La nun sanglante

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Opera dates
Title: The bloody nun
Original title: La nun sanglante
Title page of the piano reduction, Paris 1855

Title page of the piano reduction, Paris 1855

Shape: Grand opéra in five acts
Original language: French
Music: Charles Gounod
Libretto : Eugène Scribe and Germain Delavigne
Literary source: Matthew Gregory Lewis : The Monk
Premiere: October 18, 1854
Place of premiere: Paris Opera ,
Salle Le Peletier
Playing time: approx. 2 ¾ hours
Place and time of the action: Surroundings of Prague,
11th century
people
  • Graf von Luddorf ( baritone )
  • Baron of Moldova ( bass )
  • Rodolphe, Luddorf's son ( tenor )
  • Agnès, daughter of Moldova ( soprano )
  • Arthur / Urbain, Page Rodolphes (soprano)
  • Pierre, Hermit (bass)
  • Agnès, the bloody nun ( mezzo-soprano )
  • Fritz, young tenant (tenor)
  • Anna, his fiancee (soprano)
  • Arnold, friend of Moldova (tenor)
  • Norberg, friend of Moldova (bass)
  • Théobald, brother of Rodolphes ( silent role )
  • Knights, soldiers, vassals of Luddorf and Moldav, farmers, peasant women ( choir )

La nunne sanglante (German: The bloody nun ) is a grand opéra in five acts (six images) by Charles Gounod (music). The libretto by Eugène Scribe and Germain Delavigne is based on an episode from the novel The Monk (1796) by Matthew Gregory Lewis . The premiere took place on October 18, 1854 in the Salle Le Peletier of the Paris Opera .

action

The opera is set in the vicinity of Prague in the 11th century.

short version

First act. The hermit Pierre mediates a peace treaty between the warring families of the Count of Luddorf and the Baron of Moldova. Luddorf's older son Théobald Moldava's daughter Agnès is supposed to marry to seal it. But Théobald's brother Rodolphe loves this. The two decide to flee. Since a rumor about the ghost of a bloody nun terrifies the population, Agnès is supposed to disguise herself as this.

Act II. When Rodolphe arrives at the agreed meeting point at midnight, he meets the real nun and swears his allegiance to her, since he believes she is Agnès. In a haunted scene, the ruins of the castle of Rodolphes ancestors are transformed into their original magnificent form. His ancestors have gathered there as groomsmen. Pierre, summoned by Rodolphes squire Arthur, puts an end to the ghost.

Third act. Rodolphe learns of his brother's death at a peasant wedding. His parents now agree that he takes Agnès as his wife. But the nun, who reminds him of his oath of loyalty every night, only wants to release him if she kills her killer.

Fourth act. Both families gather for Rodolphe and Agnès' wedding celebration. The nun explains to him that Rodolphes father is her murderer. Rodolphe, who does not want to become a patricide, cancels the wedding without giving a reason. The old feud between the families breaks out again.

Fifth act. The Moldavs set a deadly trap for the traitor Rodolphe. His father finds out about it and lets them kill him to protect his son. This lifted the nun's curse. She rises to heaven with Luddorf.

first act

The castle of the Baron of Moldova

The Count von Luddorf and his knights penetrated through a breach in the wall with swords and torches. The baron and his vassals have just repulsed a group of besiegers. He fixes one of the leaders with his feet while the Count von Luddorf raises his battle ax against one of the besieged, whom he has brought down. Part of the castle is on fire while in the upper galleries the baron's vassals prepare to pour iron and fire on their enemies. At that moment a monk with a white robe and a cross in his hand appears in the breach, in the middle of the already blazing flames and among the fighting: it is Pierre, the hermit.

Scene 1. Through his divine authority, Pierre succeeds in ending the fight (No. 1. Aria: “Dieu puissant, daigne m'entendre”). To seal the peace, Moldova's daughter Agnès is said to marry Luddorf's older son, Théobald. Then everyone should take part in the upcoming crusade together. Only now Théobald's brother Rodolphe arrives with other fighters. After learning of the peace treaty, the soldiers happily lay down their weapons (No. 2. Choir: “Compagnons, bas les armes”).

Scene 2. Rodolphe is shocked when he learns of the upcoming wedding because he loves Agnès himself. Pierre asks him to renounce them in favor of the fatherland (No. 3rd duet: “Dieu nous command l'espérance”).

Scene 3. Agnès appears now too. In desperation, she and Rodolphe decide to flee together that night (No. 4th duet: “Mon père d'un ton inflexible”). When Rodolphe suggests waiting for her at the north wall at midnight, Agnès shudders. According to legend, the ghost of a bloody nun with a lamp and a dagger has been wandering between the walls at this hour. Rodolphe doesn't believe in the ghost, but wants to use people's fear to his own advantage: Agnès is supposed to disguise himself as this nun in order to be able to escape unhindered. But Agnès' fear is too great to approve the proposal. Rodolphe begs her on her knees to give in.

Scene 4. Luddorf catches Rodolphe and Agnès in this position and immediately realizes that the two are a couple (No. 5. Finale: “Que vois-je? Il est perdu”). Since Rodolphe refuses to give up his love, his father curses and banishes him.

Scene 5. Everyone is shocked by this turning point. Agnès whispers to Rodolphe to his delight that he should wait for her at midnight.

Second act

Street to the main courtyard of the castle

In the background the castle with a large staircase. The street leads through a large open gate into the courtyard.

Scene 1. After the celebration, drunken country folk set off from a tavern on their way home (No. 6. Choir: “Assez rire et boire”). Rodolphes page Arthur is waiting for his master to help him escape with Agnès. He tries to hasten the departure of the drinkers by posing as a night watchman.

Scene 2. Arthur envies Rodolphe's happiness in love (couplets: “L'espoir et l'amour”).

Scene 3. When Rodolphe arrives, Arthur confirms that everything has been prepared (No. 7th scene: “On approche… c'est lui!”). Arthur withdraws to wait for the agreed sign.

Scene 4. Rodolphe awaits the disguised Agnès in front of the castle stairs (No. 8. Aria: “Voici l'heure”). Then the ghost of the bleeding nun appears, exactly as described in the legend. Rodolphe thinks it is Agnès. At first the nun speaks only a few words: “Mine! … Always mine! ”When she takes his hand, Rodolphe shudders at its coldness. Nevertheless he puts a ring on her finger and swears allegiance to her “by heaven and earth”. At that moment, the real Agnès appears on the stairs, unseen by Rodolphe. The nun pulls him away with her.

During a "fantastic interlude" (No. 9) the overgrown ruins of a Gothic castle appear. In the middle a broken stone table and stone seats overgrown with ivy and wild plants. Moonlight illuminates a hermitage on the rocks in the background.

Scene 5. Rodolphe recognizes the old, abandoned castle of his ancestors (No. 10. Scene of the dead: “Effrayés par la foudre”). The nun kneeled down in prayer. Rodolphe sends Arthur to Pierre's hermitage to ask him for help.

The moonlight gives way and the ruins are transformed into their original form - a magnificent castle with richly laid tables. The banquet hall is brightly lit by torches and candelabra and decorated with shining bundles of weapons.

Scene 6. Rodolphe remembers the meals in this room from his childhood. Now the spirits of his ancestors appear in anticipation of a new festival.

Scene 7. The nun explains to Rodolphe that the ghosts are her best man. Surprisingly, Rodolphe also recognizes his brother Théobald among them. The nun informs him that he has since died. She reveals herself to him as the "bloody nun" Agnès and reminds him of his oath of allegiance addressed to her by name.

Scene 8. The hermit Pierre puts an end to the ghost. Before the nun sinks into the earth with the spirits, she points out to Rodolphe that from now on he belongs to her. Rodolphe collapses.

Third act

Room of a farmhouse in Bohemia

On the left a large door to the surrounding forest. In the background two crosses with a bed between them. In the right foreground a table and a few chairs.

Scene 1. The tenant Fritz celebrates his wedding with Anna. Your guests, young farmers, happily sing and dance waltzes (no. 11th choir: “Valsez sous l'ombrage”).

Scene 2. Arthur enters in search of his master. As is customary, he promises those present good news (No. 12. Couplets: “Un page de ma sorte”) - but then keeps it silent. Then he recognizes the completely disturbed Rodolphe among the guests. Arthur informs him that his brother Théobald was killed in a battle and that his parents are now agreeing to marry Agnès. Rodolphe sends the other guests out.

Scene 3. Rodolphe tells Arthur that the bloody nun comes to his bed every night and reminds him of his oath (scene 13: “Au milieu de l'orage”). Arthur encourages him. His misfortune would soon be gone.

Scene 4. Rodolphe hopes for a renewal of his love and the forgiveness of his father (No. 14. Cavatine: “Un jour plus pur”).

Scene 5. It strikes midnight. The wall on the right opens and the nun approaches Rodolphe (No. 15. Duet: “Me voici, moi ton supplice”). She reminds him again of his promise and tells him her story: Once a man had promised her marriage. However, she was told that he had died in the war. Then she entered a monastery. Little did she know that her fiancé was still alive and wanted to marry another woman. When she reminded him of his promise, he stabbed her in cold blood. Shaken, Rodolphe promises the nun that he will avenge her. In return, the nun at the grave of her murderer, whose name she withholds, wants to release him from his oath of allegiance.

Fourth act

Gardens of the Count of Luddorf

Scene 1. Both families have arrived for Rodolphe and Agnès' wedding celebration. Luddorf opens the festival (No. 16. Couplets: "Bons chevaliers").

Scene 2. All rise and dance (No. 17. Wedding march - No. 18. Ballet: Waltz - Pas de trois - Bohemian dance).

Scene 3. Pierre asks us to forget the previous hostilities (No. 19. Finale: “Oublions tous les discordes”). Then the nun appears, only visible to Rodolphe, and points to his father, her murderer. Rodolphe realizes with horror what to do. Since he does not want to become a parricide under any circumstances, he declares that he can no longer marry Agnès. Everyone is outraged. The Moldovans swear their death to him, and the old hatred between the families breaks out again. Agnès, the other women and Pierre try to prevent the worst.

Fifth act

Wild area near Moldava's castle

In the background on an elevation the grave of the bleeding nun; above the chapel of the Hermit Pierre's hermitage.

Scene 1. Luddorf is not ready to forgive his son (No. 20. Arie Luddorf: “Mon fils me fuit”). At the same time, he feels remorse about his previous crime. He is ready to accept death as atonement if his son does not find out. Still, he wants nothing more than to see him one last time.

Scene 2. Under the leadership of Moldava's friends Norberg and Arnold, soldiers approach to ambush Rodolphe in the chapel (No. 21. Choir: “Amis, avançons en silence”). Luddorf hides to eavesdrop on them. So he learns of the impending danger for his son.

Scene 3. Luddorf sees Rodolphe coming from the left, followed by Agnès. She finally wants to find out the reasons for Rodolphe's refusal (No. 22. Duet Rodolphe, Agnès: “Non, je m'attache à vos pas”). Reluctantly, he tells her the story of the nun and his assignment, but without mentioning his father's name. Agnès urges him to complete the task and avenge the nun. When Rodolphe strictly rejects this, she expresses her greatest contempt. Rodolphe is desperate (No. 23. Finale: "O disgrace cruelle"). In the background they hear the enemy knights who clearly claim Rodolphes life. Rodolphe wants to face them. At this moment Luddorf dragged himself seriously injured out of the chapel, followed by the attackers. To save his son, he went into ambush in his place. At the nun's grave he falls into his son's arms. Pierre, the Baron of Moldova, soldiers, peasants and others rush over.

Scene 4. Luddorf begs God to accept his voluntary sacrifice. He dies. The nun, whose curse has now been lifted, appears on the grave. She is now finally united with Luddorf, and rises with him into the clouds to obtain forgiveness for both of them. Everyone on their knees begs for mercy.

layout

In terms of content, Scribe's libretto differs significantly from both the novel and Donizetti's opera Maria de Rudenz , which uses the same subject. In the novel the nun is the opera of a distant relative Rodolphes - in Scribe the perpetrator is his father. In the novel, he is supposed to bring her bones to the family grave, in the opera, however, he is supposed to avenge her death by parricide. In the original, a jealous aunt acts against the lovers. Scribe instead invented a family feud as a political backdrop. The huge wedding finale with its own subplot is also new. Scribe probably added the character of the hermit Pierre at Gounod's request. He is still missing in the first sketches intended for Berlioz, and Gounod had only recently composed a cantata entitled Pierre l'ermite , which otherwise has no relation to opera.

Because of the plot, which is composed of a wide variety of elements, the text appears very inconsistent. In the given framework of a five-act grand opéra , Scribe placed different motifs from other operas in addition to the ghost scenes like set pieces. Ghostly nuns also appeared in the ballet of Meyerbeer's Robert le diable (1831), the wedding to reinforce a political connection was already the subject of his opera Les Huguenots (1836), there was a similar night watchman scene and a march of the dead in Jacques Fromental Halévys Le Juif errant (1852).

The hermit has his own aria right at the beginning, in which an accompanying choir emphasizes the religious character. The final choir with its modal harmony is also inspired by church music of the time . The ghostly scenes and the decorative dances are of particular importance. The music of the Intermède fantastique is composed almost exclusively of chromatic motifs of sighs and scales over a single chord. The choir sings almost instrumentally behind the stage.

The music editor of SWR2 , Reinhard Ermen, compared this work by the young Gounod with a talent test. The composer was always up to his task, but there were no “the really big moments in which skeptical reflection falls silent”. The orchestral introduction and the big scene with Luddorf's aria in act five are particularly successful.

orchestra

The orchestral line-up for the opera includes the following instruments:

Music numbers

In the piano reduction from 1854 the following music numbers are shown:

first act

  • Introduction
  • No. 1. Aria (Pierre): "Dieu puissant, daigne m'entendre"
  • No. 2. Choir: "Quel est ce bruit" - "Compagnons, bas les armes"
  • No. 3. Duet (Rodolphe, Pierre): "Nos ennemis vaincus" - "Dieu nous command l'espérance"
  • No. 4. Duet (Agnès, Rodolphe): "Dans tes yeux pleins de larmes" - "Mon père d'un ton inflexible"
  • No. 5. Finale: “Que vois-je? Il est perdu "

Second act

  • No. 6. Choir: "Assez rire et boire"
  • No. 7th scene (Arthur, Rodolphe): "On approche… c'est lui!"
  • No. 8. Aria (Rodolphe): "Voici l'heure"
  • No. 9. Intermède fantastique (orchestra and choir)
  • No. 10. Scene of the dead (Rodolphe, the nun, choir): "Effrayés par la foudre"

Third act

  • No. 11. Choir: "Valsez sous l'ombrage"
  • No. 12. Couplets (Arthur): "Un page de ma sorte"
  • No. 13th scene (Rodolphe, Arthur): "Au milieu de l'orage"
  • No. 14. Cavatine (Rodolphe): "Un jour plus pur"
  • No. 15. Duet (the nun, Rodolphe): "Me voici, moi ton supplice"

Fourth act

  • No. 16. Couplets (Luddorf): "Bons chevaliers"
  • No. 17. Wedding March
  • No. 18. Ballet
    • (A) Waltz
    • (B) Pas de trois
    • (C) Bohemian dance
  • No. 19. Finale: "Oublions tous les discordes"

Fifth act

  • No. 20. Aria (Luddorf): "Mon fils me fuit"
  • No. 21. Choir: "Amis, avançons en silence"
  • No. 22. Duet (Rodolphe, Agnès): "Non, je m'attache à vos pas" - "Toi Rodolphe, perjure et traître"
  • No. 23. Finale: "O disgrace cruelle"

Work history

Louis Gueymard as Rodolphe in the world premiere production

The libretto by Eugène Scribe and Germain Delavigne is based on an episode from the novel The Monk (1796) by Matthew Gregory Lewis . This had already become the template for drama and opera versions several times. In 1835 the drama La nunne sanglante by Auguste Anicet-Bourgeois and Julien de Mallian was published , which was revised two years later by Salvatore Cammarano into the libretto for Donizetti's opera Maria de Rudenz . As can be seen from his sketches, Scribe was originally based on Anicet's drama, but soon deviated from it significantly.

Between 1841 and 1847 Hector Berlioz began with a setting, of which two arias and a duet of the first act have been preserved. According to Berlioz, the text certainly met the requirements for an opera. However, Scribe couldn't finish his work, and the then directors of the Paris Opera , Nestor Roqueplan and Edmond Duponchel , had reservations about a new work by Berlioz. Although they agreed to a performance at the end of 1847, Berlioz realized that it was an empty promise, as the requirement to start rehearsing immediately could not be fulfilled. He eventually returned the libretto to Scribe.

Scribe then offered it to the composers Jacques Fromental Halévy , Giacomo Meyerbeer , Giuseppe Verdi , Daniel-François-Esprit Auber , Félicien David , Albert Grisar and Louis Clapisson , all of whom refused. It was not until June 10, 1852 that the young Charles Gounod signed a corresponding contract with Rougeplan. Scribe and Delavigne pledged to complete the libretto within three months, and Gounod was to deliver the score by December 1, 1853. The performance should take place in the 1856–1857 season at the latest. Gounod stuck to the agreement. Since the productions of Verdi's Luisa Miller and Louis Niedermeyer's La Fronde only ran for a short time, the first hesitant rehearsals for Gounod's opera began in September 1853, i.e. before it was completed. The line-up for soloists was not determined until February of the following year, and rehearsals were held regularly from April.

Jean-Baptiste Merly (Luddorf), Jacques-Alfred Guignot (Moldaw), Louis Gueymard (Rodolphe), Anne Poinsot (Agnès), Marie Dussy (Arthur) performed the premiere on October 18, 1854 in the Salle Le Peletier of the Paris Opera , Jean Depassio (Pierre), Palmyre Wertheimber (the nun), M. Aymès (Fritz), Pauline Dameron (Anna) and Koenig (Arnold / Norberg).

The opera was performed eleven times with great success. The press also responded favorably. The introduction and the finale of the first act, the banquet of the dead, the wedding march and Luddorf's aria in the last act were particularly well received. The total income was 67,000 francs. However, due to the high debts of the house and a scandal involving the star soprano Sophie Cruvelli , Roqueplan had to resign that same year, and his successor François-Louis Crosnier immediately took Gounod's opera off the schedule - according to Gounod on the grounds that he would be such a " Do not allow garbage ”in the Opéra. In fact, the libretto of the nun sanglante was described as decadent in the press (for example by M. Bourges in La revue et gazette musicale de Paris of October 29, 1854). The mixing of elements of horror with religious symbolism appeared to many conservative contemporaries as a "violation of the rules of good taste". There had also been criticism abroad. So the Süddeutsche Musik-Zeitung drew the conclusion:

“The most extravagant fantasy cannot come up with anything more absurd, more unpoetic and at the same time more unmusical. [...] The fact that the Parisian critics do not loudly and unanimously condemn such a sin against everything that means poetry and art is an even sadder sign of the times than the product itself. "

After the last performance on November 17, 1854, the work was not played again in the 19th and 20th centuries. According to Gounod's autobiography, Scribe blamed the failure on him. Scribe offered him another libretto immediately after the premiere, but withdrew it shortly afterwards. But for Crosnier, too, the reasons were more due to the libretto, because a little later he commissioned Gounod with the opera Ivan le terrible.

The next production took place on January 19, 2008 in the Osnabrück Theater - more than 150 years after the premiere. Hermann Bäumer was the musical director . Directed by Gabriele computing , and the equipment was from Stephanie Posters Kamp. The main role of Rodolphe sang Yoonki Baek . A CD recording of this production was released on the cpo label , which was placed on the list of the best in the third quarter of 2010 by the German Record Critics' Association .

On June 12, 2018, the opera was played again in Paris - now in the Opéra-Comique . Laurence Equilbey directed the Insula Orchestra and the Accentus Choir . The production was done by David Bobée, who, together with Aurélie Lemaignen, was also responsible for the decoration. Alain Blanchot took care of the costumes. Michael Spyres sang Rodolphe. A video recording of this production was made available on the Internet at Culturebox.

Recordings

  • 18.-20. March 2008 - Hermann Bäumer (conductor), Osnabrück Symphony Orchestra , choir and men's extra choir of the Osnabrück Theater .
    Marco Vassalli (Luddorf), Genadijus Bergorulko (Moldaw), Yoonki Baek (Rodolphe), Natalia Atamanchuk (Agnès), Iris Marie Kotzian (Arthur), Frank Färber (Pierre), Eva Schneidereit (the nun), Kolja Hosemann (Fritz), Miyuki Nishino (Anna), Sang-Eun Shim (Arnold), Tadeusz Jedras (Norberg).
    Recording from the Osnabrück town hall .
    cpo 777 388-2 (2 CDs).
  • June 12th 2018 - Laurence Equilbey (conductor), David Bobée (production), David Bobée and Aurélie Lemaignen (decor), Alain Blanchot (costumes), Insula Orchestra, Accentus .
    Jérôme Boutillier (Luddorf), Luc Bertin-Hugault (Moldaw), Michael Spyres (Rodolphe), Vannina Santoni (Agnès), Jodie Devos (Arthur), Jean Teitgen (Pierre), Marion Lebègue (the nun), Enguerrand De Hys (Fritz ), Olivia Doray (Anna), Pierre-Antoine Chaumien (Arnold), Julien Neyer (Norberg), Vincent Eveno (Theobald).
    Video; live from the Opéra-Comique Paris .
    Video stream on Culturebox.

Web links

Commons : La Nonne sanglante  - collection of images, videos and audio files

Remarks

  1. The page is called “Urbain” in the 1854 libretto and “Arthur” in the piano reduction of the same year.
  2. According to the libretto in the booklet on CD cpo 777 388-2. In the libretto of 1854 he instead warns of the impending appearance of the bleeding nun.
  3. Cruvelli left immediately after receiving her extremely high fee without denying the other contractually agreed performances. This messed up the game plan.

Individual evidence

  1. a b c d e f g h i j k l Steven Huebner: The Operas of Charles Gounod. Clarendon Press, Oxford 1990, ISBN 0-19-816348-7 .
  2. a b c d e f g h Anselm Gerhard : La Nonne sanglante. In: Piper's Encyclopedia of Musical Theater . Volume 2: Works. Donizetti - Henze. Piper, Munich / Zurich 1987, ISBN 3-492-02412-2 , pp. 517-518.
  3. Reinhard Ermen: Charles Gounod: La Nonne Sanglante. Moderation manuscript from February 13, 2011, SWR2.
  4. ^ 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. 578-579.
  5. October 18, 1854: “La nunne sanglante”. In: L'Almanacco di Gherardo Casaglia ..
  6. Information in the libretto from 1854.
  7. a b Spire Pitou: The Paris Opéra. An Encyclopedia of Operas, Ballets, Composers, and Performers - Growth and Grandeur, 1815-1914 M-Z. Greenwood Press: Westport / London 1990 ISBN 0-313-27783-4 , pp. 943-945.
  8. The Bloody Nun of Scribe and Gounod. In: Süddeutsche Musik-Zeitung. Cologne, October 21, 1854, p. 178 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fwww.digizeitschriften.de%2Fdms%2Fimg%2F%3FPPN%3DPPN479468729_0003%26DMDID%3Ddmdlog303~GB%3D~IA~3D~M0A%3 SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
  9. Best list 3-2010 of the German Record Critics' Prize , accessed on July 9, 2018.
  10. a b La nonne sanglante on Culturebox, video available with geoblocking until December 18, 2018, accessed on July 8, 2018.
  11. Booklet of CD cpo 777 388-2.