129:
19:
197:
268:
and then disposed of it. But when it falls into the hands of
Joquelet it becomes clear to all that the black necklace has no significance whatever. Mignapour will become Grand Mogul and can marry his little Parisienne. Bengaline attempts to stop the marriage by telling how she trysted with Mignapour in the rose garden, but when it emerges that she actually met Crakson she finds to her fury that she is obliged to marry him.
925:
915:
950:
239:
drugs
Mignapour too, and while the latter is unconscious, Crakson swaps the white necklace for a black one, before going to meet Irma in the garden. Unfortunately for the plotters, Bengaline has had a similar idea, and it is she, disguised as Irma, whom Crakson meets in the rose garden. Neither realises the real identity of the other.
493:
and much scope to the musician. M. Audran has seized it to indulge in his usual sentimentality, and his personages – not excepting the terrible dentist – warble tender ditties from one end of the score to the other. I shall best describe the music by saying that it is very 'nice', and this quality is
267:
Joquelet finds an old casket. When it is finally opened, after much difficulty, it is found to contain a document which reveals that earlier Great Moguls invented the myth of the magic necklace to keep their heirs on the path of virtue. Bengaline had earlier found the casket, thus learning the facts,
238:
Mignapour tries to persuade Irma to meet him in the rose garden at midnight. She does not agree, but he lives in hope. At night he is in the care of bodyguards whom he cannot elude. He asks
Crakson, who has access to supplies, to drug the guards. Crakson does so, but keen to have Irma to himself, he
217:
There are three people unhappy about the betrothal. Princess
Bengaline, the prince's cousin, is ambitious to be his wife and share the throne; the Grand Vizier, Nicobar, has pinned his political future on Bengaline's plans; and Captain Crakson, an unattractive English officer, is in love with Irma.
213:
It is two days until Prince
Mignapour reaches the age of majority and ascends the throne. He is less concerned about his accession than about finding Irma, a young Frenchwoman he met two months ago and fell in love with. Irma and her brother, Joquelet, have fled from France to avoid their creditors.
209:
At the court of the Great Moguls, the custom is that the Crown
Princes must remain chaste until they reach the age of majority, on pain of losing their rights to the throne. The prince must at all times wear a magical white pearl necklace, which will turn black if he strays from the path of virtue.
251:
Before the wedding of his sister, Joquelet tactfully attempts to explain what is expected of a bride. After a ballet, Prince
Mignapour finally appears, but, to the amazement of all, his necklace has turned black. It is assumed that he has lapsed from virtue. Nicobar reveals that the guards saw
446:) who adopt the Indian personas Ayala and Djemma. The aspect of the piece most remarked on was that St John used real snakes in her snake-charming scene. Otherwise the piece was tepidly received and closed after eight weeks.
514:
expressed regret that so intelligent an artist as
Florence St John should have let herself be involved in so inane a spectacle, and added, "M. Audran's score is as feeble as the action it serves to illustrate".
230:
Crakson, Bengaline and
Nicobar plot to prevent the marriage of Irma and the prince. They decide to prevent his accession to the throne by leading him to lose his innocence. Bengaline and her retinue of
434:, who substantially rewrote the book. The device of the pearl necklace was retained, but the plot was radically altered and new characters introduced, including a comic Frenchman played by
90:, who soon became a star of light opera in Paris. The opera opened on 24 February 1877 and ran for 60 performances – a run of rare length for a provincial French theatre of the time.
188:
In some printed editions of the final Paris version the second and third acts are joined together, and Act IV becomes Act III. The opera is set in the
Kingdom of Delhi in 1750.
489:
The libretto is gay and sometimes witty, though MM. Chivot and Duru have often written brighter dialogue. The situations, if not quite novel, afford opportunities for
423:
presented a new version in two acts; this production was then seen in Paris at the Gaîté. During the 2002–2003 season the Théâtre Odéon, Marseille, staged a revival.
214:
He has become a travelling dentist and she a snake charmer. Mignapour finds Irma in Almora and declares his love; she willingly accepts his proposal of marriage.
918:
475:
141:
337:
Chorus of bayadères and song (Chorus, Bengaline) – "Nous sommes prêtresses d'Indra … L'indolente panthère" – We are Priestesses of Indra … The lazy Panther
117:
55:
340:
Chorus and couplets (Chorus, Irma) – "Sur l'ordre de sa hautesse … Dans nos guingettes de Paris" – On the order of His Highness … In our Parisian bars
303:
Chorus and couplets (Chorus, Bengaline) – "Place à Bengaline … J'aime l'éclat des cours" – Make way for Bengaline … I love the brilliance of the court
39:. The opera depicts the love between an Indian prince and a young Parisienne, and the unsuccessful attempts of conspirators to thwart their romance.
806:
928:
252:
someone answering to the prince's appearance embracing a woman in the rose garden. There is uproar and the prince is ejected from the palace.
416:
362:
Finale (All) – "Silence! le voici qui s'avance … Pardon, je ne suis éveillé qu'à demi" – Silence! He is coming … I'm sorry, I'm half awake
1005:
1000:
294:
Chorus and song (Chorus, Joquelet) – "Allons et point de paresse … Mon nom est Joquelet" – Come on, no idleness … My name is Joquelet
970:
420:
235:
surround the young man, and nearly provoke him to a kiss, but the sudden intrusion of Joquelet prevents it in the nick of time.
975:
450:
86:, and invited Audran to set it. The work was accepted by the Théâtre Gymnase, Marseille. The leading lady was the 18-year-old
940:
995:
586:
Chivot and Duru, pp. 1–41 (Act I); 42–79 (Act II); 80–86 (Act III) and 87–119 (Act IV); and Gänzl and Lamb, pp. 351–355
799:
390:
Quartet (Irma, Mignapour, Crakson, Joquelet) – "Ah! pour moi quelle heureuse chance" – Ah! for me, what a happy chance
479:
found the libretto lightweight, sustained by Audran's "primitive" music and the splendid staging. The reviewer of
651:
306:
Duet (Mignapour, Bengaline) – "Je voudrais révéler à la nature entière" – I would like to reveal the whole nature
508:, "There is not a spontaneous or unaffected melody in the whole work … a dull work of minute intrinsic value."
78:
in the 1860s, but they attracted little attention, and he did not return to the genre until the mid-1870s when
832:
659:
499:
98:
465:. There were three revivals there between 1882 and 1887. A German production was staged in Berlin in 1885.
853:
792:
504:
93:
After this, Audran gave up his church post and moved to Paris, where he soon had a solid success with his
623:
427:
415:
The Gaîté staged seven revivals of the piece between 1885 and 1915. There was a new production at the
18:
985:
980:
900:
846:
746:
611:
543:
481:
378:
Song (Joquelet) – "Petite sœur, il faut sécher tes larmes" – Little sister, you must dry your tears
312:
Finale (Irma, all) – "Pour voir Irma … Allons, petit serpent" – To see Irma … Come on, little snake
128:
638:
767:
325:
Buffo trio (Crakson, Nicobar, Bengaline) – "Si le Prince se marie" – If the Prince gets married
773:
754:
730:
443:
724:
823:
617:
454:
94:
75:
990:
458:
331:
Duet (Joquelet, Irma) – "Dans ce beau palais de Delhi" – In this beautiful palace of Delhi
871:
32:
297:
Couplets (Irma) – "Je ne veux pas de vous pour époux " – I do not want you for a husband
196:
102:(1879), which ran for over a year in London, and extended his international fame with
964:
815:
742:
462:
67:
36:
954:
438:; Joquelet and Irma became an English pair, Charley Jones and his girlfriend Emma (
431:
261:
79:
43:
860:
381:
Song (Mignapour) – "Par tout le pays, je chemine" – Throughout the country I walk
891:
839:
439:
435:
334:
Couplets (Mignapour) – "Un antique et fort vieil adage" – An old, very old adage
328:
Couplets (Bengaline) – "Qu'on me laisse agir à mon gré" – Let me act as I please
232:
109:
104:
87:
51:
300:
Narration (Irma) – "Si le prince, m'a-t-on conté" – If the prince, so I am told
309:
Romance (Mignapour) – "Si j'étais un petit serpent" – If I were a little snake
758:
734:
777:
510:
384:
Duet (Mignapour, Irma) – "O ma maîtresse bien aimée" – O my beloved mistress
71:
50:, on 24 February 1877. A revised four-act version, with words by Chivot and
47:
550:, Académie Nationale de l'Opérette. (In French.) Retrieved 11 December 2018
42:
The piece exists in two versions. The first, in three acts, with words by
387:
Couplets (Bengaline) – "A la femme en naissant" – To the woman at birth
949:
359:
Couplets (Joquelet) – "Au moment de te marier" – When you get married
145:
give no details of the 1877 Marseille cast. The 1884 Paris cast was:
133:
393:
Finale (All) – "D'où vient un pareil tapage" – What is all the fuss?
343:
Finale (All) – "Le jour viens de finir" – The day has just finished
195:
127:
108:(1880). In the mid-1880s, together with Chivot and the playwright
17:
784:
788:
375:
Chorus – "Après les pénibles voyages" – After painful journeys
356:
Chorus "O soleil, quand de tes feux" – O sun, when your fires
116:. The new version was produced on 19 September 1884 at the
938:
430:, London, on 17 November 1884. The adaptation was by
353:
Chorus "Gardiens du palais" – Guardians of the palace
890:
870:
822:
621:, 18 November 1884, p. 5; and "The Grand Mogul",
449:The first American production was in 1881 at the
919:List of operas and operettas by Edmond Audran
800:
769:Les annales du théâtre et de la musique: 1884
692:Beatty-Kingston, William. "The Grand Mogul",
615:, 22 November 1884, p. 16; "Comedy Theatre",
568:Chivot and Duru, unnumbered introductory page
8:
726:Le grand mogul, Opéra-bouffe en quatre actes
152:Joquelet, travelling dentist – M. Alexandre
914:
807:
793:
785:
46:, was produced at the Théâtre du Gymnase,
70:was a church organist and choirmaster in
945:
766:Noël, Edouard; Edmond Stoullig (1885).
529:
476:Les Annales du théâtre et de la musique
142:Les Annales du théâtre et de la musique
929:Category:Compositions by Edmond Audran
596:
594:
592:
205:A public square in Almora, near Delhi
120:, where it ran for 248 performances.
82:, a family friend, wrote a libretto,
7:
772:(in French). Paris: G. Charpentier.
723:Chivot, Henri; Alfred Duru (1923) .
539:
537:
535:
533:
426:An English production opened at the
751:Gänzl's Book of the Musical Theatre
274:Gänzl's Book of the Musical Theatre
170:Princess Bengaline – Mlle. Gélabert
155:Nicobar, grand vizier – M. Mesmaker
14:
498:Reviewing the London adaptation,
948:
924:
923:
913:
457:, in Farnie's version, starring
158:Madras, innkeeper – M. Gobereau
139:Except for Jane Hading as Irma,
66:In the 1860s and into the 1870s
62:Background and first productions
22:Poster for 1884 Paris production
670:Noël and Stoullig, 1885, p. 224
658:, Billy Rose Theatre Division,
559:Noël and Stoullig, 1885, p. 222
58:, Paris, on 19 September 1884.
417:Théâtre des Folies-Dramatiques
112:, Audran revised and expanded
1:
473:Reviewing the Paris premiere
161:Palace officer – M. Berville
494:also its principal drawback.
167:Irma – Mme. Thuillier-Leloir
164:Captain Crakson – M. Scipion
149:Prince Mignapour – M. Cooper
753:. London: The Bodley Head.
600:Gänzl and Lamb, pp. 350–351
132:Crakson: costume design by
74:. He composed some one-act
1022:
1006:Works about Indian history
548:Opérette – Théâtre Musical
402:Opérette – Théâtre Musical
1001:Works about Mughal Empire
910:
696:, 1 December 1884, p. 293
683:, 27 September 1884, p. 9
627:, 18 November 1884, p. 11
709:, 19 November 1884, p. 6
411:Revivals and adaptations
971:Operas by Edmond Audran
660:New York Public Library
636:"Music and the Drama",
500:William Beatty-Kingston
421:Grand Théâtre de Genève
976:French-language operas
854:La cigale et la fourmi
679:"The Drama in Paris",
642:, 5 January 1885, p. 6
577:Gänzl and Lamb, p. 355
519:References and sources
201:
136:
23:
624:The Pall Mall Gazette
419:in 1922. In 1949 the
272:Source: Libretto and
199:
131:
21:
847:Gillette de Narbonne
833:Les noces d'Olivette
656:cabinet photographs"
652:"Lillian Russell in
247:A hall in the palace
99:Les noces d'Olivette
996:Operas set in India
226:The palace gardens
118:Théâtre de la Gaîté
56:Théâtre de la Gaîté
54:, was given at the
705:"Comedy Theatre",
639:The Glasgow Herald
469:Critical reception
202:
137:
24:
936:
935:
654:The Snake Charmer
451:Bijou Opera House
177:Source: Libretto.
1013:
953:
952:
944:
927:
926:
917:
916:
809:
802:
795:
786:
781:
762:
738:
729:. Paris: Stock.
710:
703:
697:
690:
684:
677:
671:
668:
662:
649:
643:
634:
628:
618:The Morning Post
607:
601:
598:
587:
584:
578:
575:
569:
566:
560:
557:
551:
544:"Le grand mogol"
541:
444:Florence St John
200:Design for Act I
1021:
1020:
1016:
1015:
1014:
1012:
1011:
1010:
961:
960:
959:
947:
939:
937:
932:
906:
886:
866:
818:
813:
765:
741:
722:
719:
714:
713:
704:
700:
691:
687:
678:
674:
669:
665:
650:
646:
635:
631:
608:
604:
599:
590:
585:
581:
576:
572:
567:
563:
558:
554:
542:
531:
526:
521:
471:
459:Lillian Russell
413:
283:
258:
245:
224:
186:
126:
76:opéras comiques
64:
12:
11:
5:
1019:
1017:
1009:
1008:
1003:
998:
993:
988:
983:
978:
973:
963:
962:
958:
957:
934:
933:
911:
908:
907:
905:
904:
896:
894:
888:
887:
885:
884:
881:Le grand mogol
876:
874:
868:
867:
865:
864:
857:
850:
843:
836:
828:
826:
820:
819:
814:
812:
811:
804:
797:
789:
783:
782:
763:
739:
718:
715:
712:
711:
698:
685:
672:
663:
644:
629:
609:"The Comedy",
602:
588:
579:
570:
561:
552:
528:
527:
525:
522:
520:
517:
496:
495:
470:
467:
428:Comedy Theatre
412:
409:
408:
407:
406:
405:
395:
394:
391:
388:
385:
382:
379:
376:
373:
364:
363:
360:
357:
354:
345:
344:
341:
338:
335:
332:
329:
326:
323:
314:
313:
310:
307:
304:
301:
298:
295:
292:
282:
279:
278:
277:
260:The hall of a
185:
182:
181:
180:
179:
178:
172:
171:
168:
165:
162:
159:
156:
153:
150:
125:
122:
114:Le grand mogol
84:Le grand mogol
63:
60:
35:with music by
28:Le grand mogol
13:
10:
9:
6:
4:
3:
2:
1018:
1007:
1004:
1002:
999:
997:
994:
992:
989:
987:
984:
982:
979:
977:
974:
972:
969:
968:
966:
956:
951:
946:
942:
931:
930:
921:
920:
909:
903:
902:
898:
897:
895:
893:
889:
883:
882:
878:
877:
875:
873:
869:
863:
862:
858:
856:
855:
851:
849:
848:
844:
842:
841:
837:
835:
834:
830:
829:
827:
825:
824:Opéra comique
821:
817:
816:Edmond Audran
810:
805:
803:
798:
796:
791:
790:
787:
779:
775:
771:
770:
764:
760:
756:
752:
748:
744:
740:
736:
732:
728:
727:
721:
720:
716:
708:
702:
699:
695:
689:
686:
682:
676:
673:
667:
664:
661:
657:
655:
648:
645:
641:
640:
633:
630:
626:
625:
620:
619:
614:
613:
606:
603:
597:
595:
593:
589:
583:
580:
574:
571:
565:
562:
556:
553:
549:
545:
540:
538:
536:
534:
530:
523:
518:
516:
513:
512:
507:
506:
501:
492:
491:mise-en-scène
488:
487:
486:
484:
483:
478:
477:
468:
466:
464:
463:Selina Dolaro
460:
456:
452:
447:
445:
441:
437:
433:
429:
424:
422:
418:
410:
403:
399:
398:
397:
396:
392:
389:
386:
383:
380:
377:
374:
371:
370:
369:
368:
361:
358:
355:
352:
351:
350:
349:
342:
339:
336:
333:
330:
327:
324:
321:
320:
319:
318:
311:
308:
305:
302:
299:
296:
293:
290:
289:
288:
287:
280:
275:
271:
270:
269:
265:
264:
263:
257:
253:
249:
248:
244:
240:
236:
234:
228:
227:
223:
219:
215:
211:
207:
206:
198:
194:
193:
189:
183:
176:
175:
174:
173:
169:
166:
163:
160:
157:
154:
151:
148:
147:
146:
144:
143:
135:
130:
124:Original cast
123:
121:
119:
115:
111:
107:
106:
101:
100:
96:
95:opéra comique
91:
89:
85:
81:
77:
73:
69:
68:Edmond Audran
61:
59:
57:
53:
49:
45:
40:
38:
37:Edmond Audran
34:
30:
29:
20:
16:
922:
912:
901:Miss Helyett
899:
880:
879:
872:Opéra bouffe
859:
852:
845:
838:
831:
768:
750:
725:
706:
701:
693:
688:
680:
675:
666:
653:
647:
637:
632:
622:
616:
610:
605:
582:
573:
564:
555:
547:
509:
503:
497:
490:
480:
474:
472:
448:
432:H. B. Farnie
425:
414:
401:
366:
365:
347:
346:
316:
315:
285:
284:
273:
266:
262:caravanserai
259:
255:
254:
250:
246:
242:
241:
237:
229:
225:
221:
220:
216:
212:
208:
204:
203:
191:
190:
187:
140:
138:
113:
103:
97:
92:
83:
80:Henri Chivot
65:
44:Henri Chivot
41:
33:opéra bouffe
27:
26:
25:
15:
986:1884 operas
981:1877 operas
840:La mascotte
747:Andrew Lamb
743:Gänzl, Kurt
694:The Theatre
505:The Theatre
440:Fred Leslie
436:Frank Wyatt
110:Alfred Duru
105:La mascotte
88:Jane Hading
52:Alfred Duru
965:Categories
524:References
861:La poupée
759:966051934
735:494799580
707:The Times
511:The Times
502:wrote in
372:Entr'acte
322:Entr'acte
233:bayadères
72:Marseille
48:Marseille
892:Opérette
778:68567504
749:(1988).
455:Broadway
400:Source:
348:Acte III
291:Overture
184:Synopsis
717:Sources
681:The Era
612:The Era
485:wrote:
482:The Era
317:Acte II
281:Numbers
243:Act III
991:Operas
941:Portal
776:
757:
733:
367:Act IV
256:Act IV
222:Act II
134:Draner
31:is an
955:Opera
286:Act I
192:Act I
774:OCLC
755:OCLC
731:OCLC
461:and
442:and
453:on
967::
745:;
591:^
546:,
532:^
943::
808:e
801:t
794:v
780:.
761:.
737:.
404:.
276:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
