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41:
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commands him to play the part, which he does with relish. Henri tells Nangis that they are resolved that the king leave Poland forthwith. Laski then orders Nangis and Minka to leave. To the horror of the conspirators, he tells them that the only way to ensure that the king does not return is to kill him that very night. They draw lots and Henri is chosen to do the deed, but at that moment Minka re-enters, and boldly announces that she has set Nangis (they think: the King) free, and the act closes with the fury of the Polish nobles and with Henri once again swearing that he will get rid of the king.
887:
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277:(Salle Favart) in Paris. After two more performances, on 21 and 23 May, the Opéra-Comique theatre was ravaged by fire on 25 May, although the full score and orchestral parts were saved. The fourth performance was on 16 November in a revised version at the Salle des Nations, where it had further performances up to 29 April 1888. This was the second time a premiere run of one of Chabrier's operas had been disrupted -
1991:
218:, Chabrier would read the words out loud in order to find the tone and rhythm of each piece and only after having played around with the text for some time would take up his pen and start composing. Chabrier did not compose at the piano – melody and rhythm came first with harmony later. He was particularly critical of being supplied with mute syllables. Finally,
214:. He carefully supervised the work of the librettists Paul Burani and Emile de Najac in adapting the Ancelot work. Burani would send drafts of scenes and songs to de Najac who would send back comments and changes to Burani, and when, after some exchanges of correspondence de Najac was happy, he would send words to Chabrier to set to music. At his home at
877:
Alexina enters dressed as a servant girl and meets Henri; Fritelli hurries them on their way, content to be rid of his rival, but his pleasure is short-lived as he learns that the servant-girl was his wife, and he rushes off in pursuit of them both. Minka is mystified by all this until Nangis finally
831:
That evening, a ball is being held at Laski's house, under the cover of which Laski and his co-conspirators wish to complete the details for Henri's departure. When the dancing is over, the Duke and
Duchess of Fritelli arrive and introduce a new conspirator as the Count de Nangis (in reality the king
980:
changed the course of French harmony". Harmonic progressions which were completely new in French music at the time, are used – most notably the use of unprepared and unresolved chords of the seventh and ninth, such as the very first chords of the
Prelude. The 1911 Encyclopædia Britannica declared it
873:
Convinced that Nangis has been killed, Minka sings a lament for her lover – only for him to enter at its climax. After convincing her that he is not an apparition, the two join in an ecstatic duet. Minka tells Nangis that
Alexina thinks the king has been killed. Nangis – believing that she means the
869:
Minka arrives; Alexina is not able to tell her about the king's fate, and they join in a duet in which they worry about the fate of the men they love. Alexina finally tells her that the king is murdered and Minka, believing that this means her beloved Nangis is dead, collapses. Basile arrives to say
865:
Henri hears a coach approach outside and hides. It is
Alexina, who has arrived looking for her husband. She tells him that she has changed sides and sent the Archduke back to Austria by telling him that the conspiracy has been discovered. Fritelli is not happy and accuses her of changing sides so as
1015:
Broadly comic passages typical of operetta remain – especially the couplets for
Fritelli – but the work by Richepin on both dialogue and lyrics improved the literary tone of the work. However the mutation from opérette to opéra-comique gave Chabrier the chance to provide music of a serious harmonic
843:
Alone, Henri summons Minka and tells her that Nangis must come at once. Minka calls him - and he shortly climbs in through a window and is immediately arrested. Everyone, including Minka, is convinced he is the king, and they behave accordingly. Nangis himself is mystified until - in asides - Henri
786:
After
Fritelli has gone, Nangis confesses to his friends that during the eight days he has been away trying to raise an army, he has fallen in love with a charming girl, Minka, who unfortunately is a slave in Laski's household. Minka now enters, avoiding a pursuing sentry; she tells Nangis that she
835:
Alone with
Fritelli, Henri is astonished to discover for the first time that Alexina is married to Fritelli, but before he gets any further, Minka and other slave girls enter singing, during which the voice of the real Nangis (who should be under lock and key) is heard outside. Minka believes that
782:
However, the Duke of
Fritelli, a Venetian living in Poland, has managed to become Henri's chamberlain while remaining in league with Laski. He enters, busy with preparations for the coronation, pretending to Nangis that he does not know Laski, and, on learning of the king's continued homesickness,
839:
Alexina returns and Henri, to be alone with her, hurriedly sends her husband away. Alexina is still furious that Henri left her in Venice without a farewell, but during the ensuing duet, he gradually wins her round, and their feelings are rekindled. They are interrupted first by
Fritelli, then by
802:
Minka comes out of hiding, but she bumps into the king (whom she doesn't know). She says she loves
Monsieur Nangis but is worried that there is a plot against the king. Henri can hardly contain his delight, which increases more when she says that Fritelli is implicated. When Minka has left, Henri
1071:
Musically the most diverse role is that of Minka; from the romance-like shape of her Act 1 entrance solo "Hélas, à l'esclavage" by way of the roulades, chromaticism and wide leaps of her 'Chanson tzigane' in Act 2, to the powerful operatic duet in Act 3 with Nangis. On the lighter side, musical
857:
The innkeeper, Basile, and his staff are preparing to receive the new king of Poland. Fritelli arrives and informs them that the new king will not be Henri but the Archduke of Austria. Basile says it's all the same to him. Their cries of 'long live the archduke' are echoed by a stranger who has
1016:
intent, such as Minka and Alexina's nocturne in Act 3 (described by Huebner as "one of the most beautiful numbers in fin-de-siècle French opera"), which flows lyrically over a large harmonic canvas. Likewise, in Act 1 Henri introduces himself through an air with has the character of a pavane.
798:
When Henri and Nangis leave, Fritelli is naturally more determined than ever to rid Poland of Henri. His frenzy is cut short by the arrival of his wife, Alexina, who says that all is ready for Henri's departure: all Fritelli has to do is kidnap Henri and Laski's men will do the rest. When the
794:
The homesick king sings of his love for France and says that he would do anything not to be king of Poland. Nangis reminds him that he has not always been so ill-disposed to the Poles; there was a certain lady Henri had known in Venice... Henri's fond memories are interrupted by the return of
861:
Henri, introducing himself to Basile as Nangis, sent in advance of the king, is stunned when he hears that he won't be able to complete his escape, as all the coaches were sent off to meet the Archduke, so he has to settle for a cart and an old nag, with a servant girl to show him the way.
809:
Fritelli presents Henri (as Nangis) to his wife, Alexina, who recognizes him as the Frenchman with whom she had had the affair in Venice years before. Minka's lone voice is heard off-stage, and as the curtain falls, Nangis manages to let slip his captors, jump out of a window and escape.
787:
has only come for a moment, but when Nangis takes this to mean that she does not love him anymore, she gently rebukes him and asks him to be patient. She promises to return later that day, but as she is about to leave, the king himself arrives and Nangis only has time to hide her in an
1095:
by proposing that the collision of the traditions of opérette and opéra-comique results in "an explosion of pastiche, quotation, allusion, archaisms, dance rhythms of all kinds, Wagnerian chromaticisms, modernist parallel chords, patter singing", and for musical pleasure brackets
803:
sends for Fritelli, and after some initial resistance he confesses the plot to Henri and tells him all he wants to know. Fritelli is astonished when Henri says that he too wishes to join the conspiracy; Fritelli is to introduce him to Laski as the Count de Nangis.
774:
French nobles are idly waiting for news from Kraków. Nangis, a friend of Henri, returns from the city, where he had been sent to drum up support for the future king. Although the ordinary people had been well-disposed towards Henri, the nobility, led by Count
1040:
1930:
1106:. Paulson offers a comprehensive analysis of the music of the opera, arguing that these characteristics, among others, contribute to a sophisticated discourse of musical humour that operates on multiple structural and intertextual levels.
1067:
Early changes to the score after the first performance included removing Alexina's demanding air "Pour vous je suis ambitieuse" in Act 1 and re-casting a rondeau for Henri and Alexina in Act 3 as a duet for Fritelli and Alexina in Act 1.
1120:
40:
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Laski and the Poles, who have come to swear in Henri as a conspirator. Henri assures Laski that there will be no problem in getting hold of the king - he will be here soon; all Henri needs is a few moments to arrange this.
1032:
1006:
Chabrier's music shows the evidence of the two paths of the composition, of both libretto and music – from opérette to opéra-comique. The original plan, around 1884, a light work in the style of
866:
to continue her Venetian affair in Poland. A marital squabble ensues, after which Fritelli tells Alexina that her beloved 'Nangis' is disfigured after his murder of the king and leaves.
836:
Henri has become a traitor to the king but does not yet know his true identity. When she tries to leave to warn the real Nangis, Henri orders Fritelli to lock her up in an anteroom.
795:
Fritelli, and it soon becomes apparent that the lady with whom Henri had a liaison in Venice soon after became the wife of Fritelli in order to cover up the scandal of that affair.
2039:
1144:
Strings, 2 flutes (2 piccolos), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 cornets à piston, 3 trombones, timpani, percussion (bass drum, cymbals, triangle, side drum), 2 harps.
317:
revised the text, and a new version was performed there on 6 November to greater acclaim (the 50th performance at the theatre took place on 21 February 1937). Casts included
1786:
878:
tells her who the real king is. Henri is shortly brought back in, reconciled to becoming king and receiving the acclamation of the pages, lords and soldiers assembled.
806:
Trumpets sound and the French courtiers assemble. Henri has Nangis arrested, so as to be able to use his identity to conspire against the king. Nangis is led away.
222:, an old friend of the composer, had a major part in helping provide Chabrier with a libretto he could feel happy with. Chabrier noted on his copy of the libretto
999:, rests on a superbly crafted structure. The balance between romantic and comic episodes, a striking feature of all Chabrier's opera, is at its most perfect in
174:
Around May 1883 Chabrier wrote to his publishers that for his next stage work he was hoping to create something like Offenbach's successful 'grand fantaisie'
154:
wrote that the tragic fate of the opera was to be written a quarter of a century too soon. However, the music has been greatly admired by composers including
985:
of modern times". Blom stated "we discover in it the germs of much that we have come to look upon as belonging essentially to French music of the century".
1766:
1613:
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that the servant girl he had promised 'Nangis' to guide his way has gone to the Basilica to watch the coronation and Alexina determines to take her place.
1994:
1713:
Paulson, Jennifer E.(2011) "Riddled Constructs: A Study of Musical Humour in Emmanuel Chabrier's Comic Operas." PhD diss. University of British Columbia.
1553:
Aged over 80, Fugère recorded the 'Couplets du polonais' and 'Couplets des gondoles' in May 1930 for Columbia; these recordings have been reissued on CD.
1041:
1791:
1191:
2049:
1649:
Paulson, J. "Riddled Constructs: A Study of Musical Humour in Emmanuel Chabrier's Comic Operas." PhD diss. University of British Columbia, 2011.
1704:
2019:
1072:
parody occurs several times. The 'Ensemble de la conjuration' was compared by contemporary critics to the 'Bénédiction des poignards' in
921:(who died without leaving an heir), Henri secretly left Poland and returned to France, where he was crowned King on 13 February 1575, at
238:. Although much criticized, the stage situations of Najac and Burani are "dexterously handled and reveal a sense of variety and climax".
1694:
910:
189:
2054:
337:
conducted a local premiere for Lyon on 25 February 1943, also conducting the work at the Opéra-Comique in 1947 with Roger Bourdin,
858:
entered: Henri, making his escape from Poland. Fritelli, who recognizes him, is mystified by Henri's enthusiasm for the archduke.
1128:
Two orchestral extracts from the opera have from time to time found their way onto concert programmes and recordings : the
799:
frightened Fritelli says he does not want glory - just a bit of affection, Alexina brushes his objections aside and they leave.
192:(1792–1875), by Ancelot's daughter Mme Lachaud. However, Joncières passed the play to Chabrier, and also introduced Chabrier to
2059:
2014:
1759:
384:. The British stage premiere had to wait until the centenary of the composer's death, when it was produced in an adaptation by
1687:
1494:
Jacono J-M. Marseille en liberté surveillée ? Les ambigüités de la vie musicale. In : Myriam Chimènes (ed.) :
1738:
2064:
2044:
988:
333:(16 May 1931) and Prague (27 August 1931). The first performance in Marseille took place during the war on 3 April 1942.
1724:
1048:
886:
412:
2029:
1854:
779:, seemed to be joining together to oppose him and support the other claimant to the throne, the Archduke of Austria.
330:
1910:
1752:
1117:: "What vulgarity and lack of ideas. No performance in the world could conceal for an instant these trivialities."
215:
1529:
196:, to whom Chabrier played some 'audition' pieces, which convinced the Opéra-Comique director to stage his work.
1969:
1345:
1206:
French radio, 1969. Bernard Demigny (Henri de Valois), Bernard Plantey (Comte de Nangis), Odile Pieti (Minka),
942:
242:
181:
1012:
was reinvigorated by Carvalho in 1886, into something grander and more dramatic with greater love interest.
937:
902:
1955:
1861:
1211:
502:
428:
1815:
1008:
1084:
906:
420:
184:, Chabrier had confided to him that he was looking for an amusing book to set. Joncières had been sent
2034:
1948:
1879:
1187:
918:
546:
350:
956:
783:
cannot resist airing his views on the differences between the Poles and the French in a comic song.
306:, and in Cologne on 15 October 1891 under Julius Hofmann. The opera was produced on 9 March 1892 in
199:
1962:
1221:
1207:
1165:
proposing to Chabrier's sister-in-law, at the time of the 1929 revival, that he re-orchestrate the
922:
894:
768:
468:
366:
1607:
1079:
832:
in disguise). Henri (as Nangis) tells them he is no longer Henri's friend but his greatest enemy.
257:
1829:
1157:
898:
562:
397:
279:
1540:
Maycock, Robert. Make love, not war: Robert Maycock on Le Roi malgré lui at Edinburgh Festival.
1210:(Alexina), Aimé Doniat (Fritelli), Jacques Mars (Laski); Chœur et Orchestre lyrique de la RTF,
823:
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31:
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303:
274:
193:
129:
104:
26:
210:
An article by Theodore Massiac described in some detail Chabrier's composition process for
2024:
1893:
1292:. G T Foulis & Company Ltd, London, 1923. XVI. The Tragedy of a Comic Opera, p173-179.
1225:
973:
528:
362:
322:
163:
1916:
703:
681:
314:
246:
1976:
1886:
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176:
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67:
2008:
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1808:
771:, to become their king. In a castle near Kraków he awaits incognito his coronation.
1354:
1229:
1179:
948:
Musically Chabrier entirely ignores the sixteenth century environment of the plot.
914:
776:
346:
945:
conjures up the coronation of Henri in Kraków, and his unhappiness at being king.
1039:
407:
production of 2004 was adapted for a revival at the Opéra-Comique in April 2009.
1923:
1114:
788:
393:
385:
291:
141:
72:
1666:(Chabrier), Radio 3, 12 August. Opera, November 1973, Vol.24 No.11, 1039-1042.
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595:
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373:
326:
287:
151:
145:
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1606:
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Pages, French nobles, Polish nobles, Soldiers, Serfs and Servants, People
474:
307:
1617:. Vol. 97 (11th ed.). Cambridge University Press. p. 82.
1224:(Comte de Nangis), Odile Pieti (Minka), Christiane Stutzman (Alexina),
1078:, while Fritelli's Act 3 couplets end each verse with a quote from the
992:
611:
518:
299:
245:. It was one of several works by Chabrier to benefit from a poster by
144:. The opera is revived occasionally, but has not yet found a place in
929:
233:
1744:
1304:
1302:
1300:
1298:
991:
comments, "the brilliance of Chabrier’s music, often reminiscent of
928:
Albert Łaski was a Polish courtier at the time of his brief reign.
329:
as Alexina. There followed productions in Hamburg (17 April 1931),
313:
In 1929 after a 41-year absence from the Opéra-Comique repertoire,
1931:
Duo de l'ouvreuse de l'Opéra-Comique et de l'employé du Bon Marché
1119:
996:
955:
885:
822:
497:
295:
256:
198:
964:, which according to Ravel "changed the course of French harmony"
232:
of Najac and Burani, cooked by Richepin, into which I throw the
1748:
1520:
Pitt, Charles. Report from Toulouse. Opera, July 1978, p706-08.
1330:
First seen at the Théâtre du Palais-Royal on 19 September 1836
358:
925:. He never returned to Poland, and was assassinated in 1589.
1113:, who attended an 1890 performance in Dresden. She wrote to
1021:
972:(who claimed he could play the whole piece from memory) and
1190:(Fritelli), Chris de Moor (Laski); Choeur de Radio France,
372:
The American stage premiere was on 18 November 1976 at the
1349:, September 2003, pp. 1130-31. For the 2003 production at
1640:(Chapter 18 : Le roi malgré lui). OUP, Oxford, 2006.
968:
The music has been greatly admired by musicians such as
913:. Five months after his coronation as King of Poland at
932:
is a small town around 60 km south-west of Paris.
419:
in 2005, and in a fully staged production directed by
357:
using the Carré edition was subsequently broadcast on
427:
in 2012, a co-production seen later that year at the
1696:
French Opera at the Fin de Siècle: Emmanuel Chabrier
1426:
Probably by the conductor Danbé (Delage R, p. 402).
819:
The ballroom of the palace of the Count Albert Laski
1940:
1903:
1871:
1846:
1800:
1182:(Henri de Valois), Peter Jeffes (Comte de Nangis),
89:
81:
60:
50:
20:
1509:André Cluytens: Itinéraire d’un chef d’orchestre.
1379:Gils Blas, (29 September 1886) quoted in Delage,
361:in 1979, with Michel Philippe, Georges Liccioni,
1192:Nouvel Orchestre Philharmonique de Radio France
767:The Polish people have elected a French noble,
1760:
1202:Radio broadcasts of the opera have included:
853:An inn between Krakow and the Polish frontier
8:
1699:. Oxford Univ. Press, US. pp. 255–300.
1260:
1258:
1124:Cover of transcription of the Fête polonaise
730:Mary, Auguez de Montaland, Blanche Balanqué,
369:and Michèle Le Bris in the principal roles.
224:"manuscript by three authors and even by me"
1470:Un demi-siècle d'Opéra-Comique (1900–1950).
890:Departure of Polish envoys for Henry Valois
349:joining the cast. A 1978 production at the
283:had closed when the theatre went bankrupt.
2040:Opera world premieres at the Opéra-Comique
1767:
1753:
1745:
1632:
1630:
1628:
1626:
1624:
298:, and this was followed by productions in
39:
17:
1451:
1449:
1447:
1445:
1409:Minkoff Lattès, 1982; see p. 170 for the
917:in Kraków, upon the death of his brother
294:who also led a performance on 5 March at
438:
1272:. Macmillan, London and New York, 1997.
1254:
874:real king – drags her off to find him.
273:The premiere was on 18 May 1887 at the
226:, going on to describe the libretto as
188:, an old vaudeville of 1836 written by
45:Poster for the premiere by Jules Chéret
1579:. La Palatine, Geneva and Paris, 1961.
1284:
1282:
1280:
1278:
1057:
976:. Ravel claimed that "the premiere of
1186:(Minka), Isabel Garcisanz (Alexina),
1091:Huebner concludes his exploration of
203:The title page of the vocal score of
136:of 1887 with an original libretto by
7:
1887:Prélude pastoral and Joyeuse marche
1731:. L'Almanacco di Gherardo Casaglia
1608:"Music § Recent Music—France"
1308:Opéra de Lyon Programme book. 2004.
1725:"List of historic performances of
1592:J M Dent & Sons, London, 1969.
1155:was much better orchestrated than
1109:The opera was not to the taste of
905:. In 1573, following the death of
190:Marguerite-Louise Virginie Ancelot
14:
1638:French opera at the fin-de-siècle
1590:Emmanuel Chabrier and his Circle.
1270:The New Grove Dictionary of Opera
941:, chapter LXV: Les Ambassadeurs,
897:(1551–1589) was the third son of
1990:
1989:
1407:Chabrier, Iconographie musicale.
1368:Chabrier, Iconographie musicale.
1058:Problems playing this file? See
1037:
909:, Henri was elected King of the
241:The work is dedicated to Madame
1662:(Delibes), Radio 3 , 3 August,
1357:from the original Ancelot play.
1234:BBC Northern Symphony Orchestra
1232:(Laski); BBC Northern Singers,
1161:(although this did not prevent
827:Henri de Valois in Polish dress
581:husband of Alexina, chamberlain
2050:Operas set in the 16th century
1511:Editions Mardaga, Wavre, 2009.
1439:. Paris, Fayard, 1999, p. 408.
911:Polish–Lithuanian Commonwealth
558:a Polish noble, Minka's master
1:
1370:Minkoff Lattès, 1982, p. 167.
1353:the dialogue was prepared by
345:in the cast and in 1950 with
1977:Prélude et marche française
1787:List of operas and operettas
1739:Review of a 2005 performance
1485:. London, John Calder, 1978.
1049:United States Air Force Band
732:Esposito, Baria, Orea Nardi
2020:Operas by Emmanuel Chabrier
1544:, Monday, 5 September 1994.
413:American Symphony Orchestra
286:The German premiere was in
2081:
1911:Songs of Emmanuel Chabrier
1723:Casaglia, Gherardo (2005).
1496:La vie musicale sous Vichy
463:(Conductor: Louis Masson)
1986:
1782:
1472:André Bonne, Paris, 1953.
739:
38:
25:
2055:Fiction set in the 1570s
1970:Trois valses romantiques
1693:Huebner, Steven (2006).
1658:Loppert, Max. On Radio:
1566:. Editions Denoël, 2000.
415:in a concert version at
122:King in Spite of Himself
55:King in Spite of Himself
1614:Encyclopædia Britannica
691:Marquis de Villequier,
459:Revised Paris premiere,
380:, with choreography by
302:on 26 April 1890 under
2015:French-language operas
1862:Vaucochard et fils Ier
1678:Delage, Roger (1999).
1212:Pierre-Michel Le Conte
1125:
1026:
965:
891:
828:
735:Jany Delille, Quénet,
429:Wexford Festival Opera
310:under Armand Raynaud.
290:on 2 March 1890 under
270:
207:
1855:Une éducation manquée
1343::Grange Park Opera",
1290:Stepchildren of Music
1216:BBC broadcast, 1973.
1147:Chabrier confided to
1123:
1085:La Damnation de Faust
1025:
959:
943:Alexandre Dumas, père
889:
826:
471:, ‘'King of Poland'’
421:Thaddeus Strassberger
396:and also seen at the
260:
243:Victorin de Joncières
202:
182:Victorin de Joncières
2045:Operas set in Poland
1792:List of compositions
1564:Chroniques de ma vie
1198:, réf. 2292-45792-2.
1188:Jean-Philippe Lafont
903:Catherine de Medicis
351:Capitole de Toulouse
321:as Henri de Valois,
94:8 May 1887
2060:Works set in Kraków
1963:Souvenirs de Munich
1956:Pièces pittoresques
1660:Le Serpent à Plumes
1413:poster, p. 183 for
1266:"Le roi malgré lui"
1220:(Henri de Valois),
1208:Jacqueline Brumaire
981:"one of the finest
882:History and fiction
537:Duchess of Fritelli
514:slave girl of Laski
503:Louis Delaquerrière
261:Fire at the second
253:Performance history
170:Composition history
1151:that the score of
1126:
1027:
966:
892:
829:
724:Six servant girls
539:and niece of Laski
403:More recently, an
398:Edinburgh Festival
271:
208:
126:The reluctant king
2065:Kraków in fiction
2002:
2001:
1949:Bourrée fantasque
1837:Le roi malgré lui
1776:Emmanuel Chabrier
1706:978-0-19-518954-4
1682:. Paris: Fayard.
1680:Emmanuel Chabrier
1664:Le Roi malgré lui
1577:Emmanuel Chabrier
1530:Juilliard website
1457:Emmanuel Chabrier
1437:Emmanuel Chabrier
1411:Le roi malgré lui
1394:Emmanuel Chabrier
1381:Emmanuel Chabrier
1351:Grange Park Opera
1341:Le roi malgré lui
1319:Emmanuel Chabrier
1184:Barbara Hendricks
1098:Le roi malgré lui
1093:Le roi malgré lui
1047:Performed by the
1042:
1001:Le roi malgré lui
995:and sometimes of
978:Le roi malgré lui
962:Le roi malgré lui
960:The opening bars
759:A castle outside
746:
745:
700:Charles Balanqué
672:Comte de Caylus,
579:an Italian noble,
577:Duc de Fritelli,
493:a friend of Henri
491:Comte de Nangis,
417:Avery Fisher Hall
382:George Balanchine
359:French television
212:Le roi malgré lui
205:Le roi malgré lui
186:Le roi malgré lui
134:Emmanuel Chabrier
132:in three acts by
117:Le roi malgré lui
113:
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21:Le roi malgré lui
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1872:Orchestral works
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1222:André Mallabrera
1044:
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923:Rheims Cathedral
439:
425:Bard Summerscape
378:Manuel Rosenthal
367:Françoise Garner
304:Ernst von Schuch
268:
101:
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43:
34:
18:
2080:
2079:
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2030:Opéras comiques
2005:
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1867:
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1542:The Independent
1539:
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1493:
1489:
1483:Annals of Opera
1480:
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1226:Michel Trempont
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1080:Hungarian March
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1053:
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1038:
1035:
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983:opéras comiques
954:
938:La Reine Margot
895:Henri de Valois
884:
850:
816:
769:Henri de Valois
756:
751:
731:
727:soprano, mezzo
719:Raymond Gilles
686:Roland Laignez
582:
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567:Joseph Thiérry
538:
529:Yvonne Brothier
507:Marcel Claudel
469:Henri de Valois
462:
461:6 November 1929
460:
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376:, conducted by
363:Michel Trempont
323:Yvonne Brothier
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1727:Roi malgre lui
1719:
1718:External links
1716:
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1711:
1705:
1690:
1669:
1668:
1651:
1642:
1620:
1605:, ed. (1911).
1603:Chisholm, Hugh
1594:
1581:
1568:
1562:Stravinsky I.
1555:
1546:
1533:
1522:
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1498:, Paris, 2001.
1487:
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335:André Cluytens
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177:Le roi Carotte
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1140:Orchestration
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1111:Cosima Wagner
1107:
1105:
1104:
1100:with Verdi's
1099:
1094:
1089:
1087:
1086:
1081:
1077:
1076:
1075:Les Huguenots
1069:
1063:
1061:
1050:
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1033:"Danse slave"
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569:
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324:
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319:Roger Bourdin
316:
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276:
275:Opéra-Comique
264:
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231:
230:bouillabaisse
225:
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130:opéra-comique
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106:
105:Opéra-Comique
92:
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42:
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28:
27:Opéra comique
24:
19:
16:
1988:
1975:
1968:
1961:
1954:
1947:
1929:
1922:
1917:À la musique
1915:
1892:
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1807:
1733:(in Italian)
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1410:
1406:
1401:
1396:, pp. 374-5.
1393:
1388:
1383:, pp. 371-3.
1380:
1375:
1367:
1362:
1355:Simon Callow
1344:
1340:
1335:
1326:
1318:
1313:
1289:
1288:Blom, Eric.
1269:
1265:
1249:
1248:
1230:Neil Howlett
1228:(Fritelli),
1201:
1180:Gino Quilico
1166:
1156:
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907:Sigismund II
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781:
777:Albert Laski
773:
766:
758:
757:
740:
704:André Balbon
692:
682:Étienne Troy
673:
667:Émile Roque
656:
639:
622:
603:
578:
557:
536:
513:
492:
452:(Conductor:
402:
371:
347:Denise Duval
315:Albert Carré
312:
285:
278:
272:
269:(engraving).
263:Salle Favart
262:
247:Jules Chéret
240:
227:
223:
216:La Membrolle
211:
209:
204:
185:
175:
173:
150:
125:
121:
116:
115:
114:
54:
15:
2035:1887 operas
1941:Piano music
1924:La Sulamite
1904:Vocal music
1636:Huebner S.
1575:Poulenc F.
1134:Danse slave
1115:Felix Mottl
638:d'Elboeuf,
621:Liancourt,
616:Paul Payen
583:to the King
524:Adèle Isaac
454:Jules Danbé
450:18 May 1887
445:Voice type
394:Opera North
386:Jeremy Sams
292:Felix Mottl
267:25 May 1887
142:Paul Burani
73:Paul Burani
51:Translation
2009:Categories
1830:Gwendoline
1688:2213605084
1435:Delage R.
1405:Delage R.
1366:Delage R.
1264:Forbes E.
1245:References
1173:Recordings
1158:Gwendoline
1060:media help
974:Stravinsky
919:Charles IX
710:A soldier
655:Maugiron,
596:Louis Musy
480:Max Bouvet
339:Louis Musy
280:Gwendoline
164:Stravinsky
98:1887-05-08
61:Librettist
1847:Operettas
1588:Myers R.
1507:Baeck E.
1468:Wolff S.
1218:Henri Gui
952:The music
763:, in 1574
678:baritone
661:baritone
604:innkeeper
587:baritone
535:Alexina,
374:Juilliard
327:Vina Bovy
288:Karlsruhe
152:Eric Blom
146:repertory
1995:Category
1816:L'étoile
1455:Delage,
1392:Delage,
1321:, p.355.
1132:and the
1103:Falstaff
1009:L'étoile
899:Henri II
789:anteroom
749:Synopsis
647:Michaud
602:Basile,
543:soprano
475:baritone
411:led the
331:Brussels
308:Toulouse
128:) is an
90:Premiere
82:Language
1809:Briséïs
1673:Sources
1317:Delage,
993:Berlioz
716:Cambot
664:Collin
633:Mathyl
612:Barnolt
556:Laski,
519:soprano
512:Minka,
355:Plasson
300:Dresden
107:, Paris
96: (
2025:Operas
1880:España
1801:Operas
1703:
1686:
1153:Le Roi
1149:Lecocq
930:Nangis
761:Kraków
644:tenor
627:tenor
608:tenor
234:spices
156:d'Indy
85:French
1346:Opera
1250:Notes
1163:Ravel
1082:from
997:Bizet
989:Grove
970:Ravel
848:Act 3
814:Act 2
754:Act 1
713:bass
697:bass
498:tenor
442:Role
435:Roles
296:Baden
160:Ravel
1701:ISBN
1684:ISBN
901:and
563:bass
388:and
341:and
162:and
140:and
1169:).
1003:."
935:In
423:at
392:at
265:on
228:"a
124:or
29:by
2011::
1623:^
1611:.
1444:^
1297:^
1277:^
1268:,
1257:^
1136:.
1088:.
791:.
456:)
431:.
400:.
365:,
249:.
166:.
158:,
148:.
1768:e
1761:t
1754:v
1741:.
1735:.
1729:"
1709:.
1459:.
1417:.
1240:.
1062:.
236:"
120:(
100:)
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