Giacomo Meyerbeer (1791-1864)
Robert le Diable, grand opera in five acts (1830-31)
Orchestre National Bordeaux Aquitaine/Marc Minkowski
rec. live, 20-27 September 2021, Auditorium de l'Opéra National de Bordeaux, France
'French Opéra' CD-book series, Vol. 33
BRU ZANE BZ1049 [3 CDs: 217]
“If ever grandeur was seen in the theatre, I doubt it has reached the level of magnificence shown in Robert. It is a masterpiece. Meyerbeer has made himself immortal.”
Frédéric Chopin (at the premiere).
Meyerbeer’s Robert le Diable (Robert the Devil) is an opera to which I owe a debt of gratitude. Some decades back, reading some background to the work piqued my interest and started my passion for French Grand Opera.
Meyerbeer was writing Robert le Diable around 1830-31, one of the opera world’s most fertile periods, in which a mix of acclaimed Italian and French language works were using either comic or serious libretti. Rossini followed his hit Le comte Ory (1828) with his final opera Guillaume Tell (1829), then Auber had major success with Fra Diavolo (1830) while Donizetti triumphed with Anna Bolena (1830). There was instant acclaim for Bellini’s I Capuleti e i Montecchi (1830); a year later, La sonnambula (1831) earned praise and then, after a slow start, Norma (1831) became hugely successful throughout Europe.
In nineteenth-century Paris, opera held sway in musical life. With its expanding, newly prosperous middle-classes, Paris was the capital of the opera world, experiencing unparalleled cultural prestige, where fortune and fame could be made, sometimes overnight. In addition to Auber and Halévy who were French-born composers, Paris attracted the greatest European opera composers such as the Italians Rossini, Bellini, Donizetti, Verdi and the Germans Meyerbeer and Wagner, all of whom prepared operas for the Paris stage.
1828-70 was a ‘Golden Age’ for French opera, and Grand Opera was all the rage. Grand operas were written for the Paris Opéra, the most prestigious of the Parisian opera companies whose productions were given at the Salle Le Peletier during 1821-73. French Grand Opera satisfied certain conventions. Typically, an opera had five acts and use the French language throughout including sung recitatives. The mise-en-scène was extravagant and spectacular in scale including the use of special effects. Focusing on dramatic plots, the libretto commonly centred on historic events featuring monarchs, deities, religious leaders and civic figures, often charged with religious themes or political shenanigans, and mythological, fairy-tale and macabre settings were also all common themes. Many Grand Operas ended with gruesome deaths, notably guillotining, being boiled in oil, suicide by poisoning, the heroine throwing herself into the lava of an erupting volcano, and the practice of auto-da-fé punishment by burning at the stake in public view. Concentration and stamina were also required of audiences, owing to the length of most productions; for example, Halévy’s greatly successful La Juive originally took five and half hours before cuts were introduced. Adding to the timing was the obligatory inclusion of a ballet providing the opportunity to display nubile young dancers. Needing the very best productions, L'Opéra would engage the finest soloists who were furnished with brilliant airs (arias) designed for solo display.
Auber’s La muette de Portici from 1828 is frequently acknowledged as the first French Grand Opera, a work followed by Rossini’s Guillaume Tell (1829). Then came Robert le Diable, an instant triumph at its premiere in November 1831 at Salle Le Peletier, conducted by François Habeneck. Originally conceived as a three act opéra comique, Robert le Diable was shelved when the l’Opéra Comique company fell into difficulty but Meyerbeer subsequently refashioned it into a Grand Opera. Unquestionably a key work in the annals of French opéra it was to become the third most successful Grand Opera for L'Opéra company. It bolstered Meyerbeer’s international fame and the librettist and enhanced the reputations of both Eugène Scribe and his co-writer Germain Delavigne. Louis Véron, the equivalent of a modern-day impresario, initially had doubts but struck lucky with Robert le Diable, his first new production as director of L'Opera. He ensured that Robert le Diable had a starry cast with the role of Robert sung by Adolphe Nourrit (tenor), Isabelle taken by Laure Cinti-Damoreau (soprano), Bertram by Nicolas Levasseur (bass-baritone) with the role of Alice taken by Julie Dorus-Gras (soprano). In addition, there were ballet episodes including the scandalous ‘Ballet of the Nuns’ in the cloisters of Saint Rosalie which initially featured celebrated ballerina Marie Taglioni as the mother superior Helena.
Following its remarkable success there were other hit French Grand Operas, notably Auber’s Gustave III, (1833), Halévy’s La Juive (1835) and Meyerbeer again with Les Huguenots (1836). The most successful gained a remarkable number of performances; at L'Opéra alone the top five (from premiere to given date) are headed by Les Huguenots (1000 to 1903), Guillaume Tell (910 to 1930), Robert le Diable (760 to 1893), Le prophète (570 to 1912) and La Juive (530-1886). Throughout the middle of the nineteenth century French Grand Operas continued to be written by other celebrated composers such as Donizetti, Verdi, Gounod, Amboise Thomas and Massenet, gradually tailing off in popularity until the 1880s, which saw the last successful examples with Saint-Saëns Henry VIII (1883), Massenet Le Cid (1885) and Emile Paladilhe Patrie! (1886). Tastes had changed, as demonstrated by Robert le Diable which fell out of favour at L'Opéra and after 1893 it wasn’t heard there again until a revival in 1984. Once famous names such as Auber, Halévy, Meyerbeer et al became known by their past reputations alone and many previously acclaimed French Grand Opera still await recommendable modern recordings.
Eugène Scribe and Germain Delavigne loosely based their libretto on a Romantic gothic tale of medieval legend. The melodramatic plot has a supernatural theme running through the opera, centring on the battle between good and evil. Set in, and close to, Palermo, Sicily, in about 1300 Robert Duke of Normandy has travelled to the island with his band of warrior knights for a jousting tournament where he hopes to win the prize of marrying Sicilian Princess Isabelle. During a feast at the encampment with his knights, Robert learns from troubadour Raimbaut that he is the son of the devil. Robert’s late mother Countess Berthe of Normandy was unable to conceive a son naturally and as her pleas to heaven went unheeded, she begged the devil for a child. Robert is unaware that his friend Bertrand is really his father and also the Devil. Experiencing inherited demonic impulses, encouraged by Bertrand, Robert begins to live a cruel and evil life. When Bertram is killed Robert’s curse is lifted, he finds salvation and is set free to marry Isabelle.
Few Grand Operas have escaped various levels of cuts and remodelling and Robert le Diable is no exception. On this new Bru Zane set, the version produced and recorded is based on the 1998 critical edition edited by Wolfgang Kühnhold and Peter Kaiser published by Riccordi.* In his essay 'A devil of a hit' Alexandre Dratwicki explains in some detail how Bru Zane decided cuts were necessary for ‘practical and musical reasons’ and more information is given in one of the essays. This limited-edition CD-book set is described as containing the complete libretto, including the omitted texts, not insubstantial, that are shown shaded. It will not be to everyone’s taste that the vital Gambling Scene that closes the first act is cut back, the Act Three Ballet of the Nuns is also reduced in length and Bertram’s act five air Jamais, c'est impossible ton malheur which proceeds his air Je t’ai trompé… is absent. On the other hand, Robert’s challenging Act Two, first scene air composed especially for the tenor known as Mario in 1838 is given complete.
In the spotlight as Robert, Duke of Normandy is American tenor John Osborn. A celebrated exponent of bel canto roles with Rossini, Bellini and Donizetti, Osborn has also gained particular successes with French Grand Opera notably Guillaume Tell and La Juive. I especially enjoyed reviewing his solo album released in 2017, ‘A Tribute to Gilbert Duprez’, consisting of arias from seven operas by Verdi, Donizetti, Berlioz and Rossini, all roles that Duprez has sung, actually creating six of them. Osborn is in terrific form as Robert, a heroic role that suits him down to the ground. Striking is Robert’s key and demanding first scene in Act Two, specifically the prayer and march Oh! ma mère, ombre si tendre. His voice displays plenty of weight and tenacity, especially in his top range. In this particular scene he wholeheartedly delivers hugely impressive singing of considerable potency.
The role of princess Isabelle of Sicily is sung by Erin Morley. In 2015, I reviewed this American lyric coloratura soprano favourably as Sylvie in the Gounod opéra comique La Colombe on Opera Rara. Experienced in a range of operas including French language roles, Morley has sung in Les Huguenots, Lakmé, Les contes d'Hoffmann, Martyre de saint Sébastien and Dialogues des Carmélites. She makes her mark as Isabelle, displaying her secure vocal technique and a most attractive, silky tone. A highlight is Isabelle’s Act Two, Scene Three recitative and air Que je hais les grandeurs… En vain j'espère un sort prospère where she achieves satisfying high notes, with her coloratura judiciously executed. Undoubtedly the most famous piece from the opera is Isabelle’s Act Four cavatine Robert, toi que j'aime where Isabelle pleads with Robert for mercy to dissuade him from using magic to seduce her. Accompanied by harp and cor anglais, this is glorious singing, memorable for its affecting emotion and tenderness, produced with utmost sincerity.
The role of Bertram, whose outward charm hides his demonic nature, is taken by Nicolas Courjal. A Breton, Courjal has a strong connection with French bass roles including the operas Guillaume Tell, Faust, Samson et Dalila, Carmen, Manon and Le roi d'Ys. In addition, he has previously sung the role of Bertram in 2019 in Brussels. In Act Three, Bertram has the infernal waltz Encore un de gagné! and also the evocation Voici donc les débris du monastère antique summoning sinful nuns to arise from their tombs. Giving a fully committed performance, Courjal is well suited to the role. Projected with crystal clear enunciation, his bass is rich, dark and expressive, and I feel the menace as Bertram plumbs demonic depths.
Tasked with the challenging role of peasant girl Alice is Cairo-born soprano Amina Edris. Making quite a name for herself for such a young singer, Edris has already sung some of the most admired operas including Le nozze di Figaro, L'elisir d'amore, La traviata and La bohème. Just recently, she created the role of Cleopatra in the world premiere of John Adams’ new opera Antony and Cleopatra at the San Francisco Opera. Edris also relishes her French language roles, including Les Indes galantes, Faust, Roméo et Juliette, Sapho, Les pêcheurs de perles and Carmen. Her large voice is impressive at both ends of her range and she gives a most assured performance. Edris’ most precious contribution is Alice’s lovely Act One romance Va, dit-elle, va, mon enfant. Blessed with a natural warmth and an attractive smooth tone together with her ability for convincing expression, she is in quite irresistible form.
Peasant troubadour Raimbaut, also a valet to Robert, is sung by Maltese tenor Nico Darmanin. In the important Act One ballade and recitative Jadis régnait en Normandie, Raimbaut sings of a beautiful Norman princess who married a demon and conceived a son named Robert, known as ‘Le diable’. Darmanin sings this is shocking tale with clarity, vitality and a genuine concern for the import of the text. In the comprimario roles, making up the cast are Joel Allison and Paco Garcia. Forty-six-strong here, the Chœur de l'Opéra National de Bordeaux has been well prepared by chorusmaster Salvatore Caputo and sound in fine voice. In general, the chorus might have been set a tad further forward in the mix, not forgetting that there is some offstage singing.
French Grand Opera specialist Marc Minkowski has already recorded Robert le Diable live in 2000 at the Staatsoper Berlin for the House of Music label (CD 689) so he knows the work. Here, Minkowski conducts the Orchestre National Bordeaux Aquitaine with a pacing and dynamic range that feels most appropriate, allowing his players to thrive. Martin Tembremande plays the arresting organ part that Meyerbeer has written so effectively.
This live recording was produced at a semi-staged production by the Opéra National de Bordeaux at the Auditorium Bordeaux. The engineering team has achieved a satisfactory sound, and there are no issues with extraneous noise; any audience applause has been taken out. A new release, Robert le Diable is part of the Bru Zane 'French Opéra' CD-book series, a bilingual edition in French and English. Contained in the book are the synopsis, a libretto and three valuable essays.
Prior to this new release, the most serviceable recording of Robert le Diable is a 2000 live festival performance at Martina Franca, Italy, with Warren Mok as Robert conducted by Renato Palumbo on the Dynamic label. In truth, I find the stage noises intrusive and on balance the recording just cannot compete with this new Bru Zane release. Another account, titled Roberto il Diavolo, using an Italian translation, was recorded live in 1968 at the Maggio Musicale Fiorentino and released on labels that include Myto, Living Stage and Opera d'Oro. Conducted by Nino Sanzogno the cast includes some celebrated names notably Renata Scotto (Isabelle) and Boris Christoff (Bertram). Off-putting is the Italian translation, the tediously measured conducting by Sanzogno and mediocre sound. There are two or three other recordings, but I have read nothing positive that would tempt me to obtain them.
A striking and ground-breaking Grand Opera which fuses love and romance with mystical elements, in this awesome Bru Zane recording Robert le Diable demands to be heard by opera devotees. It is noted for its grand spectacle, so any future opportunity to see a live performance or video of Robert le Diable should not be missed.
What next for Bru Zane? My inclination is for the neglected Grand Operas of Fromental Halévy.
After the great success of La Juive (1855) he went on to write some twenty operas, mainly opéra comiques but also a few more Grand Operas.
Michael Cookson
Book Contents:
Alexandre Dratwicki: 'A devil of a hit'
Robert Ignatius Letellier: 'Meyerbeer and Robert le Diable'
Pierre Sérié: 'A total work of art? The visual element in Robert le Diable'
Synopsis & Libretto in French & English
Cast:
Robert, Duke of Normandy – John Osborn
Isabelle, Princess of Sicily – Erin Morley
Bertram, Robert's friend – Nicolas Courjal
Alice, Robert's half-sister and Raimbaut's fiancée – Amina Edris
Raimbaut, a troubadour – Nico Darmanin
Alberti, a knight / A priest – Joel Allison
A Herald at Arms / The Provost of the Palace – Paco Garcia
Riccordi Critical Editions*
Riccordi state: “The critical edition is based on the autograph text (locations: Paris and Cracow), and the printed scores of 1831 and 1837. It takes into account the performance material of the Paris premiere as well as numerous autograph sketches, expansions and arrangements. Previously unknown material is presented here for the first time, making possible performances of a completeness hitherto unknown”.
Published: November 8, 2022
