. De Gama is then imprisoned.
143:and introduced the working title
2270:
2045:
1909:(4 volumes). London: Macmillan.
1843:. Hampshire, England: Ashgate.
1826:The Operas of Giacomo Meyerbeer
1159:, Robert Schumann Philharmonie
685:Belval (Jules-Bernard Gaffiot)
529:
510:as SĂ©lika. A new production of
2351:Operas set in the 15th century
1510:seenandheard-international.com
676:president of the Royal Council
1:
1889:. New York: Greenwood Press.
1339:Ashley, Tim (6 August 2014).
1173:Lynn René Bayley, writing in
1128:(Vasco de Gama, Inès, Sélika,
1001:(Vasco de Gama, Inès, Sélika,
540:Giacomo Meyerbeer Werkausgabe
442:and was staged four times at
1283:Letellier 2006, pp. 248–249.
596:Premiere cast, 28 April 1865
2336:Operas by Giacomo Meyerbeer
2331:Operas based on real people
1610:Chouquet, pp. 421–422
1554:Selk 2018, p. 13. See also
1531:"L'Africaine/Vasco de Gama"
806:The council chamber, Lisbon
562:Costume design for SĂ©lika (
127:in five acts with music by
2372:
2341:Operas completed by others
2225:Ein Feldlager in Schlesien
1952:Cambridge University Press
1822:Letellier, Robert Ignatius
1579:, Archivo Storico Ricordi.
1135:Opera house and orchestra
1008:Opera house and orchestra
229:Meyerbeer resumed work on
32:Africaine (disambiguation)
29:
2316:Libretti by Eugène Scribe
2267:
1810:Huebner, Steven (1992). "
767:
512:L'Africaine/Vasco de Gama
395:in Paris under the title
57:
46:
1983:Wolff, Stéphane (1962).
1814: " in Sadie (1992)
1387:Subrahmanyam 1997, p. 9.
1113:discography recorded as
885:Designs for the premiere
463:War Memorial Opera House
295:Charlotte Birch-Pfeiffer
193:Charles Hubert Millevoye
2163:Semiramide riconosciuta
1682:Letellier 2008, p. 174.
1369:Letellier 2008, p. 172.
1357:Letellier 2008, p. 158.
1310:Cambridge Opera Journal
1274:Meyerbeer 2004, p. 340.
1252:Letellier 2006, p. 248.
1214:Letellier 2006, p. 246.
977:
796:Time: late 15th century
588:(per critical edition)
92:28 April 1865
2346:Operas set in Portugal
2306:French-language operas
2150:(1813) (also known as
1465:"Opernhaus des Jahres"
936:Jean-Baptiste Lavastre
921:Charles-Antoine Cambon
908:
897:
738:Le Grand Inquisiteur,
575:
567:
502:in October 2015, with
384:
369:
188:
2195:Il crociato in Egitto
1920:Selk, JĂĽrgen (2018).
1885:Pitou, Spire (1990).
1431:"Giacomo Meyerbeer –
903:
892:
754:high priest of Brahma
642:daughter of Don Diégo
600:François George-Hainl
573:
561:
522:as Vasco de Gama and
506:as Vasco de Gama and
469:; and in 1977 at the
436:Covent Garden Theatre
379:
364:
312:François-Joseph Fétis
282:Le Pardon de Ploërmel
183:
158:François-Joseph Fétis
156:in a version made by
2054:at Wikimedia Commons
2031:Zimmermann, Reiner,
1944:Subrahmanyam, Sanjay
1664:at Internet Archive.
1556:"Meyerbeer, Giacomo"
904:Working the ship in
534:In December 2018, a
402:Emperor Napoleon III
348:The music historian
273:Meyerbeer's work on
121:) is an 1865 French
1119:
992:
913:Auguste Alfred Rubé
841:On Don PĂ©dro's ship
668:Jean-Baptiste Faure
582:
473:in Barcelona, with
372:Performance history
308:CĂ©sar-Victor Perrin
201:La Veuve de Malabar
187:, portrayed in 1847
2209:Ballet of the Nuns
2187:L'esule di Granata
2179:Margherita d'Anjou
2147:Die beiden Kalifen
1108:
1091:DVD: ArtHaus Musik
1026:Giangiacomo Guelfi
985:
940:Edouard Desplechin
909:
898:
708:confidante of Inès
656:Yoriko (NĂ©lusko),
578:
576:
568:
514:was staged at the
475:Montserrat Caballé
414:Jean-Pierre Dantan
385:
189:
131:and a libretto by
2356:Unfinished operas
2283:
2282:
2124:Giacomo Meyerbeer
2050:Media related to
2033:Giacomo Meyerbeer
2018:Rosenthal, Harold
2005:978-2-05-000214-2
1915:978-1-56159-228-9
1903:, editor (1992).
1895:978-0-313-26218-0
1864:978-0-8386-3845-3
1849:978-0-7546-6039-2
1834:978-0-8386-4093-7
1790:Chouquet, Gustave
1784:978-1-4438-6433-6
1769:978-1-84718-971-4
1673:Wild 1987, p. 23.
1504:Irurzun, José M.
1171:
1170:
1097:
1096:
917:Philippe Chaperon
895:Salle Le Peletier
774:
773:
700:Armand Castelmary
393:Salle Le Peletier
335:Germain Delavigne
239:Ferdinand de Soto
185:Giacomo Meyerbeer
129:Giacomo Meyerbeer
119:The African Woman
110:
109:
52:Giacomo Meyerbeer
27:1865 French opera
16:(Redirected from
2363:
2274:
2273:
2241:L'Ă©toile du nord
2203:Robert le diable
2171:Emma di Resburgo
2117:
2110:
2103:
2094:
2062:: Scores at the
2049:
1799:. Paris: Didot.
1798:
1748:
1738:
1732:
1731:
1729:
1727:
1721:Presto Classical
1713:
1707:
1698:
1692:
1689:
1683:
1680:
1674:
1671:
1665:
1663:
1661:
1659:
1632:
1623:
1619:
1613:
1606:
1600:
1595:
1589:
1586:
1580:
1574:
1568:
1565:
1559:
1552:
1546:
1545:
1543:
1541:
1527:
1521:
1520:
1518:
1516:
1501:
1495:
1486:
1480:
1479:
1477:
1475:
1461:
1455:
1454:
1452:
1450:
1441:. Archived from
1427:
1421:
1420:
1419:on 14 July 2014.
1405:
1399:
1394:
1388:
1385:
1379:
1376:
1370:
1367:
1358:
1355:
1349:
1348:
1336:
1330:
1323:
1317:
1308:" (March 1999).
1302:
1296:
1293:
1284:
1281:
1275:
1272:
1266:
1263:Musical Memories
1259:
1253:
1250:
1241:
1230:
1224:
1221:
1215:
1212:
1206:
1203:
1120:
1118:
1084:Maurizio Arena,
1059:Ruth Ann Swenson
1044:CD: Opera d'Oro,
993:
991:
956:
933:
762:Louis-Henri Obin
724:a council member
717:Leonia Levielly
622:Vasco de Gama ,
583:
581:
536:critical edition
488:under the title
350:Robert Letellier
331:Camille Du Locle
276:L'Étoile du nord
197:Antoine Lemierre
99:
97:
62:
37:
21:
2371:
2370:
2366:
2365:
2364:
2362:
2361:
2360:
2286:
2285:
2284:
2279:
2263:
2139:Jephtas GelĂĽbde
2126:
2121:
2042:
2035:(Berlin, 1998).
1796:
1751:
1739:
1735:
1725:
1723:
1717:"Vasco de Gama"
1715:
1714:
1710:
1699:
1695:
1690:
1686:
1681:
1677:
1672:
1668:
1657:
1655:
1654:on 22 July 2011
1642:
1633:
1626:
1620:
1616:
1607:
1603:
1596:
1592:
1587:
1583:
1575:
1571:
1566:
1562:
1553:
1549:
1539:
1537:
1535:operaonline.com
1529:
1528:
1524:
1514:
1512:
1503:
1502:
1498:
1487:
1483:
1473:
1471:
1463:
1462:
1458:
1448:
1446:
1445:on 15 June 2014
1429:
1428:
1424:
1407:
1406:
1402:
1395:
1391:
1386:
1382:
1377:
1373:
1368:
1361:
1356:
1352:
1338:
1337:
1333:
1327:Opera Quarterly
1324:
1320:
1303:
1299:
1294:
1287:
1282:
1278:
1273:
1269:
1260:
1256:
1251:
1244:
1231:
1227:
1222:
1218:
1213:
1209:
1204:
1195:
1186:
1166:
1155:
1147:
1134:
1129:
1127:
1109:
1106:
1092:
1085:
1066:
1063:Shirley Verrett
1055:Plácido Domingo
1045:
1040:
1035:
1024:
1007:
1002:
1000:
986:
983:
972:
950:
927:
887:
869:
858:SĂ©lika's island
855:
838:
824:
812:Bartolomeu Dias
803:
779:
624:a naval officer
597:
587:
579:
556:
532:
516:Frankfurt Opera
482:Jürgen Schläder
467:Shirley Verrett
459:Plácido Domingo
406:Empress Eugénie
374:
287:Sophie Cruvelli
217:Cornélie Falcon
178:
106:
105:
100:
95:
93:
65:
42:(Vasco de Gama)
41:
35:
28:
23:
22:
18:L'africana
15:
12:
11:
5:
2369:
2367:
2359:
2358:
2353:
2348:
2343:
2338:
2333:
2328:
2323:
2318:
2313:
2308:
2303:
2298:
2288:
2287:
2281:
2280:
2276:List of operas
2268:
2265:
2264:
2262:
2261:
2253:
2245:
2237:
2229:
2221:
2213:
2199:
2191:
2183:
2175:
2167:
2159:
2152:wirth und Gast
2143:
2134:
2132:
2128:
2127:
2122:
2120:
2119:
2112:
2105:
2097:
2091:
2090:
2089:on archive.org
2080:
2074:
2066:
2055:
2041:
2040:External links
2038:
2037:
2036:
2029:
2028:(Oxford, 1979)
2009:
2008:
1981:
1963:
1941:
1918:
1901:Sadie, Stanley
1898:
1883:
1867:
1852:
1837:
1819:
1818:: 31–33.
1808:
1787:
1772:
1750:
1749:
1733:
1708:
1701:Recordings of
1693:
1684:
1675:
1666:
1624:
1614:
1601:
1590:
1581:
1577:ID: ICON006087
1569:
1560:
1547:
1522:
1496:
1481:
1469:Kultiversum.de
1456:
1422:
1400:
1389:
1380:
1371:
1359:
1350:
1331:
1318:
1316:(1): pp. 31–76
1297:
1285:
1276:
1267:
1254:
1242:
1225:
1216:
1207:
1192:
1185:
1182:
1169:
1168:
1160:
1157:Chemnitz Opera
1152:Frank Beermann
1149:
1144:
1140:
1139:
1136:
1131:
1124:
1105:
1098:
1095:
1094:
1089:
1082:
1080:Kevin Anderson
1072:Joseph Rouleau
1052:
1048:
1047:
1046:Cat: OPD 1467
1042:
1029:
1017:
1013:
1012:
1009:
1004:
997:
982:
978:Recordings as
976:
971:
968:
925:Joseph Thierry
886:
883:
868:
865:
854:
851:
837:
834:
823:
820:
802:
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734:
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719:
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665:
660:
653:
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647:
644:
637:
636:
631:
626:
619:
618:
613:
608:
604:
603:
594:
589:
555:
552:
531:
528:
524:Claudia Mahnke
520:Michael Spyres
504:Roberto Alagna
486:Chemnitz Opera
484:was staged by
452:Guido d'Arezzo
440:Angelo Mariani
429:Palais Garnier
373:
370:
356:Tim Ashley of
343:Ronde bachique
177:
174:
108:
107:
101:
91:
89:
85:
84:
81:
77:
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71:
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63:
55:
54:
44:
43:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
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2307:
2304:
2302:
2299:
2297:
2294:
2293:
2291:
2278:
2277:
2266:
2259:
2258:
2254:
2251:
2250:
2246:
2243:
2242:
2238:
2235:
2234:
2230:
2227:
2226:
2222:
2219:
2218:
2217:Les Huguenots
2214:
2211:
2210:
2205:
2204:
2200:
2197:
2196:
2192:
2189:
2188:
2184:
2181:
2180:
2176:
2173:
2172:
2168:
2165:
2164:
2160:
2157:
2153:
2149:
2148:
2144:
2141:
2140:
2136:
2135:
2133:
2129:
2125:
2118:
2113:
2111:
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2104:
2099:
2098:
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2088:
2084:
2081:
2079:
2075:
2072:
2071:
2067:
2065:
2061:
2060:
2056:
2053:
2048:
2044:
2043:
2039:
2034:
2030:
2027:
2023:
2019:
2016:
2015:
2014:
2013:
2012:Other sources
2006:
2002:
1998:
1994:
1990:
1986:
1982:
1979:
1978:2-7177-1753-6
1975:
1971:
1967:
1964:
1961:
1960:0-521-64629-4
1957:
1953:
1949:
1945:
1942:
1939:
1935:
1931:
1927:
1924:Vasco de Gama
1923:
1919:
1916:
1912:
1908:
1907:
1902:
1899:
1896:
1892:
1888:
1884:
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1873:
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1857:
1853:
1850:
1846:
1842:
1838:
1835:
1831:
1827:
1823:
1820:
1817:
1813:
1812:Africaine, L'
1809:
1806:
1802:
1795:
1791:
1788:
1785:
1781:
1777:
1773:
1770:
1766:
1762:
1758:
1757:
1756:
1755:
1754:Cited sources
1746:
1742:
1737:
1734:
1722:
1718:
1712:
1709:
1706:
1704:
1697:
1694:
1688:
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1492:
1485:
1482:
1470:
1466:
1460:
1457:
1444:
1440:
1436:
1434:
1433:Vasco de Gama
1426:
1423:
1418:
1414:
1412:
1411:Vasco de Gama
1404:
1401:
1398:
1393:
1390:
1384:
1381:
1375:
1372:
1366:
1364:
1360:
1354:
1351:
1346:
1345:The Guardian]
1342:
1335:
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1328:
1322:
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1315:
1311:
1307:
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1271:
1268:
1264:
1258:
1255:
1249:
1247:
1243:
1239:
1238:Vasco de Gama
1235:
1234:Vasco da Gama
1229:
1226:
1220:
1217:
1211:
1208:
1205:Huebner 1992.
1202:
1200:
1198:
1194:
1191:
1190:
1183:
1181:
1178:
1177:
1165:
1161:
1158:
1153:
1150:
1145:
1142:
1141:
1137:
1132:
1125:
1122:
1121:
1116:
1115:Vasco de Gama
1112:
1103:
1102:Vasco de Gama
1100:Recording as
1093:Cat: 100 217
1090:
1088:
1083:
1081:
1077:
1073:
1069:
1064:
1060:
1056:
1053:
1050:
1049:
1043:
1038:
1033:
1032:Riccardo Muti
1030:
1027:
1022:
1021:Jessye Norman
1018:
1015:
1014:
1010:
1005:
998:
995:
994:
989:
981:
975:
969:
967:
965:
964:mise en scène
961:
960:Arthur Pougin
954:
949:
945:
944:Louis MĂ©rante
941:
937:
931:
926:
922:
918:
914:
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882:
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859:
852:
850:
848:
843:
842:
835:
833:
829:
828:
821:
819:
817:
816:anathematises
813:
808:
807:
800:
795:
792:
788:
787:
786:
784:
783:Vasco da Gama
776:
770:
766:
763:
760:
757:
755:
751:
750:
747:Joseph David
746:
743:
741:
737:
736:
733:
730:
727:
725:
721:
720:
716:
714:
713:mezzo-soprano
711:
709:
705:
704:
701:
698:
695:
693:
689:
688:
684:
682:
679:
677:
673:
672:
669:
666:
664:
661:
659:
655:
654:
651:
648:
645:
643:
639:
638:
635:
634:Emilio Naudin
632:
630:
627:
625:
621:
620:
617:
614:
612:
609:
606:
605:
601:
595:
593:
590:
585:
584:
572:
565:
560:
553:
551:
549:
548:Vasco de Gama
545:
541:
537:
527:
525:
521:
518:in 2018 with
517:
513:
509:
505:
501:
500:Deutsche Oper
497:
496:
491:
490:Vasco de Gama
487:
483:
478:
476:
472:
468:
464:
460:
455:
453:
447:
445:
441:
437:
432:
430:
425:
421:
417:
415:
411:
407:
403:
398:
394:
390:
383:as Don Alvaro
382:
378:
371:
368:
363:
361:
360:
354:
351:
346:
344:
340:
336:
332:
327:
325:
321:
317:
313:
309:
303:
301:
296:
292:
288:
284:
283:
278:
277:
271:
269:
268:Vasco de Gama
265:
261:
260:Vasco da Gama
257:
256:
251:
246:
244:
240:
236:
232:
227:
225:
224:
218:
214:
212:
211:
207:in his opera
206:
202:
198:
194:
186:
182:
175:
173:
171:
167:
166:Vasco de Gama
163:
159:
155:
150:
148:
147:
146:Vasco de Gama
142:
141:Vasco da Gama
138:
134:
133:Eugène Scribe
130:
126:
125:
120:
116:
115:
104:
90:
86:
82:
78:
75:
74:Eugène Scribe
72:
68:
61:
56:
53:
49:
45:
38:
33:
19:
2311:Grand operas
2269:
2256:
2255:
2247:
2239:
2231:
2223:
2215:
2207:
2201:
2193:
2185:
2177:
2169:
2161:
2155:
2151:
2145:
2137:
2069:
2058:
2032:
2025:
2022:John Warrack
2011:
2010:
1984:
1969:
1966:Wild, Nicole
1947:
1925:
1921:
1904:
1886:
1855:
1840:
1825:
1815:
1811:
1805:Google Books
1793:
1775:
1760:
1753:
1752:
1744:
1736:
1724:. Retrieved
1720:
1711:
1702:
1696:
1687:
1678:
1669:
1656:. Retrieved
1652:the original
1645:
1636:
1617:
1604:
1593:
1584:
1572:
1563:
1550:
1538:. Retrieved
1534:
1525:
1513:. Retrieved
1509:
1499:
1489:
1484:
1472:. Retrieved
1468:
1459:
1447:. Retrieved
1443:the original
1438:
1432:
1425:
1417:the original
1410:
1403:
1392:
1383:
1374:
1353:
1344:
1334:
1326:
1321:
1313:
1309:
1305:
1300:
1279:
1270:
1262:
1257:
1237:
1233:
1228:
1219:
1210:
1188:
1187:
1174:
1172:
1167:Cat:7778282
1114:
1110:
1101:
1076:Mark Delavan
1068:Justino DĂaz
987:
979:
973:
963:
948:Paul Lormier
910:
905:
875:
871:
870:
861:
857:
856:
844:
840:
839:
830:
826:
825:
809:
805:
804:
780:
768:
753:
739:
732:Victor Warot
723:
722:Don Alvaro,
707:
691:
675:
657:
641:
623:
598:(Conductor:
547:
539:
533:
511:
493:
489:
479:
456:
448:
433:
419:
418:
396:
386:
381:Victor Warot
365:
359:The Guardian
357:
355:
347:
342:
328:
319:
304:
280:
274:
272:
267:
263:
253:
247:
230:
228:
221:
215:
208:
200:
190:
165:
161:
151:
145:
144:
136:
122:
118:
113:
112:
111:
2296:1865 operas
2257:L'Africaine
2233:Le prophète
2070:L'Africaine
2059:L'Africaine
2052:L'Africaine
1797:(in French)
1703:L'Africaine
1540:21 December
1515:20 December
1439:Kulturradio
1306:L'Africaine
1111:L'Africaine
990:discography
988:L'Africaine
980:L'Africaine
951: [
928: [
906:L'Africaine
752:Zanguebar,
690:Don Diégo,
674:Don PĂ©dro,
650:Marie Battu
616:Marie Sasse
526:as Selika.
508:Sophie Koch
420:L'Africaine
397:L'Africaine
320:L'Africaine
264:L'Africaine
255:The Lusiads
243:Niger River
231:L'Africaine
223:Le Prophète
205:Louis Spohr
176:Composition
162:L'Africaine
154:Paris Opéra
137:L'Africaine
124:grand opéra
114:L'Africaine
103:Paris Opéra
48:Grand opéra
40:L'Africaine
2290:Categories
1938:1080901564
1934:1083902235
1658:5 November
1646:Don Carlos
1638:Don Carlos
1184:References
1133:Conductor,
1006:Conductor,
970:Recordings
879:manchineel
872:The island
827:The prison
692:an admiral
592:Voice type
566:, undated)
324:Madagascar
316:MĂ©lesville
300:full score
235:Philip III
96:1865-04-28
70:Librettist
1997:460748195
1880:886827216
1876:880851882
847:Adamastor
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495:Opernwelt
444:La Fenice
410:telegraph
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1968:(1987).
1946:(1997).
1824:(2006).
1792:(1873).
777:Synopsis
663:baritone
646:soprano
210:Jessonda
88:Premiere
80:Language
2249:Dinorah
2078:Gallica
2024:(eds),
1993:7068320
1745:Fanfare
1726:15 June
1474:15 June
1449:15 June
1176:Fanfare
789:Place:
658:a slave
611:soprano
607:SĂ©lica
564:Ricordi
544:Ricordi
391:at the
362:wrote:
250:Camoens
170:Ricordi
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2326:Operas
2260:(1865)
2252:(1859)
2244:(1854)
2236:(1849)
2228:(1844)
2220:(1836)
2198:(1824)
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424:francs
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83:French
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1491:Opera
1189:Notes
1143:2014
1051:1988
1016:1971
996:Year
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867:Act 5
853:Act 4
836:Act 3
822:Act 2
801:Act 1
758:bass
744:bass
696:bass
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554:Roles
542:, by
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2154:and
2020:and
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1989:OCLC
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1956:ISBN
1930:OCLC
1911:ISBN
1891:ISBN
1872:OCLC
1860:ISBN
1845:ISBN
1830:ISBN
1801:View
1780:ISBN
1765:ISBN
1728:2014
1660:2010
1542:2018
1517:2018
1476:2014
1451:2014
1126:Cast
999:Cast
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877:the
681:bass
586:Role
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291:Nice
279:and
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