420:
160:
19:
254:
290:
smuggle him into
Marjolaine's bedroom in a large chest. From this hiding place he watches her undress, and is much affected by her beauty. Frickel comes to warn Marjolaine of the bachelors' plot against her, and Annibal seizes his opportunity. He pushes Frickel into a cupboard, locks it, and rouses the house. Marjolaine is hopelessly compromised, discovered with a man in her room. The Baron admits that he has lost the bet and hands over the castle and his possessions to Annibal.
1112:
274:
a disreputable group dedicated to seducing other men's wives, but is now, it is obliquely suggested, past seducing anybody, even his own wife. The new
Baroness also has an unusual history: before marrying, she won the city's official award for virtue eight times, and has come to see if she can win it again. With her husband's support she does so and is once again awarded the gold medal for virtue.
512:. Operetta's buffoonery has given way to a refined, delicate musical style which is agreeable both to the public and to musicians. This little muse of opera buffa, svelte and clear, laughing with silvery directness but without crudity, boldly continues its way towards opera-comique, and it is M. Lecocq who leads her by the hand.
277:
Frickel has returned from Bruges and is distressed to find
Marjolaine married. The group of predatory bachelors arrive. The married men of the city are horrified; their wives express mixed feelings. Annibal, the Baron's successor as head of the group, is outraged to find his former leader respectably
273:
Marjolaine, a simple country girl, once loved and was loved by
Frickel, a handsome young clockmaker, but tiring of his three-year absence mending the old clock in Bruges she accepted a proposal of marriage from Palamède, Baron Van der Boom, a rich and elderly bachelor. The Baron was once the head of
305:
The Baron, reduced to poverty by his lost bet, is living alone, with only a dead fowl called George to keep him company. Frickel and
Marjolaine are wandering the country selling clocks. The Baron obtains a divorce, discovering just too late that he has been deceived by Annibal. He tries to stop the
289:
Confident in his wife's virtue, the Baron has invited the league of bachelors to be his guests at the castle. Alone with
Marjolaine, Annibal thinks his attempts at seduction are working until she gives him a severe box on the ears. Despite this setback he intends to persist, and bribes a servant to
469:
The first production outside France was in March 1877 at the Théâtre des
Fantaisies-Parisiennes in Brussels, where Lecocq had been based before moving back to Paris. Eugène Humbert, the director of the Fantaisies-Parisiennes, planned to take his company to play the piece in London, as he had with
526:; he found the libretto very funny but "spicy, not to say smutty, in the extreme". His London confrère, reviewing the British premiere, found the piece less risqué, but thought Lecocq's score curiously unequal, the first act much superior to the other two.
98:
were interspersed with works that failed to attract the public. A generally sympathetic profile of him in the musical press suggested that he was "making himself rather too cheap, and writing too much to be invariably fortunate". Having had a success with
500:, Édouard Noël and Edmond Stoullig thought the music of the first act the best of the score, and the other two acts, despite some fine numbers, rather padded with predictable material. The music critic of the
413:
Scene and couplets (Marjolaine, Frickel, Baron, Annibal, Chorus) – Monsieur, comment êtes-vous chez ma femme – Ah! vraiment! mon pauvre mari (Sir, how are you in my wife's room? – Ah! Really! My poor husband!)
278:
married, but promises not to try to seduce the new
Baroness. The Baron is not worried, and dares him to try. He bets Annibal that Marjolaine will box the ears of anyone attempting to impugn her honour.
306:
divorce, but cannot. Annibal hopes that
Marjolaine will choose him. To his and the Baron's chagrin she rejects them both, chooses Frickel, and declares that at last she has obtained the
139:, returned to Paris from St Petersburg, where she had been playing a season. The opera opened on 3 February 1877 and was a box-office success, although it did not break records as
51:, Paris on 3 February 1877 and had a fairly successful run of 117 performances. The work was staged in continental Europe, Britain and the Americas over the next few years.
58:; it depicts a deceitful, and ultimately unsuccessful, attempt to damage a virtuous woman's reputation. The central role was taken in the original production by
143:
had done. It ran for 117 performances until the
Renaissance closed for the summer, as was then the usual practice in Paris. It was generally expected that
135:, with a faithful wife falling victim to a plot that falsely impugns her honour. Koning and Lecocq delayed the production until their star soprano,
924:
496:
906:
1115:
88:
was Lecocq's third piece for the Renaissance. He was a prolific composer, and among his substantial output his successes such as
875:
853:
800:
70:
Having moved back to Paris after being based in Brussels in the first half of the 1870s, Lecocq became associated with the
445:
Ensemble and couplets (Baron, Boys, Schaerbeck, D'Escoublac, Peterschof, Annibal) – C'est mon livret (This is my booklet)
486:, New York, in the same month by Marie Aimée's company. The piece was staged in Vienna in 1880 and Montevideo in 1881.
1150:
1004:
1145:
358:
War chant (Boys, D'Escoublac, Schaerbeck, Annibal) – Il est précis, il est concis (It is accurate; it is concise)
71:
48:
686:
899:
508:
Never has M. Ch. Lecocq given the public a work more carefully structured, more felicitous in melody, than
483:
983:
169:
117:
is a less comic opera than most Lecocq works, and for his next attempt the composer set a racier story.
1052:
1155:
941:
80:
470:
earlier Lecocq operas, but the plan fell through. The British premiere was in October 1877 at the
457:
Duet (Marjolaine, Annibal) – Et pourtant, quel rêve enchanteur (And yet, what an enchanting dream)
125:, in their third collaboration with Lecocq, wrote a libretto that has comic echoes of the plot of
892:
398:
Trio (Marjolaine, Aveline, Annibal) – Je sens se fermer ma paupière (I feel my eyelids closing)
337:
Couplets (Aveline) – Vois-tu, j'ai le coeur trop sensible (You see, my heart is too sensitive)
328:
Entrance of the Mayor (Town Crier, Major) – Mes amis, je vous remercie (My friends, thank you)
538:
793:
Music Criticism in Nineteenth-century France: La Revue et Gazette musicale de Paris, 1834-80
1140:
460:
Finale (Marjolaine, Chorus) – Avant de nous mettre en ménage (Before we join the household)
8:
969:
548:
518:
126:
1038:
404:
Couplets (Annibal) – A l'heure où s'unissent tremblants (At a time when trembling unite)
383:
Chorus (behind the curtain) – Ah! compère, le gai festin I (Ah, partner, the gay treat!)
118:
101:
40:
1097:
962:
554:
528:
442:
Couplets (Annibal)– Avril ramène les beaux jours (April brings back the beautiful days)
401:
Couplets (Marjolaine, Frickel) – Un mari semblable mérite (A husband deserves the same)
386:
Duet (Aveline, Frickel) – Allons! venez çà , la fillette! (Hurry! Come here young lady!)
1031:
389:
Song (Maguelonne) – Magu'lonne allant à la fontaine (Magu'lonne going to the fountain)
349:
Duet (Marjolaine, Frickel) – Je ne suis plus la Marjolaine (I am no longer Marjolaine)
175:
94:
1090:
976:
871:
849:
832:
815:
796:
392:
Duet (Marjolaine, Annibal) – Monsieur, monsieur, je vous en prie! (Monsieur, please!)
346:
Air (Aveline, Frickel, Peterschop) – Ahl comme il était détraqué! (Ah! Out of order!)
159:
105:
which ran for 212 performances at the Renaissance in 1875–1876, he followed it with
1072:
863:
448:
Couplets (Aveline) – Il me grondait, il me brusquait (He scolded me, he hustled me)
340:
Rondeau (Marjolaine)– Pendant que vous dormiez encore (While you were still asleep)
151:
was given another staging, bringing its total performances to more than a hundred.
932:
523:
1135:
997:
542:
took a different view of the originality of the plot, finding echoes not only of
471:
1024:
1015:
32:
990:
915:
564:
205:
136:
59:
36:
419:
410:
Chorus – Ciel! quel spectacle imprévu (Heavens! what an unforeseen spectacle!)
361:
Presentation (all) – Permets qu'ici je te présente (Allow me to introduce you)
1129:
846:
The Teatro SolĂs : 150 years of opera, concert, and ballet in Montevideo
819:
479:
122:
75:
44:
836:
334:
Couplets (Mayor) – Jeunes filles, selon l'usage (Girls, according to custom)
955:
475:
454:
Complaint (Marjolaine) – Ah! plaignez la misère (Ah! complain about misery)
253:
395:
Ensemble (Marjolaine, Chorus) – Voici l'heure du couvre-feu (Curfew time)
364:
Ensemble (all) – L'aventure est surprenante (The adventure is surprising)
352:
Ensemble (Aveline, Peterschop and chorus) – Ils sont ici! (They are here)
266:
18:
1063:
331:
Chorus of girls – Baissant les yeux modestement (Eyes lowered modestly)
62:, who created the leading parts in several Lecocq operas of the 1870s.
299:
131:
247:
55:
439:
Chorus of youngsters – Ohé! ohé! les camarades! (Hey, classmates!)
343:
Couplets (Baron) – Dix est un chiffre rond (Ten is a round number)
884:
482:
as the Baron. The first American production was presented at the
111:, a mock-oriental piece that lasted for 75 performances in 1876.
948:
107:
829:
Les annales du théâtre et de la musique. Troisième année: 1877
522:
wrote that Lecocq's style moved more and more to that of true
812:
Les annales du théâtre et de la musique. Deuxième année: 1876
355:
Chorus of husbands – Nous sommes consternés (We are dismayed)
451:
Couplets (Marjolaine, Frickel) – Coucous! coucous! (Cuckoo!)
325:
Chorus – Bourgeoises et bourgeois (Townswomen and townsmen)
47:, the third collaboration by the three. It opened at the
370:
Finale (chorus) – Elle a la médaille (She has the medal)
65:
367:
Chorus – Accourons tous, dépêchons-nous (Let us hurry)
147:
would re-open the theatre in September, but instead
826:
809:
1127:
436:Chorus – Le nouveau propriétaire (The new owner)
848:. Middletown, Conn: Wesleyan University Press.
536:, and the story and characters more original.
900:
532:thought the score much livelier than that of
907:
893:
709:, January 1880, p. 8; and Salgaldo, p. 252
670:"'La Marjolaine' at the Royalty Theatre",
571:
862:
418:
267:The Place de la HĂ´tel-de-Ville, Brussels
252:
158:
17:
843:
827:Noël, Edouard; Edmond Stoullig (1878).
810:Noël, Edouard; Edmond Stoullig (1877).
497:Les Annales du Théâtre et de la Musique
1128:
888:
790:
682:
680:
489:
831:(in French). Paris: G. Charpentier.
814:(in French). Paris: G. Charpentier.
635:Noël and Stoullig, 1878, pp. 449–450
631:
629:
464:
423:Costume design for Marjolaine, Act 3
78:, co-librettist of his biggest hit,
66:Background and original performances
718:Noël and Stolling 1877, pp. 447–448
13:
914:
733:Revue et Gazette musicale de Paris
677:
502:Revue et Gazette musicale de Paris
14:
1167:
626:
54:The piece is set in 16th century
22:Poster for 1877 production, Paris
1111:
1110:
154:
768:
755:
742:
721:
712:
699:
601:Noël and Stoullig, 1877, p. 581
168:Palamède, Baron Van der Boom –
868:Operetta: A Theatrical History
795:. Cambridge University Press.
664:
651:
638:
613:
604:
595:
582:
1:
576:
35:in three acts, with music by
925:List of operas and operettas
7:
516:The Paris correspondent of
241:
237:Charlotte – Mlle. Dhancourt
10:
1172:
784:
707:The Monthly Musical Record
619:"New Opera by M. Lecocq",
592:, 10 December 1881, p. 797
313:
257:1877 illustration of Act 1
1107:
1082:
1062:
1014:
931:
922:
791:Ellis, Katharine (2007).
674:, 20 October 1877, p. 508
231:Young girl – Mlle. Néline
225:Christophe – Mlle. Dianie
189:D'Escoublac – M. Gaussins
174:Annibal de l'Estrapade –
72:Théâtre de la Renaissance
49:Théâtre de la Renaissance
1151:Operas by Charles Lecocq
1005:La belle au bois dormant
942:La fille de Madame Angot
844:Salgado, Susana (2003).
778:, 17 October 1877, p. 11
752:, 18 February 1877, p. 7
195:Town crier – M. Cailloux
170:Jean-François Berthelier
141:La fille de Madame Angot
90:La fille de Madame Angot
81:La fille de Madame Angot
765:, 14 October 1877, p. 6
695:(subscription required)
693:, 2 October 1877, p. 5
657:"Music and the Drama",
623:, 5 February 1877, p. 2
192:Schaerbeck – M. Valotte
183:Péterschop – M. Caliste
1146:French-language operas
748:"The Drama in Paris",
572:References and sources
514:
424:
258:
234:Gudule – Mlle. Davenay
222:Robert – Mlle. Dareine
219:Christian – Mlle. Bied
198:Alderman – M. Robillot
186:The Mayor – M. Hervier
164:
23:
870:. London: Routledge.
776:The Pall Mall Gazette
739:in Ellis, pp. 204–205
661:, 21 March 1877, p. 3
648:, 9 June 1877, p. 747
539:The Pall Mall Gazette
506:
422:
256:
250:in the 16th century.
210:Aveline – Mlle. Théol
180:Frickel – Félix Puget
162:
21:
735:, 11 February 1877,
562:, the play on which
246:The opera is set in
228:Franz – Mlle. Andrée
213:Petrus – Mlle. Carli
201:Alderman – M. Gisors
970:Le coeur et la main
705:"Music in Vienna",
163:Vauthier as Annibal
74:, which was run by
1053:Le jour et la nuit
691:The New York Times
644:"Musical Gossip",
588:"Charles Lecocq",
555:Linda di Chamounix
529:The New York Times
490:Critical reception
478:as Marjolaine and
425:
286:The Baron's castle
259:
165:
24:
1123:
1122:
877:978-1-138-13892-6
864:Traubner, Richard
855:978-0-8195-6593-8
802:978-0-521-03589-7
774:"La Marjolaine",
761:"La Marjolaine",
590:The Musical World
465:Later productions
310:prize of virtue.
216:Karl – Mlle. Ribe
1163:
1114:
1113:
1073:Les cent vierges
1039:La petite mariée
909:
902:
895:
886:
885:
881:
859:
840:
823:
806:
779:
772:
766:
759:
753:
746:
740:
725:
719:
716:
710:
703:
697:
696:
684:
675:
668:
662:
655:
649:
642:
636:
633:
624:
617:
611:
608:
602:
599:
593:
586:
534:La petite mariée
484:Broadway Theatre
119:Eugène Leterrier
102:La petite mariée
41:Eugène Leterrier
1171:
1170:
1166:
1165:
1164:
1162:
1161:
1160:
1126:
1125:
1124:
1119:
1103:
1098:Mam'zelle Angot
1078:
1058:
1032:Giroflé-Girofla
1010:
927:
918:
913:
878:
856:
803:
787:
782:
773:
769:
760:
756:
747:
743:
726:
722:
717:
713:
704:
700:
694:
685:
678:
669:
665:
656:
652:
643:
639:
634:
627:
618:
614:
610:Traubner, p. 77
609:
605:
600:
596:
587:
583:
579:
574:
492:
474:, London, with
472:Royalty Theatre
467:
316:
304:
302:, near Brussels
296:
288:
284:
270:
264:
244:
176:Eugène Vauthier
157:
95:Giroflé-Girofla
68:
12:
11:
5:
1169:
1159:
1158:
1156:Opéras bouffes
1153:
1148:
1143:
1138:
1121:
1120:
1108:
1105:
1104:
1102:
1101:
1094:
1086:
1084:
1080:
1079:
1077:
1076:
1068:
1066:
1060:
1059:
1057:
1056:
1049:
1042:
1035:
1028:
1020:
1018:
1012:
1011:
1009:
1008:
1001:
994:
987:
980:
973:
966:
959:
952:
945:
937:
935:
929:
928:
923:
920:
919:
916:Charles Lecocq
912:
911:
904:
897:
889:
883:
882:
876:
860:
854:
841:
824:
807:
801:
786:
783:
781:
780:
767:
754:
741:
720:
711:
698:
676:
663:
659:Weekly Journal
650:
637:
625:
612:
603:
594:
580:
578:
575:
573:
570:
565:Die Fledermaus
491:
488:
466:
463:
462:
461:
458:
455:
452:
449:
446:
443:
440:
437:
434:
417:
416:
415:
414:
411:
405:
402:
399:
396:
393:
390:
387:
384:
381:
372:
371:
368:
365:
362:
359:
356:
353:
350:
347:
344:
341:
338:
335:
332:
329:
326:
323:
315:
312:
243:
240:
239:
238:
235:
232:
229:
226:
223:
220:
217:
214:
211:
208:
206:Jeanne Granier
202:
199:
196:
193:
190:
187:
184:
181:
178:
172:
156:
153:
137:Jeanne Granier
67:
64:
60:Jeanne Granier
37:Charles Lecocq
9:
6:
4:
3:
2:
1168:
1157:
1154:
1152:
1149:
1147:
1144:
1142:
1139:
1137:
1134:
1133:
1131:
1118:
1117:
1106:
1100:
1099:
1095:
1093:
1092:
1088:
1087:
1085:
1081:
1075:
1074:
1070:
1069:
1067:
1065:
1061:
1055:
1054:
1050:
1048:
1047:
1046:La Marjolaine
1043:
1041:
1040:
1036:
1034:
1033:
1029:
1027:
1026:
1022:
1021:
1019:
1017:
1013:
1007:
1006:
1002:
1000:
999:
995:
993:
992:
988:
986:
985:
981:
979:
978:
974:
972:
971:
967:
965:
964:
960:
958:
957:
953:
951:
950:
946:
944:
943:
939:
938:
936:
934:
933:Opéra comique
930:
926:
921:
917:
910:
905:
903:
898:
896:
891:
890:
887:
879:
873:
869:
865:
861:
857:
851:
847:
842:
838:
834:
830:
825:
821:
817:
813:
808:
804:
798:
794:
789:
788:
777:
771:
764:
758:
751:
745:
738:
734:
730:
724:
715:
708:
702:
692:
688:
683:
681:
673:
672:The Athenaeum
667:
660:
654:
647:
646:The Athenaeum
641:
632:
630:
622:
616:
607:
598:
591:
585:
581:
569:
567:
566:
561:
557:
556:
551:
550:
545:
541:
540:
535:
531:
530:
525:
524:opéra comique
521:
520:
513:
511:
510:La Marjolaine
505:
503:
499:
498:
487:
485:
481:
480:Lionel Brough
477:
473:
459:
456:
453:
450:
447:
444:
441:
438:
435:
432:
431:
430:
429:
421:
412:
409:
408:
406:
403:
400:
397:
394:
391:
388:
385:
382:
379:
378:
377:
376:
369:
366:
363:
360:
357:
354:
351:
348:
345:
342:
339:
336:
333:
330:
327:
324:
321:
320:
319:
311:
309:
303:
301:
295:
291:
287:
283:
279:
275:
271:
269:
268:
263:
255:
251:
249:
236:
233:
230:
227:
224:
221:
218:
215:
212:
209:
207:
204:Marjolaine –
203:
200:
197:
194:
191:
188:
185:
182:
179:
177:
173:
171:
167:
166:
161:
155:Original cast
152:
150:
146:
145:La Marjolaine
142:
138:
134:
133:
128:
124:
123:Albert Vanloo
120:
116:
112:
110:
109:
104:
103:
97:
96:
91:
87:
86:La Marjolaine
83:
82:
77:
76:Victor Koning
73:
63:
61:
57:
52:
50:
46:
45:Albert Vanloo
42:
39:and words by
38:
34:
30:
29:
28:La Marjolaine
20:
16:
1109:
1096:
1089:
1071:
1051:
1045:
1044:
1037:
1030:
1025:Fleur-de-Thé
1023:
1016:Opéra bouffe
1003:
996:
989:
984:L'Ă©gyptienne
982:
975:
968:
961:
956:Le petit duc
954:
947:
940:
867:
845:
828:
811:
792:
775:
770:
762:
757:
749:
744:
736:
732:
728:
723:
714:
706:
701:
690:
671:
666:
658:
653:
645:
640:
620:
615:
606:
597:
589:
584:
563:
560:Le RĂ©veillon
559:
553:
547:
543:
537:
533:
527:
517:
515:
509:
507:
501:
495:
493:
476:Kate Santley
468:
427:
426:
374:
373:
317:
307:
297:
293:
292:
285:
281:
280:
276:
272:
265:
261:
260:
245:
148:
144:
140:
130:
114:
113:
106:
100:
93:
89:
85:
79:
69:
53:
33:opéra bouffe
27:
26:
25:
15:
1141:1877 operas
568:was based.
549:Fra Diavolo
298:A villa at
127:Shakespeare
1130:Categories
963:La Camargo
727:H. Lavoix
621:Daily News
577:References
820:491464809
687:"Musical"
546:, but of
544:Cymbeline
433:Entr'acte
380:Entr'acte
300:Boitsfort
132:Cymbeline
129:'s drama
1116:Category
1091:Le Cygne
1064:Opérette
977:Ali-Baba
866:(2016).
837:81973146
322:Overture
248:Flanders
242:Synopsis
56:Flanders
998:Ninette
785:Sources
763:The Era
750:The Era
731:in the
519:The Era
504:wrote:
407:Finale
318:Act 1
314:Numbers
1136:Operas
1083:Ballet
991:Plutus
949:Kosiki
874:
852:
835:
818:
799:
737:quoted
558:, and
428:Act 3
149:Kosiki
115:Kosiki
108:Kosiki
31:is an
375:Act 2
294:Act 3
282:Act 2
262:Act 1
872:ISBN
850:ISBN
833:OCLC
816:OCLC
797:ISBN
729:fils
308:real
121:and
92:and
43:and
494:In
1132::
689:,
679:^
628:^
552:,
84:.
908:e
901:t
894:v
880:.
858:.
839:.
822:.
805:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
