Henry VIII (opera)
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| Title: | Henry VIII |
| Original title: | Henry VIII |
Illustration, Paris 1883 |
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| Shape: | Opera in four acts and six or five pictures |
| Original language: | French |
| Music: | Camille Saint-Saëns |
| Libretto : | Pierre-Léonce Détroyat and Paul-Armand Silvestre |
| Literary source: | Pedro Calderón de la Barca : La cisma de Ingalaterra |
| Premiere: | March 5, 1883 |
| Place of premiere: | Salle Garnier of the Paris Opera |
| Playing time: | approx. 3 ½ hours |
| Place and time of the action: | London, around 1530–1536 |
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Henry VIII (German: Heinrich VIII. ) Is an opera in four acts and six (later five) pictures by Camille Saint-Saëns (music) with a libretto by Pierre-Léonce Détroyat and Paul-Armand Silvestre based on Pedro Calderón de la Barca's historical Drama La cisma de Ingalaterra from 1627, which in turn is based on Pedro de Ribadeneira's Historia ecclesiastica del scisma del reyno de Inglaterra from 1588. The opera's premiere took place on March 5, 1883 in the Salle Garnier of the Paris Opera .
action
first act
Hall in the Palace of Henry VIII in London; on the left two large windows to the square
Scene 1. The Duke of Norfolk greets his friend, the newly appointed Spanish Ambassador Don Gomez de Féria, who has received his position through the mediation of Queen Catherine d'Aragon. Don Gomez hopes that this position will enable him to spend more time with his lover Anne de Boleyn (Don Gomez: “La beauté que je sers est telle”). When Norfolk told him of rumors that the king had an eye on Anne, the sister of his former mistress Marguerite, Don Gomez rejects them. He is sure of the love of Anne (duet Don Gomez / Norfolk: “Qui, je suis sûr de son amour!” - “Le ciel vous garde son amour”). Norfolk warns his friend of the unpredictability and cruelty of the king, which is now being shown at the tribunal against his former favorite Buckingham.
Scene 2. A group of lords confirm Norfolk's warning: Buckingham has been sentenced to death. When King Henry enters with the Earl of Surrey, they all bow submissively.
Scene 3. Norfolk introduces the new Spanish ambassador to Henry. Henry greets him kindly. Since Don Gomez's lover was mentioned in the Queen's letter of recommendation, he promises him his support in matters of love. He doesn't know it's Anne.
Scene 4. After everyone else has withdrawn, Surrey informs the king that the Pope is opposed to annulment of his marriage. Henry loves Anne and wants to win her over under all circumstances, although she has not yet given in to his solicitation (“Je souffre, pour cette rebelle”). Surrey leaves and Catherine enters.
Scene 5. Henry informs his wife that he has appointed Anne de Boleyn as her new maid of honor. Catherine is delighted, knowing of Anne's love for Gomez. She takes the opportunity to ask for mercy for Buckingham. However, Henry is relentless - and also makes hints that their marriage will not last before God (duet Catherine / Henry: "Donnez-moi sa grâce"). Catherine realizes that Henry no longer loves her.
Scene 6. Anne enters, led by Surrey and accompanied by ladies of honor. Norfolk, Don Gomez and other nobles join them. Henry recognizes their old acquaintance by the reaction of Anne and Don Gomez. He introduced Anne to his wife as the new maid of honor and at the same time appointed her Marquise of Pembroke. A funeral march rings out from behind the stage as Buckingham is led to the scaffold. While everyone else rushes to the window, Henry confesses his love to Anne. Meanwhile, a choir of monks is complaining about the convict. Anne has bad premonitions. Gomez realizes the king's intentions.
Second act
Way of the Cross in the Gardens of Richmond; Preparations for a party
Scene 1. As the curtain rises, courtiers watch some pages doing their fencing exercises (chorus: “Joyeux enfants qui ne savez encore”). Since the plague broke out in London, Henry and his court moved to Richmond. Only the Queen holds the position in London. Don Gomez now doubts Anne's affection because she has avoided him since his arrival. Anne appears in the background of the scene, accompanied by her ladies of honor (women's choir: “Noble dame, pour vous plaire”). When she notices Gomez, she sends the women away.
Scene 2. Anne assures Gomez that she still loves him. She is frightened when she sees the king coming.
Scene 3. King Henry is surprised to see Don Gomez with Anne. He invites him to the party that he honors the Marquise on the evening. Don Gomez accepts and withdraws with a painful look at Anne.
Scene 4. Henry woos Anne again. She initially rejects him, but when he promises to cast Catherine out and make her queen, she enthusiastically agrees and falls into his arms (duet: “Je cède au rêve qui m'enivre”). When he sees Surrey, Henry breaks free to follow him, but not without exchanging a tender look at Anne.
Scene 5. Anne raves about her future power as queen (Anne: "Reine! Je serai pure!"). Catherine appears and walks slowly towards her.
Scene 6. Catherine confronts Anne. She has seen through her intentions and warns them of God's punishment.
Scene 7. Henry, Don Gomez, Lady Clarence (another Lady of Honor), Surrey and Norfolk join them. While Anne calls on Henry to protect her from Catherine's hostility, she refers to her rights as queen. Henry informs her that she will not hold this position much longer. Norfolk announces the arrival of the papal legate, Cardinal Campeggio. This announces a "serious warning", but Henry postpones the interview until the next day, since everything is now ready for the festival. Catherine and Campeggio move away. The others scatter into the gardens. Henry offers Anne his hand.
Divertissement in the Richmond Gardens
- Introduction. Entrée des Clans - entry of the clans
- Idylle écossaise - Scottish idyll
- La fête du houblon - Hop Festival
- Danse de la gitane - Dance de Gypsy
- Pas des highlanders - Dance of the Highlanders [deleted in later versions]
- Scherzetto - Scherzetto
- Gigue et Finale - Gigue and Finale
Third act
First picture: At the King; a gallery lost in the background
[Saint-Saëns deleted this picture in later versions.]
Scene 1. Surrey reports to Henry that the Legate is asking for an audience. Henry denies him this.
Scene 2. Henry is upset about the pope's presumption of power.
Scene 3. Anne fears her association with Henry might harm this one. She therefore suggests abandoning the wedding plans. Henry calms her down.
Scene 4. Norfolk informs Henry that the Legate insists on a meeting and is already on its way.
Scene 5. When Campeggio arrives, Henry orders Norfolk to fetch the queen. He assures Anne that her victory is near. Norfolk and Anne leave.
Scene 6. Campeggio assures Henry that his salvation is primarily important to him. He warns of a break with Rome and gives examples of earlier kings who later regretted their courage: Philippe Auguste in France and Otho in Germany. Henry explains that the days of Barbarossa bowing to the Pope are long gone. In the event of a rejection, he would not shrink from a schism. He withdraws.
Scene 7. Campeggio fears that Henry is about to doom. He feels compassion for the queen and the innocent people who will suffer, and asks God for mercy.
Second picture. The Parliament room where the Queen is negotiated
Scene 1. The synod participants enter one after the other to the sound of a march: bailiffs, noblemen with Don Gomez and Lady Clarence, Archbishop Cranmer of Canterbury, King Henry, Queen Catherine and the judges. After the opening by the weapons master Garter and the judges, Cranmer calls God for assistance (Cranmer: "Toi qui veilles sur l'Angleterre"). The king is now asking the court to annul his marriage. She is not in accordance with Christian law, since Catherine is his brother's widow. Catherine asks Henry with a reference to her devotion and loyalty for an understanding (Catherine: "A ta bonté souveraine"). The Pope also blessed their association. With these words, she wins the hearts of those present. Then she turns to the judges and asks them to pity them too, as she still loves Henry. This roughly interrupts you. When Garter asks the crowd for a defense attorney, Don Gomez stands up and objects on behalf of Spain, his and Catherine's homeland. Annulment of this marriage could easily lead to war between their peoples. The crowd is outraged by this open threat, and Henry can point to the will of the English people (Henry: "Mais tout mon peuple, je suppose"). His compatriots affirm that their pride does not allow a stranger to speak against their king. Cranmer then declares Henry and Catherine's marriage annulled. The Queen leaves the room indignant (Catherine: "Encore une fois je reclame"). Enter the legate and other cardinals in his suite. Campeggio reads the bull in which the Pope declares Henry's marriage to be valid. Then Henry opens the gates for the people and asks the crowd if they want to receive orders from a stranger. All deny that and swear allegiance to him. Henry then declares himself head of the Church of England and Anne de Boleyn his wife. The people cheer. The legate who pronounced Henry's excommunication is no longer heard (ensemble: “C'est donc fait!”).
Fourth act
First picture. With Anne de Boleyn; English Renaissance hall
Scene 1. As the curtain rises, men and women practice a dance for the king's birthday party. Anne oversees the rehearsal. Norfolk chats with Surrey about the King's gloom since his marriage to Anne. Apparently Henry doubts his wife's loyalty. The outcast Catherine now spends her last days sadly in the castle of Kimbolt .
Scene 2. Anne is uncomfortably surprised when her former lover Don Gomez arrives with a message from Catherine. She sends the nobles away to see him alone.
Scene 3. Don Gomez assures Anne that he no longer feels hatred or love for her and that he only came at Catherine's request. He had destroyed her letters from the time he was in contact with Anne. However, Anne learns that Catherine still has the letter of recommendation based on which he received his position at the time. Anne fears Catherine might use it against her.
Scene 4. Henry appears and roughly sends Anne away. She realizes that her only hope lies with Catherine.
Scene 5. Henry doesn't have a good time talking about Don Gomez, but he still needs him to “find out a secret”. Don Gomez replies that the only reason he is now at the English court is because of his friendship with Catherine. This let Henry tell that she does not want to lament her fate and pray for him daily. Henry wants to accompany Don Gomez to Kimbolt as he hopes to find out the secret he is looking for from Catherine. Don Gomez fears a new trick of the king (duet Don Gomez: "Quel dessein à Kimbolt l'entraine?" - Henry: "Enfin ma vengeance est prochaine!").
Second picture. Catherine's refuge in Kimbolt Castle
Scene 1. While the people's songs of joy ring in from outside (chorus: “Vive notre roi!”), Catherine ponders her fate. She will probably never see her beloved homeland Spain again (Catherine: "Je ne te reverrai jamais").
Scene 2. Catherine, feeling death approaching, calls her ladies over. She gives them various gifts to remember. She has planned a prayer book for Don Gomez, in which she puts the old letter. One of the ladies reports the arrival of a veiled woman who she wants to speak to. The ladies leave and Anne enters.
Scene 3. After Anne has taken off her veil, she asks Catherine for forgiveness for what she did. She assures her that she truly loved Henry. Catherine doesn't believe her - Don Gomez still suffers from the wound Anne inflicted on him. Anne begs her to give her the letter that testifies to her past love for Don Gomez. Catherine takes it from the prayer book and shows it to Anne - but does not give it to her. At that moment the king appears with Don Gomez.
Scene 4. Henry is surprised to see Anne at Catherine's. He feigns this repentance and demands from her proof of his error - proof of Anne's infidelity. Catherine can't utter a word. She wrinkles the letter in excitement. In order to incite her jealousy, Henry now turns to Anne and asks her to swear that she has always loved only him (Henry: "En torturant son cœur"). After Anne shuddered to obey, Henry explains that he no longer has any doubts. He assures her of his love (Henry: "Anne, ma bien-aimée"). However, even this spectacle does not move Catherine to destroy Don Gomez and Anne. With a scream, she throws the letter into the fire before dropping into an armchair, dying. Her last words are to God and Don Gomez, whom she asks for forgiveness. Henry, however, pulls himself out of Anne's embrace. He swears to her death if he ever finds out he was deceived.
layout
Calderón's model deals with the historical events at the English court from a Spanish perspective. Saint-Saëns' librettists turned his drama into a great French historical opera. It is one of the last operas of this genre, to which Jules Massenet made a further contribution two years later with Le Cid . Henry VIII is stylistically somewhere between the grand opéra and the drame lyrique . The synodal picture in the second act, which has clear parallels with the first act of Giacomo Meyerbeer's L'Africaine , refers to the former . On the other hand, the private conflict between the four main characters Henry, Catherine, Anne and Don Gomez dominates the dramaturgy of the work, and the opera accordingly ends with a psychologically differentiated scene in Catherine's private chambers, which ends with a quartet of these people.
In contrast to Calderón's play, the focus of the plot is on King Henry VIII's departure from the Roman Church, the dissolution of his marriage to Catherine of Aragon and his association with Anne Boleyn . An additional comic character as a counterpart to the court jester Pasquín who appeared at Calderón was dispensed with, as was Cardinal Wolsey's intrigues and the description of Anne's execution, which is only hinted at in Henry's closing words.
The world-historical part of the plot with the dissolution of Henry's marriage and the church schism is artistically freely concentrated on the synod scene. Like the corresponding scene in Meyerbeer's L'Africaine, this proceeds according to a carefully prepared dramaturgy with increasing contrasts. It starts with the festive entry of the synod participants with a double choir (“La cause est grave et solennelle”) and a prayer from the archbishop (“Toi qui veilles sur L'Angleterre”), which is recorded by the ensemble and the choir. This is followed by a sequence of emotionally increasing solo scenes: Henry calls for the dissolution of his marriage (“Vous tous, qui m'écoutez”), Catherine pleads for sympathy (“A ta bonté souveraine”), Don Gomez wants to support Catherine and warns before a war with Spain (“Je serai celui-là […] La Reine est espagnole”), Henry uses this to patriotically turn public opinion against outside interference (“Monsieur l'ambassadeur […] Les fils de la noble Angleterre ”) and receives the requested annulment of his marriage from the archbishop (“ Sire, illustrious assistance ”). Another person, the papal legate, intervenes at this point to further enhance the situation. This refers to the papally confirmed validity of Henry's marriage. Henry then declares the separation of the English Church from Rome and himself as head of the Anglican Church and is confirmed by the cheers of the people. The fact that the legate now pronounces its excommunication only causes a brief interruption of the ensemble and choir finals.
To emphasize the importance of his portrayal of the schism in the Church, Saint-Saëns used a contemporary theme from the English Renaissance at the relevant point in the synodal scene. This melody appears for the first time in the prelude to the opera and is then used as a leitmotif - except in the vocal ensemble of the synod scene at the end of the third act (“C'en est donc fait!”) Also in the stage music in the second image of the fourth act (“Fêtons le jour "). The minuet, which the courtiers rehearse at the beginning of the fourth act, comes from the virginal piece The Carman's Whistle by William Byrd . Saint-Saëns later recalled that he had “cleaned it of an abundance of superfluous ornamentation”.
Some sections are in an almost symphonic style. Mention should be made here, for example, of the extensive introduction of the ballet in the second act. In addition to the renaissance theme already mentioned, there are other recurring motifs, such as the funeral march rhythm, which first sounds in the first act during the conduct of Buckingham's death and then in the first image of the third act ( Duet Anne / Henry) and reappears in Henry's threat at the end of the opera. Gomez's love motif (“Si je vous disais ses appas”) also has a similar meaning.
The final quartet, which was particularly praised by the audience, was later published several times in different arrangements. Sabina Teller Ratner defined Saint-Saëns' portrayal of this downright cynical cruelty of Henry, when he feigned his re-awakened love to Anne, in order to get the dying Catherine to reveal her secret to him, as "subtle music of railroad sensuality". She rated the opera as follows:
“The term 'musique savante' (knowing, educated music), which French music critics also referred to Saint-Saëns, aptly describes the character of the work. Henry VIII is a classical opera in the best sense of the word, in which Saint-Saëns was once again able to realize his very personal, by no means epigonal, music-dramatic style, the highest goal of which is the clarity of expression and the order of the formal design. "
orchestra
The orchestral line-up for the opera includes the following instruments:
- Woodwinds : three flutes (3rd also Piccolo ), two oboes , English horn , two clarinets , bass clarinet (also bass clarinet), two bassoons , contrabassoon
- Brass : four horns , three trumpets , two pistons , three trombones , tuba
- Timpani , percussion : bass drum , cymbals , triangle , tambour de basque , tam-tam
- two harps
- Strings
- Incidental music behind the scene: three trumpets, cornet, three trombones, alto saxhorn in Bb, bass saxhorn in Bb
- Military orchestra (can be made smaller if necessary): small clarinet, small sax horn in Eb, two cornets in Bb, two alto sax horns in Bb, two trumpets in F, soprano saxophone in Bb, alto saxophone in E flat, tenor saxophone in B flat, baritone saxophone in E flat, two sax trumpets in Eb, three trumpets, two barytons in Bb, bassaxhorn in Bb, double bass saxhorn in E flat, double bass saxhorn in Bb, tambour
Work history
The libretto for this opera was written by Pierre-Léonce Détroyat and Paul-Armand Silvestre . It is based on Pedro Calderón de la Barca's historical drama La cisma de Ingalaterra from 1627, which has the secession of the Anglican Church as its theme and which in turn is based on Pedro de Ribadeneira's Historia ecclesiastica del scisma del reyno de Inglaterra from 1588. Originally, Charles Gounod was supposed to set the material for the Paris Opera . However, after a few years he had given the libretto back to him for other tasks. The composer Victorin de Joncières also refused a corresponding application. Then Auguste Emmanuel Vaucorbeil, the director of the Opéra, suggested that Camille Saint-Saëns be entrusted with the music. He had already composed several operas, but none for the Opéra, and was therefore happy to accept. He received the first version of the libretto on October 23, 1880. It was subsequently revised several times. Since negotiations with Vaucorbeil and the stage director Henry Régnier dragged on until at least August 9, 1881, Saint-Saëns did not begin with the first drafts until August 3. He did the main work between March and May 1882. He reported the completion of the opera to his publisher Auguste Durand on May 19, but did not deliver the first act until the beginning of August, the third and fourth probably at the end of September and the ballet at the end of 1882. The subsequent six-month rehearsals proved extremely nerve-wracking due to intrigue and resentment.
The greatest possible effort was made at the premiere on March 5, 1883 in the Salle Garnier of the Paris Opera. The set was designed by Antoine Lavastre and Eugène Carpezat (Act I), Jean-Baptiste Lavastre (Act II and IV.2), Auguste-Alfred Rubé and Philippe Chaperon (Act III.2 and IV.1). Eugène Lacoste created the costumes. Louis Mérante was responsible for the choreography. The best available forces were also called in for the singing roles. Jean-Louis Lassalle (Henry VIII), Etienne Dereims (Don Gomez de Féria), Auguste Boudouresque (Cardinal Campeggio), Étienne Sapin (Count of Surrey), M. Lorrain (Duke of Norfolk), M. Gaspard (Cranmer) sang , Gabrielle Krauss (Catherine d'Aragon), Alphonsine Richard (Anne de Boleyn), Mlle Nastorg (Lady Clarence), M. Malvaut (Garter), M. Boutens (guard), M. Gesta (officer). The musical direction was Ernest Eugène Altès. The performance was a great success. Saint-Saëns was now recognized as an opera composer in Paris.
- Costumes from the world premiere in 1883
Henry VIII
Don Gomez
Catherine d'Aragon
Anne de Boleyn
Cardinal Campeggio, Legate
Duke of Norfolk
Earl of Surrey
Archbishop Cranmer
Lady Clarence
After the premiere, the opera sparked numerous discussions among audiences and critics. On the one hand, there was criticism because the orchestral style was too reminiscent of Richard Wagner's . On the other hand, the successful combination of text and music was praised. The characters generally appeared too pale for the respective dramatic situations. While the misfortune of Catherine d'Aragon certainly evoked compassion, Anne de Boleyn was seen only as a cheap flirtation, who was rewarded with affections with money. Don Gomez likewise lacked the necessary depth to be a convincing hero, and Henry VIII appeared only as a one-dimensional villain. The great success came mainly through the connection of the situations with the music. The love scenes of Anne and Henry at the end of the first and the beginning of the second act, Catherine's confrontation with Anne in the second act, the march at the beginning of the synod scene and the final quartet were particularly praised.
In the year of the premiere, Saint-Saëns published three different versions of his opera. The most important changes in the second and third versions include the deletion of the first image of the third act and the “Pas des highlanders” in the ballet. In later performances he tried in vain to avoid further cuts. Henry VIII was performed a total of 87 times at the Paris Opera by May 9, 1919. The 50th performance had already taken place on May 29, 1891. For the revivals from 1889 (without the third act) and 1909 there were new choreographies by Joseph Hansen and Léo Staats . From 1917 the four-act version was played again. According to Gabrielle Krauss, the role of Catherine was also sung by Rose Caron (1886), Lucienne Bréval , Félia Litvinne (1909) and Marcelle Demougeot (1917). King Henry VIII was also portrayed by M. Berard, Jean-François Delmas , Maurice Renaud (1909) and Mattia Battistini (1917).
After Samson et Dalila of 1877, Henry VIII turned out to be Camille Saint-Saëns' most successful opera. It was played several times abroad, albeit in significantly shortened versions:
- 1887: Frankfurt am Main. German by Hermann Wolff
- 1895: Milan. Italian by Achille de Lauzières: Henry VIII: Mario Sammarco , Catherine: Félia Litvinne, Anne: Armida Parsi-Pettinella
- 1898: London, Covent Garden. French. Conductor: Luigi Mancinelli ; Henry VIII: Maurice Renaud, Anne: Marianne Héglon
- 1908: Monte Carlo. Henry VIII: Maurice Renaud, Catherine: Félia Litvinne, Anne: Germaine Bailac, Gomez: Gaston Dubois
- 1935: Brussels
Afterwards it became quieter for the opera. It was not rediscovered until 1983 in San Diego, where it was performed in English (conductors: Antonio Tauriello ; Sherrill Milnes , Cristina Deutekom , Brenda Boozer, Jack Trussel). In 1989 a concert performance followed in Montpellier (conductor: John Pritchard ; Henry VIII: Alain Fondary, Catherine: Françoise Pollet ).
A production in Compiègne in 1991 with a production by Pierre Jourdan under the musical direction of Alain Guingal received particular attention. Philippe Rouillon (Henry VIII) and Françoise Pollet (Catherine) sang the leading roles . A video recording is available on DVD.
expenditure
- First version ("en 4 actes et 6 tableaux")
- Piano reduction: Durand & Schoenewerk, Paris 1883, No. 3083 [444 + 3 pp.]
- Text book: Paris, Tresse 1883 [57 pp.]
- Second version ("en 4 actes et 5 tableaux")
- Piano reduction: Durand & Schoenewerk, Paris 1883, No. 3083 [390 pp.]
- Text book: Paris, Stock 1919
- Third version ("en 4 actes [cinq tableaux]"):
- Score: Durand 118831, No. 3174 [651 pages]
- Piano reduction: Durand & Schoenewerk, Paris [around 1890], No. 3083 [384 pages]
- Text book: Paris, Tresse 1883 [49 pp.]
- Unidentified versions:
- Parts: Durand [October 1883], No. 3151
- Score, Italian translation by Achille de Lauzières / German translation by Hermann Wolff: Durand [1884], no. 3241.
- Performance material:
- Durand
- Italian by Pierre-Léonce Détroyat and Paul-Armand Silvestre : Sonzogno
Recordings
- Feb. 12, 1983 - Antonio Tauriello (Conductor), Orchestra and Choir of the San Diego Opera.
Sherrill Milnes (Henry VIII), Jacques Trussel (Don Gomez de Féria), Kenneth Fox (Cardinal Campeggio), Robert Schmorr (Count of Surrey), Kevin Langan (Duke of Norfolk), Enrique Baquerizo (Cranmer), Cristina Deutekom (Catherine d 'Aragon), Brenda Boozer (Anne de Boleyn), Nancy Carol Moore (Lady Clarence), Neil Wilson-Nease (Garter), Edward Badrak (Guardian).
Live from San Diego; abridged, English version.
Legendary Recordings 197 (3 LPs). - September 1991 - Alain Guingal (conductor), Pierre Jourdan (staging), Orchester Lyrique de l'ORTF Paris, Fanfare de Villers-Cotterêts, Chœurs du Théâtre des Arts de Rouen.
Philippe Rouillon (Henry VIII), Alain Gabriel (Don Gomez de Féria), Gérard Serkoyan (Cardinal Campeggio), Alexandre Laiter (Count of Surrey), Philippe Bohée (Duke of Norfolk), Jean-Marc Loisel (Cranmer), Michèle Command ( Catherine d'Aragon), Lucile Vignon (Anne de Boleyn), Annick Duc (Lady Clarence), Francis Costa (Garter), Dominique Hébert (guard), Jacques d'Albundo (officer).
Video; live from Compiègne.
HM France CD: LDC 278 1083/85, Cascaravelle VELD 7004 (1 DVD). - January 4, 2002 - José Collado (conductor), Pierre Jourdan (staging), symphony orchestra and choir of the Gran Teatre del Liceu Barcelona.
Simon Estes (Henry VIII, Acts 1-2), Robert Bork (Henry VIII, Acts 3-4), Charles Workman (Don Gomez de Féria), Paolo Pecchioli (Cardinal Campeggio), Montserrat Caballé (Catherine d'Aragon), Nomeda Kazlaus (Anne de Boleyn).
Video; live from Barcelona; Completely.
Premiere Opera DVD 5191. - January 17, 2002 - José Collado (conductor), symphony orchestra and choir of the Gran Teatre del Liceu Barcelona.
Simon Estes (Henry VIII), Charles Workman (Don Gomez de Féria), Paolo Pecchioli (Cardinal Campeggio), Claude Pia (Count of Surrey), Hans Voschezang (Duke of Norfolk), Celestino Varela (Cranmer), Montserrat Caballé (Catherine d 'Aragon), Nomeda Kazlaus (Anne de Boleyn), Begona Alberdi (Lady Clarence), Josep Fadó (Garter), Alfredo Heilbron (guard), Carles Prat (officer).
Live from Barcelona; Completely.
Premiere Opera CDNO 240-3 (3 CDs). - 2012 - Leon Botstein (conductor), American Symphony Orchestra , Bard Festival Chorus.
Jason Howard (Henry VIII), John Tessier (Don Gomez de Féria), Jeffrey Tucker (Cardinal Campeggio), Jon-Michael Ball (Earl of Surrey), Nathan Stark (Duke of Norfolk), Branch Fields (Cranmer), Ellie Dehn ( Catherine d'Aragon), Jennifer Holloway (Anne de Boleyn).
Presto Classical ASO248 (3 CDs).
literature
- Steven Huebner: Henry VIII. In: French Opera at the Fin De Siecle. Oxford University Press, 1999, ISBN 0-19-816280-4 , doi: 10.1093 / acprof: oso / 9780195189544.003.0014 .
Web links
- Henry VIII : Sheet Music and Audio Files in the International Music Score Library Project
- Libretto (French), Paris 1883 (version in five pictures). Digitized in the Internet Archive
- Libretto (German). Translation by Hermann Wolff (version in five pictures). Digitized from the Library of Congress
- Libretto (Italian), Milan 1885. Digitized version of the Conservatorio "Benedetto Marcello"
- Libretto (French / Spanish) as full text (version in five pictures) on kareol.es
- Henry VIII (Camille Saint-Saëns) in the Corago information system of the University of Bologna
- Work data on Henry VIII based on MGG with discography at Operone
- Discography on Henry VIII at Operadis
- Detailed table of contents in the Tamino Klassikforum
Individual evidence
- ↑ a b c d e f g h i j k l m n o p Sabina Teller Ratner: Henry VIII. In: Piper's Enzyklopädie des Musiktheater . Volume 5: Works. Piccinni - Spontini. Piper, Munich / Zurich 1994, ISBN 3-492-02415-7 , pp. 515-518.
- ^ A b Sieghart Döhring : Historical Opera in Paris. In: Silke Leopold (Hrsg.): Opera and music drama in the 19th century (= history of opera. Volume 3). Laaber, 2006, ISBN 3-89007-660-2 , pp. 259-261.
- ^ A b c Steven Huebner: Henry VIII. In: French Opera at the Fin De Siecle. Oxford University Press, 1999, ISBN 0-19-816280-4 , doi: 10.1093 / acprof: oso / 9780195189544.003.0014 .
- ^ Hugh Macdonald: Henry VIII. In: Grove Music Online (English; subscription required).
- ↑ a b c Spire Pitou: The Paris Opéra. An Encyclopedia of Operas, Ballets, Composers, and Performers - Growth and Grandeur, 1815-1914 AN. Greenwood Press, Westport / London 1990, ISBN 0-313-27782-6 , pp. 647-651.
- ↑ Supplemented by the information in the libretto from 1883.
- ↑ a b c d Camille Saint-Saëns. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.
- ↑ Saint-Saëns: Henry VIII. Product Information at Presto Classical, accessed on December 11, 2017.