440:. Fabrice, still a teenager, has fled the Grianta castle in a barouche with his mother and aunt, seeking safety in Milan. The carriage is stopped by police looking for a certain Conti travelling without a passport, who then appears, with his young and beautiful daughter Clélia. The Général Conti is escorted to Milan while Fabrice offers a seat in the barouche to Clélia. The second tableau takes place in the box of Gina at
444:, where she receives Milanese liberals trying with her to find a way of getting Fabrice from arrest by Austrian police, then her lover Mosca, Conti and Clélia and finally Fabrice to whom she explains the plan to help him. By the end of the act, the feelings of Fabrice and Clélia are clear although Gina's towards Fabrice are less so.
466:
Fabrice who is in danger of poisoning because of his
Bonapartist views. Gina plans to free Fabrice, but he only agrees to go if Clélia meets him. In the final tableau of the act they meet and Clélia swears to help him, but after that will never see him again. The two women give Conti sleeping draft and Fabrice flees with Gina.
453:
a comment that
Fabrice loves the duchess. When Fabrice asks Clélia the reason for her sadness she rushes off. In the next scene at the trattoria of Théodolinde Fabrice is discovered in the arms of the wife of actor Giletti and a duel is declared. Fabrice wins it, but must flee; he writes a farewell letter to Gina.
479:, and in darkness and Fabrice blesses Clélia's marriage to the marquis. A chorus tells of the life of Fabrice from his attachment to the Napoleonic cause to his retreat into orders. In the final scene, Fabrice gives a homily on the rejection of the unhappy sinner, such as he is. He prays for forgiveness.
474:
In the first tableau, set in
Locarno, Gina watches over Fabrice, who has started to paint. The feelings of the freed Fabrice are explored. Mosca who now realizes the extent of the attachment of Fabrice for Clélia, reports that following the death of the prince, the judgement condemning Fabrice can be
452:
The first tableau, in the palace of the
Duchess Sanseverina during a ball shows Fabrice's fears at losing Clélia; he annoys his aunt by talking about his love, and offends Mosca. Clélia's father hopes to find her a better match but a misunderstanding between the young people occurs when she overhears
98:
Lunel was keen to focus on all aspects of
Stendhal's novel: historical, political, sentimental, but the final text concentrates on the latter, for which Sauguet's music effected a progressive ascension towards a more pure and rarefied love. The libretto starts when Fabrice, refusing military heroics,
465:
in Parma, where the commander is the Général Conti. But
Fabrice sees Clélia again, feeding her birds in the prison courtyard – and although she has agreed with her father to marry the Marquis Crescenzi, love is rekindled and he would rather stay in prison near her than escape. Clélia decides to save
175:
Cuts were made after the dress rehearsal and following the premiere on 16 March 1939 (which still lasted five hours with three intervals) performances were given at the Paris Opera up to June that year. After the première several further pages of music were cut. The opera was revised and revived in
487:
Sauguet's longest work is traditional in form, but whereas earlier works had been characterized by clear textures, limpid harmonies and relatively straightforward melodies, his music now takes on a more complex harmonic language, suggesting influence of contemporary
Russian symphonists.
167:, general administrator of the Paris Opera. Impressed, Rouché asked Sauguet to present the score to him, which he did singing all parts; before he had finished Rouché accepted to produce the work at the Opéra. Rehearsals were scheduled to start at the very beginning of 1939.
99:
has made a clandestine return to his mother and aunt Gina near the Swiss-Italian frontier, thus first seeing Clélia. All chapters of Book I: the arrival of
Napoleon and his followers in Lombardy, Fabrice's military exploits and Waterloo; are left out.
568:
ensemble: the protagonists (Clélia, Gina, Fabrice, Mosca et le Général) sing a common theme then branch into their own character, from the youthful enthusiasm of
Fabrice to the melancholy of Mosca. At various points Sauguet exploits an
555:
section where the principal three characters one by one express their feelings, leading to a trio. In the fourth tableau, Sauguet gives Théodolinde's song an ancient air. At times
Sauguet's writing echoes both the spontaneity of
209:
remains his best work in the genre. While it has been described as a somewhat "featureless" work, it was directly emotional, containing the simple, flowing, melodic lines which embody the French sentiment of that period.
94:
took place during a long and extensive exchange of letters between composer and librettist. The score was composed during the period 1927 to 1937 during which time Sauguet was developing both as a person and musician.
63:
Armand Lunel was a teacher of philosophy in a lycée in Monaco who also carved out a career as a writer. As well as novels, he also wrote operatic libretti. In 1923 he had written the libretto of
151:
was complete in the autumn of 1937, Hélène de Wendel invited the composer to play through some extracts after a dinner where the guests included
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rhythm which serves to express heightened emotions, such as Fabrice writing his farewell letter to Gina, or the final moments of the opera. His
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with Georges Liccioni (Fabrice), Cora Canne-Meyer (Sanseverina) and Christiane Stutzmann (Clélia), conducted by the composer.
564:, where characters immerse themselves in their interior torments. The second tableau ends with a quintet in the style of a
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lifted. The young man departs for Parme. Mosca once more opens his heart to Gina. Next, Fabrice and Clélia meet at the
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The first tableau shows the encounter of Fabrice and Clélia near an auberge on the mountain road to
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L'Académie d'Aix-Marseille – Document pédagogique associé 2011–2012 : La Chartreuse de Parme.
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51:. The composer's third opera, and his first on a serious subject, it was first performed at the
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494:(who attended seven consecutive performances) claimed that he knew nothing of the quality of
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in Paris and met him again in 1927 during the preparations for Sauguet's ballet
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75:. Sauguet was introduced to Lunel by Milhaud at the time of the premiere of
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The opening of the first tableau contains a gendarmes chorus worthy of an
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588:, was withdrawn before the premiere, but Sauguet used it in his war-time
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The meeting of Clélia and Fabrice on the mountain road from Como to Milan
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in 1958 with Joseph Peyron, Geneviève Moizan, and Denise Scharley.
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Recherches Régionales – Alpes-Maritimes et Contrées limitrophes.
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The "sermon aux lumières" in which Fabrice renounces love
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conducted a French radio broadcast of the work at the
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Henri Sauguet (1901–1989) Un Académicien Autodidacte.
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Henri Sauguet (1901–1989) Un Académicien Autodidacte.
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summed up his thoughts on the work in three words: "
461:Fabrice has been captured and imprisoned in the
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55:in 1939 but has not entered the repertoire.
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547:. From there the music grows via a bravura
119:The celebration at the house of Sanseverina
616:& Langham Smith R. Henri Sauguet. In:
540:. The work was broadcast by French radio.
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592:, dedicated to innocent victims of war.
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728:Encyclopédie de l'art lyrique français
688:" : oeuvre maîtresse, pp. 101–110.
668:Edited by Armelle Babin, December 2011.
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684:Séguier, Biarritz, 2000, chapter V – "
623:Macmillan, London and New York, 1997.
7:
706:, June 2012, Vol 63 No 6, pp. 701–2.
645:de Henri Sauguet et d'Armand Lunel.
649:N° 166 (8-page article), Nice 2003.
514:situated the opera "in the line of
577:is lucid, supporting the melody.
122:The escape of Fabrice from the inn
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700:Kasow, J. Review from Marseille.
619:The New Grove Dictionary of Opera
102:The opera is divided into eleven
746:SĂ©guier, Biarritz, 2000, p. 121.
716:Bibliothèque nationale de France
536:", and made a comparison with
533:naturel, simplicité, sincerité
237:Gina, Duchesse de Sanseverina
176:Grenoble to coincide with the
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227:Premiere cast, 16 March 1939
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742:Rochefort-Parisy, Hélène.
680:Rochefort-Parisy, Hélène.
263:Théodolinde, l'aubergiste
201:Théâtre des Champs-Élysées
733:. Accessed 20 March 2014.
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128:The tower of the fortress
131:Fabrice's return to Gina
778:Operas by Henri Sauguet
718:accessed 27 March 2014.
195:and Nathalie Manfrino.
788:Operas based on novels
763:French-language operas
730:La Chartreuse de Parme
686:La Chartreuse de Parme
643:La chartreuse de Parme
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354:Le Maréchal des logis
207:La Chartreuse de Parme
193:Marie-Ange Todorovitch
191:with Sébastien Guèze,
187:in 2012, conducted by
157:Bibliothèque nationale
92:La Chartreuse de Parme
45:novel of the same name
31:in eleven tableaux by
22:La Chartreuse de Parme
21:
77:Les Malheurs d'Orphée
65:Les Malheurs d'Orphée
590:Symphonie expiatoire
501:Pelléas et Mélisande
381:Madlen and Petitpas
317:Général Fabio Conti
178:1968 Winter Olympics
137:The garden of Clélia
73:Esther de Carpentras
783:Operas set in Italy
496:Chartreuse de Parme
413:Deshayes and Duval
258:Jacqueline Courtin
183:It was produced in
171:Performance history
90:The composition of
586:Battle of Waterloo
287:Fabrice del Dongo
282:Madeleine Lalande
143:Fabrice's farewell
551:to a more tender
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41:Armand Lunel
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773:1939 operas
566:grand opera
522:, Milhaud,
408:Two guests
403:Jean Deleu
392:LĂ©on Ernst
296:Raoul Jobin
229:Conductor:
224:Voice type
153:Julien Cain
149:vocal score
53:Paris Opera
757:Categories
596:References
512:Stravinsky
397:A servant
59:Background
562:bel canto
526:", while
386:A gaoler
368:baritone
276:Une voix
185:Marseille
147:Once the
81:La Chatte
793:Stendhal
582:overture
558:Schubert
545:opérette
538:Chabrier
507:Pénélope
442:La Scala
427:Synopsis
365:A voice
341:Barbone
330:Ludovic
306:baritone
279:soprano
255:soprano
161:Institut
159:and the
115:La Scala
104:tableaux
83:for the
49:Stendhal
37:libretto
549:D major
524:Poulenc
520:Delibes
241:soprano
155:of the
768:Operas
571:iambic
553:E-flat
498:since
419:Chorus
400:tenor
357:tenor
333:tenor
125:Prison
703:Opera
516:Bizet
483:Music
470:Act 4
457:Act 3
448:Act 2
438:Milan
432:Act 1
389:bass
291:tenor
221:Role
214:Roles
29:opera
580:The
321:bass
163:and
504:or
47:by
39:by
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