Zémire et Azor

Opera dates
Title:	Zémire et Azor
Score with dedication to Madame du Barry (1772)
Shape:	Comédie-ballet in four acts
Original language:	French
Music:	André-Ernest-Modeste Grétry
Libretto :	Jean-François Marmontel
Premiere:	November 9, 1771
Place of premiere:	Fontainebleau
Playing time:	just under two hours
Place and time of the action:	Fairy palace , country house near Hormuz ( Persia ), mythical time
people
Azor, Persian prince , king of Kamir, first in his terrible form, tenor Sander, Persian merchant from Hormuz , baritone Ali , slave Sanders, tenor Zémire, Sanders' youngest daughter, soprano Fatmé , daughter of Sanders, soprano Lisbé, daughter of Sanders, soprano Fairy , speaking role Ballet : Genii and Fairies

Mozart's sister-in-law Aloisia Lange as Zémire ( Johann Baptist Lampi , approx. 1784).

The magical image (François-Robert Ingouf
after Pierre-Charles Ingouf, 1771).

Zémire et Azor (Zemire and Azor) is a comédie - ballet in four acts by André-Ernest-Modeste Grétry .

The libretto by Jean-François Marmontel is based on the fairy tale La Belle et la Bête (Beauty and the Beast) in the version by Jeanne-Marie Leprince de Beaumont (1756) and the comedy Amour pour amour (Love for love) by Pierre- Claude Nivelle de La Chaussée (1742). One possible source of inspiration was the Opéra-comique La fée Urgèle (The Fairy Urgèle) by Egidio Duni and Charles-Simon Favart (1765).

The choreography was created by Gaetano Vestris . The first performance took place on November 9, 1771 in front of the court in Fontainebleau and on the following December 16 at the Comédie-Italienne in Paris .

Patrick Taïeb and Judith Le Blanc called the most famous stage play of in Paris working Walloons Grétry as a point of no return on the path of the former fairground spectacle Opéra-Comique to respectability . It merges bourgeois tragedy and fairy tales into a “realism of the wonderful” (“réalisme merveilleux”). Heinz Wichmann called Zémire et Azor the “archetype of all romantic redemption operas ”.

Emergence

André-Ernest-Modeste Grétry ( Élisabeth Vigée-Lebrun , 1785).

Marmontel seems to have written Zémire et Azor for the festivities that took place in Fontainebleau after the marriage of the Dauphin ( Louis XVI ) to Marie-Antoinette in the autumn of 1770 . The Duke of Aumont, who was responsible for the entertainment program, rejected the libretto because it offered material for an epigram - probably about the similarity of the clumsy heir to the throne with the beast.

Aumont's successor, however, the Duke of Duras, had no qualms about ordering the opera for the festivities of the following year that followed the marriage of the Count of Provence ( Charles X ) to Maria Theresa of Savoy .

Zémire: Marie-Thérèse Laruette (Jean-Baptiste Perronneau).

At that time Grétry had recovered from a serious illness. In his memoirs he writes: “I was given back to life, nature was new to my liberated organs when I began this work. A fairy tale was what suited my situation best. "

The score was written under favorable circumstances: Grétry's lover Jeannette Grandon (1746–1807) had finally received her mother's permission to marry after she had given birth to a daughter to the composer. And from October onwards he received a salary of 100 livres per month from the Comédie-Italienne as an exceptional honor  .

Azor: Jean-Baptiste Guignard, called Clairval.

At that time Diderot described him as follows: “Grétry has a gentle and refined physiognomy , cross-eyed eyes and the pallor of a man of spirit. (…) He married a young woman who has two very black eyes, and that's very brave with a chest as weak as his; but he's finally feeling better since he's been a husband (...) "

In the opera there are 14 arias , four duets , two trios and a quartet , linked by spoken dialogue, orchestral pieces (such as entreacts) and ballets .

Performers at the premiere were: Jean-Baptiste Guignard called Clairval (36, Azor), Joseph Caillot (38, Sander), the composer Jean-Louis Laruette (40, Ali), his wife Marie-Thérèse née Villette (27, Zémire) , Marie-Jeanne Trial née Milon (25, Fatmé) and Pétronille-Rosalie Beaupré (23, Lisbé). Rétif de la Bretonne wrote about Madame Laruette that the sound of her voice drove the soul into a sweet drunkenness.

action

Zémire is sacrificed by the bankrupt father to the stigmatized outsider Azor or makes himself a victim to this. Thanks to its intrinsic value, Azor wins the heart of the beautiful and is (back) transformed into a king.

Film director Denys Arcand , who staged the opera, described it as a way of life for the victims of forced marriages , which used to be common in Europe , by showing that a happy life does not require marrying Brad Pitt .

The table of contents below follows the libretto from the world premiere in Paris, which differs slightly from the court libretto.

1st act

palace

Sander: Joseph Caillot (Simon-Charles Miger after Guillaume Voiriot ).

Scene 1: Merchant Sander has asked Hormuz about the ship that is his last possession. Now he must think it's lost. On the way back to his country house, he is surprised by a thunderstorm that is announced in the overture , and comes to a lighted but apparently uninhabited fairy palace in a forest . While he wants to spend the night there, his slave Ali is uncanny in the building. He therefore makes a very optimistic weather forecast ( video on YouTube : Jean-Claude Orliac, Orchester de chambre de la RTB, Edgar Doneux):

“L'orage va cesser.
Déjà les vents s'apaisent,
Les voilà qui se taisent.
Partons sans balancer! "

“The storm will be over soon.
The winch is already down,
you are now almost silent.
So let's get away from here! "

But the accompanying music belies him: the storm intensifies. But when a table set by magic appears, Ali's fear is gone. He sings:

"Les esprits dont on nous fait peur
Sont les meilleures gens du monde.
Voyez comme ici tout abonde!
Quel bon souper! source liqueur! "

“How afraid of ghosts!
They are good-hearted people.
Look at these delicacies!
What supper ! What liqueur ! "

Abundant alcohol consumption makes Ali sleepy, so that now his master urges to leave in vain.

As a souvenir of the fairytale accommodation, Sander picks a rose. His youngest daughter Zémire has as a souvenir from his trip this icon desired love - rather than fashionable tand as her two sisters.

Scene 2: Azor appears in his terrible form and announces that Sander must die as punishment for stealing the rose. He replies that he is not attached to life, he just regrets having to leave his daughters behind without support. Ali remarks that Azor would have pity on the girls if he knew how beautiful they are. Azor Sander then offers to spare him if he gives him one of them. But Sander would rather die, but asks to be allowed to say goodbye to the daughters. In the event that he returns afterwards, Azor offers him a reward, in the opposite case vengeance:

“Ne vas pas me tromper!
Ne crois pas m'échapper!
Sur la terre et sur l'onde
Ma puissance s'étend,
Et jusqu'au bout du monde
Ma vengeance t'attend. "

“Don't try to deceive me!
Do not think that you will escape! My power extends to
lands and seas
,
Until the end of the world,
My vengeance strikes you. "

He gives the rose to Sander. Then he has him carried home in a cloud - which Ali climbs despite great fear. The Entreacte imitates the sound of flying.

2nd act

Country house

Scene 1: The scene is now the interior of Sander's “very simple” country house. The lamp is still burning there, because the daughters have spent the night doing handicrafts in order to await the return of their father. Fatmé and Lisbé scoff at the gift Zémire asked him for: “A rose? That's almost nothing. "Diderot described this trio as a" masterpiece of feeling and delicacy ".

Marie-Antoinette with a rose ( Élisabeth Vigée-Lebrun , 1783).

Scene 2: When Sander returns, he tells the daughters that he has lost everything. Fatmé and Lisbé cry, while Zémire comforts him. She has romantic ideas about poverty:

“Pour être heureux,
Il faut si peu de chose!
L'oiseau des bois
Comme nous est sans bien.
Le jour il chante,
Et la nuit il repose.
Il n'a qu'un nid.
Que lui manque t'il? Rien. "

“To be happy,
it takes so little!
Like us,
the bird owns nothing in the forest.
During the day he sings,
and at night he rests.
He has a nest.
And is he missing something? Nothing."

Zémire thinks the peasants are happy and suggests that his father switch to agriculture (which was recognized under the influence of the Physiocrats ): Ali could plow and harvest the girls.

While Fatmé and Lisbé go away empty-handed, Zémire receives her rose. She sings an aria that also received Diderot's praise, even though he criticized Madame Laruette Grétry for having forced cuts ( video on YouTube : Sophie Karthäuser , L'Orfeo Barockorchester , Michi Gaigg ):

“Rose chérie,
Aimable fleur,
Viens sur mon cœur!
Source est fleurie!
Ah! Source odeur!
Voyez, ma sœur,
Qu'elle est fleurie!
Que ses parfums
Ont de douceur!
Des mains d'un père,
Qu'elle m'est chère! "

“Beloved Rose,
you dear pledge,
come to my heart!
How it blossomed!
Ah! What fragrance!
Look, sister,
how it bloomed!
What a sweet smell it
spreads!
From father's hands,
it is dear to me! "

Scene 3: Zémire feels that his father is more depressed than the loss of the ship.

Scene 4: Ali curses traveling, under no circumstances does he want to fly anymore.

Scene 5: He doesn't think Azor would kill Zémire. Although he was kept silent, he wants to tell her how she can save Sander.

Scene 6: Sander forbids him to continue.

Scene 7: He writes a farewell letter to pathetic accompanying music.

Scene 8: Zémire wants - like the title character of the opera Lucile von Marmontel and Grétry (1769) - to sacrifice himself for her father. Using all available arguments, she leads the reluctant Ali to lead her to the palace before Sander leaves. ( Video on YouTube : Mady Mesplé , Jean van Gorp, Jean-Claude Orliac, Orchester de chambre de la RTB, Edgar Doneux)

3rd act

salon

Scene 1: After the Entreacte we are in the Salon Azors. He gives himself an account of his situation: A fairy had given him beauty. But because he was imagining it, she hit him with ugliness. He can only get rid of them if he can touch a young heart regardless of them:

"Ah! quel tourment d'être sensible,
D'avoir un cœur fait pour l'amour,
Sans que jamais il soit possible
De se voir aimer à son tour! "

"Oh, what agony it is to love, to be
filled with tenderness,
Without having the opportunity to be loved on
your part!"

Although the fairy gave him power over the elements , love cannot be forced with it.

18-year-old Anna Heinel as a genius (Louis-René Boquet, 1771).

When Azor sees Zémire and Ali coming, he hides to find out what he can do to please the beautiful woman.

Scene 2: Zémire asks Ali about Azor. The scared slave describes him as charming and gallant . He advises Zémire to keep calm, to stir the monster - and to ask for mercy for himself. The beautiful finds the furnishing of the room to her taste: There are books and - in Persia! - a harpsichord . Above a door it says: " Apartment from Zémire". She instructs Ali to reassure her father: let him forget the “poor prisoner” who does not mourn her fate.

Scene 3: Zémire consoles herself with the thought that heaven protects innocence.

Scene 4: You pay homage to the geniuses of the arts with a ballet . ( Video on YouTube : Royal Philharmonic Orchestra , Sir Thomas Beecham )

Scene 5: When the beautiful woman sees the monster, she sinks unconscious into the arms of fairies . Azor kneels in front of her and tries to comfort her. He sings ( video on YouTube : Richard Verreau):

“You moment qu'on aime,
L'on devient si doux!
Et je suis moi-même
Plus tremblant que vous. "

“How does love make
man so weak!
I shake even
more than you do . "

Zémire is astonished by his soft voice. Switching roles, she comforts him: Only those who are evil are worth hateful. Azor then declares her queen of his palace and his heart. Will he make richer than ever and her sisters her father disqualify . In return, he only wishes to be able to spend some time with her occasionally. Whereupon Zémire is astonished to find that she is beginning to endure the sight of him.

At Azor's request, she sings a song, imitating a (male) warbler with the support of the solo flute : first she seduces him with the breadth of her voice and the virtuosity of her singing, then she tunes him emotionally and finally she brings her pain to him Separation from family close ( Video on YouTube : Sophie Karthäuser , L'Orfeo Barockorchester , Michi Gaigg ):

Blackcap (vocals: video on YouTube , recording by Bruno Chambrelent).

“La fauvette avec ses petits
Se croit la pure du bocage.
De leur réveil, par son ramage
Tous les échos sont avertis.

Sa naissante famille
Autour d'elle sautille,
Voltige et prend l'essor.
Rassemblés sous son aile
De leur amour pour elle
Elle jouit encore.

Maize par malheur
Vient l'oiseleur
Qui lui ravit son espérance.
La pauvre mère, elle ne pense
Qu'à son malheur.
Tout retentit de sa douleur. "

“The warbler with its brood
feels like the queen of the grove.
Her singing reports to all Echoes of the
Morning that she is awake.

The growing family
hops around them,
flutters and blows up.
If
you have all under her wing , she
still enjoys her love.

But misfortune brings
The bird catcher, Who robs them of
their hope.
The poor mother thinks of nothing but
her misfortune.
Your pain echoes everywhere. "

Zémire asks to see her relatives again.

Scene 6: Azor lets this appear on a magical picture , whereby the magical and everyday worlds overlap on the stage. Sander, Fatmé and Lisbé talk in muffled voices - a trio proposed by Grétry which, according to Diderot, who was involved in its creation, decided the success of the opera:

"Ah! laissez-moi, laissez-moi la pleurer,
À mes regrets laissez-moi me livrer. -
Mon père, hélas! cédez de la pleurer,
À vos regrets cessez de vous livrer. -
Qui m'aimera jamais comme elle? -
Ce sera moi. - Ce sera moi. -
Qui me rendra ce tendre zèle? -
Ce sera moi. - Ce sera moi. 
Croyez la voir! - Oui, je la vois,
Je crois l'entendre qui m'appelle. "

“Oh, let me cry, let me cry,
let me feel remorse! -
Oh dear, my father, stop crying,
And you don't need to feel remorse! -
Who will ever love me like you? -
I will. - I will. -
Who ever reciprocate this tender zeal? -
I will. - I will. 
Imagine them! - I see her,
I feel as if I heard her calling. "

The magical character of the picture, which is reminiscent of a painting by Greuze , is underlined by the horns , clarinets and bassoons hidden in the background .

When Zémire tries to sink into her father's arms, the apparition disappears.

Scene 7: The act ends with a spoken dialogue. Zémire demands to be allowed to visit the father. Azor allows her to do so, but makes her swear to be back before sunset. He declares that otherwise he will die. Zémire realizes that she is no longer indifferent to Azor. He puts his fate in her hand by giving her a ring that takes her out of his power for as long as she wears it.

4th act

Country house

Scene 1: After the Entreacte , Zémire returns to her own family, like Proserpina kidnapped by Pluto on a snake car. Ali, who reports this to Sander, hopes it is a delusion.

Scene 2: Zémire has little time to convince her father of her well-being. Sander doesn't want to let her go. She claims that even if Azor were bad, she would have to come back to him because otherwise he would get her. But she is confident:

“Ma craintive obéissance
Peut désarmer sa rigueur.
La jeunesse et l'innocence
Ont bien des droits sur un cœur! "

“If I fearfully obey him,
the severity will be milder.
My youth, my innocence
have softened his heart! "

Finally, Zémire strips off the ring and returns to Azor's realm.

garden

Scene 3: In the middle of the act, the scene changes into an overgrown part of Azor's garden with a grotto. The sun has set, but Zémire has not yet returned. Azor complains:

"Toi, Zémire que j'adore,
Tu m'a donc manqué de foi.
Et pourquoi vivrais-je encore?
Je n'inspire que l'effroi. "

“You, Zémire, whom I love, have
broken your word with me.
What should I still do here on earth?
I just arouse disgust. "

He sinks into the grotto .

Beauty and the Beast (Warwick Goble, 1913).

Scene 4: Zémire can be heard calling to Azor from behind the stage and gradually approaching. But only echoes - horns and a flute hidden in the festoons - answer her. In desperation, she becomes fully aware of her feelings ( video on YouTube : Mady Mesplé , Orchester de chambre de la RTB, Edgar Doneux):

“Hélas! plus que moi-même,
Je sens que je t'aimais.
Et dans ce moment même,
Plus que jamais,
Je t'aime, Azor, je t'aime ... "

"Oh dear!
I loved you more than I did myself, Azor.
At this moment
I realize,
Azor, how I love you ... "

In response to this declaration of love, which Grétry wanted to have sung instead of spoken, the setting is transformed - again in the middle of the act - into an enchanted palace, where Azor sits on a throne in his original beauty.

palace

Scene 5: He tells Zémire that she has released him from the curse of the fairy and that she is now queen next to him. She asks him to let her father share in her happiness.

Scene 6: Without showing himself, the fairy leads in Sander, who gives the couple his blessing.

Scene 7: The fairy appears to proclaim the moral of the story:

"Azor, tu vois que la bonté
A tous les droits de la beauté."

"Azor, you see that being beautiful is
outweighed by kindness."

The entourage of the fairy celebrates the wedding of Azor and Zémire. The bride and groom sing about the sorrows and joys of love. It promises to not want to please anyone else and to make each other happy. Zémire's relatives join in the praise of Cupid . A (not preserved) ballet closes the opera.

Instrumentation

David Charlton attributes " transcendent qualities" to Grétry's music . He uses instruments in a way that goes far beyond the " Accompagnement " customary in the 18th century .

• Orchestra: horns , oboes , flutes , bassoons , strings
• 3rd act, scene 6: horns, clarinets , bassoons behind the magical picture
• 4th act, scene 4: Horns and a flute in the festoons

success

Madame du Barry ( Elisabeth Vigée-Lebrun , 1781).

In contrast to the subsequent performances in Paris, the stage set “with diamonds ” was used for the world premiere in Fontainebleau , which underlined the story's fairytale quality. Marmontel claims to have personally taken care of Azor's animal costume and the construction of the magical image, which should not have been his idea. Zémire et Azor celebrated an almost unprecedented triumph in Fontainebleau . Marie-Antoinette  - only just sixteen - confessed to Grétry the morning after the premiere that she had dreamed of the magical picture . From Louis XV the composer received a pension of 1200  livres and a bonus of 1000 livres.

This at the instigation of Madame du Barry , who at the premiere of the opera had looked in a brocade dress with gold sequins and a star-studded tiara as if she were part of the fairy tale. Grétry dedicated the printed score to her. Marie Bobillier ( pseudonym : Michel Brenet) speculated in her Grétry biography that the dedication to the maîtresse régnante was “almost under duress” and that the composer was repelled. She overlooked the fact that his estate had included a portrait of Madame du Barry.

The Mercure de France boasted:

“This enchanting and novel spectacle pleases the imagination as well as the eyes and goes to the heart. The music is delicious and always true, felt and thought through, it reflects all the emotions of the soul. "

The opera was performed 271 times by the Comédie-Italienne up to 1797, making it third among Grétry's works. As the composer writes in his memoir , it had the same success in the provinces of France as it did at court and in Paris, and it was translated into almost all (European) languages.

Charles Burney , who saw the work in Brussels in 1772 , wrote:

“The subject of the libretto is a fairy tale that has been transformed into an interesting drama with great art, taste and genius (...) The music of this opera is generally admirable; the overture is lively and full of effects; the ritornelle and other orchestral parts are full of new ideas and images (...) and the Accompagnements are both rich and inventive and transparent, if I may use this expression, by which I mean that the aria is not stifled but rather distinguishable through it can be heard. "

And what was played when Burney attended the first theater performance in Germany ( Mannheim ) three weeks later ? - Zémire and Azor in the national language, sung better than in the composer's homeland.

In Vienna, Mozart's sister-in-law Aloisia Lange, nee Weber, shone as Zémire. In Mozart himself, who owned a score for the opera, Leporello in Don Giovanni and Papageno in The Magic Flute are reminiscent of Ali - one thinks, for example, of the latter's miraculous hospitality.

After the late composer was brought to  the Théâtre Feydeau for the marche lugubre of his compatriot Gossec in 1813 , hidden wind instruments played the trio from the magical picture . Grétry's hometown Liège opened the Royal Opera of Wallonia with Zémire et Azor in 1820 .

Gotthilf von Baumgarten (1776), Christian Gottlob Neefe (1778), Ignaz Umlauf (1786), Wenzel Müller (1790), Ignaz von Seyfried (1818) and Louis Spohr ( Zemire and Azor , 1819) set German arrangements of the libretto to music .

Sources and literature

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• ( Mathieu-François Pidansat de Mairobert :) Mémoires secrets pour servir à l'histoire de la république des lettres en France depuis MDCCLXII jusqu'à nos jours; ou Journal d'un observateur (…) Volume 6, John Adamson, Londres 1777 ( digitized versionhttp: //vorlage_digitalisat.test/1%3D~GB%3D18lbAAAAcAAJ%26pg%3DPA3%26dq%3DM%C3%A9moires%2Bsecrets%2Btome%2Bsixi%C3%A8me%26hl%3Dde%26sa%3DXChUkVed%AhAhWE% 23v% 3Donepage% 26q% 26f% 3Dfalse ~ IA% 3D ~ MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), pp. 47, 52–55, 72 f.
• Mémoires ou Essai sur la musique par M (onsieur) Grétry (…) Avec Approbation & Privilége du Roi. Self-published, Paris / Liège 1789 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fmmoiresouessa00gr%23page%2F259%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), pp. 243 f., 259–268, 271, 414 f.
• Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 1, Imprimerie de la République, Paris Year 5 (1797) ( digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fmmoiresouessa01gr%23page%2F221%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), pp. 211, 221–229, 231, 348 f.
• André-Ernest-Modeste Grétry: De la vérité. Ce que nous fûmes, ce que nous sommes, ce que nous devrions être. Volume 1, self-published, Paris year 9 (1801) ( digitized versionhttp: //vorlage_digitalisat.test/1%3D~GB%3DvMNAAAAAYAAJ%26printsec%3Dfrontcover%26hl%3Dde%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%3D%3Dfalse~DIAZ%3D%3D~ 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), p. XLVIII.
• Jean-François Marmontel: Mémoires d'un père pour servir à l'instruction de ses enfans. Volume 3 ( Œuvres posthumes de Marmontel, historiographe de France, secrétaire perpétuel de l'Académie française. Imprimées sur le manuscrit autographe de l'Auteur ). Paris, Jahr 13, 1804 ( digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3DRWQuAAAAYAAJ%26pg%3DPA348%26lpg%3DPA348%26dq%3Dmarmontel%2Bm%C3%A9moires%26source%3Dbl%26ots%3D8NSEUiLYq7w7AIG4bdW% 26sa% 3DX% 26ved% 3D0ahUKEwjj796umNfWAhVIK8AKHV_tCt44ChDoAQg9MAM% 23v% 3Donepage% 26q% 26f% 3Dfalse ~ IA% 3D ~ MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), pp. 116–119, 128–134.
• Jeanne-Louise-Henriette Campan : Mémoires sur la vie privée de Marie-Antoinette (…) 1st volume, 2nd edition, Baudoin frères, Paris 1823, p. 155 f. ( Digitized versionhttp://vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fgallica.bnf.fr%2Fark%3A%2F12148%2Fbpt6k2050396%2Ff205.item.r%3DGr%C3%A9try~GB%3D~IA%3D~ MDZ% ​​3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
• Castil-Blaze (François-Henri-Joseph Blaze): Grétry musicien, in: Revue de Paris, February 1846, pp. 170–174, 184–189, 194–200, here: pp. 173 f. ( Digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fgallica.bnf.fr%2Fark%3A%2F12148%2Fbpt6k112676h%2Ff226.item~GB%3D~IA%3D~MDZ%3D%0A~SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
• Augustin Jal: Dictionnaire critique de biographie et d'histoire. Errata et supplément pour tous les dictionnaires historiques. D'après des documents authentiques inédits. Henri Plon, Paris 1867, p. 657 f. ( Digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fbub_gb_WcwKAQAAIAAJ%23page%2Fn664%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~ .SZ%3DZ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
• Maurice Tourneux (ed.): Correspondance littéraire, philosophique et critique par Grimm , Diderot , Raynal , Meister , etc. (...) 9th volume, Paris 1879 ( digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fcorrespondanceli09grimuoft%23page%2F435%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), pp. 435–442, 459 f.
• Émile Campardon: Les Comédiens du roi de la troupe italienne pendant les deux derniers siècles: documents inédits recueillis aux Archives nationales . 2 volumes, Berger-Levrault, Paris 1880 (1:  digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fcomediensduroi01camp%23page%2Fn12%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ; 2:  digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Flescomdiensduro02campgoog%23page%2Fn12%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
• Édouard-Georges-Jacques Grégoir: Grétry, célèbre compositeur belge. Schott frères, Bruxelles 1883 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fgrtryandrern00rego%23page%2F53%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), pp. 53–57 et  passim .
• Marie Bobillier ( pseudonym Michel Brenet): Grétry, sa vie et ses œuvres. Mémoires couronnés et autres mémoires publiés par l ' Académie royale des sciences, des lettres et des beaux-arts de Belgique , collection in-8 °, volume 36, A. Hayez, Bruxelles 1884 ( digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fgretrysavieetses00bren%23page%2Fn78%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), pp. 60, 69–79 , 93 f., 119, 236, 244 f. et  passim .
• Édouard Fétis, François-Auguste Gevaert (eds.): Zémire et Azor. Collection complète des œuvres de Grétry, publiée par le Gouvernement belge. XIIIe livraison. Breitkopf & Härtel , Leipzig / Bruxelles (1892).
• Heinz Wichmann: Grétry and the musical theater in France. Max Niemeyer Verlag , Halle (Saale) 1929, p. 65 f.
• Karl Goedeke : Grundrisz for the history of German poetry, 2nd edition, 11th volume, 1st half volume, L. Ehlermann, Düsseldorf 1951, p. 274 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2FGoedekeGrundrissZurGeschichteDerDeutschenDichtung-2-111%23page%2Fn291%2Fmode%2F1up~GB%3D~IA%3D~M0A~%3 SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
• Alfred Loewenberg : Annals of Opera 1597-1940, compiled from the original sources. 3rd ed., John Calder, London 1978 ( digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2FAnnalesOfOpera1597-1940%2FAnnalsOfOpera%23page%2Fn0%2Fmode%2F2up~GB%3D~IA~3D~M0DZ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), col. 320-320, 352, 663.
• David Charlton: Grétry and the growth of opéra-comique. Cambridge University Press , Cambridge 1986, ISBN 978-0-521-15881-7 , pp. 98-108 et  passim .
• M. Elizabeth C. Bartlet: Grétry and the Revolution. In Philippe Vendrix (ed.): Grétry et l'Europe de l'opéra-comique, Liège 1992, ISBN 2-87009-483-3 , pp. 47–110, here: p. 83.
• Sophie Allera, Denis Reynaud (eds.): La Belle et la Bête, quatre métamorphoses (1742–1779). Textes et Contre-Textes 2. Publications de l ' Université de Saint-Étienne , 2002, ISBN 2-86272-243-X , pp. 103-158, 195-200.
• Ronald Lessens: André-Ernest-Modeste Grétry ou Le triomphe de l'Opéra-Comique (1741-1813). L'Harmattan, Paris 2007, ISBN 978-2-296-03393-1 , pp. 89-111.
• Patrick Taïeb, Judith Le Blanc: Merveilleux et réalisme dans “Zémire et Azor”: un échange between Diderot et Grétry. In: Dix-huitème siècle, 2011/1 (No. 43), pp. 185–201 ( digitized version http: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Fwww.cairn.info%2Frevue-dix-huitieme-siecle-2011-1-page-185.htm~GB%3D~IA%3D~MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D).
• Claude Saint-André: La Vie de Madame du Barry . BnF collection ebooks , (Paris) 2016, unpaged ( digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3DWQbNDAAAQBAJ%26printsec%3Dfrontcover%26hl%3Dde%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%26f%3Dfalse%26Q%3D~f%3Dfalse~DIAZ% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).

Discography

• Bournemouth Symphony Orchestra , Sir Thomas Beecham , Bernard Lefort (Sander), Michel Hamel (Ali), Michel Sénéchal (Azor), Huguette Boulangeot (Zémire), Arda Mandikian (Fatmé), Claire Duchesneau (Lisbé), live recording of the Theater Royal, Bath , 1955. Duration: 1:54 hours, 2 CDs, SOMM-BEECHAM 30-2, 2011. ( Booklet : digitized version http: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Fd2me0q24x7p585.cloudfront.net%2F748871253025.pdf~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided%3D~LT% 3D ~ PUR% 3D)
• Chœurs et orchester de chambre de la Radio-Télévision Belge (Brussels), Edgar Doneux. Mady Mesplé (Zémire), Roland Bufkens (Azor), Jean van Gorp (Sander), Sabine Louis (Lisbé), Jean-Claude Orliac (Ali), Suzanne Simonka (Fatmé). Duration: 1:56 hours (excluding additions). 2 CDs, EMI CMS 7 69701 2, 1974.
• Soloists, chœur et orchester de l ' Opéra Royal de Wallonie ( Liège ), Alan Curtis . Martine Masquelin (Zémire), Gérard Garino (Azor), Lysiane Léonard (Fatmé), Émilienne Coquaz (Lisbé), Bruce Kelly (Sander), Albert Voli (Ali). Duration: 1:48 hours 2 CDs, Rodolphe Productions RPC 32525.26 (Distributed by Harmonia Mundi France ), 1988.

Videos

• Abridged version for children: Opéra Royal de Wallonie ( Liège ), Guy van Waas . Dima Bawab (Zémire), Sabine Conzen (Fatmé), Julie Bailly (Lisbé), Jacques Calatayud (Sander), Giovanni Iovino (Ali), Xavier Rouillon (Azor), Vincent Dujardin (narrator). Direction , choreography : Bernard Pisani. Stage design , costumes : Jérôme Boursin, Frédéric Pinau. Recording: April 24, 2014. Duration: 1:08 hours ( video on YouTube ), interview with Bernard Pisani ( video on YouTube ).
• Trailer for the production of Denys Arcand in Montreal and Québec , 2015. Les Violons du Roy, Mathieu Lussier. Florie Valiquette (Zémire), Jean-Michel Richer (Azor). ( Video on YouTube )
• Audience reactions to the production of Opera Saratoga ( Saratoga Springs , New York ), 2017. ( Video on YouTube )

Web links

Commons : Zémire et Azor  - collection of images, videos and audio files

Wikisource: Zémire et Azor  - Libretto, without indication of source, abbreviated (French)

• Zémire et Azor : Sheet music and audio files in the International Music Score Library Project
• Zémire et Azor (André-Ernest-Modeste Grétry) in the Corago information system of the University of Bologna
• André Barbe ( costumes , set design ), Renaud Doucet ( direction , choreography ): “Zémire et Azor” by André-Modeste Grétry at the Opera Theater of Saint Louis . Montréal 2017. ( digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Fwww.barbedoucet.com%2Fzemire-et-azor-en%2F~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D )

References and comments

1. ↑ Hebrew Azzuwr ( "helps") ancestor Jesus ( Matthew , 1, f. 13), the name of the Genius in Amour pour amour.
2. ↑ Short form of Alexander .
3. ^ An addition to Marmontel, related to the zanni of the Commedia dell'arte .
4. ↑ Short form of Semiramis ? Name of the beautiful in Amour pour amour.
5. ↑ Short form of Elisabeth .
6. ↑ A comparable representation by Voye the Younger after Jean Touzé shows Azor gesturing without motivation, another by Gramont without the mane mentioned by Marmontel.
7. ↑ The translation beast is too negative compared to the French usage.
8. ^ Jeanne-Marie Leprince de Beaumont : Magasin des enfans, ou Dialogues entre une sage gouvernante et plusieurs de ses élèves de la première distinction, Volume 1, Londres 1756, 5th Dialogue, pp. 70-102 ( digitized version http: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fdigital.bibliothek.uni-halle.de%2Fhd%2Fcontent%2Fpageview%2F436151~GB%3D~IA%3D~MDZ%3D%0A~SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D).
9. ↑ Pierre-Claude Nivelle de La Chaussée : Amour pour amour, comédie. Paris 1753 ( digitizedhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fgallica.bnf.fr%2Fark%3A%2F12148%2Fbpt6k5846230q%2Ff2.image.r%3DZ%C3%A9mire~GB%3D~IA%3D~ MDZ% ​​3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
10. ↑ Opéras-comiques (German Singspiele) differ from classical operas by the spoken dialogue instead of the sung recitative . They are not "weird operas". (David Charlton: Grétry and the growth of opéra-comique, Cambridge 1986, p. IX, 4.)
11. ↑ Egidio Duni : La Fée Urgele ou Ce qui plait aux dames. Comédie en quatre actes en vers. (...) Paris (1766) ( digitizedhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fgallica.bnf.fr%2Fark%3A%2F12148%2Fbtv1b90674186~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ). The protagonist must as Papageno in Mozart's Magic Flute marry an old woman, which then turns into a young.
12. ^ David Charlton: Grétry and the growth of opéra-comique, Cambridge 1986, p. 100; see. Ronald Lessens: André-Ernest-Modeste Grétry ou Le triomphe de l'Opéra-Comique (1741–1813), Paris 2007, p. 90.
13. ↑ Due to his way of composing, Grétry , who was trained in Rome - like Mozart later - was assigned to the Italian music school.
14. ↑ Around 100,000 hits when searching on Google .
15. ↑ Patrick Taïeb, Judith Le Blanc: Merveilleux et réalisme dans "Zémire et Azor": un échange entre Diderot et Grétry. In: Dix-huitème siècle, 2011/1 (No. 43), pp. 185–201 ( digitized version http: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Fwww.cairn.info%2Frevue-dix-huitieme-siecle-2011-1-page-185.htm~GB%3D~IA%3D~MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D), here: pp. 185, 198.
16. ^ Heinz Wichmann: Grétry and the musical theater in France. Halle (Saale) 1929, p. 65.
17. ↑ That is why Grétry erroneously dates the first performance in his memoirs to autumn 1770. Cf. Mémoires ou Essai sur la musique par M (onsieur) Grétry (…) Paris / Liège 1789, p. 265 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fmmoiresouessa00gr%23page%2F265%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ); Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 1, Paris Year 5 (1797), p. 226 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fmmoiresouessa01gr%23page%2F226%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
18. ↑ See Jean-François Marmontel: Mémoires d'un père pour servir à l'instruction de ses enfans, Volume 3, Paris, Year 13, 1804 ( digitized versionhttp: //vorlage_digitalisat.test/1%3D~GB%3DRWQuAAAAYAAJ%26pg%3DPA348%26lpg%3DPA348%26dq%3Dmarmontel%2Bm%C3%A9moires%26source%3Dbl%26ots%3D8NSEUiLYq7w7AIG4bdW% 26sa% 3DX% 26ved% 3D0ahUKEwjj796umNfWAhVIK8AKHV_tCt44ChDoAQg9MAM% 23v% 3Donepage% 26q% 26f% 3Dfalse ~ IA% 3D ~ MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), pp. 116–119.
19. ^ David Charlton: Grétry and the growth of opéra-comique, Cambridge 1986, p. 100.
20. ^ Cf. Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 1, Paris Year 5 (1797), p. 215 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fmmoiresouessa01gr%23page%2F215%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
21. ↑ Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 1, Paris year 5 (1797), p. 221 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fmmoiresouessa01gr%23page%2F221%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
22. ^ David Charlton: Grétry and the growth of opéra-comique. Cambridge 1986, pp. 63-65.
23. ↑ In the role of the singer Blondel in Grétrys Richard Cœur de Lion .
24. ↑ Grétry looked bad from a young age. His right eye was smaller than the left and sometimes blinked. Cf. Louis-Victor Flamand-Grétry: L'Ermitage de J. J. Rousseau et de Grétry (...) Montmorency / Paris 1820 ( digitized versionhttp: //vorlage_digitalisat.test/1%3D~GB%3Dt30LTrp5FDgC%26pg%3DPP2%26lpg%3DPP2%26dq%3DL%E2%80%99Ermitage%2Bde%2BJ.-J.%2BRousseau%2Bet%2Bde%2BGrr C3% A9try% 26source% 3Dbl% 26ots% 3DppjNBMzKGV% 26sig% 3DEiJosfd4yBeM9xAoMiTwO9kwWIA% 26hl% 3Dde% 26sa% 3DX% 26ved% 3D0ahUKEwirle_voMzAalhUhQZoKHY% 26% 3Dde 26QZoKHYZ% 26sigUhQZoKHYZ% 3% zDepage 26 ~ 3DjosfZA% 3DfEbepage 26 ~ 3DAsefZA% 3DfEbepage 26 ~ 3DAfZA% 3DAfE 26 ~ 3DAfZA% 3DAfE 26 ~ 3DAefZA% 3DfEbepage 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), p. 140 * f.
25. ↑ Maurice Tourneux (ed.): Correspondance littéraire, philosophique et critique (…) 9th volume, Paris 1879, p. 441 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fcorrespondanceli09grimuoft%23page%2F441%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
26. ↑ Four arias each by Azor and Ali, three each by Zémire and Sander.
27. ^ Cf. Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 1, Paris Year 5 (1797), pp. 226–228 ( digitized version http: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fmmoiresouessa01gr%23page%2F226%2Fmode%2F2up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D); Mme de Bawr: Histoire de la musique, Audot, Paris 1823 ( digitized versionhttp: //vorlage_digitalisat.test/1%3D~GB%3DWl2s9T9Oa6sC%26printsec%3Dfrontcover%26dq%3Deditions%3ABYX_WtCl6Q4C%26hl%3Dde%26sa%3DX%23v%3Donepage%26qDalseMIAD%3Don~%26qDalseMIAD%3Df 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), p. 253 / note. 1.
28. ↑ Zémire et Azor (…) Vente, Paris 1771 ( digitized versionhttp: //vorlage_digitalisat.test/1%3D~GB%3D-llXAAAAcAAJ%26pg%3DPT1%26dq%3DZ%C3%A9mire%2Bet%2BAzpr%2B1771%26hl%3Dde%26sa%3DX%23v%3Don%26q% 26f% 3Dfalse ~ IA% 3D ~ MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ); see. Émile Campardon: Les Comédiens du roi de la troupe italienne (...) Paris 1880, Volume 1, pp. 30–32, 85–95, 113–118, 277–283 ( digitized version http: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fcomediensduroi01camp%23page%2F30%2Fmode%2F2up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D), Volume 2, pp. 171–175, 178 f. ( Digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Flescomdiensduro02campgoog%23page%2Fn184%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ); David Charlton: Grétry and the growth of opéra-comique. Cambridge 1986, p. 13 f. (Clairval created 16 roles for Grétry, Madame Laruette ten, her husband eight and Caillot seven.)
29. ^ Rétif de la Bretonne : La mimographe ou Idées d'une honnête-femme pour la reformation du théâtre national, Amsterdam / La Haie 1770 ( digitized versionhttp: //vorlage_digitalisat.test/1%3D~GB%3Dcgk6AAAAcAAJ%26printsec%3Dfrontcover%26dq%3DR%C3%A9tif%2Bde%2Bla%2BBretonne%2BLe%2Bmimographe%26hl%3Dde%26sa%3DX%26ved%3D0ahUKEwj8rJu2vMzXAhXIuBoKHfEkCa4Q6AEIJzAA% 23v% 3Donepage% 26q% 26f% 3Dfalse ~ IA% 3D ~ MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), p. 465.
30. ↑ See David Charlton: Grétry and the growth of opéra-comique, Cambridge 1986, p. 99.
31. ↑ Video (from 0:01:35) on YouTube .
32. ↑ Zémire et Azor (…) Vente, Paris 1771 ( digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3D-llXAAAAcAAJ%26pg%3DPT1%26dq%3DZ%C3%A9mire%2Bet%2BAzpr%2B1771%26hl%3Dde%26sa%3DX%23v%3Don%26q% 26f% 3Dfalse ~ IA% 3D ~ MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
33. ↑ Last piece by: Recueil des Fêtes et Spectacles donnés devant Sa Majesté à  Versailles , à  Choisy , & à Fontainebleau, pendant l'année 1771, (Pierre-Robert-Christophe) Ballard, (Paris) 1771 (not seen).
34. ^ David Charlton: Grétry and the growth of opéra-comique, Cambridge 1986, p. 108.
35. ↑ Aria No. 1.
36. ↑ Aria No. 2 bis.
37. ↑ Aria No. 6.
38. ↑ "Une rose? C'est peu de chose. "
39. ↑ "Veillons, mes sœurs".
40. ↑ Maurice Tourneux (ed.): Correspondance littéraire, philosophique et critique (…) 9th volume, Paris 1879, p. 440 ( digital copyhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fcorrespondanceli09grimuoft%23page%2F440%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
41. ↑ Maurice Tourneux (ed.): Correspondance littéraire, philosophique et critique (…) 9th volume, Paris 1879, p. 440 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fcorrespondanceli09grimuoft%23page%2F440%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
42. ↑ Arie Zémires, No. 8.
43. ↑ Duet Zémire, Ali, No. 10 bis.
44. ↑ Clairval's interpretation of the following aria was particularly successful. See Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 1, Paris Year 5 (1797), p. 227 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fmmoiresouessa01gr%23page%2F227%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
45. ↑ Arie Azors, no. 11.
46. ↑ “Charm” means “magic” in French.
47. ↑ Duet No. 12.
48. ↑ Aria Azors, No. 13.
49. ↑ Cf. Patrick Taïeb, Judith Le Blanc: Merveilleux et réalisme dans "Zémire et Azor": un échange entre Diderot et Grétry, in: Dix-huitème siècle, 2011/1 (no. 43), pp. 185-201 ( digitized version http: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Fwww.cairn.info%2Frevue-dix-huitieme-siecle-2011-1-page-185.htm~GB%3D~IA%3D~MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D), here: p. 196.
50. ↑ Arie Zémires, No. 14.
51. ^ David Charlton: Grétry and the growth of opéra-comique, Cambridge 1986, p. 28.
52. ↑ Maurice Tourneux (ed.): Correspondance littéraire, philosophique et critique (…) 9th volume, Paris 1879, p. 440 f. ( Digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fcorrespondanceli09grimuoft%23page%2F440%2Fmode%2F2up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ). The Mercure de France of January 1772 ( digitized versionhttp: //vorlage_digitalisat.test/1%3D~GB%3DgsQWAAAAYAAJ%26printsec%3Dfrontcover%26hl%3Dde%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%3D%3Dfalse~DIAZ%3D%3D~ 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ) writes on p. 163 that the touching pathos of the trio shed tears.
53. ↑ Terzett Sander, Fatmé, Lisbé, No. 15.
54. ↑ Patrick Taïeb, Judith Le Blanc: Merveilleux et réalisme dans "Zémire et Azor": un échange entre Diderot et Grétry, in: Dix-huitème siècle, 2011/1 (no. 43), pp. 185-201 ( digitized version http: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Fwww.cairn.info%2Frevue-dix-huitieme-siecle-2011-1-page-185.htm~GB%3D~IA%3D~MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D), here: p. 191.
55. ↑ Grétry is referring to phenomena of the supernatural in baroque operas and pointing to similar scenes in romantic operas. See David Charlton: Grétry and the growth of opéra-comique, Cambridge 1986, pp. 102-104.
56. ↑ An attribute of Proserpina's mother Ceres .
57. ↑ Aria No. 16.
58. ↑ Quartet Zémire, Sander, Fatmé, Lisbé, No. 17.
59. ↑ No. 18. Marmontel wrote the verses of this aria to a melody that Grétry had written for Les Mariages samnites . See Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 1, Paris Year 5 (1797), pp. 211, 348 f. ( Digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fmmoiresouessa01gr%23page%2F211%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
60. ↑ See David Charlton: Grétry and the growth of opéra-comique, Cambridge 1986, p. 104.
61. ↑ Arie Zémires, No. 19.
62. ^ David Charlton: Grétry and the growth of opéra-comique, Cambridge 1986, p. 28.
63. ↑ David Charlton: Grétry and the growth of opéra-comique, Cambridge 1986, p. 103. The music bridges space and time differences. The three ballet scenes create an atmosphere of enchantment.
64. ↑ See œuvre VIIe. Zémire et Azor. Comédie-ballet en Vers et Quatre Actes (…) par M. Grétry (…) Paris (1772) ( digitizedhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fgallica.bnf.fr%2Fark%3A%2F12148%2Fbpt6k1165204z%2Ff3.item~GB%3D~IA%3D~MDZ%3D%0A~SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), pp. 1, 147, 201; Josef Heinzelmann : Zémire et Azor, in: Piper's Enzyklopädie des Musiktheater , Volume 2, Piper, Munich / Zurich 1987, ISBN 3-492-02412-2 , pp. 565-567.
65. ↑ ( Mathieu-François Pidansat de Mairobert :) Mémoires secrets (…) Volume 6, Londres 1777 ( digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3D18lbAAAAcAAJ%26pg%3DPA3%26dq%3DM%C3%A9moires%2Bsecrets%2Btome%2Bsixi%C3%A8me%26hl%3Dde%26sa%3DXChUkVed%AhAhWE% 23v% 3Donepage% 26q% 26f% 3Dfalse ~ IA% 3D ~ MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), pp. 47, 72 f.
66. ↑ "(...) a pair of tabby trousers, shoes and gloves of the same kind , a dolman made of purple satin , a wavy and picturesque thick mane, a terrifying, but not ugly or snout-like mask." Cf. Jean-François Marmontel: Mémoires d'un père pour servir à l'instruction de ses enfans, Volume 3, Paris, Year 13, 1804 ( digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3DRWQuAAAAYAAJ%26pg%3DPA348%26lpg%3DPA348%26dq%3Dmarmontel%2Bm%C3%A9moires%26source%3Dbl%26ots%3D8NSEUiLYq7w7AIG4bdW% 26sa% 3DX% 26ved% 3D0ahUKEwjj796umNfWAhVIK8AKHV_tCt44ChDoAQg9MAM% 23v% 3Donepage% 26q% 26f% 3Dfalse ~ IA% 3D ~ MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), p. 131.
67. ↑ Édouard Fétis, François-Auguste Gevaert (ed.): Zémire et Azor. Collection complète des œuvres de Grétry, publiée par le Gouvernement belge. XIIIe livraison. Leipzig / Bruxelles (1892), p. IV.
68. ^ Jean-François Marmontel: Mémoires d'un père pour servir à l'instruction de ses enfans. Volume 3, Paris, year 13, 1804 ( digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3DRWQuAAAAYAAJ%26pg%3DPA348%26lpg%3DPA348%26dq%3Dmarmontel%2Bm%C3%A9moires%26source%3Dbl%26ots%3D8NSEUiLYq7w7AIG4bdW% 26sa% 3DX% 26ved% 3D0ahUKEwjj796umNfWAhVIK8AKHV_tCt44ChDoAQg9MAM% 23v% 3Donepage% 26q% 26f% 3Dfalse ~ IA% 3D ~ MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), pp. 129-133.
69. ^ Michel Brenet (Marie Bobillier): Grétry, sa vie et ses œuvres, Bruxelles 1884 ( digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fgretrysavieetses00bren%23page%2Fn79%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), pp. 70, 72.
70. ↑ Jeanne-Louise-Henriette Campan : Mémoires sur la vie privée de Marie-Antoinette (…) 1st volume, 2nd edition, Baudoin frères, Paris 1823, p. 155 f. ( Digitized versionhttp://vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fgallica.bnf.fr%2Fark%3A%2F12148%2Fbpt6k2050396%2Ff205.item.r%3DGr%C3%A9try~GB%3D~IA%3D~ MDZ% ​​3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
71. ↑ Michel Brenet (Marie Bobillier): Grétry, sa vie et ses œuvres, Bruxelles 1884, p. 72 f. ( Digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fgretrysavieetses00bren%23page%2Fn81%2Fmode%2F2up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
72. ↑ Ronald Lessens: André-Ernest-Modeste Grétry ou Le triomphe de l'Opéra-Comique (1741-1813), Paris 2007, p. 110.
73. ^ Claude Saint-André: La Vie de Madame du Barry , (Paris) 2016, unpaginated.
74. ^ Michel Brenet (Marie Bobillier): Grétry, sa vie et ses œuvres, Bruxelles 1884, p. 73 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fgretrysavieetses00bren%23page%2Fn82%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
75. ↑ M. Elizabeth C. Bartlet: Grétry and the Revolution , in: Philippe Vendrix (ed.): Grétry et l'Europe de l'opéra-comique, Liège 1992, pp. 47–110, here: p. 83 incl. Note 131.
76. ↑ Mercure de France . Paris 1772, January ( digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3DgsQWAAAAYAAJ%26printsec%3Dfrontcover%26hl%3Dde%26source%3Dgbs_ge_summary_r%26cad%3D0%23v%3Donepage%26q%3D%3Dfalse~DIAZ%3D%3D~ 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), p. 162 f.
77. ↑ Only L'épreuve villageoise and L'amant jaloux were played more frequently with 341 and 290 performances respectively . See David Charlton: Grétry and the growth of opéra-comique, Cambridge 1986, p. 108.
78. ↑ Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 1, Paris Year 5 (1797), p. 228 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fmmoiresouessa01gr%23page%2F228%2Fmode%2F1up~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
79. ^ Charles Burney: The present state of music in Germany, the Netherlands, and United Provinces (...) Volume 1, London 1773, p. 24 f. ( Digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fpresentstateofmu00burn%23page%2F24%2Fmode%2F2up%2Fsearch%2Fbrussels~GB%3D~IA%3D~MDZ%3D%0A~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
80. ^ Charles Burney: The present state of music in Germany, the Netherlands, and United Provinces (...) Volume 1, London 1773, pp. 82–84 ( digitized version http: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2Fpresentstateofmu00burn%23page%2F82%2Fmode%2F2up%2Fsearch%2Fmanheim~GB%3D~IA%3D~MDZ%3D%0A~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D).
81. ↑ Ronald Lessens: André-Ernest-Modeste Grétry ou Le triomphe de l'Opéra-Comique (1741–1813), Paris 2007, p. 108.
82. ^ David Charlton: Grétry and the growth of opéra-comique, Cambridge 1986, p. 100.
83. ↑ Le moniteur universel, September 29, 1813, p. 1073 f. ( Digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Freader.digitale-sammlungen.de%2Fen%2Ffs1%2Fobject%2Fdisplay%2Fbsb10487413_00371.html%3Fzoom%3D1~GB%3D~IA%3D~MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ).
84. ^ Karl Goedeke : Grundrisz for the history of German poetry, 2nd edition, 11th volume, 1st half volume, Düsseldorf 1951, p. 274 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2FGoedekeGrundrissZurGeschichteDerDeutschenDichtung-2-111%23page%2Fn291%2Fmode%2F1up~GB%3D~IA%3D~M0A~%3 SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ); Alfred Loewenberg : Annals of Opera 1597–1940 (...) 3rd edition, London 1978 ( digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Farchive.org%2Fstream%2FAnnalesOfOpera1597-1940%2FAnnalsOfOpera%23page%2Fn0%2Fmode%2F2up~GB%3D~IA~3D~M0DZ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), Sp. 322, 352, 663.
85. ↑ The dedication was after the death of Louis XV. omitted.