The Story of Robert le Diable

The Story of Robert le Diable

Grand Opera in Five Acts by Giacomo Meyerbeer (in French)

Libretto by Eugene Scribe and Germain Delavigne

All pages concerning Robert le Diable on this website:

Scene (.JPEG picture)
Discography
"Mario-aria" by Prof. Wolfgang Kühnhold
Interview with Chris Merritt (with Clarissa Lablache)
Review of CD by Tom Kaufman
A few words about Robert le Diable by Tom Kaufman
Libretto of "Mario-aria"
The Thematic Nexus of Religion, Power, Politics and Love in the Operas of Giacomo Meyerbeer, By Dr. Robert Letellier
Thoughts of George Sand about Robert le Diable
Mikhail Vrubel and Robert le Diable (sculpture in bronze)(Photo)
An account of two extraordinary performances of Robert le Diable at the Berlin Staatsoper, March, 2000 (April 2, 2000)
The Baltimore Opera Company must perform Meyerbeer reprint from THE SUN, Baltimore, Maryland, May 19, 2000 (posted May 31, 2000)
Review of Prague Staatsoper Production of Robert le Diable (in German) (January 22, 2000)

First Performance: Paris Opéra (Académie Royale de la Musique), Paris, November 21, 1831

Robert Le Diable	Dramatic Tenor
Raimbaut	Lyric tenor
Bertram	Bass-baritone
Alice	Lyric soprano
Isabelle	Lyric soprano
Helene (Abbess)	Mime or dancer

Preliminary comments (revised January 29, 2002)

The importance of Meyerbeer's Robert le Diable to the development of opera in France, Italy and Germany through the balance of the 19th century can hardly be exaggerated. Even to the untrained ear, Robert le Diable marks a musical and dramatic departure from all the operas that preceded it; and opens the door to the musical and dramatic development of all later opera. It has been said that Robert le Diable was the first romantic opera.

That the opera is seldom performed today in any venue might perhaps lead the uninformed to believe that the opera is an historical relic, lacking an enduring vitality capable of moving modern audiences; but the tumultuous public approval of the few performances in the last decades (notably the Paris revival of 1984-85, and the 1988 Carnegie Hall concert version by OONY) prove otherwise. Robert le Diable was actually performed in a major revival at the Berlin Staatsoper in March, 2000 and again in March, 2001. The Berlin revival was noteworthy because it was the first time that the opera was performed based upon the new Ricordi critical edition, painstakingly put together by a Meyerbeer Institut team headed by Dr. Wolfgang Kuhnhold. New music, never before heard, was performed. In 2001 and 2002, the opera is on the repertory of the Prague Opera. In addition, Robert le Diable was the featured opera of the 2000 Festival della Valle D'Itria in Martina Franca, Italy.

Synopsis

Before the commencement of the action, Robert, Duke of Normandy was the son of a union between the gentle Bertha and Bertram, a disciple of Satan. In Normandy, Robert committed so many atrocities that he was banished to exile in Palermo in Sicily. In Palermo, he met the Princess Isabelle and fell in love with her. Later, in a jealous rage, he insulted her, and was ordered arrested by her father. His father Bertram, disguised as a knight, saved Robert from arrest and befriended him.

Prelude

There is no formal overture. The four minute prelude, which commences with Bertram's theme (from the Act III invocation to the nuns) builds directly into the opening chorus.

Act I - A beach near Palermo

The chorus of knights joined by Robert and Bertram celebrate the pleasures of life ("Versez a tasses pleines"), and some Norman minstrels, jugglers and troubadours join them. When Robert learns they are from Normandy, he asks one of them, Raimbaut, to sing a song, and throws him a purse. Raimbaut, not recognizing Robert, sings of "Robert the Devil" the son of Satan. Robert is infuriated and orders Raimbaut to be arrested. Raimbaut pleads for mercy, and tells the knights that he is accompanied by his fiancee who bears a message for Robert. Robert grants him his life, but threatens to deliver his fiancee to the knights. The fiancee is then brought in. Robert recognizes her as his half sister Alice. When they are alone, Alice tells Robert that their mother has died, and that she, Alice, has brought her last testament ("Va! Va! dit-elle, va, mon enfant"). Robert asks her to wait until he is worthy of it. He tells Alice of his love for Isabelle and gives Alice a letter, asking her to deliver it to Isabelle. She promises to do so if she is freed and allowed to marry Raimbaut. Bertram appears, and Alice is frightened; she tells Robert that Bertram resembles a monster that she has seen in a painting in her village in Normandy. Alice leaves. Bertram draws Robert into a game of dice. Goaded to continue by Bertram despite losing, Robert eventually loses everything, including his armor. ("J'ai perdu! Ma revanche") but Bertram consoles him.

["Mario-aria"][Libretto of "Mario-aria"]

[The following scene, in italics, was added by Meyerbeer in 1838 and is known as the "Mario-aria." It opened Act II. The only known performance of it in the 20th century was by Chris Merritt at Carnegie Hall, 1988, OONY, Eve Queler, Conductor] [Merritt interview]

Robert laments his fate. He has lost everything, and he is abandoned. He prays to his mother in heaven ("Oh! Ma mere, ombre si tendre"). He then hears the tournament outside and gains strength. He puts his trust in his sword ("Ah, venez tous, je vous defie").

Act II, Scene I - A room at the Palace

Isabelle longs for Robert, when Alice enters with the letter from Robert. Later, Robert himself appears and Isabelle welcomes him. Isabelle presents him with a new suit of armor. She tells him that at the tournament, the winner will gain her hand in marriage. The rival is the Prince of Granada. Bertram overhears this, and, in an effort to lure him away from participation in the tournament, Bertram tricks Robert by having a herald announce a challenge to a duel in a remote place with the Prince of Granada.

Act II, Scene II - The Tournament Grounds

The Prince of Granada issues a challenge to all rivals for the hand of Isabelle. Robert, having been lured away to the non-existent duel, did not appear.

Act III, Scene I - The Rocks of Saint Irene, with the entrance to a cavern

Bertram meets with Raimbaut in the cavern, who is awaiting Alice. Bertram seduces Raimbaut by offering him gold, and Raimbaut leaves. Bertram gloats over his conquest and plans to do the same to Robert. In fact, he has made a pact with the devil to deliver Robert that very day. A chorus of demons is heard from the cavern, singing praises to Satan and chanting Robert's name. Alice enters and hears this, as Bertram emerges from the cavern. She clings to a cross as Bertram threatens her with death. Robert enters and Alice escapes. Robert, having lost Isabelle is desperate and ready to resort to magic, offered by Bertram. Bertram tells him that, in a nearby convent, there is a "magic branch" growing on a cypress tree. If Robert can steal the branch, he can make himself invisible. Robert agrees.

Act III, Scene II - The tombs of the convent at Saint Rosalie

What follows is one of the most effective and haunting scenes in all of opera. This is the burial place of nuns who have offended heaven with impure thoughts.

Bertram summons up the sinful dead nuns ("Nonnes qui repose") commanding them to action. They rise from their tombs, at first slowly, and then work themselves into a frenzy, shedding their habits and dancing a bacchanal. They attempt to seduce Robert. Under their spell and guided by the the mistress Helene he steals the magic cypress branch, and makes himself disappear. The nuns sink back into their tombs.

Act IV - Isabelle's bedchamber

Isabelle prepares for her marriage to the Prince of Granada, assisted by attendants. Robert, invisible, enters, and puts all to sleep with a spell. He awakens Isabelle. She rebukes him for not appearing at the tournament. He threatens her with abduction. Isabelle begs him for mercy, reminding him that she loves him. Robert, torn, refuses to believe her and breaks the magic branch in despair -- he wishes for death. Everyone awakes, and Robert is dragged away by soldiers.

Act V - The Courtyard of the Cathedral of Palermo

The monks pray. Robert enters with Bertram, who admits that he is Robert's father. Bertram tells Robert that he loves him so much that he is willing to forego the devil's claim on his soul. Robert decides to follow Bertram. Then, Alice enters and announces that the Prince of Granada now refuses to marry Isabelle -- she is now free to marry Robert. Alice reads her mother's testament to Robert: forego the devil. A clock sounds midnight, signaling the expiration of time for Bertram to have delivered Robert to the devil. Bertram vanishes into Hell and Robert falls in faint as Isabelle and a heavenly choir sing praises to God.

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