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539:. It also restores much of the original material that Fétis and his collaborators had altered in preparation both for the first performance and for the first publication of the work by G. Brandus & S. Dufour (1865). Among these revisions were musical alterations, cuts, tempo indications, and much of the lyrical text. Another change undertaken by Fétis and his collaborators was to change the names of “Sélica” to “Sélika” and “Yoriko” to “Nélusko.” Additionally, the High Priest of Brahma was referred to only under that title (“Le grand prêtre de Brahma”) and not as “Zanguebar.” Meyerbeer, however, used “Sélica,” “Yoriko, ” and “Zanguebar” exclusively throughout his score. The edition restores these character names to the way Meyerbeer wrote them.
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examination of the complex relationship between colonial and sexual exploitation. He makes SĂ©lika acquiescent by shortening or removing scenes in which she is assertive. And he prettifies her suicide, which
Meyerbeer intended as troubling. We don't know what changes Meyerbeer was planning: one hopes he would have sorted out the longueurs in the first two acts. But there's no doubt that FĂ©tis did him a grave disservice.
2036:
838:, the destructive giant of the sea. NĂ©lusko gives orders that will direct the ship into an oncoming storm. De Gama has followed Don PĂ©dro in another ship, and begs him to change course to avoid destruction. Don PĂ©dro refuses, and orders him to be chained. The storm breaks out. NĂ©lusko leads the local people to kill all the Europeans on the ships and only de Gama is spared.
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the action because of the change in locations given for Acts 4 and 5 on the printed libretto in the vocal score (an island on the east coast of Africa) and in the full score (an island in the Indian archipelago)." Gabriela Cruz has published a detailed analysis of the historical context of the events of the opera and the opera setting itself.
341:
has written that FĂ©tis "on the whole reached an acceptable compromise between the presumed artistic wishes of
Meyerbeer and the practical necessities of performance", but "retaining the historical figure of Vasco, as well as the Hindu religion depicted in Act 4, led to almost irreparable absurdity in
851:
SĂ©lika is met with a grand celebration and swears to uphold the island's laws, which include the execution of all strangers. De Gama is captured by priests, who intend to sacrifice him. He is amazed by the wonders of the island, and sings the most famous aria of the opera "O Paradis!" (O Paradise!).
865:
The reunion of de Gama and Inès is interrupted by Sélika, who feels betrayed. When she realises the strength of the lovers' affection, she allows them to return to Europe, telling Nélusko to escort them to de Gama's boat. She then commits suicide by inhaling the perfume of the poisonous blossoms of
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FĂ©tis's alterations consisted largely of cuts and re-orderings, the aim of which, ostensibly, was to bring the opera within manageable length, and to improve narrative clarity, though the plot, by operatic standards, isn't that difficult. ... But FĂ©tis's changes tone down
Meyerbeer's clear-minded
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and Alfred Albert. Engravings depicting the amazing sets appeared in periodicals throughout Europe. The final scene designed by
Desplechin received special praise for its originality. Possibly because of advance publicity and high expectations, the Shipwreck Scene of act 3, executed by numerous
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Sélika, who is in fact queen of the undiscovered land, saves de Gama, whom she loves, from being murdered by Nélusko, a member of her entourage. Inès agrees to marry Don Pédro if de Gama is freed; de Gama, not realising that Inès has made this bargain, and noticing her envy of Sélika, gives her
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commented on this recording: "I was so angered by this performance I could almost spit nails, because neither the conductor nor the cast understand
Meyerbeer style in the slightest. As for the missing music, some of it is quite good and some of goes in one ear and out the other."
208:
was originally intended for the principal soprano role of SĂ©lika, but suffered an illness that ended her career. The loss of Falcon and reservations about the libretto caused
Meyerbeer to set the project aside in the summer of 1838, when he shifted his focus to the preparation of
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in the performing edition undertaken by FĂ©tis. Because of the long-running and unprecedented advance publicity, including countless reports in the domestic and international press, the production was a social and artistic sensation. The first night, attended by
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per performance (roughly twice what was earned by other programs) and reached its 100th presentation at the Salle Le
Peletier on 9 March 1866. It was given there 225 times before its first performance in a new production at the new Paris opera house, the
438:
The opera elicited a mixed response in
Portugal, the homeland of Vasco da Gama. A descendant of da Gama, the MarquĂŞs de Niza, was displeased with the depiction of his ancestor in the opera and succeeded in having the name of Vasco da Gama changed to
466:. In the 21st century, Meyerbeer's major French grand operas are again appearing in new productions in European opera houses. To mark the 150th anniversary of Meyerbeer's death, the work was performed again at La Fenice in November 2013.
803:, appears at the Grand Council saying he has discovered a new land, and displaying SĂ©lika and NĂ©lusko as examples of a newly discovered race. His request for an expedition is refused, causing de Gama to attack the Grand Inquisitor, who
286:
provided German revisions that were translated into French by Joseph
Duesberg. Meyerbeer himself revised SĂ©lika's death scene in November and December 1863. He died on 2 May 1864, one day after the completion of the copying of the
1623:
The singers in the roles of "le Grand
Inquisiteur" and "Anna" are not mentioned in Letellier, but are identified as David and Levielly by Chouquet. Two seasons later both David and Levielly also sang in the premiere of Verdi's
852:
Sélika saves him by saying that he is her husband, forcing Nélusko to swear this is true. De Gama resigns himself to this new life, but hearing the voice of Inès, who is being taken to her execution, he rushes to find her.
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The bass who performed under the stage name Belval was actually named Jules-Bernard Gaffiot (1823–1879) according to a short biographical note in Letellier's annotated edition of Meyerbeer's diaries (vol. 4, p.
222:(the original working title) in 1841 and completed the first draft and a piano score of the first two acts in 1843, after which he again set the project aside. The original story was set in Spain during the reign of
1858:
Neppi, Carla (2014). "The Composition of the Opera", translated by Susan Marie Praeder, pp. 18–19, in the CD booklet accompanying the CDs of the performance conducted by Frank Beermann. Georgsmarienhütte: CPO.
330:(Zanguebar) was removed, and the spelling of SĂ©lica was changed to SĂ©lika. For the required ballet, which Meyerbeer had not provided, FĂ©tis arranged two cut numbers (SĂ©lika's Lullaby in Act 2 and the sailors'
294:
Since substantial revisions and excisions almost always occur during rehearsals, Meyerbeer requested the opera should not be given, if he died before it was produced. However, Minna Meyerbeer (his widow) and
535:, Berlin. This edition makes available, for the first time, a musical score derived directly from Meyerbeer's surviving autograph and employs the title Meyerbeer and Scribe had assigned to the work,
446:
The opera was enormously successful in the 19th century, but along with Meyerbeer's other operas, it fell into almost complete neglect in the 20th century, except for very occasional revivals.
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The beautiful Inès is forced by her father, the Grand Admiral Don Diégo, to marry Don Pédro instead of her true love, Vasco de Gama. De Gama, who is thought to have died in the expedition of
1284:
Letellier 2008, p. 160. Letellier spells the name altered by FĂ©tis and his collaborators to NĂ©lusko as "Yoriko" on p. 159, but as "Yoricko" on p. 160. The latter spelling may be a misprint.
397:, "provided Second Empire society with its most exalted self-presentation in terms of an opera premiere." Hourly reports on the progress of the event and its reception were relayed by
405:, was revealed on the stage at the conclusion of the performance, and with only a few exceptions critics declared the production brilliant and the opera, Meyerbeer's masterpiece.
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251:. Meyerbeer and Scribe changed the setting of Acts 1 and 2 to Lisbon and of Acts 4 and 5 to India. The protagonist became Vasco da Gama, and the working title was changed from
1397:
311:
was already well known to the general public, it was reinstated, and, to achieve consistency of this title with the Hindu references in the libretto, India was changed to
180:
The first contract between Meyerbeer and Scribe for the writing of the libretto was signed in May 1837. The starting point for the story was "Le Mancenillier", a poem by
282:(December 1857 – April 1858). He worked on the opera almost continuously from March 1860 until a few days before his death. Scribe died on 20 February 1861, after which
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SĂ©lika and NĂ©lusko as slaves. Don PĂ©dro announces he is to mount an expedition to the new lands that were de Gama's discovery. NĂ©lusko offers his services as pilot.
153:. The FĂ©tis version was published and was used for subsequent performances until 2013, when some productions and recordings began using Meyerbeer's preferred title,
1586:
184:, in which a girl sits under a tree releasing poisonous vapors but is saved by her lover. The plot is also based on an unidentified German tale and a 1770 play by
547:
278:, but Cruvelli's abrupt retirement from the public stage in January 1856 interrupted his plans. He began composing music for the Council Scene of Act 1 in
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230:), who buys SĂ©lika as a slave. While sailing for Mexico in Act 3, his ships are forced to seek shelter on the coast of SĂ©lika's kingdom in Africa on the
1494:
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936:
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427:, London, on 22 July 1865, and in New York on 1 December 1865. It also received its Italian premiere in 1865 in Bologna, conducted by
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A well known highlight from the opera is the act 4 tenor aria "Pays merveilleux ... O, paradis", which has been recorded many times.
1405:
326:, and Marie-Joseph-François Mahérault, that the name of the character Yoriko was changed to Nélusko, the name of the high priest of
48:
274:
caused further delay, but Meyerbeer returned to the libretto in September 1855. He had intended the role of SĂ©lika for the soprano
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2339:
1587:
https://www.ricordi.com/de-DE/Critical-Editions/Meyerbeer-Giacomo-Critical-Editions/Meyerbeer-Vasco-de-Gama-Critical-Edition.aspx
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at the same theatre and have been identified as Joseph David and Leonia Levielly in the cast list for that performance at
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was nearly the only work presented by the Opéra until 1 November 1865. In its first year it brought in 11,000 to 12,000
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NĂ©lusko is navigating the ship, but is secretly planning to destroy the Europeans. He sings a ballad of the legend of
1966:
1948:
1894:
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420:, on 17 December 1877, and reached 484 representations before it was dropped from the repertoire on 8 November 1902.
138:, the French version of his name. The copying of the full score was completed the day before Meyerbeer died in 1864.
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In 1851–1852, Meyerbeer and Scribe continued working on the libretto. Meyerbeer had read a French translation of
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481:. The production was a success with audiences and critics and won the poll of German critics award presented by
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1876:
The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers. Growth and Grandeur, 1815–1914
1495:"An Often Entertaining New Production of L'Africaine at Oper Frankfurt : Seen and Heard International"
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magazine annually as "Rediscovery of the year" in 2013. This edition was also used for a production at the
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20:
157:, for performing versions with revisions based on the manuscript score. In 2018 the music publisher
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1544:
1479:
524:
451:
283:
181:
1748:
Arsenty, Richard, editor, translations; Letellier, Robert Ignatius, editor, introductions (2008).
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Letellier 2006, pp. 247–248. Letellier and Huebner both give the spelling of the working title as
588:
270:
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192:, in which a Hindu maiden loves a Portuguese navigator, a theme already treated by the composer
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An Introduction to the Dramatic Works of Giacomo Meyerbeer: Operas, Ballets, Cantatas, Plays
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1932:
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The four principal singers at the premiere, from left to right: Naudin, Battu, Sasse, Faure
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It was during the revisions by FĂ©tis and his collaborators, including, besides MĂ©lesville,
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8:
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of Act 3). He also moved a duet for SĂ©lika and NĂ©lusko from the Act 3 finale to Act 5.
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between 1868 and 1892. It was also performed in Melbourne, Australia, in July 1866.
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1225:, however, Neppi 2014 states: "in its French form it was now supposed to be called
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of Meyerbeer's autograph score, edited by JĂĽrgen Selk, was released as part of the
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319:
185:
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121:
62:
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Histoire de la musique dramatique en France depuis ses origines jusqu'Ă nos jours
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L'Africaine, second edition. Newcastle upon Tyne: Cambridge Scholars Publishing.
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writing in 1885 identified the scene as the epitome of the company's grand opera
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The stage designs for the original production at the Paris Opera were created by
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issued a critical edition of Meyerbeer's manuscript full score under that title.
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Premiere cast and conductor are from Letellier 2008, pp. 172–174, and
315:. The opera was greatly shortened, damaging some of the logic of the story.
304:
2010:
1954:
1926:
1922:
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stagehands, was deemed by the press to be somewhat disappointing. However,
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124:. Meyerbeer and Scribe began working on the opera in 1837, using the title
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1868:
1864:
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Councillors, naval officers, bishops, Brahmins, Indians, soldiers, sailors
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243:
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1981:
247:, an epic poem that celebrates the discovery of a sea route to India by
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226:. The protagonist was a naval officer by the name of Fernand (based on
443:(an 11th-century monk and music theorist) in the Lisbon performance.
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to other European capitals. A bust of the composer, newly executed by
835:
483:
432:
398:
2081:
1845:
The Diaries of Giacomo Meyerbeer: 4. The Last Years, 1857–1864
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for scene 2 of Act 5 (The Manchineel Tree). The choreography was by
1293:
Cruz, Gabriela, "Laughing at History: The Third Act of Meyerbeer's
804:
651:
198:
1911:
Giacomo Meyerbeer Werkausgabe, Abteilung 1, BĂĽhnenwerke. Band 17:
1765:
Giacomo Meyerbeer: A Discography of Vintage Recordings 1889 - 1955
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2237:
1212:
Arsenty & Letellier 2006, p. xiv (Introduction by Letellier).
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238:
2035:
1843:
Meyerbeer, Giacomo; Letellier, Robert Ignatius, editor (2004).
779:
770:
The opera depicts fictional events in the life of the explorer
327:
1030:(Recording of a performance at the Maggio Musicale, 30 April)
923:
for Act 3 (Sea Scene and Shipwreck) and Act 4 (Hindu Temple);
1847:. Madison, New Jersey: Fairleigh Dickinson University Press.
1577:
Roles and voice types are listed according to Huebner, p. 31.
617:
459:
1137:
Nikolay Borchev, Kouta Räsänen, Martin Gäbler, André Riemer
1250:
Camille Saint-Saëns, (Trans. Edwin Gile Rich),"Meyerbeer",
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in San Francisco that premiered on November 13, 1973, with
279:
450:
has sung it in at least two productions: a revival at the
2062:, Italian and English libretto, J. Miles & Co. (1865)
1959:
Décors et costumes du XIXe siècle. Tome I: Opéra de Paris
1817:. Madison/Teaneck: Fairleigh Dickinson University Press.
889:
1639:. Instituto Nazionale di Studi Verdiani. Archived from
1767:. Newcastle upon Tyne: Cambridge Scholars Publishing.
1026:
Orchestra and Chorus of the Maggio Musicale Fiorentino
927:
for scene 1 of Act 5 (Queen's Garden, not shown); and
1763:
Arsenty, Richard; Letellier, Robert Ignatius (2013).
908:
for Act 1 (Council Scene) and Act 2 (Dungeon Scene);
19:
This article is about the opera. For other uses, see
1619:
1617:
1556:
Selk 2018, pp. 13–15 ("Source Valuation and Usage").
1354:
1352:
1254:, Chapter XX. Boston: Small, Maynard & Co., 1919
1330:"Meyerbeer: Vasco de Gama review – markedly uneven"
1314:Cruz, Gabriela, "Meyerbeer's Music of the Future",
1280:
1278:
1237:
1235:
1135:
Bernhard Berchthold, Guibee Yang, Claudia Sorokina,
141:The opera was premiered the following year by the
1614:
1349:
1119:NĂ©lusko, Grand Inquisitor, Don Diego, Don Alvar)
2276:
1275:
1232:
376:The opera was premiered on 28 April 1865 by the
303:to edit the music for a performing version, and
1730:"MEYERBEER Vasco da Gama • Frank Beerman, cond"
882:Set designs for the original production at the
519:Critical edition of Meyerbeer's autograph score
1915:, Opéra en cinq actes, Paroles d'Eugène Scribe
2097:
966:
2072:"L'Africaine; A lyric dramma, in five acts"
1961:. Paris: Bibliothèque nationale de France.
1483:, Vol. 67, No. 2, February 2016, pp. 193–4.
873:
2260:
2104:
2090:
1547:, Ricordi website, accessed 26 March 2019.
1477:Solare, Carlos Maria. Report from Berlin.
47:
2053:International Music Score Library Project
1736:, vol. 38, no. 3 (January/February 2015).
1190:
1188:
1186:
2310:Opera world premieres at the Paris Opera
2065:Visual documentation of the premiere on
1917:, Kritischer Bericht . Berlin: Ricordi.
1680:Arsenty & Letellier 2013, pp. 48–51.
1076:San Francisco Opera Chorus and Orchestra
992:NĂ©lusko, Grand Inquisitor, High Priest)
888:
877:
558:
546:
364:
307:to edit the libretto. Because the title
168:
1976:. Paris: Deposé au journal L'Entr'acte
1750:The Meyerbeer Libretti, Grand Opéra 4,
1093:(based on Meyerbeer's unedited version)
2277:
2015:The Concise Oxford Dictionary of Opera
1937:The Career and Legend of Vasco da Gama
1404:. Die Theater Chemnitz. Archived from
1327:
1183:
1106:(based on Meyerbeer's unedited version
870:tree. NĂ©lusko follows her into death.
360:
299:(the director of the Opéra) appointed
2111:
2085:
1974:L'Opéra au Palais Garnier (1875–1962)
1367:Pitou 1990, p. 13; Wolff 1962, p. 25.
569:Roles, voice types, and premiere cast
423:The work had its British premiere at
2290:Cultural depictions of Vasco da Gama
2074:, Italian and English, digitized by
1694:on operadis-opera-discography.org.uk
935:, and the costumes were designed by
774:('de Gama' in the French libretto).
1828:Letellier, Robert Ignatius (2008).
1492:
1017:, Graziano del Vivo, Mario Rinaudo
1008:Veriano Lucchetti, Mietta Sighele,
782:, at sea, and in an exotic new land
53:Cover of the 1865 piano-vocal score
13:
1988:. Paris: Slatkine (1983 reprint).
469:In 2013, a preliminary edition by
149:, who restored the earlier title,
14:
2356:
2028:
1895:The New Grove Dictionary of Opera
1386:Press release of Teatro La Fenice
1318:25: 169–202 (Summer–Autumn 2009).
807:him. De Gama is then imprisoned.
132:and introduced the working title
2259:
2034:
1898:(4 volumes). London: Macmillan.
1832:. Hampshire, England: Ashgate.
1815:The Operas of Giacomo Meyerbeer
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1148:, Robert Schumann Philharmonie
674:Belval (Jules-Bernard Gaffiot)
499:as SĂ©lika. A new production of
2340:Operas set in the 15th century
1499:seenandheard-international.com
1266:
1257:
1244:
1215:
1206:
1197:
665:president of the Royal Council
164:
1:
1878:. New York: Greenwood Press.
1328:Ashley, Tim (6 August 2014).
1172:
1162:Lynn René Bayley, writing in
1117:(Vasco de Gama, Inès, Sélika,
990:(Vasco de Gama, Inès, Sélika,
958:
529:Giacomo Meyerbeer Werkausgabe
431:and was staged four times at
1272:Letellier 2006, pp. 248–249.
585:Premiere cast, 28 April 1865
7:
2325:Operas by Giacomo Meyerbeer
2320:Operas based on real people
1599:Chouquet, pp. 421–422
1543:Selk 2018, p. 13. See also
1520:"L'Africaine/Vasco de Gama"
795:The council chamber, Lisbon
765:
551:Costume design for SĂ©lika (
116:in five acts with music by
10:
2361:
2330:Operas completed by others
2214:Ein Feldlager in Schlesien
1941:Cambridge University Press
1811:Letellier, Robert Ignatius
1568:, Archivo Storico Ricordi.
1124:Opera house and orchestra
997:Opera house and orchestra
218:Meyerbeer resumed work on
21:Africaine (disambiguation)
18:
2305:Libretti by Eugène Scribe
2256:
2119:
1799:Huebner, Steven (1992). "
756:
501:L'Africaine/Vasco de Gama
384:in Paris under the title
76:
68:
58:
46:
35:
28:
1972:Wolff, Stéphane (1962).
1803: " in Sadie (1992)
1376:Subrahmanyam 1997, p. 9.
1102:discography recorded as
874:Designs for the premiere
855:
841:
824:
810:
789:
542:
452:War Memorial Opera House
284:Charlotte Birch-Pfeiffer
182:Charles Hubert Millevoye
2152:Semiramide riconosciuta
1671:Letellier 2008, p. 174.
1358:Letellier 2008, p. 172.
1346:Letellier 2008, p. 158.
1299:Cambridge Opera Journal
1263:Meyerbeer 2004, p. 340.
1241:Letellier 2006, p. 248.
1203:Letellier 2006, p. 246.
785:Time: late 15th century
577:(per critical edition)
81:28 April 1865
2335:Operas set in Portugal
2295:French-language operas
2139:(1813) (also known as
1454:"Opernhaus des Jahres"
925:Jean-Baptiste Lavastre
910:Charles-Antoine Cambon
897:
886:
727:Le Grand Inquisiteur,
564:
556:
491:in October 2015, with
373:
358:
177:
2184:Il crociato in Egitto
1909:Selk, JĂĽrgen (2018).
1874:Pitou, Spire (1990).
1420:"Giacomo Meyerbeer –
892:
881:
743:high priest of Brahma
631:daughter of Don Diégo
589:François George-Hainl
562:
550:
511:as Vasco de Gama and
495:as Vasco de Gama and
458:; and in 1977 at the
425:Covent Garden Theatre
368:
353:
301:François-Joseph Fétis
271:Le Pardon de Ploërmel
172:
147:François-Joseph Fétis
145:in a version made by
2043:at Wikimedia Commons
2020:Zimmermann, Reiner,
1933:Subrahmanyam, Sanjay
1653:at Internet Archive.
1545:"Meyerbeer, Giacomo"
893:Working the ship in
523:In December 2018, a
391:Emperor Napoleon III
337:The music historian
262:Meyerbeer's work on
110:) is an 1865 French
1108:
981:
902:Auguste Alfred Rubé
830:On Don PĂ©dro's ship
657:Jean-Baptiste Faure
571:
462:in Barcelona, with
361:Performance history
297:CĂ©sar-Victor Perrin
190:La Veuve de Malabar
176:, portrayed in 1847
2198:Ballet of the Nuns
2176:L'esule di Granata
2168:Margherita d'Anjou
2136:Die beiden Kalifen
1097:
1080:DVD: ArtHaus Musik
1015:Giangiacomo Guelfi
974:
929:Edouard Desplechin
898:
887:
697:confidante of Inès
645:Yoriko (NĂ©lusko),
567:
565:
557:
503:was staged at the
464:Montserrat Caballé
403:Jean-Pierre Dantan
374:
178:
120:and a libretto by
2345:Unfinished operas
2272:
2271:
2113:Giacomo Meyerbeer
2039:Media related to
2022:Giacomo Meyerbeer
2007:Rosenthal, Harold
1994:978-2-05-000214-2
1904:978-1-56159-228-9
1892:, editor (1992).
1884:978-0-313-26218-0
1853:978-0-8386-3845-3
1838:978-0-7546-6039-2
1823:978-0-8386-4093-7
1779:Chouquet, Gustave
1773:978-1-4438-6433-6
1758:978-1-84718-971-4
1662:Wild 1987, p. 23.
1493:Irurzun, José M.
1160:
1159:
1086:
1085:
906:Philippe Chaperon
884:Salle Le Peletier
763:
762:
689:Armand Castelmary
382:Salle Le Peletier
324:Germain Delavigne
228:Ferdinand de Soto
174:Giacomo Meyerbeer
118:Giacomo Meyerbeer
108:The African Woman
99:
98:
41:Giacomo Meyerbeer
16:1865 French opera
2352:
2263:
2262:
2230:L'Ă©toile du nord
2192:Robert le diable
2160:Emma di Resburgo
2106:
2099:
2092:
2083:
2082:
2051:: Scores at the
2038:
1788:. Paris: Didot.
1787:
1737:
1727:
1721:
1720:
1718:
1716:
1710:Presto Classical
1702:
1696:
1687:
1681:
1678:
1672:
1669:
1663:
1660:
1654:
1652:
1650:
1648:
1621:
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1608:
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1563:
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1548:
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1535:
1534:
1532:
1530:
1516:
1510:
1509:
1507:
1505:
1490:
1484:
1475:
1469:
1468:
1466:
1464:
1450:
1444:
1443:
1441:
1439:
1430:. Archived from
1416:
1410:
1409:
1408:on 14 July 2014.
1394:
1388:
1383:
1377:
1374:
1368:
1365:
1359:
1356:
1347:
1344:
1338:
1337:
1325:
1319:
1312:
1306:
1297:" (March 1999).
1291:
1285:
1282:
1273:
1270:
1264:
1261:
1255:
1252:Musical Memories
1248:
1242:
1239:
1230:
1219:
1213:
1210:
1204:
1201:
1195:
1192:
1109:
1107:
1096:
1073:Maurizio Arena,
1048:Ruth Ann Swenson
1033:CD: Opera d'Oro,
982:
980:
973:
945:
922:
751:Louis-Henri Obin
713:a council member
706:Leonia Levielly
611:Vasco de Gama ,
572:
570:
566:
525:critical edition
477:under the title
339:Robert Letellier
320:Camille Du Locle
265:L'Étoile du nord
186:Antoine Lemierre
88:
86:
51:
26:
25:
2360:
2359:
2355:
2354:
2353:
2351:
2350:
2349:
2275:
2274:
2273:
2268:
2252:
2128:Jephtas GelĂĽbde
2115:
2110:
2031:
2024:(Berlin, 1998).
1785:
1740:
1728:
1724:
1714:
1712:
1706:"Vasco de Gama"
1704:
1703:
1699:
1688:
1684:
1679:
1675:
1670:
1666:
1661:
1657:
1646:
1644:
1643:on 22 July 2011
1631:
1622:
1615:
1609:
1605:
1596:
1592:
1585:
1581:
1576:
1572:
1564:
1560:
1555:
1551:
1542:
1538:
1528:
1526:
1524:operaonline.com
1518:
1517:
1513:
1503:
1501:
1491:
1487:
1476:
1472:
1462:
1460:
1452:
1451:
1447:
1437:
1435:
1434:on 15 June 2014
1418:
1417:
1413:
1396:
1395:
1391:
1384:
1380:
1375:
1371:
1366:
1362:
1357:
1350:
1345:
1341:
1326:
1322:
1316:Opera Quarterly
1313:
1309:
1292:
1288:
1283:
1276:
1271:
1267:
1262:
1258:
1249:
1245:
1240:
1233:
1220:
1216:
1211:
1207:
1202:
1198:
1193:
1184:
1175:
1155:
1144:
1136:
1123:
1118:
1116:
1098:
1095:
1081:
1074:
1055:
1052:Shirley Verrett
1044:Plácido Domingo
1034:
1029:
1024:
1013:
996:
991:
989:
975:
972:
961:
939:
916:
876:
858:
847:SĂ©lika's island
844:
827:
813:
801:Bartolomeu Dias
792:
768:
613:a naval officer
586:
576:
568:
545:
521:
505:Frankfurt Opera
471:Jürgen Schläder
456:Shirley Verrett
448:Plácido Domingo
395:Empress Eugénie
363:
276:Sophie Cruvelli
206:Cornélie Falcon
167:
95:
94:
89:
84:
82:
54:
31:(Vasco de Gama)
30:
24:
17:
12:
11:
5:
2358:
2348:
2347:
2342:
2337:
2332:
2327:
2322:
2317:
2312:
2307:
2302:
2297:
2292:
2287:
2270:
2269:
2265:List of operas
2257:
2254:
2253:
2251:
2250:
2242:
2234:
2226:
2218:
2210:
2202:
2188:
2180:
2172:
2164:
2156:
2148:
2141:wirth und Gast
2132:
2123:
2121:
2117:
2116:
2109:
2108:
2101:
2094:
2086:
2080:
2079:
2078:on archive.org
2069:
2063:
2055:
2044:
2030:
2029:External links
2027:
2026:
2025:
2018:
2017:(Oxford, 1979)
1998:
1997:
1970:
1952:
1930:
1907:
1890:Sadie, Stanley
1887:
1872:
1856:
1841:
1826:
1808:
1807:: 31–33.
1797:
1776:
1761:
1739:
1738:
1722:
1697:
1690:Recordings of
1682:
1673:
1664:
1655:
1613:
1603:
1590:
1579:
1570:
1566:ID: ICON006087
1558:
1549:
1536:
1511:
1485:
1470:
1458:Kultiversum.de
1445:
1411:
1389:
1378:
1369:
1360:
1348:
1339:
1320:
1307:
1305:(1): pp. 31–76
1286:
1274:
1265:
1256:
1243:
1231:
1214:
1205:
1196:
1181:
1174:
1171:
1158:
1157:
1149:
1146:Chemnitz Opera
1141:Frank Beermann
1138:
1133:
1129:
1128:
1125:
1120:
1113:
1094:
1087:
1084:
1083:
1078:
1071:
1069:Kevin Anderson
1061:Joseph Rouleau
1041:
1037:
1036:
1035:Cat: OPD 1467
1031:
1018:
1006:
1002:
1001:
998:
993:
986:
971:
967:Recordings as
965:
960:
957:
914:Joseph Thierry
875:
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857:
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843:
840:
826:
823:
812:
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649:
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636:
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625:
620:
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608:
607:
602:
597:
593:
592:
583:
578:
544:
541:
520:
517:
513:Claudia Mahnke
509:Michael Spyres
493:Roberto Alagna
475:Chemnitz Opera
473:was staged by
441:Guido d'Arezzo
429:Angelo Mariani
418:Palais Garnier
362:
359:
345:Tim Ashley of
332:Ronde bachique
166:
163:
97:
96:
90:
80:
78:
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65:
60:
56:
55:
52:
44:
43:
33:
32:
15:
9:
6:
4:
3:
2:
2357:
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2267:
2266:
2255:
2248:
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2243:
2240:
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2235:
2232:
2231:
2227:
2224:
2223:
2219:
2216:
2215:
2211:
2208:
2207:
2206:Les Huguenots
2203:
2200:
2199:
2194:
2193:
2189:
2186:
2185:
2181:
2178:
2177:
2173:
2170:
2169:
2165:
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2161:
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2042:
2037:
2033:
2032:
2023:
2019:
2016:
2012:
2008:
2005:
2004:
2003:
2002:
2001:Other sources
1995:
1991:
1987:
1983:
1979:
1975:
1971:
1968:
1967:2-7177-1753-6
1964:
1960:
1956:
1953:
1950:
1949:0-521-64629-4
1946:
1942:
1938:
1934:
1931:
1928:
1924:
1920:
1916:
1913:Vasco de Gama
1912:
1908:
1905:
1901:
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1896:
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1839:
1835:
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1827:
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1812:
1809:
1806:
1802:
1801:Africaine, L'
1798:
1795:
1791:
1784:
1780:
1777:
1774:
1770:
1766:
1762:
1759:
1755:
1751:
1747:
1746:
1745:
1744:
1743:Cited sources
1735:
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1711:
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1422:Vasco de Gama
1415:
1407:
1403:
1401:
1400:Vasco de Gama
1393:
1387:
1382:
1373:
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1355:
1353:
1343:
1335:
1334:The Guardian]
1331:
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1300:
1296:
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1279:
1269:
1260:
1253:
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1238:
1236:
1228:
1227:Vasco de Gama
1224:
1223:Vasco da Gama
1218:
1209:
1200:
1194:Huebner 1992.
1191:
1189:
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1167:
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1114:
1111:
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1105:
1104:Vasco de Gama
1101:
1092:
1091:Vasco de Gama
1089:Recording as
1082:Cat: 100 217
1079:
1077:
1072:
1070:
1066:
1062:
1058:
1053:
1049:
1045:
1042:
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1032:
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1022:
1021:Riccardo Muti
1019:
1016:
1011:
1010:Jessye Norman
1007:
1004:
1003:
999:
994:
987:
984:
983:
978:
970:
964:
956:
954:
953:mise en scène
950:
949:Arthur Pougin
943:
938:
934:
933:Louis MĂ©rante
930:
926:
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839:
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832:
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817:
808:
806:
805:anathematises
802:
797:
796:
784:
781:
777:
776:
775:
773:
772:Vasco da Gama
759:
755:
752:
749:
746:
744:
740:
739:
736:Joseph David
735:
732:
730:
726:
725:
722:
719:
716:
714:
710:
709:
705:
703:
702:mezzo-soprano
700:
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661:
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637:
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628:
627:
624:
623:Emilio Naudin
621:
619:
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595:
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584:
582:
579:
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561:
554:
549:
540:
538:
537:Vasco de Gama
534:
530:
526:
516:
514:
510:
507:in 2018 with
506:
502:
498:
494:
490:
489:Deutsche Oper
486:
485:
480:
479:Vasco de Gama
476:
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430:
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421:
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410:
406:
404:
400:
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392:
387:
383:
379:
372:as Don Alvaro
371:
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333:
329:
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267:
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257:Vasco de Gama
254:
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249:Vasco da Gama
246:
245:
240:
235:
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216:
214:
213:
207:
203:
201:
200:
196:in his opera
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191:
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175:
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162:
160:
156:
155:Vasco de Gama
152:
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144:
139:
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135:Vasco de Gama
131:
130:Vasco da Gama
127:
123:
122:Eugène Scribe
119:
115:
114:
109:
105:
104:
93:
79:
75:
71:
67:
64:
63:Eugène Scribe
61:
57:
50:
45:
42:
38:
34:
27:
22:
2300:Grand operas
2258:
2245:
2244:
2236:
2228:
2220:
2212:
2204:
2196:
2190:
2182:
2174:
2166:
2158:
2150:
2144:
2140:
2134:
2126:
2058:
2047:
2021:
2014:
2011:John Warrack
2000:
1999:
1973:
1958:
1955:Wild, Nicole
1936:
1914:
1910:
1893:
1875:
1844:
1829:
1814:
1804:
1800:
1794:Google Books
1782:
1764:
1749:
1742:
1741:
1733:
1725:
1713:. Retrieved
1709:
1700:
1691:
1685:
1676:
1667:
1658:
1645:. Retrieved
1641:the original
1634:
1625:
1606:
1593:
1582:
1573:
1561:
1552:
1539:
1527:. Retrieved
1523:
1514:
1502:. Retrieved
1498:
1488:
1478:
1473:
1461:. Retrieved
1457:
1448:
1436:. Retrieved
1432:the original
1427:
1421:
1414:
1406:the original
1399:
1392:
1381:
1372:
1363:
1342:
1333:
1323:
1315:
1310:
1302:
1298:
1294:
1289:
1268:
1259:
1251:
1246:
1226:
1222:
1217:
1208:
1199:
1177:
1176:
1163:
1161:
1156:Cat:7778282
1103:
1099:
1090:
1065:Mark Delavan
1057:Justino DĂaz
976:
968:
962:
952:
937:Paul Lormier
899:
894:
864:
860:
859:
850:
846:
845:
833:
829:
828:
819:
815:
814:
798:
794:
793:
769:
757:
742:
728:
721:Victor Warot
712:
711:Don Alvaro,
696:
680:
664:
646:
630:
612:
587:(Conductor:
536:
528:
522:
500:
482:
478:
468:
445:
437:
422:
408:
407:
385:
375:
370:Victor Warot
354:
348:The Guardian
346:
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331:
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293:
269:
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189:
179:
154:
150:
140:
134:
133:
125:
111:
107:
102:
101:
100:
2285:1865 operas
2246:L'Africaine
2222:Le prophète
2059:L'Africaine
2048:L'Africaine
2041:L'Africaine
1786:(in French)
1692:L'Africaine
1529:21 December
1504:20 December
1428:Kulturradio
1295:L'Africaine
1100:L'Africaine
979:discography
977:L'Africaine
969:L'Africaine
940: [
917: [
895:L'Africaine
741:Zanguebar,
679:Don Diégo,
663:Don PĂ©dro,
639:Marie Battu
605:Marie Sasse
515:as Selika.
497:Sophie Koch
409:L'Africaine
386:L'Africaine
309:L'Africaine
253:L'Africaine
244:The Lusiads
232:Niger River
220:L'Africaine
212:Le Prophète
194:Louis Spohr
165:Composition
151:L'Africaine
143:Paris Opéra
126:L'Africaine
113:grand opéra
103:L'Africaine
92:Paris Opéra
37:Grand opéra
29:L'Africaine
2279:Categories
1927:1080901564
1923:1083902235
1647:5 November
1635:Don Carlos
1627:Don Carlos
1173:References
1122:Conductor,
995:Conductor,
959:Recordings
868:manchineel
861:The island
816:The prison
681:an admiral
581:Voice type
555:, undated)
313:Madagascar
305:MĂ©lesville
289:full score
224:Philip III
85:1865-04-28
59:Librettist
1986:460748195
1869:886827216
1865:880851882
836:Adamastor
729:of Lisbon
484:Opernwelt
433:La Fenice
399:telegraph
2195:(1831) (
2145:Alimelek
1957:(1987).
1935:(1997).
1813:(2006).
1781:(1873).
766:Synopsis
652:baritone
635:soprano
199:Jessonda
77:Premiere
69:Language
2238:Dinorah
2067:Gallica
2013:(eds),
1982:7068320
1734:Fanfare
1715:15 June
1463:15 June
1438:15 June
1165:Fanfare
778:Place:
647:a slave
600:soprano
596:SĂ©lica
553:Ricordi
533:Ricordi
380:at the
351:wrote:
239:Camoens
159:Ricordi
83: (
2315:Operas
2249:(1865)
2241:(1859)
2233:(1854)
2225:(1849)
2217:(1844)
2209:(1836)
2187:(1824)
2179:(1822)
2171:(1820)
2163:(1819)
2155:(1819)
2131:(1812)
2120:Operas
1992:
1980:
1965:
1947:
1921:
1902:
1882:
1863:
1851:
1836:
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1771:
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1127:Label
1112:Year,
1000:Label
780:Lisbon
717:tenor
695:Anna,
629:Inès,
413:francs
328:Brahma
72:French
1611:331).
1480:Opera
1178:Notes
1132:2014
1040:1988
1005:1971
985:Year
944:]
921:]
856:Act 5
842:Act 4
825:Act 3
811:Act 2
790:Act 1
747:bass
733:bass
685:bass
618:tenor
543:Roles
531:, by
460:Liceu
378:Opéra
2143:and
2009:and
1990:ISBN
1978:OCLC
1963:ISBN
1945:ISBN
1919:OCLC
1900:ISBN
1880:ISBN
1861:OCLC
1849:ISBN
1834:ISBN
1819:ISBN
1790:View
1769:ISBN
1754:ISBN
1717:2014
1649:2010
1531:2018
1506:2018
1465:2014
1440:2014
1115:Cast
988:Cast
912:and
904:and
866:the
670:bass
575:Role
393:and
280:Nice
268:and
2076:BYU
1792:at
1153:CPO
1151:CD:
255:to
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1984:,
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