276:
attend the wedding. He is the maître d'hôtel of the Faisan d'Or, Bruges's grandest hotel. Thérèse is thrilled by
Mathias's description of Bruges and its metropolitan delights. Her admirer, Vincent, son of the village schoolmaster, is sad at the prospect that Thérèse will inevitably be drawn away from the village in search of adventure in the city. The benevolent Mathias encourages Vincent to declare his love to Thérèse, which he does, but she says she is not ready to settle down to marriage yet. She conceals herself in Mathias's carriage and gets to Bruges. She persuades her uncle to set her up as a florist in the lobby of the hotel, and spends her first earnings on going to the opera, which fascinates her and excites an ambition to become an opera singer.
280:
liaison with the dancer La
Frivolini. The duke intrudes into Frantz's tête-à -tête with the duchess, who quickly hides behind a screen. The duke is amused to find his friend in an intrigue and does not realise with whom. After the duke leaves, the duchess, shaken at her narrow escape, insists that Frantz should conspicuously flirt with another woman, to put the duke off the scent. Thérèse gains entry to the ball to sell flowers. The duke concludes that she is the object of Frantz's interest, and Frantz plays up to this misapprehension. Thérèse sings for the assembled company, and the duke vows that he will get her into the opera company: the guests drink a champagne toast to the duke's new protégée.
301:
19:
652:– Burnand made some changes to characters' names); a chorus, "Dance and sing"; and the finale "La Gloria"; in the second act, "Trifle not with love" (Franz); a trio, "Excuse me, Diva" and a new finale; in the last act, the opening, "Passe pied", and the song "Santa Claus". He also wrote some incidental music and arranged and extended some of Audran's pieces. Gänzl and Lamb note that a second gavotte, this one by Lila Clay, was introduced into the third act.
196:
297:
story is true. At the duke's ball that evening she takes her revenge by singing a song about a rose who wanted to hide its love affair with a butterfly and so bade him make love to a little grasshopper. She then shocks the guests by declaring that Frantz is the butterfly and she is the grasshopper; she does not name the rose but leaves people to guess that it is the duchess. She flees the ballroom and leaves Bruges.
1291:
322:
Charlotte for aid and been cruelly rejected and, in her sleep, she cries out in despair. The cry wakes the family who hurry outside to find her lying unconscious. When Thérèse wakes she finds herself in bed in the room that she occupied as a young girl, and the horror of the dream is soothed away by the care of her loving family. It is
Christmas, and Thérèse is able to enjoy a simple family Christmas again.
1281:
670:"MM. Chivot et Duru ont été souvent mieux inspirés: rien de moins original et de moins spirituel, de plus puéril et de moins divertissant que le livret enfantin qu'ils ont remis, cette fois, à M. Audran. Le musicien du moins a fort habilement tiré son épingle du jeu, et a trouvé le moyen d'écrire sur ce livret banal une partition toute pleine d'heureuses trouvailles et d'agréable mélodies".
470:
1316:
296:
Charlotte, Guillaume and
Vincent overhear the duchess in conversation with Frantz, and are horrified to discover that Thérèse is being used to furnish a smoke-screen for an aristocratic affair. Thérèse is reluctant to believe them, but the manoeuvrings of the duchess and Frantz make it clear that the
317:
Charlotte and
Guillaume continue to live their busy, contented rural life. Mathias has come to join them, driven from Bruges by embarrassment about the events at the duke's ball. Vincent has spent much of the three months since the incident searching for Thérèse, but she has vanished from Bruges. So
321:
When there is nobody about, Thérèse enters. She is weary and down-at-heel, having been walking the country scraping a living as a street singer. She is too nervous to knock at the door of her cousin, and falls asleep outdoors, wrapping her tattered coat around her. She dreams that she has called on
292:
Guillaume and
Charlotte have come for their first visit to the city. They are surprised to bump into Vincent who is supposed to be on an educational tour of the country but has followed Thérèse to Bruges. He tells them that they will find her much changed. With the duke's influence she has become a
279:
Two weeks after Thérèse's arrival in Bruges there is a grand masked ball at the Faisan d'Or, an event much favoured by the local nobility for its scope for amorous intrigue. The
Chevalier Frantz de Bernheim comes to rendezvous with the Duchesse de Fayensberg, whose husband is otherwise engaged in a
555:
was billed as a comic opera, it was in reality "a compound of operetta, vaudeville, drama and extravaganza rolled together somewhat confusedly". He found the story puerile and the dialogue lacking any kind of sparkle; he judged the score to be good in parts, but one that did not advance Audran's
325:
Frantz and the duke turn up, and the talk turns to matters of the heart. Vincent suggests that it is time for Thérèse to marry and settle down. But he is not putting himself forward as a suitor: he recognises the devotion displayed by Frantz, whose proposal of marriage Thérèse accepts. The duke
275:
The villagers are celebrating the wedding of
Guillaume and Charlotte. The latter – like the ant of the fable – is prudent and moderate. Her beloved cousin and foster sister, Thérèse, is like the grasshopper: impulsive, generous and improvident. The girls' uncle, Mathias, has come from Bruges to
318:
too have Frantz and the duke. The duke has been banished by his Prince, shocked at the scandal in the ducal family, and Frantz, like
Vincent, has been searching for Thérèse, having realised that his pretended love for her has become a compelling reality.
64:, the opera shows the lives of two young women, one prudent, like the ant, the other improvident and reckless, like the grasshopper. Unlike the Aesop fable this version has a happy ending, with the "ant" looking after the destitute "grasshopper".
883:
570:
has not been seen in London for many years." Burnand's adaptation of the libretto was judged "pretty, refined, innocent and sympathetic", and Audran's score "the best comic opera music the composer has written". The critic of
942:
589:
The earliest recording of music from the opera was issued on wax cylinder: Marguerite Revel sings the gavotte "Ma mère j'entends le violin". A complete recording of the opera, made in 1955, starring
865:
71:, Paris on 3 October 1886, running for 141 performances. It was later adapted into English for a long-running production in London and productions in New York, Australia and New Zealand.
562:
also considered the libretto puerile, and thought Audran had done well to rescue it with a score full of happy discoveries and pleasing melodies. Reviewing the London production,
145:, in which the improvident grasshopper sings away the summer, and starves in the winter, unlike the provident ant, who has gathered and stored food in readiness for the season.
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558:
521:, who headed the cast in a revival there the following year. The opera was first produced in Australia, also in the Burnand and Ă Beckett adaptation, at the
129:
68:
705:
442:
Dream (Thérèse, Charlotte) – "Frapper à cette porte … Je suis sans pain et sans asile" – Knock on this door ... I am without bread or a place to go
1172:
635:
179:
opened on 3 October 1886 and ran for 141 performances, taking just over half a million francs at the box-office, putting it roughly on a par with
293:
star of the opera, and lives a lavish lifestyle. Both Frantz and the duke are distinctly interested in her, much to the duchess's displeasure.
1294:
1141:
108:(1884) both ran for more than 100 performances – regarded as the criterion of reasonable success in Parisian theatres at the time – but a
1341:
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326:
receives a letter from the duchess telling him that she has persuaded the Prince to lift his banishment, and all ends happily.
577:
called the piece "a genuine comic opera, characterised by the vivacity and dainty grace of the music and the splendour of its
300:
892:
514:
1306:
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436:
Couplets (Charlotte) – "Le soir lorsque chacun a rempli sa journée" – In the evening when everyone has filled their day
1165:
870:
141:
60:
1351:
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128:, 1886) – without conspicuous success, and returned to Chivot and Duru when commissioned to provide a piece for the
383:
Finale (Thérèse, Frantz, Vincent, Guillaume, Mathias) – "O vin charmant qui pétille!" – O charming sparkling wine!
573:
414:
Quartet (Charlotte, Thérèse, Vincent, Guillaume) – "Tu n'as pas, j'en ai l'assurance" – You do not have, I'm sure
648:
Caryll's contributions were, in Act I, a new introduction and children's chorus; a song,"Too late" for Franz (
157:
1198:
18:
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for this production. The London run lasted for 423 performances. The same adaptation was presented at the
482:
478:
121:
162:
1346:
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1005:
732:, Opérette – Théâtre Musical, Académie Nationale de l'Opérette (in French). Retrieved 9 December 2018
622:
152:, for whom Audran and his partners wrote the role of Thérèse, the extravagant, feckless heroine. The
98:
547:
133:
52:
907:
729:
502:
772:
537:
by the
Angelini-Gattini Opera Company of Milan at the Century Theatre, New York in April 1913.
417:
Couplets (Thérèse, Frantz) – "On m'a dit que vous me trompez" – I was told that you deceived me
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Song (Charlotte) – "Au temps passé les animaux parlaient" – In times past the animals spoke
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Romance (Frantz) – "Oui, la raison guidant son coeur" – Yes, the reason guiding his heart
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Finale (Thérèse) – "C'est l'histoire d'une cigale" – This is the story of a grasshopper
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Duet (Thérèse, Charlotte) – "Petit Noël avec mystère" – Father Christmas with mystery
411:
Duet (Charlotte, Thérèse) – "Petit Noël avec mystère" – Father Christmas with mystery
408:
Villanelle (Charlotte) – "J'aime mieux notre humble foyer" – I prefer our humble home
396:
Duet (Charlotte, Guillaume) – "Le père Antoine un matin" – Father Antoine one morning
153:
40:
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374:
Frantz – "Le Duc d'humeur fort inconstante" – The Duke is of a very inconstant mood
365:
Duet (Thérèse, Vincent) – "Allons, parlez, je vous écoute" – Speak – I am listening
89:
44:
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368:
Ensemble (Charlotte, Thérèse, Vincent, Guillaume, Mathias – "Au revoir" – Goodbye
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Air (Thérèse) – "Mon oncle, la chose est certaine" – Uncle, the thing is certain
93:
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48:
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788:
Noël and Stoullig, 1887, p. 311, and 1888, p. 296; and "The Drama in Paris",
661:
It was not unusual for Audran's works to run longer in London than in Paris.
477:
The piece was revived at the Gaîté in 1887 with Mme Morin, and in 1904 with
469:
362:
Song (Thérèse) – "Ah! vive la chanson d'été" – Hurrah for the song of summer
405:
Gavotte (Thérèse) – "Ma mère j'entends le violon" – Mother, I hear a violin
1036:
963:
633:, but the score is published as an opéra comique, and it is so termed in
566:
London critic was more enthusiastic: "A more exquisite comic opera than
132:
in Paris. The title characters, the grasshopper and the ant, allude to
1315:
260:
96:, had written five shows in a row that failed to rival it. Of these,
112:
had proved elusive. Audran tried working with other collaborators –
525:, on 13 February 1892, and was given in New Zealand in 1895 by the
468:
445:
Chorus of children – "Le cloches en carillon" – The carillon bells
299:
194:
17:
1150:
779:, 21 September 1884, p. 340; and Noël and Stoullig, 1886, p. 450
402:
Chorus – "Les mirlitons, les crécelles" – Reed pipes and rattles
1154:
393:
Chorus – "C'est le jour de kermesse" – It's the day of the fair
420:
Chorus – "En cette demeure spendide" – In this splendid house
712:
2001, Oxford University Press. Retrieved 9 December 2018
556:
reputation. The annual review of Parisian productions
377:
Chorus – "Le grelot de la folie" – The bell of madness
79:
After considerable success at the box-office with the
1304:
167:, for whom the collaborators had written before, in
148:
The biggest draw at the Gaîté was its leading lady,
1256:
1236:
1188:
433:
Chorus – "Que dans cette ferme" – What in this farm
222:
Le chevalier Frantz de Bernheim – Georges Mauguière
156:lead, Charlotte, the thoughtful "ant", was sung by
979:Audran, Edmond; Alfred Duru; Henri Chivot (1886).
741:Noël and Stoullig 1883, p. 411, and 1884, p. 270
451:Finale (Thérèse) – "O jour béni" – O blessed day
255:The opera is set in the 18th century in a small
1285:List of operas and operettas by Edmond Audran
1166:
1114:Les annales du théâtre et de la musique: 1887
1097:Les annales du théâtre et de la musique: 1886
1080:Les annales du théâtre et de la musique: 1885
1063:Les annales du théâtre et de la musique: 1883
1046:Les annales du théâtre et de la musique: 1882
485:, London, on 9 October 1890, under the title
35:(The Grasshopper and the Ant) is a three-act
8:
545:The Paris correspondent of the London paper
199:Act I: Thérèse and Charlotte at front centre
380:Thérèse – "Un jour Margot" – One day Margot
1280:
1173:
1159:
1151:
399:Rondo (Vincent) – "Je souffle" – I breathe
356:Chorus – "Ils ont dit oui" – They said yes
88:(1880), Audran and his usual librettists,
636:Grove's Dictionary of Music and Musicians
517:, New York, on 26 October 1891, starring
509:. Some additional songs were composed by
213:La duchesse de Fayensberg – Mdlle. Fassi
1311:
1112:Noël, Edouard; Edmond Stoullig (1888).
1095:Noël, Edouard; Edmond Stoullig (1887).
1078:Noël, Edouard; Edmond Stoullig (1886).
1061:Noël, Edouard; Edmond Stoullig (1884).
1044:Noël, Edouard; Edmond Stoullig (1883).
683:
611:
559:Les Annales du théâtre et de la musique
304:Thérèse's dream – rejected by Charlotte
1295:Category:Compositions by Edmond Audran
821:
819:
817:
905:"Italian company gives 'La Cigale'",
800:
798:
7:
1116:(in French). Paris: G. Charpentier.
1099:(in French). Paris: G. Charpentier.
1082:(in French). Paris: G. Charpentier.
1065:(in French). Paris: G. Charpentier.
1048:(in French). Paris: G. Charpentier.
725:
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691:
689:
687:
533:. The opera was given in Italian as
473:Programme for English premiere, 1890
67:The work was first performed at the
1010:Gänzl's Book of the Musical Theatre
631:Gänzl's Book of the Musical Theatre
336:Gänzl's Book of the Musical Theatre
210:Charlotte – Louise Thuillier-Leloir
183:but not approaching the success of
313:Three months later, in the village
14:
22:Sheet music for the gavotte from
1314:
1290:
1289:
1279:
777:Le MĂ©nestrel: journal de musique
228:Le duc de Fayensberg – M. Raiter
219:La mère Catherine – Mddle. Baudu
75:Background and first performance
920:Noël and Stoullig, 1887, p. 310
1134:Operetta: A Theatrical History
1031:. Paris: Firmin Didot Frères.
1025:La Fontaine, Jean de (1852) .
958:Edison Moulés sur or cylinder
271:The village, and later, Bruges
1:
601:Notes, references and sources
481:. A production opened at the
810:unnumbered introductory page
1012:. London: The Bodley Head.
838:Gänzl and Lamb, pp. 409–413
597:, has been released on CD.
523:Princess Theatre, Melbourne
237:An old beggar – M. Gobereau
216:La Frivolini – Mddle. Paula
142:The Ant and the Grasshopper
61:The Ant and the Grasshopper
1373:
625:categorise the work as an
1276:
947:The Sydney Morning Herald
874:, 13 February 1892, p. 17
574:The Sydney Morning Herald
263:, and later in the city.
259:village near the city of
26:, the most popular number
982:La cigale et la fourmi,
933:, 11 October 1890, p. 10
896:, 20 February 1895, p. 2
551:commented that although
465:Revivals and adaptations
1342:Operas by Edmond Audran
988:. Paris: Kriegelstein.
829:, 6 November 1886, p. 9
754:, 6 November 1886, p. 9
714:(subscription required)
527:Williamson and Musgrove
158:Louise Thuillier-Leloir
1337:French-language operas
1220:La cigale et la fourmi
911:, 30 April 1913, p. 11
856:Gänzl and Lamb, p. 409
847:Gänzl and Lamb, p. 413
825:"The Drama in Paris",
792:, 29 August 1891, p. 9
750:"The Drama in Paris",
553:La cigale et la fourmi
474:
305:
225:Vincent – M. Alexandre
200:
177:La cigale et la fourmi
32:La cigale et la fourmi
27:
24:La cigale et la fourmi
1136:. London: Routledge.
535:La Cicala e la Formia
479:Juliette Simon-Girard
472:
303:
198:
21:
1213:Gillette de Narbonne
1199:Les noces d'Olivette
949:, 20 June 1892, p. 6
458:Source: Vocal score.
244:Source: Vocal score.
234:Mathias – M. Scipion
231:Guillaume – M. Petit
99:Gillette de Narbonne
884:"The Opera Season:
695:Traubner, pp. 89–90
134:Jean de La Fontaine
130:Théâtre de la Gaîté
69:Théâtre de la Gaîté
53:Jean de La Fontaine
51:. Loosely based on
908:The New York Times
763:La Fontaine, p. 59
710:Grove Music Online
541:Critical reception
529:company, starring
489:, in a version by
475:
306:
201:
28:
1302:
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1143:978-0-415-96641-2
1130:Traubner, Richard
495:Gilbert Ă Beckett
114:Maurice Ordonneau
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105:Le grand mogol
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191:Original cast
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154:mezzo-soprano
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43:and words by
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41:Edmond Audran
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37:opéra comique
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1267:Miss Helyett
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122:H. B. Farnie
120:, 1886) and
117:
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90:Henri Chivot
83:
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66:
59:
45:Henri Chivot
31:
30:
29:
23:
15:
1347:1886 operas
1206:La mascotte
1006:Andrew Lamb
1002:Gänzl, Kurt
984:vocal score
943:"La Cigale"
623:Andrew Lamb
511:Ivan Caryll
497:, starring
185:La mascotte
171:(1884) and
161: [
102:(1882) and
94:Alfred Duru
85:La mascotte
49:Alfred Duru
1331:Categories
678:References
619:Kurt Gänzl
585:Recordings
503:Eric Lewis
204:Thérèse –
110:succès fou
1227:La poupée
1122:762314076
1105:762306241
1088:762341977
1071:762324893
1054:762342119
1018:966051934
994:980601466
886:La Cigale
568:La Cigale
564:The Era's
487:La Cigale
173:Pervenche
1258:Opérette
1132:(2003).
1008:(1988).
964:42852920
627:opérette
353:Overture
330:Source:
251:Synopsis
175:(1885).
973:Sources
931:The Era
827:The Era
804:Audran
790:The Era
752:The Era
548:The Era
428:Act III
343:Numbers
332:The Era
309:Act III
257:Flemish
126:Indiana
1357:Operas
1307:Portal
1140:
1120:
1103:
1086:
1069:
1052:
1037:337376
1035:
1028:Fables
1016:
992:
962:
388:Act II
288:Bruges
284:Act II
261:Bruges
1321:Opera
806:et al
606:Notes
348:Act I
267:Act I
165:]
1138:ISBN
1118:OCLC
1101:OCLC
1084:OCLC
1067:OCLC
1050:OCLC
1033:OCLC
1014:OCLC
990:OCLC
960:OCLC
621:and
505:and
493:and
334:and
92:and
47:and
650:sic
629:in
581:".
1333::
1004:;
945:,
890:,
868:,
816:^
808:,
797:^
775:,
720:^
708:,
686:^
501:,
187:.
163:fr
1309::
1174:e
1167:t
1160:v
1146:.
1124:.
1107:.
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1073:.
1056:.
1039:.
1020:.
996:.
888:"
639:.
338:.
124:(
116:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
