L'enfant et les sortilèges

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L'enfant et les sortilèges: Fantaisie lyrique en deux parties (The Child and the Spells: A Lyric Fantasy in Two Parts) is an opera in one act, with music by Maurice Ravel to a libretto by Colette. It is the second Ravel opera, the first being L'heure espagnole. Written from 1917 to 1925, the opera was first performed in Monte Carlo in 1925 under the baton of Victor de Sabata.

After being offered the opportunity to write a musical work, Colette wrote the text in eight days. Several composers were proposed to Colette to write the music, but she only was enthused with the prospect of Ravel.

Contents

[edit] History

During World War I, the Opéra de Paris director Jacques Rouché asked Colette to provide the text for a fairy ballet. Colette originally wrote the story under the title Divertissements pour ma fille. After Colette chose Ravel to set the text to music, a copy was sent to him during the time he was serving in the war in 1916; however, the mailed script was lost. In 1917, Ravel finally had received a copy and agreed to complete the score, humorously replying to Collette, "I would like to compose this, but I have no daughter." Due to contractual obligations, Ravel finally was compelled to complete the work by 1924. Colette, believing that the work would never be complete, later expressed her extreme pleasure that the work was done, believing that her modest writing had been raised beyond its initial scope. Now officially under the title of L'enfant et les sortilèges, the first performance took place March 21, 1925 in Monte Carlo as conducted by Victor de Sabata with ballet sequences choreographed by George Balanchine. Ravel said of the premiere production:

"Our work required an extraordinary production: the roles are numerous, and the phantasmagoria is constant. Following the principles of American operetta, dancing is continually and intimately intermingled with the action [...and] the Monte Carlo Opera possesses a wonderful troupe of Russian dancers, marvelously directed by a prodigious ballet master, M. Balanchine. And let’s not forget an essential element, the orchestra."[proper citation needed]

[edit] Music

[edit] Instrumentation

Woodwind: 3 flutes, piccolo, 3 oboes, English horn, 4 clarinets (1 E-flat clarinet), 1 bass clarinet, 3 bassoons, double bassoon
Brass: 4 horns, 3 trumpets, 3 trombones, tuba
Percussion: 5perc, timpani, xylophone
Other: celesta, piano (or luthéal), harp, strings

[edit] Structure

The opera calls for a large orchestra, a mixed chorus of adults, a chorus of children and eight soloists most of whom play a number of characters. The scale of the cast and fantastic setting make the opera often difficult to stage, which helps to explain why the work is not performed often. Ravel uses various subtle leitmotifs throughout the work. The melodies were emphasized with the orchestra being considered secondary by Ravel, who said this was modelled after Gershwin and American operettas of the time. Still, the composition doesn't avoid virtuosity in the instrumental writing. Ravel contrasted the work to his previous opera, L’heure espagnole:

"More than ever, I am for melody. Yes, melody, bel canto, vocalises, vocal virtuosity – this is for me a point of departure. If, in L’heure espagnole the theatrical action itself demanded that the music be only the commentary on each word and gesture, here, on the contrary, this lyric fantasy calls for melody, nothing but melody.... The score of L'enfant et les sortilèges is a very smooth blending of all styles from all epochs, from Bach up to ... Ravel"[proper citation needed]

The opera was initially well received in Monte Carlo, but in a Paris showing the following year it was less successful. André Messager criticized the purposely imitative nature of the music, but Francis Poulenc and Les Six were impressed. His cat screech duet Duo miaulé is often seen as a parody of Wagner which was quite controversial, although Arthur Honegger praised this piece in particular. The use of pentatonic music and parallel fourths in the depiction of the Chinese tea cup is an example of use of "orientalism" in orchestral music.[1]

[edit] Roles

[edit] Part 1

  • Maman, the mother represented by a huge skirt (mezzo-soprano)
  • Le fauteuil (bass) & La bergère (mezzo-soprano), two chairs
  • L'horloge comtoise, a clock broken by the child (baritone)
  • Le théière, Wedgwood teapot (tenor)
  • La tasse, a broken china cup (mezzo-soprano)
  • Le feu, the fire in the fireplace (coloratura soprano)
  • Le pâtre (mezzo-soprano). La pastourelle (soprano). pâtres and pastoures (chorus), torn figures from the decorative wallpaper.
  • La princesse, the princess torn out of a storybook (soprano)
  • Le petit vieillard, the small old man representing the torn math book (tenor)
  • Le chat (baritone). La chatte (mezzo-soprano), the male and female cats sing entirely in cat sounds.

[edit] Part 2

  • La chouette, an owl (soprano)
  • L'arbre, a tree (bass) and Les arbres, the trees (chorus)
  • La libellule, a dragon fly (mezzo-soprano)
  • Le rossignol, a nightingale (soprano)
  • La chauve-souris, widower bat (soprano)
  • L'écureuil, a squirrel (mezzo-soprano)
  • La rainette, the tree frog (tenor)
  • Les bêtes, all of the animals (chorus)

[edit] Synopsis

Set in an old-fashioned Normandy country home, the opera tells the story of a rude child who is reprimanded by the objects in his room which he has been destroying. After being scolded by his mother in the beginning of the opera, the child throws a tantrum destroying the room around him. He is then surprised to find that the unhappy objects in his room come to life. The furniture and decorations begin to talk; even his homework takes shape as it becomes an old man and a chorus of numbers.

In the second part, the bedroom becomes a garden filled with singing animals and plants which have been tortured by the child as well. The child attempts to make friends with the animals and plants, but they shun him because of the damage he did to them earlier when they were inanimate. They leave him aside, and in his loneliness, he eventually cries out "Maman". At this, the animals turn on him and attack him, but the animals wind up jostling among each other as the child is tossed aside. At the culmination, a squirrel is hurt, which causes the other animals to stop fighting. The child bandages the squirrel, then collapses exhausted. The animals have a change of heart toward the child, and decide to try to help him home. They carry the child back to his house, and sing in praise of the child. The opera ends with the child singing "Maman", as he greets his mother, in the very last measure of the score.

[edit] Numbers

  1. "J'ai pas envie de faire ma page"
  2. "Bébé a été sage?"
  3. "Ça m'est égal!"
  4. "Votre serviteur humble, Bergère"
  5. "Ding, ding, ding, ding"
  6. "How's your mug?"
  7. "Keng-ça-fou, mah-jong"
  8. "Oh! Ma belle tasse chinoise!"
  9. "Arrière ! Je réchauffe les bons"
  10. "Adieu, Pastourelles!"
  11. "Ah! C'est elle! C'est elle!"
  12. "Toi, le coeur de la rose"
  13. "Deux robinets coulent dans un réservoir!"
  14. "Oh! Ma tête!"
  15. "Duo miaulé"
  16. "Musique d'insectes, de rainettes, etc."
  17. "Ah! Quelle joie de te retrouver, Jardin!"
  18. "Où es-tu, je te cherche...' - Ronde des chauves-souris"
  19. "Ronde des chauves-souris": 'Rends-la moi... Tsk, Tsk..."
  20. "Danse des rainettes"
  21. "Sauve-toi, sotte! Et la cage? La cage?"
  22. "La cage, c'était pour mieux voir ta prestesse"
  23. "Ah ! C'est l'enfant au couteau!"
  24. "Il a pansé la plaie..."
  25. "Il est bon, l'enfant, il est sage"

[edit] Selected recordings

Year Cast Conductor,
Opera House and Orchestra		 Label
1947 Nadine Sautereau, Denise Scharley,
Solange Michel, Odette Turba-Rabier,
Martha Angelici, Claudine Verneuil,
Joseph Peyron, André Vessières,
Yvon le Marc'Hadour, Radio France Chorus		 Ernest Bour,
French National Radio Orchestra		 Testament SBT1044
1954 Flore Wend, Marie-Luise de Montmollin,
Geneviève Touraine, Adrienne Migliette,
Suzanne Danco, Juliette Bise,
Gisèle Bobillier, Hugues Cuénod,
Pierre Mollet, Lucien Lovano,
Motet Choir of Geneva		 Ernest Ansermet,
Orchestre de la Suisse Romande		 Decca 433400
1960 Françoise Ogéas, Jeannine Collard,
Jane Berbié, Sylvaine Gilma,
Colette Herzog, Heinz Rehfuss,
Camille Maurane, Michel Sénéchal,
Radio France Chorus		 Lorin Maazel,
French National Radio Orchestra		 DG 423718
DG 449769
DG 474890
1981 Susan Davenny Wyner, Jocelyne Taillon,
Arleen Auger, Jane Berbié,
Linda Finnie, Linda Richardson,
Philip Langridge, Philippe Huttenlocher,
Jules Bastin, Ambrosian Singers		 André Previn,
London Symphony Orchestra		 EMI EMX2241
1992 Colette Alliot-Lugaz, Claudine Carlson,
Catherine Dubosc, Marie-Françoise Lefort,
Georges Guatier, Didier Henry,
Lionel Sarrazin		 Charles Dutoit,
Montreal Symphony Orchestra		 Decca 440333
1992 Martine Mahé, Arlette Chedel,
Elisabeth Vidal, Michèle Lagrange,
Léonardo Pezzino, Vincent le Texier,
Marc Barrard, Bordeaux Theatre Chorus		 Alain Lombard,
Bordeaux-Aquitaine National Orchestra		 Auvidis V4670
1997 Pamela Helen Stephen, Anne-Marie Owens,
Elizabeth Futral, Juanita Lascarro,
Mary Plazas, Rimat Shaham,
Mark Tucker, David Wilson-Johnson,
Robert Lloyd, London Symphony Chorus,
New London Children's Choir		 André Previn,
London Symphony Orchestra		 DG 457589

[edit] References

  1. ^ Scott, Derek B. (1998). "Orientalism and Musical Style". The Musical Quarterly, 82 (2): 309-335. doi:10.1093/mq/82.2.309. 

[edit] External links