L'ETOILE DU NORD and LUIGI LABLACHE
by Clarissa Lablache
[An account and critical evaluation of the first Italian performances in London and St. Petersburg during the 1850s].
London's The Musical World of April 1855, announced that the directors of the Royal Italian Opera: "...have entered into arrangements with that illustrious maestro M. Meyerbeer for his last new opera, L'Etoile du Nord, a work the success of which most certainly finds no parallel in the annals of the lyric drama. Its production will tax the whole resources of the theatre, and it is hinted and later proved to be true that Meyerbeer himself would 'personally superintend' the performances." The newspaper went on to say: "M. Meyerbeer has composed expressly for the Royal Italian Opera, on the poetry by Mr. Scribe, entirely new recitatives, and added three pieces to the original score. These last may have been been the same interpolated at Dresden, some weeks ago. We have only one doubt, the opera is already too long; and the change of the dialogue into recitative, together with the addition of three pieces, adds still further to its length. Now 'longer than too long' would be hardly advisable at a theatre where Guillaume Tell, Les Huguenots, Le Prophete and Robert le Diable, with all their manifold beauties, have tried the patience of the audiences. Nor, if the new pieces are for displays for particular singers, will that mend the matter?"
"The prospectus for the ninth season of the Royal Italian Opera at Covent Garden contains some matter for speculation," wrote The Musical World in April of 1855. It seemed old timers remembered when the opera season began in early February, with some of the most famous singers, and novelties to which the management looked for enduring success. Year after year, the opening was deferred to a later opening. The newspaper goes on to say: "we are inclined to think however, that the principal cause was that the best singers were always engaged during the Spring at the Italian Theatres of Paris and St. Petersburg, which precluded their appearing in London until after Easter. The establishment of the Italian Theatre in the capital of Russia is comparatively of modern date.
Luigi Lablache in L'Elisir d'Amore
The world premiere of L'Etoile du Nord took place at the Opera Comique in Paris on February 16, 1854. Immensely popular, the work was written in three acts - the libretto by Eugene Scribe, was based on an earlier opera, Ein Feldlager in Schlesien, previously written for the Swedish Nightingale, Jenny Lind, to sing at the Berlin Opera House. However, she failed to do this, because the management preferred the German singer Tuczek. London critic Chorley wrote: " Great stress was laid on the production of Meyerbeer's L'Etoile du Nord--his latest new opera." Remarking the opera was over four hours long and needed cuts. Advise was handed out to the conductor Michael Costa, that there should be no encores due to its length. Rev. Cox. wrote "The chorus and orchestra were under the baton of Michael Costa - the most excellent of maestri- were perfect."
In the following year, L'Etoile du Nord was expected to be the hit of the season in London, and indeed it was. Huge crowds flowed through the doors of the Royal Italian Theatre Covent Garden on the evening of July 19th. L'Etoile du Nord boasted the most brilliant cast of the day: Bosio, Formes, Lablache, Marai, Bauer, Rudersdorff, Gardoni, Luchesi Tagliafico. The London Times wrote a splendid review:
"M. Meyerbeer's long expected opera L'Etoile du Nord, was represented last night, for the first time at this theatre, and the first time in the Italian language, with a highly effective cast, and magnificence of scenery, costume, and detail never surpassed in London, much less in any other city. The dialogue, spoken in at the Opera comique, has been turned by the composer into accompanied recitative, which thus gives to the new work the style and proportions of which is technically denominated "grand opera," and fits it for the exigencies of the Italian Stage . A more brilliant success could not have been achieved. Nor was ever success more amply merited. The general execution was admirable -marvelous, indeed, when it is considered that this was the first performance of one of the most difficult operas to have been written,-an opera which took the Parisians, so much more experienced than ourselves in the production of entertainment on a vast scale, upwards of six months to prepare. Long as was the performance [and it was nearly a quarter to one before it terminated ], we never remember to have seen such a densely crowded audience more thoroughly delighted. To say nothing of the well deserved compliments paid to Madame Bosio, Herr Formes, Signor Lablache and other principal singers. Meyerbeer was twice brought before the curtain at the end of the second act, and at the conclusion of the opera, when he came on with all the performers, and the stage was literally covered with wreaths and bouquets.
L'Etoile du Nord was announced as the "opera of the year" after its opening. "Considered at once to have achieved an eminent success" and Meyerbeer was declared a genius. " Given the first time in this country, (we cannot take into consideration the weak attempt at Drury Lane)," wrote The Musical World on July 22nd. In fact the Drury Lane version was condemned as a pirate and indeed it was. Meyerbeer had condemed Drury Lane as having obtained the score by illegal means.
Unfortunately, in first reviews some of the singers were compared with the first cast in Paris. " The hero," wrote Chorley later [1862], "Herr Formes, could not satisfy anyone who had seen the original Pierre of M. Bataille." Apparently, he was much better according to Chorley. "Formes overacted and sung badly," wrote the critic. However, on July 21, 1855, The Musical World differed in their review: "Formes was admirable both as a singer and an actor, he displayed a highly dignified and impressive approach. In all the music Herr Formes displayed those eminent qualities which have long placed him in the first rank of bassi profondi." Madame Bosio was one of the most charming and sought after singers of the day, but put with Mademoiselle Marai they were regarded by Chorley as "condescending" and sung "their duet without fire, or fun, or accent." The Musical World wrote, "Madame Bosio sang exquisitely and acted with great earnestness and pathos. In the cavatena with two flutes in the last act made famous by Jenny Lind, she was equally successful; a more brilliant and effective vocalization has rarely been heard." Chorley maintained all the clever music written for them "fell dead on London ears." This opinion was exaggerated. For above all, Luigi Lablache emerged in a hallowed light! The Musical World added that: "Of Signor Lablache's Gritzenzo it is impossible to speak too highly. Such genuine buffa singing and acting has never been heard away from the Italian Opera. And Chorley in turn heaped praise on Lablache. Recalling how in the second Act of L'Etoile Lablache was... "and in this, I can see, on recollection, how Lablache -always contriving, always understanding, always inventing- found his last amusement and occupation in impersonating the gross, semi-stupid savage, transforming into a military official, and thereupon bewildered into a conspiracy- who ties fast the knot of such as exists in this strange opera.- I cannot conceive that there was ever a veteran artist who, on the eve of his departure, left so fresh, so distinct a print of his foot on the ground, as Lablache left in the character of Gritzenko. He could not have done this, had there not been some incitement to enable him so to do - in the rough, real animation inevitably belonged to a military opera, - which excited him, and brought out every particle of his powers-vocally -but not intellectually failing.- This last personation by Lablache was among those masterpieces which it is as well to remember as to regret-seeing that what Man has done , Man may do. I think he was content with it himself. The only time- during a century's public intercourse -that I had the honour of speaking to him was, when he sought occasion to express his pleasure, in respect to a few honest words of mine, with regard to this opera and his share in it.- "You have made," he said to me, "an old man very happy."
Highly esteemed, Luigi Lablache was already sixty years old, with the solid reputation as the greatest Italian bass of the day. Was he beginning to show his age when he first sang that season on the boards of the Royal Italian Opera? He had traveled the long journey back by train and boat from an exhausting season at the Russian Imperial Theatre in St. Petersburg, to resume seven different roles on the stage of Covent Garden, all, before he sang for the first time in L'Etoile du Nord. This was not the first Meyerbeer opera Lablache had sung however, he created the role of Sulemano with Adelaide Tosi in the first performance of L'Esule di Granata in 1822 at the Teatro alla Scala.
The Musical World commented that: "the 'habitues' of the Covent Garden establishment will not be sorry to have such a 'large addition' to their enjoyment." Though Lablache getting on in years, his voice was still fresh, and on stage, he was still agile in spite of his great weight. The Musical World reported on May 5th: "Lablache is back! as grandiloquent, pompous, oily, and stolid as ever as the imprudent quack-doctor. " Lablache sang his well known role of Dr. Dulcamara in Donizetti's well known comedy L'Elisir d'Amore, and in this one review we understand a little bit of how Lablache stood out above other basses of his generation and why he was called "the King of Basses." The Illustrated London News reviews:
Lablache has reappeared at the Royal Italian Opera Covent Garden, in Donizetti's L'ELISIR D'AMORE, with Angiolina Bosio: He was welcomed on Saturday evening last by a crowded audience. Her Majesty Queen Victoria and Prince Albert were present, and the Royal pair were observed to join warmly in the general applause. Her Majesty has always shown much regard for the illustrious veteran, to whose instructions she owes much proficiency in music and her taste and skill as a vocal performer. He appeared in his old and favorite character of Dulcamara, the quack doctor, in L'ELISIR D'AMORE, in which he used of yore to shake the sides of the audiences at Her Majesty's Theatre. This was his first appearance on the boards of the Royal Italian Opera as Dr. Dulcamara.
The press coverage and write ups for the premiere of L'ETOILE DU NORD were enormous, compared with the few words about the London premiere of IL TROVATORE, proving that the London public had not been won over yet by Verdi's works. Rev. Cox wrote: "Lablache as Gritzenko stole the honors among men, displaying a refreshing voice. "The Journal of a London Playgoer" ..."though the libretto is utterly silly, it is an opera of the greatest importance. Some of the finest music is connected with it, and not only did Signor Lablache do perfect justice to this, but he contrived also to lift the character a little out ." Here the genius of Lablache materialized again for the last time, having portrayed hundreds of different characters over the years. Here the "actor" Lablache, never short of inventions would have molded the role to express the most vigor and comic audacity he could get away with.
The critic Chorley felt that the opera was lamed by its translation into Italian, of course his judgment was always rather severe. "It is comical and artistic, and,in both respects, of the best quality. ...Elsewhere, with all his ingenuity, M. Meyerbeer has been in some degree paralyzed, by the requisitions of the story arranged and rearranged, and by the desire to out do himself. How far its success might have justified the care and cost lavished on its production, cannot be ascertained; for the fire at Covent Garden Theatre swept it away, -and I can hardly fancy with much hope of its return. The work is, throughout, Parisian, and not like LES HUGUENOTS, universal. "
Universal maybe not, but L'ETOILE DU NORD travelled far. The opera had a flair that seemed to appeal to the times, and it continued to be part of the repertoire of Covent Garden and many other theatres in Europe for a respectable length of time. At least until the end of the century. L'ETOILE DU NORD opened the following winter in Italian at the St. Petersburg Imperial Theatre with the same London cast. Russia had just suffered tremendous losses in the Crimea, reminiscent of the Napoleonic wars --so the entrance of this opera into St Petersburg with the titanic basso Luigi Lablache at the helm, provided amusement and pleasant distraction to the opera going public. Lablache enhanced his huge repertoire with the amusing role of Gritzenko, after performing in Donizetti's L'ELISIR D'AMORE, Bellini's I PURITANI, DON PASQUALE and IL BARBIERE that fall. The Italian opera still flourished successfully under the Tsars, even after the death of its great patron Tsar Nicolas Ist. that year. Gold was no longer used as payment, so Lablache did not return from the "polar regions " -as he joked about Russia- with his usual large portmanteau of gold coins.
Clarissa Lablache.
The Illustrated London News reviews
Lablache has reappeared at the Royal Italian Opera Covent Garden, in Donizetti's L'Elisir d'Amore, with Angiolina Bosio: He was welcomed on Saturday evening last by a crowded audience. The Queen and Prince Albert were present, and the Royal pair were observed to join warmly in the general applause. Her Majesty has always shown much regard for the illustrious veteran, to whose instructions she owes much proficiency in music and her taste and skill as a vocal performer. He appeared in his old and favorite character of Dulcamara, the quack doctor, in L'Elisir d'Amore, in which he used of yore to shake the sides of the audiences at Her Majesty's Theatre. This was his first appearance on the boards of the Royal Italian Opera as Dr. Dulcamara; the Dulcamara of this Theatre having been Ronconi, who has not come to England this season. Nothing can be more unlike than the readings of the character as given by these two celebrated artists, and yet both are admirable. Ronconi's quack seems a literal copy of the quack of ordinary life; he is the very vagabond-shabby, sharp, cunning, and impudent-whom we can see gulling the bumpkins out of their pence at any English country fair. Lablache's charlatan is more of a ideal personage, and of a much more pleasant and genial description. We are intended by the dramatist; for Dr. Dulcamara is not a mere strolling knave- he is respectable in his way-a man of substance, looked up to by the vulgar with respect due to his station and magnificence, and admitted to the intimate society and confidence of the principal persons of the drama, who are guided and controlled by his influence. There is scarcely upon the stage a bit of more truthful and genuine comedy than Lablaches's Dulcamara. On Saturday night he acted the part with all his usual good-humoured gaiety; but there was an evident falling off in his vocal power, which it pained us to observe. His magnificent organ had lost much of its resonance and volume, and he brought out his high notes with visible effort. We trust, however, that this was only the temporary effect of the ungenial weather. After the heavy losses our musical stage has suffered, we cannot lose Lablache also; and we cling to the belief that he will yet be spared to us for a good long time to come.
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