Interview with Chris Merritt (a Meyerbeer Fan Club exclusive)
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Clarissa Lablache talks to CHRIS MERRITT about ROBERT LE DIABLE and GUILLAUME TELL:
Chris Merritt has just finished singing Arnold in Guillaume Tell in San Francisco, when I asked him some questions; not only about Tell, but about the Meyerbeer cabaletta that was found in Paris by Merritt, and first sung in New York by him at a concert performance of Robert le Diable at Carnegie Hall [Opera Orchestra of New York, Eve Queler, conductor]. The Meyerbeer Institute in Germany has been interested in this cabaletta, perhaps for the "Robert le Diable," performance later to be done in Berlin in the year 2000. Here first is what Chris Merritt had to say about his wonderful discovery:
ROBERT LE DIABLE
The aria in question is an interesting story. First of all, Queler DID NOT find that aria nor indeed ever knew of it's existence....I AM the one who brought it to her; it was my doing from the very beginning of our project together!!
I first heard of the existence of this cabaletta, actually, from my colleague Rockwell Blake. He had shared the role of Robert with Alain Vanzo at the Paris Opera Palais Garnier some years before and had found out about the existence of this cabaletta.
The cabaletta was composed by Meyerbeer sometime after the actual composition of the opera itself. The opera had indeed become a great hit and a favorite of many an audience. When it was finally decided by all involved that the great tenor of the day, MARIO, should make his debut in the title role of Robert (which was first composed for Adolphe Nourrit), and quite possibly marking his debut with the Paris Opera itself, MARIO * asked Meyerbeer if he would please compose a transition section and cabaletta to go along with the already great and beloved aria, "O, MA MERE"....and of course Meyerbeer agreed. The result was of great success and importance for MARIO. However, as it turned out, he was the only tenor to use this version. The cabaletta structure is very much like the one of ARNOLD in TELL, however without chorus!! Because it was no longer used, the only existence of the music remained in original manuscript...not even reproduced, AND remained in the bibliotheque at the Palais Garnier-Paris Opera.
When Queler contacted me to perform this role with her at Carnegie Hall, I immediately began wondering about the possibility of using this cabaletta. I agreed to the performance with Queler, then began investagation about said cabaletta. Luckily, I was in Paris at the time of agreement to this project, so the temptation was too great. At that time, I had a friend who at one time accompanied me in recitals and as orchestra conductor in concert, who was visiting me in Paris. When I told him about the alleged existence of this cabaletta, he became intrigued by the story and so agreed to go to the famous "bibliotheque" at the Paris Opera and look to see what he could find. In doing so, he was directed to the manuscripts of the opera ROBERT LE DIABLE themselves and left alone to study. He searched every single thing that was there and the stack was formidable!!! In the very last group of things to look through....EUREKA...there it was -hand written, and in not wonderful but not bad condition, was the music we were looking for!!!
We found a composition student there in Paris to help my friend to copy the Meyerbeer music after making photocopy of all of it. The two of them made orchestra part copies, and a full conductor's score from the original.
At any rate...we made a piano reduction score of this music as well for me and for Queler. When I told her my story, she quickly agreed to look it over with me, and upon so doing, thought it a wonderful idea to make the AMERICAN PREMIERE of this music...indeed the first hearing of it in this century!!! We worked through it during the rehersals, cleaning up any small discrepancies and copy-mistakes, and performed it at Carnegie Hall....for the first time anywhere in America!! I believe there is an archive-recording from National Broadcasting Radio, which at the time was broadcasting all of Queler's performances nationally. However, I don't know about program notes...I'm sure there was something written about it....my part of the story, however, I doubt it is in the notes....
* It was December 1838, just seven years after the opening of "Robert le Diable " that a 28 year old handsome Italian nobleman, and tenor - Mario, first stepped onto the stage of "l'Academie Royal de Musique",(L'Opera) in Paris. When Mario first sang the opening phrase, "Chevaliers, c'st a vous que je bois" in "Robert le Diable a star was born! and the famous critic, Theophile Gautier wrote: 'his voice is like a nightingale singing in a thicket,' The rest was history!
[For a companion article about the "Mario-aria" and the work of reconstructing the new critical edition of Robert le Diable, see essay of Prof. Dr. Wolfgang Kühnhold of the University of Paderborn] [Libretto of Mario-aria"] [Real Audio clips]
MERRITT'S answers about GUILLAUME TELL in San Francisco
Now, as for TELL...who is the best today?? I really couldn't say, to tell the truth. In the part of TELL himself, for me it has to be Jose van Damm. In the part of the tenor, ARNOLD...since I never sit in an actual performance of mine, I can't really judge myself. Added to that, I NEVER trust recordings of mine nor anyone's for that matter, to give a realistic assessment of the singing sound (case in point-Bartoli on record vs. Bartoli live in an actual opera house production, over an actual orchestra WITHOUT secret amplification...I love her voice and singing, but I know for a fact that the two venues give VERY different results!!!!!). I only know that whoever sings the role of ARNOLD must have easy access to at least 12 to 13 high-C's per performance, as well as a battery of high-B's, high-B flat's, and a high C sharp!!! Added to that, I'm sure all learned opera listeners know that ARNOLD is in absolutely NO WAY a light, fluffy, superficial, one-dimentional role, but VERY arduous and long, and must carry at all times over a VERY large and brass-heavy orchestration as well as over a chorus many times.
So, now that I have retired the role forever (yes, November 24, 1997 was my last ARNOLD in GUILLAUME TELL and indeed my last ever bel canto role!!!), I know of no other productions coming up on the horizon...not because of me, just because there is no interest from any opera companies to do it any more. So, the question of who else could sustain the tenor role performance after performance....this may be totally academic!!!! I know that Gregory Kunde did it for four performances at the Rossini Opera Festival in Pesaro some years ago, but I don't think he has done it since. Who else....I would just say that whoever it might be must be able to contend with those components I listed above...
Was there a recording made of the performances in San Francisco...no. Was there amplification used during the performance...yes. That happened for the off-stage choruses during the beginning of act two, as the church bells rang and the paritioners were heard by Mathilde's hunting party, and at the very end, after the storm sequence, when Gessler and his troops were heard off -stage, approaching and singing of their vengence against the Swiss rebels, just before Gessler appeared at the back of the set, only to be shot by TELL who did so using his crossbow. Other than these two, there was of course NO amplification of any kind used!!!!!!!!!!!!!
As to how I felt...I would have to say very thankful that I was still able to muster those things I mentioned before each night for seven nights, not to mention dress rehersal and all other orchestra rehersals. And of course EVERYONE sings differently on each night...that IS the beauty of opera, the imperfect-human-quality factor, which makes it so thrilling. Not even Sutherland produced the same singing each night...I should know, not only did I hear many of her performances but I also sang opposite her in Chicago * and witnessed "up close and personal" from rehearsal beginnings through to the end of 7 or 8 performances (can't remember exactly how many)...so YES, of course I'd have to say that I felt differently on EACH night!!
CHRIS MERRITT
*Anna Bolena.
Note: Clarissa Lablache is President of the Chris Merritt International Fan Club in Los Angeles, California.
Posted December 14, 1997.
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Prof. Dr. Wolfgang Kuhnhold discusses the "Mario-aria" of Robert le Diable with Real Audio clips!
A few words about Robert le Diable by Tom Kaufman
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