costume worn by Mrs Bourke:
click
on the image blow to go to page of visual references
This document
traces the development of the character of Salammbô chronologically.
CONTENTS
NOVEL
- FLAUBERT - 1862 - SOURCES
SOURCE: Jolas,
Paul. Salammbô - Extraits, Paris 1972 {JM}
| [p
9] La ville de Carthage fut fondée selon la légende au IXe siècle
avant notre ère par Elissa, appelée Didon dans l'Enéide; elle était
la soeur du roi de Tyr, Pygmalion, et avait amené avec elle des Tyriens
et des Cypriotes. Les colons donnèrent à leur cité le nom de Qart-Hadasht,
c'est à dire «Ville-Neuve».
|
According
to legend, the city of Carthage was founded in the 9th century B.C.
by Elissa, called Dido in the Aeneiad; she was the sister of the Pygmalion
the king of Tyre and had brought with her Tyrians and Cypriots. The
settlers gave their city the name of Qart-Hadasht, that is to say
"New Town". |
| [p
12] Il a fait des lectures autour du sujet principal; il se réfère
au Périple d'Hannon, unique texte carthaginois qui ait subsisté; encore
Flaubert le tient-il pour apocryphe... Il lit Appien, Diodore de Sicile,
emprunte à Cornelius Nepos des traits d'Hannibal, qui'il prêtera à
Hamilcar; il parcourt Pline, Athénée, Plutarque, Title-Live, Saint
Augustin, Xénophon, Juste Lipse, Strabo, Silius Italicus et la bible
dans la traduction Cohen. Au début d'aoûtl 1857, il affirma à Ernest
Feydeau: «pour qu'un livre sue la verité, il faut étre bourré de son
sujet jusque par-dessus les oreilles»
|
He
read around the principal subject; he referred to the Périple of Hannon
- the only Carthaginian text to have survived, although he considered
it apocryphal... He read Appien, Diodore of Sicily, borrowed the traits
of Hannipal from Cornelius Nepos and gave them to Hamilcar; he read
through Pliny, Athinée, Plutarque, Tite-Live, St. Augustine, Xenophon,
Juste Lipse, Strabo, Silius Italicus and the bible in the Cohen translation.
At the beginning of August 1857, he stated to Ernest Feydeau: "For
a book to follow the truth, he must be stuffed to the eyeballs with
its subject-matter. |
| [p
13] Pour le mobilier et les costumes de Salammbô, il étudie la 21e
Dissertation de l'abbé-Mignot, dans les Mémoires de l'Académie
des inscriptions; si Sainte-Beuve lui reproche les pierres précieuses,
en particular des escarboucles formées par l'urine de lynx, il cite
ironiquement sa référance: le Traité des pierreries de Théophraste..... |
For
Salammbô's furniture and costumes, he studied the 21st Dissertation
of the abbé-Mignot in the Memoirs of the Academy of Inscriptions;
if Sainte-Beuve reproached him for his precious stones, in particular
the carbuncles formed from the lynx-urine, he would sarcastically
quote his reference: the Treatise on Precious Stones by Theophraste |
See p 171 ff
Polybe et Flaubert: La Fin des Mercenaires for extract from Polybius'
History - original inspiration for Flaubert's novel.
NOVEL
- FLAUBERT - EROTICISM
SOURCE: Dijkstra,
Bram., Idols of Perversity. Fantasies of Feminine Evil in Fin-de-Siècle
Culture, New York, 1986, pp 306-313 {BN 4ov 45820}
[p 306] Being
a true daughter of Eve, the animal woman of the turn of the century thus
had a special appreciation for the erotic abilities of the snake. She
liked to be with serpents, use them in strange rituals, and generally
become involved with them in the most dubious ways. As in so many instances,
it was Flaubert who brought into focus this element of late nineteenth
century lore. In Salammbô (1862) he described what is clearly an
erotic encounter between Salammbô and her serpent, her partner in rituals
she performs as a priestess of Baal, a god representing the male exterminating
principal.
Salammbô
undid her ear pendants, her necklace, her bracelets, her long white gown;
she unfastened the band round her hair, and for a few minutes shook it
over her shoulders, gently to refresh herself by loosening it. The music
outside continued; there were three notes, always the same; headlong,
frenzied; the strings grated, the flute boomed; Taanach kept time by clapping
her hands; Salammbô, her whole body swaying, chanted her prayers, and
her clothes,one after another, fell around her.
The heavy
tapestry shook, and above the cord holding it up the python's head appeared.
It came down slowly, like a drop of water running along a wall, crawled
up among the scattered garments, then, its tail stuck against the ground,
reared up straight; and its eyes, more brilliant than carbuncles, fixed
on Salammbô.
Horror of
the cold or perhaps a certain modesty at first made her hesitate. But
she remembered Schahabarim's [sic] orders, came forward; the python fell
back and putting the middle of its body round her neck, let its head and
tail dangle, like a broken necklace with its two ends trailing on the
ground. Salammbô wound it round her waist, under her arms, between her
knees: then taking it by the jaw she brought its little triangular mouth
to the edge of her teeth, and half closing her eyes, bent back under the
moon's rays. The white light seemed to envelop her like a silver mint,
her wet footprints glistened on the floor, stars shimmered in the depths
of the water; it tightened round her its black coils striped with golden
patches. Salammbô gasped beneath this weight, too heavy for her, her back
bent, she felt she was dying; and with the tip of its tail it gently flicked
her thigh; then as the music ceased, it dropped down again. {pp 174-5}(1)
Predictably
the painters and scuptors rushed in to illustrate Salammbô's lascivious
encounter. Gaston Bussière's "Scene of the Serpent" emphasized
the python's approach, while Gabriel Ferrier(2)
concentrated on the lady's pleasure [plate IX 39(3)].
The American Charles Allen Winter's "Fantaisie Egyptiènne",
exhibited at the salon in 1898, was a free adaptation of Salammbô's passionate
communion with her appreciative lover. In general structure it was much
like the sculptor Jean-Antoine-Marie Idrac's(4)
version of Flaubert's heroine, which found a place of honor at the World's
Columbian Exhibition of 1893 in Chicago [plate IX 38(5)].
Idrac's sculpture was, in turn, closely related to Collier's painting
of Lilith, thus demonstrating how easily the literally hundreds of painted
versions of Lilith, Salammbô, Lamia, and assorted other snake charmers
came to blend as generic descriptions of woman, the eternal eve.
[p 311] Edward
Robert Hughes,(6) in a painting exhibited
at the Venice Biennale in 1895, made use of Italian fable to paint "Biancabella
and Semaritana, Her Snake Sister" [plate IX 44]. The painting served
as a good excuse to depict a very modern young lady in a Salammbô-like
scene, with the snake...
[p 313] As
had already become obvious in Flaubert's description of Salammbô's encounter
with the python, it could no longer be denied that woman, more than merely
liking to be seen with wld animals, was tempted to copulate with them
as well.
BALLET - GIORZA
- 1865
SOURCE: Stieger,
Franz. Opera Lexikon. Tutzing, 1975, Titelkatalog, Vol III, p 1069
Salammbò Ballet
Paolo Giorza Turin, 1865
ITEM:
OPERA (UNFINISHED) - PETRELLA (d.1877)
SOURCE: Opern-Handbuch
von Dr. Hugo Riemann. Leipzig, 1887.
Salambò: nicht
beendete ital. Oper von Err. Petrella. (gest. 1877)
ITEM:
OPERA LIST - FORNARI - 1881
SOURCE: Stieger,
Franz. Opera Lexikon. Tutzing, 1975, Titelkatalog, Vol III, p 1069
Salammbò e
Zuma Op.Ser Vinc. Fornari G.Cammarano. Neapel. 24.11.1881 t. Bellini
ITEM:
OPERA LIST - MASSA - 1886
SOURCE: Stieger,
Franz. Opera Lexikon. Tutzing, 1975, Titelkatalog, Vol III, p 1069
Salammbò Op.Ser
Nic. Massa Zanardini Mailand. 15.4.1886
OPERA
- MASSA - 1886
SOURCE: Enciclopedia
della Musica. Milan, 1964, Vol III, p 123.
Massa, Nicolò
(Calice Ligure 26 X 1854 - Genova 24 I 1894).
Comps. - Op.
teatrali: Salambò (Milano 1886)
ITEM:
OPERA LIST NAVRATIL - 1890
SOURCE: Stieger,
Franz. Opera Lexikon. Tutzing, 1975, Titelkatalog, Vol III, p 1069
Salambo Op.
Karl Navratil 1890
ITEM:
OPERA LIST REYER - 1890
SOURCE: Stieger,
Franz. Opera Lexikon. Tutzing, 1975, Titelkatalog, Vol III, p 1069
Salambo Op5
Ernest de Reyer Camille du Locle Brüssel, 10.2.1890
OPERA
- REYER - 1890
SOURCE: Algemene
Muziekencyclopedie, Antwerp, 1960.
In 1890 volgde
in dezelfde schouwberg zijn Salammbo, naar de beroemde roman van
zijn vriend Flaubert...
De invloed
van Berlioz en van Wagner is hierbij overheersend...
{Trans: In
1890 there followed in the same theatre his Salammbo, after the
famous novel of his friend Flaubert...
The influence
of Berlioz and Wagner is overwhelming...}
ITEM:
OPERA - REYER - 1890
SOURCE: Groves
Dictionary of Music and Musicians, Third Edition, 1928, Vol IV, p
506.
Salammbô,
opera in 3 acts; text by du Locle, music by E. Reyer. Produced Brussels,
Feb.9, 1890; New York, Metropolitan Opera House, Mar.20, 1901.
OPERA
- BRUSSELS THEATRE DE LA MONNAIE - BACKGROUND
SOURCE: Renieu,
August, Histoire des Théâtres de Bruxelles. Paris, 1928. {BM 011795
I.30} p 837
Si la Monnaie
était une des citadelles de Wagnérisme, on y représentait aussi les ouvrages
avancés des compositeurs français de l'école moderne. C'est pourquoi Salammbò,
comme pécédemment Sigurd, de Reyer, fut produit à Bruxelles avant
Paris. L'interpéretation était excellente et comprenait Mme
Caron, Mm. Saléza, Vergnet et Renaud. Le succès fut immédiat.
For bibliography
of la Monnaie, see pp 664-5
{Trans: - Although
la Monnaie was one of the citadels of Wagnerism, advanced works by French
composers of the modern school were also produced there. That is why Salammbo,
as was the case with Sigurd, by Reyer, was produced at Brussels before
Paris. The interpretation was excellent and comprised Madame Caron, and
Messrs Saléza, Vergnet et Renaud. Its success was immediate.}
NEWSPAPERS
OF BRUSSELLS - 1890
List
of Periodicals covering opera, ballet, etc. in Brussels: {not seen, RH}
 |
La
Revue |
|
La
Veillée |
|
Le
Public Belge |
|
Le
Cotillon |
|
La
Vie Mondaine |
|
La
Sirène |
|
Revue
théâtrale, artistique et maindaine. |
|
Bruxelles-Artiste |
|
Bruxelles
Attractions |
|
La
Soirée(7) |
OPERA
- PRODUCTIONS OF SALAMMBO 1890 - 1901
SOURCE: Annals
of Opera 1597-1940, Alfred Rosenberg, London 1978, p 1137
[Productions
of Salammbô]
|
1890,
Brussels, 10 Feb |
|
1890,
Rouen, 22 Nov |
|
1892,
Paris Opera, 16 May (100th performance 17 June 1900) |
|
1900,
New Orleans, 25 Jan |
|
1901,
Cairo, Jan |
|
1901,
New York, 20 March |
OPERA
- PRODUCTIONS OF SALAMMBO
SOURCE: Manferrari,
Umberto, Dizionario delle Opere Melodrammatiche, Firenze, 1955
Rey, Ernesto
Luigi Stefano, detto Reyer...
Salammbô (C.
du Locle) op.5
Bruxelles,
Tr. La Monnaie, 10 Feb 1890
Paris. Tr.
de L'Opéra, 16 May 1892
OPERA
- REYER - DETAIL
SOURCE: Curzon,
H. de. Ernest Reyer. Sa Vie et ses Oeuvres (1823-1909), Paris 1924.
[p 59] {very
soon after Flaubert's death} "En un rien de temps, un livret fut
fabriqué pour Gevaert et un scénario de ballet par Léo Delibes"
{Translation:
In no time at all a libretto was put together for Gevaert and a ballet
scenario for Leo Delibes.}
OPERA
- COMPOSER DETAIL - REYER
SOURCE: Sadie,
Stanley, [Ed.]., The New Grove Dictionary of Music and Musicians,
London 1980 Vol 15, pp 782-3
Reyer, (Louis-Etienne-)
Ernest (b. Marseilles, 1 Dec 1823; d Le Lavandou, 15 Jan 1909)
He was sent
in 1839 to Algiers to work with an uncle... in a government department...
Reyer had thus little formal musical training when Le Sélam, an
'oriental symphony' in four parts to a text by Gautier, was successfully
performed in Paris in 1850... It won the praise of Berlioz and established
Reyer's inclination toward exotic subject matter.
Within 14 years
Reyer had established a minor celebrity and composed a substantial body
of music, but though he lived another 46 years, only two significant works
appeared: the operas Sigurd and Salammbô together represent
his highest achievement as a composer... Salammbô (1890) brought
his friend Flaubert's highly coloured novel to the stage and enjoyed equal
success, both in Brussels and in France - a success also due to the sumptuousness
of its settings and the singing of Rose Caron(8).
Both survived in the repertory for 50 years.
PRECIS
OF REYER'S OPERA
Précis of the
Reyer's opera - Salammbô (from the outline given in Dictionnaire des
Opéras.
Act 1
Hamilcar,
a Carthaginian Suffete(9) is feasting
the mercenary chiefs to try and win their patience over the question
of back-pay. Matho, a Lybian chief, breaks open the prison doors and
a general revolt ensues.
That is
when Salammbo (daughter of Hamilcar) appears and at the sight of her
the rebels calm down. She comes down from the terrace and gives Matho
a drink. Matho is fascinated by her, but Narr-Havas, King of the Numidians,
is jealous and wounds Matho with a knife.
ACT II
The Temple
Sanctuary where the priests jealously guard the zaïmph, the sacred
mantel of the goddess that no one may touch without dying. Matho and
his men have conceived the idea of stealing it. Salammbo arrives and
confides in the high priest, Shahabarim, the mortal worry which causes
her to have mysterious visions which inform her that Carthage and
the mantel are in danger.
While Salammbo
is alone, Matho steals the mantel, wrapping it around himself and
appearing in it to Salammbo who believes she is seeing a divine apparaition.
Matho disabuses her and tells her of his love. She is furious and
her cries alert the guards who try to seize Matho, but he escapes.
ACT III
At the
Counsel of Elders, Hamilcar has himself named dictator.
On Salammbo's
terrace, she thinks of the young barbarian who holds in his hands
the destiny of her country. Shahabarim arrives and tells Salammbo
that she can save the country only by snatching back the mantel. She
is to dress herself up as a beautiful young bride and go off to Matho's
tent.
ACT IV
Narr-Havas
has effected a reconciliation with Matho and offers him an alliance
against the Carthaginians.
Salammbo
enters Matho's tent. She demands the holy mantel and Matho is about
to give it up to her, but when he learns that she will return with
it to Carthage he pushes her away, and then kneels down and begs forgiveness.
Salammbo drops into his arms.
On the
battle field, the Carthaginians have won, thanks to Narr-Havas, who
through his betrayal of Matho has received the hand of Salammbo. Matho,
a prisoner now, is to be immolated at the foot of the altar of Tanit,
the Goddess, when the union of Salammbo and Narr-Havas is being consecrated.
ACT V
The wedding
procession. Matho is brutally thrown by guards against the foot of
the statue of Tanit. Shahabarim is preparing to kill him, when the
crowd calls out for Salammbo to do the job. She consents and walks
forward saying "Whoever has touched you, sacred mantel, must
die!" «Quiconque te toucha, voile saint et béni, doit mourir!»
But instead of striking the designated victim, she kills herself.
Maltho then seizes the blade and kills himself, falling upon the body
of his beloved.
OPERA
- SET DESIGN FOR REYER'S SALAMBBO
SOURCE: Cohen,
Robert et Gigou, Mari-Odile., Cent Ans de Mise en Scène en France (env.
1830-1930), New York, 1986 {BMYM 1986 b 194}
[p 235] Salammbô.
Livret de mise en scène. 23 X 18.5 cm 83 p [S 16(1) {This is a
reference to its catalogue number in the Bibliothèque de l'Association
de la régie théàtrale}
OPERA
- SALAMMBO - APPRECIATION
SOURCE: Clément,
Félix & Larousse, Pierre. Dictionaire des Opéras, Paris, 1904(?)(10),
pp 996-998
| ... Mais tout
concourt à faire du second tableau l'un des spectacles le plus merveilleux
and les plus émouvants qui se puissent concevoir: un décor qui est
un pur chef-d'oeuvre, une inspiration musicale dont la poésie pleine...
vous transporte dans des régions inconnues, enfin une cantatrice (Mme
Caron) dont la haute intelligence, le rare sentiment musical et les
grandes facultés scéniques mettent dans tout leur relief les beatés
de cette inspiration et les font ressortir dans toute leur intensité,
voilà ce que nous offre cet épisode enchanteur de la terrasse de Salammbô.
Cela est exquis, parfait, et sans une note discordante. Il faut remarquer
surtout ici l'adorable mélodie, si poétique, de Salammbô: Qui me
donnera, comme à la colombe, des ailes? [see below] que précède
une sorte de récitatif plein de douceur, qui revient avec un charme
délicieux à la fin de la cantilène... |
Everything
contrived to make the second tableau one of the most marvellous and
moving specacles imaginable: the set was masterly, musical inspiration
whose sheer poetry... transports you to unknown regions, and finally
a singer (Madame Caron) whose great intelligence, rare musical feeling
and great dramatic faculties throw the beauties of this inspiration
into greater definition and bring out all their intensity. That is
what this magical episode on Salammbô's terrace holds in store for
us. It is exquisite, perfect, and without a single discordant note.
We must draw attention, particularly here, to Salammbô's wonderful
melody, which is so poetic: Who will give me wings like unto a
dove?, which is preceded by a sort of gentle and soft recitative
and which returns with delicious charm at the end of the cantilena... |
| ...L'Oeuvre,
il faut le dire au surplus, a été merveilleusement présenté par des
artiste de premier ordre: Mme Caron (Salammbô), MM. Saléza
(Matho), Vegnet (Shahabarim), Renaud (Hamilcar), Delmas (Narr-Havas)
et Beyle (Spendius). |
... Moreover,
we must mention that the work was marvellously performed by artists
of the first order: Mme Caron (Salammbô), MM. Saléza (Matho),
Vegnet (Shahabarim), Renaud (Hamilcar), Delmas (Narr-Havas) et Beyle
(Spendius) |
OPERA
- REYER - SCENE DESCRIPTION - PERSONAE - ARIA
SOURCE: Salammbò.
Opéra en cinq actes et sept tableaux. Poëme tiré du Roman de Gustave
Flaubert par Camille du Locle. Musique de E. Reyer. Paris, 1890.
- Personnages:
Voix: Artiste
- Salammbò
Soprano Mme Rose Caron
- Fille
de Hamilcar
- Shahabarim
Ténor Mr Vergnet
- Grand
Prêtre de Tanit
- Narr'Havas
Basse chantante Mr Sentein
- Roi Numide
- Gision
Basse Mr Peeters
- Général
Carthaginois
- Mathò
Ténor Mr. Sellier
- Mercenaire
Lybian
- Hamilcar
Baryton Mr Renaud
- Suffète
Carthaginois
- Spendius
Baryton Mr Bouvet
- Grec,
esclave d'Hamilcar
- Autharite
Basse Mr Challet
- Mercenaire
Gaulois
- Taanach
Mezzo Soprano
- Le Grand
Prêtre de Khamon Ténor
- Le Grand
Prêtre de Melkarth Ténor
- Le Grand
Prêtre de Eschmoïn Basse
- Le Grand
Prêtre de Moloch Basse
Carthage, 240
ans avant J-C)
- Acte
I
- Le festin
des Mercenaires dans les jardins d'Hamilcar
- Acte
II
- L'enceinte
sacrée du temple de Tanit
- Act
III
- (1er
Tableau)
- Le Conseil
des Anciens dans le Sanctuare du temple de Moloch
- (2d
Tableau)
- La terrasse
de Salammbò
- Acte
IV
- (1er
Tableau)
- La tente
de Mathò
- (2d
Tableau)
- Le champ
de bataille
Acte
V
Les noces de
Salammbò
Scène IV. Salammbò
seule.
Salammbò:
- Ah! qui me donnera
comme à la colombe
- Des ailes, pour fuir
dans le soir qui tombe?
- Qui m'emportera, libre
de tourments,
- D'angoisses mortelles,
- Vers de dieux plus
doux, des cieux plus cléments?
- Qui me donnera, colombes,
vos ailes?
- Pareille à la victime
enchainée à l'autre,
- Qui, tremblante et
parée Attend le coup mortel,
- J'attends! Je frémis!
- quel abîme devant
mes pas va s'ouvrir?
- Je ne sais rien, sinon
que je suis la victime
- Et que bientôt je
dois mourir!
- Qui m'emportera, libre
de tourments, D'angoisses mortelles,
- Vers de dieux plus
doux, des cieux plus cléments?
- Qui me donnera, colombes,
vos ailes?
- Dieux! déjà rententit
la trompette sacrée!
- L'orient se remplit
d'une lueur nacrée!
- C'est l'heure! ah!
- quel mortel effroi
m'a glacée?
- Ô Tanit! qu'exiges
tu de moi?
- Ah! Dérobez-moi sous
votre ombre,
- Portiques de ce palaces
sombre!
- Dieux pitoyable aux
mortels
- Sauvez-moi! Gardez-moi!
- Doux foyers paternels!
|
- Who will give me,
like unto a dove
- wings so I may flee
into the falling night?
- Who will carry me
off, freed from torments and mortal anguish,
- Towards gentler gods
and more merciful heavens?
- Doves, who will give
me your wings?
- Just like one victim,
chained to another,
- who, trembling and
ready awaits the mortal blow
- I wait! I tremble!
- What abyss is about
to open in front of me?
- I know nothing except
that I am the victim
- and that soon I must
die!
- Who will carry me
off, freed from torments and mortal anguish,
- Towards gentler gods
and more merciful heavens?
- Doves, who will give
me your wings?
- Gods! The sacred trumpet
is already resounding
- The Orient is filled
with pearly brightness!
- It is time! Ah!
- What mortel fear has
frozen me?
- Oh Tanit! What do
you demand of me?
- Ah! Hide me in your
shade,
- Porticos of this dark
palace!
- Ye Gods who have pity
for mortels
- Save me! Shield me!
- Gentle home of my
fathers!
|
OPERA
- COSTUMES - 1890
SOURCE: Le
Costume au Théâtre, No. 9 [N.D.], Paris, {BN 4 yf 40}
| Premier
Acte -- Robe de satin bleu broche d'or, très peu décolletée et laissant
les bras complètement nus. Diadème de rubis, d'émeraudes et de turquoises
retenant un long voice jaune paille constellé d'or et orné d'arabesques.
Bracelets et colliers formés de perles blanches. |
First
Act. -- Robe of blue satin studded with gold, very slight decolletée
et leaving the arms completely bare. A diadem of rubies, emeralds
and turquoises holding a long pale yellow veile, starred with gold
and decoarated with arabesques. Bracelet and choker of white pearls. |
| Troisième
Acte -- Robe de mousseline jaune, serée à la taille par une ceinture
de peirreries. Sur la hanche tombe une cordelière d'or à laquelle
est attaché, pour retomber en traîne, un manteau de satin vieux rose
brodé d'or. Diadème et bracelets. |
Third
Act. -- Robe of yellow muslin, gathered at the waist by a belt of
precious stones. Over the hips there falls a golden cord, to which
is attached as a train a cloak of old prink satin embroidered with
gold. Diadem and braclets. |
| Les
ressources du théàtre de la Monnaie ne l'ont pas permis, et les costumes
exécutés à Bruxelles n'ont aucun caractère; ils sont un peu de toutes
les époques et de tous les pays. Il faut faire une exception cependant
pour le costume de Salammbô, au dernier acte, que nous n'avons pu
reproduire dans nos planches, à cause de sa complication, et qui a
été exécuté à peu prés exactement d'après un magnifique dessin de
M. Bianchini. |
The
resources of the Théâtre de la Monnaie did not allow it [i.e. to reconstruct
the costumes as Flaubert described them in his novel] and the costumes
made in Brussels lack character. They are a bit from all periods and
all countries - except for Salammbo's costume in the last act, which
we have not be able to reproduce in our plates due to it being so
complicated and which was made up almost exactly according to a magnificent
design by Mr. Bianchini. |
OPERA
- INTERPRETER - CARON BIOGRAPHY
SOURCE: Gourret,
Jean., Encylopédie des Cantatrices de l'Opéra de Paris, Paris 1981
{BN 4ov 38058}
| [p 101 ff]
Rose Caron. Sur la recommendation de Marie Sasse,(11)
le directeur de la Monnaie de Bruxelles consentit un engagement à
Rose. C'est ainsi qu'elle débuta en 1883 dans le rôle d'Alice de Robert
le Diable, puis chanta Salomé d'Hérodiade et Marguerite
en Faust, Marguerite qui, avec son rouet, produiset un effect
magique un soir où Reyer se trouvait dans la salle... |
Upon a recommendation
from Marie Sasse, the director of la Monnaie consented to engage Rose.
That is how she made her debut in 1883 in the role of Alice in Robert
le Diable, then she sang Salomé in Herodiate and Marguerite in Faust
- a Marguerite who, with his spinning wheel, produced a magical effect
one evening when Reyer was in the audience... |
| [p 103] Quand
elle passa le concours de sortie du Conservatoire, Rose Caron se vit
dire par l'un des maîtres du jury «Ne pensez pas à l'opéra, tout au
mieux vous ferez carrière dans le café concert!» Mais son petit mari,
laid et bossu, ne l'entendit pas de cette oreille. |
When she passed
the graduation competition at the Conservatoire, Rose Caron was told
by one of the professors on the jury "Do not think of the opera
- at the very best you will have a career as a chanteuse in cafés!"
However, he little husband, ugly and hunchback, paid no attention
to that. |
OPERA
- INTERPRETER - CARON - BIOGRAPHY
SOURCE: Larousse
de XXe Siècle, Paris 1929, Vol 2.I, pp 6-7
CARON (Rose-Lucile
Meunier(sic), dame), cantatrice dramatique française... see for photograph
of Rose Caron by Benque.
INTERPRETER
DETAIL - CARON BEGINNINGS
SOURCE: La
Musica Dizionario, Turin 1968, Vol 1, p 353
| Caron,
Rose-Lucille (nata Meuniez). Soprano francese... Debuttò a Bruxelles
nel 1882 in Robert le Diable di Meyerbeer, e partecipò alla
prima rappr. di Sigurd di E. Reyer nel 1884. Si produsse a Parigi
dal 1885 al 1887 in Ugonotti,... Salammbô di E. Meyer (1892)... Lasciò
il teatro nel 1902 dedicandosi all-insegnamento. |
French
soprano... made her debut in Brussells in 1882 in Robert le Diable
by Meyerbeer and took part in the first production of Sigurd by E.
Reyer in 1884. Appeared in Paris from 1885 to 1887 in Les Huguenots,...
Salammbô by E. Reyer... Left the theatre in 1902 to dedicate herself
to teaching. |
INTERPRETER
DETAIL - CARON - APPRECIATION
SOURCE: Celleki,
Rodolfo., Le Grandi Voci. - Dizionario critico-biografico dei cantanti
con discografia operistica, Roma 1964 {BM 317 784 19}
Caron, Rose
(R. Lucille Meuniez). Soprano francese. Figlia di contadini, sposò il
pianista Caron che la indirizzò allo studio del canto...
Secondo Boschot
(La musique et la vie, Paris 1931) l'arte della Caron... «Toute
entière et par don de naissance, elle était fait pour le drame.»
INTERPRETER
DETAIL CARON & REYER
SOURCE: Dûpechez,
Charles., Histoire de l'Opéra de Paris 1875-1980, Paris 1984 {BM
YM 1987 a 160}
| [p
91] Figures très populaires dont les obsèques (en 1930 pour Rose Caron
et en 1935 pour Lucienne Bréval) auront l'ampleur d'un deuil national,
les deux catatrices ont en commun d'être «d'authentiques tragédiennes»
comme le psalmodient sans relâche les comptes rendus de l'époque... |
Very
popular figures whose funerals (in 1930 for Rose Caron and in 1935
for Lucienne Bréval) were to achieve the stature of national mourning,
the two singers had in common that they were 'authentic tragediens'
as the accounts of the age report ceaselessly... |
| Et
de Rose Caron, son thuriféraire damné, Ernest Reyer s'écrie: «Quelle
flamme dans son regard, quelle grâce dans son sourire, et comme on
se sent profondement remué par les inflexions troublantes de cette
voix, tour à tour pleine de douceur et d'éclat.» |
And
about Rose Caron, his (damned) devotee, Ernest Reyer wrote: 'What
flame in her look, what grace in her smile, and how one feels deeply
moved by the troubling inflexions of this voice, both full of gentleness
and thunder. |
| [pp
92-3] Quant à Rose Caron.... Lorsqu'slle sort du Conservatoire en
1882, avec un deuxième prix de chant et un accessit d'opéra, personne
ne veut engager cette grande fille dégingandée, aux longs bras secs.
Dans son modest logement, elle travaille pourtant sous la férule d'un
mari contrefait, ancien chef d'orchestreau théàtre des Nouveautés
et pianist-accompagnateur. Ce Pygmalian bossu a senti le talent mal
orienté de sa femme. |
As
for Rose Caron... When she came out from the Conservatory in 1882,
with a second prize for singing and an 'honourable mention' for opera,
no one wanted to employ this large ungainly girl with long sour arms.
In his modest lodging she however worked on under her deformed husband's
iron-régime. He was the former orchestra leader at the théàtre des
Nouveautés and a pianist-accompanist. This hunchback Pygmalian had
sensed the misdirected talent of his wife. |
OPERA
- REYER & CARON
SOURCE: Curzon,
H. de. Ernest Reyer. Sa Vie et ses Oeuvres (1823-1909), Paris 1924.
Note: Dedication
of the book - A MADAME ROSE CARON, en souvenir de notre ami.
[p 42] (Reyer
went to Egypt in 1871-1872 at the invitation of the Viceroy Ismail to
see the first performance of Aïda.
[p 53] Reyer
vint l'entendre {Mme Caron}, un soir qu'elle jouait Faust...
et resta sous le charme... Elle devait bientôt être pour liu comme la
collaboratrice la plus intuitive et la plus fidèle.
[p 54] "son
geste était noble, autant que son chant classique and pur. C'était une
apparition, c'était une révélation.]
[p 161] Le
roman de Flaubert, en dépit de tous ses développements de férocité brutale
aux couleurs éclatants, est surtout dominé par cette futilité souveraine
que résume le dernier mot de la dernière page: «Ainsi mourut la fille
d'Hamilcar, pour avoir touché au manteau de Tanit».
OPERA
- REYER & CARON - BUSTS IN OPERA MUSEUM
SOURCE: Coredey,
Jean. Le Musée de l'Opéra. Paris, 1945. {BM 7960 C.9}
Contains
the following references of interest:
[p 13] Buste
d'Ernest Reyer, en plâtre par J. Hughes.
E. Reyer (1823-1909)
composa Salammbô, Sigurd et et mélodies.
[p 16] Buste
de Rose Caron, dans le costume de Marguerite(12),
plâtre teinté terre cuite par L. Bernstamm (1890) (Rose Caron chanta à
l'opéra de 1885 à 1896)
OPERA
- INTERPRETER - CARON
SOURCE: Curzon,
Henri de, Salammbô, Le Poëme et l'opéra. Extrait de la Revue de
la France Moderne, Paris, 1890, p 21
| Avant
tout, c'est naturellement à Mme Rose Caron qu'il convient de s'arreter.
La reputation qu'elle s'est fait depuis huit ans, les éloges qui lui
sont adressés à l'envie, la confiance exceptionelle que lui accorde
M. Reyer, n'ont rien que de mérité, et l'on doit y souscrire. Mme
Caron possède en perfection les deux qualités essentielles d'une tragédienne
- elle sent et elle exprime profondément; elle se pénètre de ses personnages
au point de leur donner comme une vie nouvelle, et les revêt d'une
originalité pleine de caractère. Ajoutez un physique merveilleusement
approprié, une voix vibrante, un grand style... c'est une heureuse
fortune pour le rôle de Salammbô d'avoir trouvé pareille interprète. |
Above
all, it is naturally in front of Madame Rose Caron that we must stop.
The reputation she has made for herself over the last eight years,
the praises which have been addressed to her and the exceptional trust
which Mr. Reyer accords her are nothing if not deserved and we must
subscribe to them too. Madame Caron possesses to perfection the two
essential qualities of a tragedian - she feels and expresses profoundly;
she gets into her characters to the extent of giving them a new life
and clothing them with an originality which is full of character.
Add to this a marvellously apt physique, a vibrant voice and great
style... it is a great stroke of luck for the role of Salammbo to
have find such an interpreter. |
OPERA
- INTERPRETER - CARON
SOURCE: La
Grande Encyclopédie (1887-1902), Paris (date ?)
...elle aborda
successivement plusières rôles du répertoire... et même Marguerite de
Faust, rôle qui, dans sa première partie tout au moins, ne convient qu'à
demi à son tempérament ardent et passioné.
...Mme
Caron a divorcé en 1886, mais elle a continué à porter le nom sous lequel
elle s'était fait connaître au théâtre.
SONG
(VOICE AND PIANO) - GILBERT 1902
SOURCE: Gilbert,
Henry F., Salammbô's Invocation to Tänith, London (?), 1902 {BM
G 807t (27)}
(Words by Gustave
Flaubert)
- O
Rabetna! Baalet! Tänith!
- dost
Thou not love me?
- Oft
have I looked on Thee
- O
Tänith!
- dost
Thou not love me?
- But
no! Ah no!
- Thou
ever sailest, sailest thro' Thine azure,
- and
I remain here in the motionless earth.
- Oh
Tänith, when Thou appearest,
- Quietness
is spread abroad upon the earth,
- The
flowers close, the waves are soothed,
- And
wearied man stretches his breast towards Thee!
- And
the world with its oceans and mountains,
- Looks
at itself in Thy face as in a mirror,
- Thou
art white, Thou are gentle, luminous, serene.
- O
Rabetna! Baalet! Tänith!
- dost
Thou not love me?
- By
the hidden symbols!
- By
the furrows of the earth!
- By
the eternal silence
- And
by the eternal fruitfulness
- Mistress
of the gloomy sea,
- Queen
of the watery world.
- All
Hail
- O
Tänith! dost Thou not love me? &c
ORIENTAL
SYMPHONY (VOICE AND PIANO) - 1903
SOURCE: Chapin
Frederic., Salambo, Oriental Symphony, London (?) 1903. {BM 3582 (11)}
[Words by Guy
F. Heely - no front cover]
- Tropic
night comes creeping, over jungle glades
- Mellow
moonbeams are peeping
- Thro'
the tangled shade.
- O'er
the palms, stars are gleaming
- Zephyrs
gently blow
- All
the night I am dreaming of my Salambo.
- [Refrain]
- Salambo,
Salambo
- Forever
at your side I stand
- A
faithful slave at your command.
- Salambo,
Salambo
- Where
e'er you lead me I will go
- My
beautiful Salambo.
- Come
my Nubian daisy,
- Come
my jungle queen
- Night
is gentle and breezy
- Skin
above serene.
- If
my love can impel you
- We
will strolling go,
- For
I've something to tell you,
- Dusky
Salambo.
[Refrain]
OPERA
- HAUER - 1929
SOURCE: Hauer,
Joseph., Salambo (Opus 60), Orchester Score for Opera in 7 scenes
after Flaubert's novel, 1929. {BM I 552 b}
COMPOSER
DETAIL - HAUER
SOURCE: Pipers
Enzyklopädie des Musiktheaters. Heraugegeben von Carl Dalhaus und
dem Forschungsinstitut für Musiktheather der Universität Bayreuth unter
Leitung von Sieghart Döhring. München, 1987.
Josef Matthias
Hauer, geboren am 19 März 1883 in Wiener Neustadt, gestorben am 22 September
1959 in Wien.
{Joseph Matthias
Hauer, born 19 March 1883 in Wiener Neustadt, died 22 September 1959 in
Vienna.}
BIBLIOGRAPHY
FOR PARIS OPERA
For Paris Opera
see:
|
Challemell,
A., Album de l'Opéra, Paris 1844 |
|
Horowicz,
Bronislaw., Le Théâtre de l'Opéra. Paris, 1946. |
|
Collection
Martinet der Bibliothèque de l'Opéra de Paris. |
|
Periodical:
Paris Théâtrale. |
BIBLIOGRAPHY
|
Algemene
Muziekencyclopedie, Antwerp, 1960.
|
|
Blossom,
B.A., La Composition de Salammbô, Paris 1914. {BM X.0900/43(2)}
|
|
Celleki,
Rodolfo., Le Grandi Voci. - Dizionario critico-biografico dei
cantanti con discografia operistica, Roma 1964 {BM 317
784 19}
|
|
Chapin
Frederic., Salambo, Oriental Symphony, London (?) 1903. {BM 3582 (11)}
|
|
Clément,
Félix & Larousse, Pierre. Dictionaire des Opéras, Paris,
1904(?).
|
|
Cohen,
Robert et Gigou, Mari-Odile., Cent Ans de Mise en Scène en France
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|
|
Coleman,
A., Sources and Structures of Flaubert's Salammbô, Paris,
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|
|
Coredey,
Jean., Le Musée de l'Opéra. Paris, 1945. {BM 7960 C.9}
|
|
Curzon,
H. de., Croquis d'artistes, Paris, 1898
|
|
Curzon,
H. de., Salammbô: le poème et l'opéra, Paris 1890.
|
|
Curzon,
H. de., Ernest Reyer. Sa Vie et ses Oeuvres (1823-1909), Paris
1924.
|
|
Costume
au Théâtre, Le, No. 9 [N.D.], Paris,
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|
|
Delmas,
J.F., "Rose Caron" in Musica (periodical), Paris,
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|
|
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Bram., Idols of Perversity. Fantasies of Feminine Evil in Fin-de-Siècle
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|
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906 h.15/5}
|
|
Dûpechez,
Charles., Histoire de l'Opéra de Paris 1875-1980, Paris 1984
{BM YM 1987 a 160}
|
|
Enciclopedia
della Musica. Milan, 1964, Vol
III
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|
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|
|
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|
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Jean., Encylopédie des Cantatrices de l'Opéra de Paris, Paris
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|
|
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|
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Encyclopédie, La. (1887-1902),
Paris (date ?)
|
|
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|
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Arthur., Sources of Religious Element in Flaubert's Salammbô.
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|
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|
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|
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|
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|
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|
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|
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|
|
Pipers
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|
|
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|
|
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Dr.Hugo, Opern-Handbuch, Leipzig, 1887.
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|
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Alfred., Annals of Opera 1597-1940, London 1978.
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|
|
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|
|
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|
|
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|
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|
|
