Danielfrancoisesprit Auber: Jenny Bell,New

Product Description DanielFranoisEsprit Auber (1782 1871), once one of the most wellknown and wellloved names in French 19thcentury opera, came later in life than many famous composers to his art, yet had one of the longest and most successful careers. He studied with Cherubini after abandoning an initial attempt to establish a career in commerce, and experienced his first real triumph at the age of 38 with La Bergre Chteleine (1820). His subsequent association with the librettist Eugne Scribe (1791 1861), a collaboration that lasted until Scribe s death, became one of the most famous and successful partnerships in musical history. Works such as Le Maon (1825) and La Muette de Portici (1828) cemented Auber s popularity with the public and drew official recognition and honours. In 1829 he was appointed a member of the Institut, in 1839 Director of Concerts at Court, in 1842 Director of the Conservatoire, in 1852 Musical Director of the Imperial Chapel, and in 1861 Grand Officer of the Lgion d Honneur. Auber s grand opera La Muette de Portici (also known by its hero s name as Masaniello), a work of great significance in the history of opera, is set against a background of revolution and uprising a situation that Auber knew only too well. He lived through four French Revolutions (1789, 1830, 1848, 1870), dying at the advanced age of 89 in the desperate conditions of the Commune, of a longstanding illness aggravated by the dangers and privations that attended the Siege of Paris. Auber had always loved his home city, and was not prepared to leave it, even after his house had been set on fire by the petroleurs et petroleuses. Ironically, a mark had been placed against the house of the composer of La Muette de Portici, a man so successful in depicting revolutionary fervour that a performance of this opera in Brussels in 1830 had helped to inspire the revolution that led to the separation of Belgium from Holland. Auber s charming and graceful overtures were once staples of the light Classical repertoire, known and loved everywhere. His gracious melodies and dance rhythms had an overwhelming influence on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany. His operas, apart from Fra Diavolo (1830), have virtually passed out of the repertoire. Contemporary audiences are not attuned to Auber s elegant and restrained art, accustomed as they are to verismo, Wagnerian transcendentalism, and 20thcentury experimentalism, but those willing to listen are rewarded by works that retain all their freshness, delicacy and charm. Jenny Bell, an opracomique in three acts with libretto by Eugne Scribe, was premiered at the OpraComique (Deuxime Salle Favart) on 2 June 1855. It is set in 18thcentury London. Lord Mortimer, the son of the Duke of Greenwich, is in love with the celebrated diva, Jenny Bell, but his father has forbidden him to see her. Jenny then attempts to cure Mortimer s infatuation by reading to her guests all the love letters she has received, and finally accepts diamonds and a proposal from the goldsmith Dodson. Mortimer challenges him, curses Jenny, and leaves. Act 3 opens in the Guildhall, where Jenny is to sing for the Lord Mayor. She is highly despondent and refuses either to sing or to receive Dodson. The Duke sees that Jenny really loves his son, and contritely gives his consent for their marriage. This is another of Scribe and Auber s artistic operas, reflecting on the professional challenges and social pressures that talented performers are called on to face as they seek to further their careers and stay faithful to their own ideals of integrity. It is a close relation of L Ambassadrice (1836). The model for Jenny Bell was the famous Swedish soprano Jenny Lind, although she never sang the role. About the Author Robert Ignatius Letellier has specialized in the music and literature of the Romantic Period. He has studied the work of Giacomo Meyerbeer (a