Tag: Gaspare Spontini (page 1 of 2)

Newly Digitized: Early 19th Century Opera

This set of recently digitized scores takes us to Paris of the late 1820s and 1830s to view the beginnings of grand opera as a genre, with spectacular works by Spontini, Auber, and Rossini. Along the way, we’ll take note of the signs these particular scores hold of their lives as objects, both commemorative and commodified.

Gaspare Spontini, 1774-1851

Spontini’s last major Parisian work premiered at the Opéra in 1819 to unfavorable reviews, and was withdrawn after only seven performances. As was typical of his compositional practice, he revised the opera extensively following its failed debut, replacing the first version’s tragic apotheosis with a triumphant, earthly coronation. After his move to Berlin in 1820, a German version was produced in 1821 at the Hofoper, with a libretto translated by E.T.A. Hoffmann. Further revisions followed, and a third, French version, reflected here, was revived at the Opéra in February of 1826.


Title page, Olimpie, Mus 813.2.615.5

Title page, Olimpie, Mus 813.2.615.5

  • [Olimpie. Vocal score]
    Olimpie : tragédie lyrique en trois actes / imitée de Voltaire ; paroles de MMr.s Dieulafoi et Brifaut ; mise en musique par Gaspard Spontini ; réduite pour le piano. Paris : Melles. Erard, [1827?].
    Mus 813.2.615.5

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Newly Digitized: Spontini’s Fernand Cortez, in 2 versions

Nearly two years ago, I shared a vocal score of Gaspare Spontini’s propagandistic Napoleonic-era opera Fernand Cortez (1809), a precursor of Auber’s La muette de Portici (1828) and the heights of 19th century grand opera. Joining it now are two other editions of the opera. The first is a full score of the original 1809 version, to a libretto by Joseph-Alphonse d’Esmenard and Etienne de Jouy. Premiered at the height of the Peninsular War, the opera portrays Cortez (or Napoleon) as enlightened hero, versus the savage Aztec (or Spanish) priests. The production was not an unqualified success, and despite its grand spectacle – in addition to dramatic, militaristic choruses and elaborate ballet sequences, a fully-staged production requires a number of live horses and includes a scene in which Cortez burns his own fleet – it was withdrawn after only a handful of performances.

[Fernand Cortez ou la conquête du Mexique : sept pl. de costumes / par François-Guillaume Ménageot]
Costume designs by François-Guillaume Ménageot (1809): Montesuma, Telasco, Amazily, Pontife mexicain. [Fernand Cortez ou la conquête du Mexique : sept pl. de costumes / par François-Guillaume Ménageot]. 1809
Source: gallica.bnf.fr (click for higher resolution image)

Even in 1809, as Napoleon’s Spanish campaign dragged on, Fernand Cortez was uncomfortably behind the political times; by 1816, a work celebrating a Napoleon-esque conqueror’s achievements was obviously out of style.1 In response, Spontini and Jouy made heavy revisions for the second version, changing the plot, characters, music, and dramatic structure of the opera. As Philipp Spitta’s lengthy article in Grove’s Dictionary of Music and Musicians describes, in the revival of May, 1817, “the 3rd act now became the 1st, the 1st act the 2nd, and a part of the 2nd the 3rd.”2 If anything, this simplifies the structural changes; Théodore de Lajarte provides a more detailed enumeration in Curiosités de l’Opéra (1883).3 Among numerous other revisions, the role of Montezuma is entirely new to the second version, and Spontini rewrote Cortez’s part (originally for haute-contre) for tenor or bari-tenor.

While the second version of Fernand Cortez enjoyed greater success, remaining a fixture of the repertoire through the early 1830s, Spontini made still more changes to the third act for Berlin productions in 1824 and 1832, this time with the assistance of the poet M. Théaulon (Marie-Emmanuel-Guillaume-Marguerite Théaulon de Lambert). The vocal score here, most likely published ca. 1830, probably reflects one of these later versions; although I haven’t yet compared the editions measure-to-measure, most notably it does not include the lengthy 3rd act ballet published in Erard’s 1817 full score (HOLLIS record).

  • Fernand Cortez
    Fernand Cortez; ou, La conquête du Mexique, tragédie lyrique en 3 actes, de De Jouy et Esmenard. Mise en musique par Gasparo Spontini. Représentée pour le première fois, sur le théâtre de l’Académie royale de musique, le 15, 28 novembre 1809. Paris : Imbault [1809?]. Mus 813.2.622
  • Fernand Cortez. Vocal score
    Fernand Cortez, ou, La conquête du Mexique : tragédie lyrique en 3 actes / de De Jouy et Esmènard ; mise en musique par G. Spontini. Nouv. éd. Paris : Melles. Erard, [1830?]. Mus 813.2.622.5

-Kerry Masteller


1. Note that while the opera had been commissioned by Napoleon and the 1809 edition is dedicated to his sister, Caroline Bonaparte, the later edition is prudently dedicated to the Comte de Pradel, who, as ministre de la Maison du Roi, had jurisdiction over the Opéra.

2. Phillipp Spitta, “Spontini, Gasparo Luigi Pacifico,” A Dictionary of Music and Musicians (A.D. 1450-1889), comp. George Grove (London: Macmillan, 1883), 3:669. http://catalog.hathitrust.org/Record/006210888

3. Théodore de Lajarte, Curiosités de l’Opéra (Paris: Calmann Lévy, 1883), 175-183. http://catalog.hathitrust.org/Record/001458669

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