394:
placing it in a basket under a bouquet of roses meant for
Hortense. The Marquise has learned of the letter and added to it a subtle and quick-acting poison that will allow her to rid herself of her rival. Hortense and Vernillac, already a jealous husband, prepare to leave the wedding ball. He hears Madelon whispering to Hortense and catches the phrase "in the basket." When they are finally alone, he questions her with increasing vehemence about any secrets she may be withholding from him. At first she protests her devotion, but can not disguise her feelings and eventually admits there is a letter hidden with the flowers. He snatches the bouquet from the basket, inhales its perfume, and falls dead. Hortense cries out for help and the wedding guests enter and express general astonishment.
407:
lose Arthur. When Arthur approaches
Hortense, she refuses to speak to him saying she is prepared to enter the convent. Arthur starts to leave in anger as the Marquise relishes her triumph in separating the lovers. Suddenly Galifard enters, a specter, shriveling and in convulsions. With his last breath he accuses the Marquise of poisoning Vernillac and dies. All becomes instantly clear. Galifard dies. As the Marquise is led away to stand trial, she gazes at him in triumph and vengeance.
385:
passion for Arthur and her manipulation of the young lovers. Arthur enters and explains he has come to the
Marquise for counsel. Despite a year's separation he needs to see the woman he loves just once more. The Marquise orders him to leave, but he encounters Madelon, who quickly learns that he is as wounded as Hortense and never saw her many letters. As he rushes to stop the wedding, the married couple returns and, amid general rejoicing, Hortense and Arthur recognize one another.
41:
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is his secret antidote that has protected him from her attempt to poison him. She replaces the antidote with a slow-acting poison. Galifard arrives and speaks of their marriage. She is shocked, but pretends to humor him. When tea arrives, she adds sugar to hers while he adds powder from his red packet saying it is medicinal. They discuss their anticipated trip to Italy and future happiness. As he leaves she rejoices that he will be dead within the hour.
427:
According to a later assessment of the Paris musical scene at the time of the opera's premiere, Cherubini was the old master of the group, "the Nestor of composers." Batton was the least noted, who wrote a few unsuccessful operas and then worked in the manufacture of artificial flowers. Berton, Paer,
402:
Alone, the
Marquise reviews the letters Galifard has returned to her of his own accord. She doubts he could have blackmailed her without implicating himself, but she burns them all. In the bottom of his portfolio she finds a secret compartment containing a powder-filled red packet that she determines
393:
Hortense and Arthur meet and reconcile. The
Marquise interrupts them and, hiding her love for Arthur and her hatred of her rival, persuades them to separate lest Vernillac become even more suspicious than he already is. Arthur writes a letter to Hortense and Madelon plans to get it past Vernillac by
211:
The work premiered on 31 October 1831 and had a very modest run of 32 performances, the last on 9 December, at which point the theater closed. The theater re-opened in
January 1832 under a new director and continued to struggle. Before the end of 1831, F. Marcucci composed a "Fantasy for harp on the
406:
The scene changes. Hortense appears in mourning for
Vernillac. Arthur begs the Marquise to ask Hortense to see him. The Marquise instead insinuates to Hortense that Arthur poisoned Vernillac. Hortense imagines Arthur will flee France to avoid arrest. She is overcome, newly widowed and now about to
375:
Before the action of the opera begins, Hortense De Montmélian and Arthur Saint-Brice, both without fortunes, love one another, but the
Marquise has contrived to separate them and make each believe the other has cut off contact. She has arranged for Hortense to marry Vernillac, a wealthy government
135:
Under the Empire and
Restoration, there were a number of collaborations in which composers worked together in a very short time to produce works to celebrate events of importance to the ruling dynasty, such as a marriage, birth, or baptism. Such a composition was usually the work of a few days and
384:
As guests arrive for the wedding of
Vernillac and Hortense, he rejoices while the future bride expresses her dismay and discusses with her friend Madelon how Arthur's silence has hurt her. The Marquise meets privately with her retainer Galifard and learns he knows more than she imagined of her
419:
thought the music was "diffuse and without unity" but noted that "a duet by Auber in the third act received much applause. The tragedy is well constructed and affecting. There is lots of poison but it is handled plausibly; unfortunately a duet does not make an opera, not even a comic opera."
607:, as an innovative way of financing music administration, the government leased the Opéra-Comique to Lubbert. Following his financial failure, he traveled to Egypt, converted to Islam, and served as "a sort of Clerk of the Revels" to rulers there. He died in 1859 in Cairo.
603:, vol. 3 (London: George Allen, 1902), 85–86. Lubbert was born in Bordeaux in 1794 and first served as inspector of lotteries. A composer himself, he became director of the Paris Opera in 1827 and inspector of court entertainments in 1828. After the
149:
In 1831, the Opéra-Comique was suffering financially and its Salle Ventadour was no longer fashionable. Émile Lubbert, the director of company, needed to mount a successful production promptly. He engaged
424:, on the other hand, wrote that it would have been difficult to assemble a better group for such a joint effort: "I confess I was not bored and that it was not a work to mock."
369:
The first two acts take place at the home of M. de Vernillac at Versailles. The third act is set in Paris at the hotel of the marquise on the rue Neuve-Saint-Paul.
212:
prettiest motifs from la Marquise de Brinvilliers". The opera was revived in 1836 and presented for 11 performances. No further performances have been documented.
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Blangini, Carafa were past the height of their careers. Boieldieu had successes in the 1820s as well as one noteworthy failure. Herold's
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853:: 837. Joseph d'Ortigue described the introduction as "écrit dans une style large, dessiné vigourousement et plein d'effets sûrs."
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A lengthy review in the Courrier d'Europe called it "the most interesting work the Ventadour has offered in a long time." The
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146:, conceived in a revolutionary spirit, the work of 12 composers, and presented at the Opéra-Comique on 26 February 1794.
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Joseph d’Ortigue "Feuilleton. Theatre de l’Opera-Comique: Premiere representation de la Marquise de Brinvilliers…"
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to produce a libretto and, with no time to spare, divided the work of composition among nine composers:
119:' that was written as a collaborative effort on the part of nine composers. It premiered in Paris at the
646:
Mary Lindemann, "Eighteenth-Century True-Crime" in William Layher and Gerhild Scholz Williams, eds.,
205:
136:
might involve as many as 4 composers. The only notable work by many hands before the composition of
987:
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741:(Buenos Aires: Hachette S.A, 1998), Chopin letter to Titus Woyciechowski, December 12, 1831
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362:, an historical figure of the seventeenth century whose trial for murder initiated the
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had just premiered to great acclaim. Auber was at the height of his fame and powers.
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Consuming News: Newspapers and Print Culture in Early Modern Europe (1500–1800)
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893:, vol. 2 (Paris: Furne et Cie. and Aimé André, 1841), 428–50. Google Books:
680:
366:, which saw a number of French aristocrats accused of murder and witchcraft.
116:
915:
770:, 2nd edition (Paris: Firmin Didot Freres Fils et Cie., 1868), vol. 1, 164.
159:
155:
65:
40:
885:, 2nd edition, vol. 20 (Paris: Aimé André, 1837), 187–267. Google Books:
889:. Also available as Eugène Scribe, "La marquise de Brinvilliers", in
703:"La Marquise de Brinvilliers, Libretti a Stampa" (printed libretti)
297:
Madelon, "soeur de lait d'Hortense" (i.e., her friend since birth)
799:
Search "Brinvilliers als Freitext": 4 Treffer zu Blangini, Felice
601:
Paris in 1789–94: Farewell Letters of Victims of the Guillotine
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Marie-Madeleine-Marguerite d'Aubray, Marquise de Brinvilliers
200:
31:
446:
Duet in the third act, "a masterpiece of theatrical insight"
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The action of the opera is based loosely on the story of
260:
Arthur de Saint-Brice, a young man in love with Hortense
902:
Théâtre de l'Opéra-Comique Paris: répertoire 1762–1972
849:
Willis, Stephen C. "Cherubini, Luigi" in Sadie (1992)
208:, a composer of an older generation who died in 1829.
840:, Speciale Dicembre 2004, 14, accessed May 12, 2010
831:"Quaderni del parco musicale Michele Enrico Carafa"
739:
Federico a Tito: Correspondencia de Federico Chopin
470:
No. 3, Recitative and Aria: "Oui mon repos l'exige"
881:Scribe, Eugène. "La marquise de Brinvilliers", in
1032:
820:calls them "riches d'originalité et d'élégance."
726:"Revolutions de la quinzaine," November 14, 1831
672:University of London, School of Advanced Study:
372:Time: during the reign of Louis XIV, 1643–1715.
130:
16:1831 opera by nine French and Italian composers
576:André Chadourne, "La Collaboration au Théâtre"
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109:
687:November 5, 1831, 1–2, accessed May 12, 2010
22:
560:"The Material of Music," April 1, 1888, 209
476:No. 6, Duet: "Un mot encore, un mot, Madam"
1106:Opera world premieres at the Opéra-Comique
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473:No. 5, Rondo: "De ces lieux que j'abhorre"
249:Hortense De Montmélian, wife of Vernillac
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904:. Sprimont, Belgium: Editions Mardaga.
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285:an Italian in the employ of la marquise
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900:Wild, Nicole; Charlton, David (2005).
755:Frederick Chopin as a Man and Musician
690:
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1111:Works about the Affair of the Poisons
919:
637:(Paris: Librairie Renouard, 1911), 43
467:Giuseppe Marco Maria Felice Blangini
891:Œuvres complètes de M. Eugène Scribe
768:Biographie universelle des musiciens
757:, 3rd edition (1902), vol. 1, 342–44
503:Introduction to the first act (lost)
172:Giuseppe Marco Maria Felice Blangini
1076:Operas by François-Adrien Boïeldieu
883:Théà tre complet de M. Eugène Scribe
13:
270:M. de Vermilhac (also Vernillac),
14:
1122:
868:The New Grove Dictionary of Opera
788:Wild and Charlton (2005), p. 325.
587:Wild and Charlton (2005), p. 200.
532:List of operas by Ferdinando Paer
454:Duet and finale in the first act.
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870:(4 volumes). London: Macmillan.
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650:(Amsterdam: Rodopi, 2009), 151n
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229:Premiere Cast, 31 October 1831
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895:"La marquise de Brinvilliers"
887:"La marquise de Brinvilliers"
317:Valet to Vermilhac/Vernillac
1101:Operas by multiple composers
866:Sadie, Stanley, ed. (1992).
728:, 418, accessed May 21, 2010
327:Male servant of la marquise
236:La marquise de Brinvilliers
131:Composition and performances
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1004:La marquise de Brinvilliers
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138:La marquise de Brinvilliers
111:La marquise de Brinvilliers
24:La marquise de Brinvilliers
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1091:Operas by Ferdinand HĂ©rold
860:
481:François-Adrien Boieldieu
462:Couplets in the third act.
272:fermier-général du royaume
243:Geneviève-Aimé-Zoë Prévost
1096:Operas by Ferdinando Paer
1086:Operas by Luigi Cherubini
1071:Libretti by Eugène Scribe
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947:François-Adrien Boieldieu
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198:noted the inclusion of a
176:François-Adrien Boieldieu
87:18 October 1831
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1081:Operas by Michele Carafa
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492:Overture, 2nd act finale
451:Désiré-Alexandre Batton
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241:Prévost, likely soprano
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808:, accessed May 12, 2010
766:François-Joseph Fétis,
712:, accessed May 13, 2010
562:, accessed May 10, 2010
511:Finale to the third act
231:(Conductor: Valentino)
164:Désiré-Alexandre Batton
1066:Operas by Daniel Auber
1046:French-language operas
110:
48:, one of the composers
23:
1007:(1831, collaboration)
797:Beethoven-Haus Bonn:
722:Revue des deux mondes
417:Revue des deux mondes
364:Affair of the Poisons
1061:Operas set in France
988:Les voitures versées
958:List of compositions
685:Courrier de l'Europe
597:John Goldworth Alger
459:Henri Montan Berton
196:Courrier de l'Europe
127:on 31 October 1831.
980:Le calife de Bagdad
347:Guests and friends
168:Henri Montan Berton
143:Le congrès des rois
836:2011-07-22 at the
804:2011-01-17 at the
708:2016-03-04 at the
633:Charles Malherbe,
605:Revolution of 1830
307:Le premier du Roi
194:. A review in the
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910:978-2-87009-898-1
876:978-1-56159-228-9
737:Federico Chopin,
572:La Nouvelle revue
519:Air Ă l'italienne
508:Ferdinand HĂ©rold
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411:Assessments
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376:official.
302:Boulanger
283:Galifard,
91:1831-10-18
54:Librettist
332:Duchenet
289:baritone
1022:Category
834:Archived
802:Archived
706:Archived
677:Archived
526:See also
484:Couplets
354:Synopsis
322:Charles
278:Boulard
252:soprano
83:Premiere
75:Language
861:Sources
599:, ed.,
342:Alfred
312:Louvet
123:of the
100:, Paris
89: (
1051:Operas
999:(1825)
991:(1808)
983:(1800)
972:Operas
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874:
206:Gossec
190:, and
78:French
635:Auber
538:Notes
431:Zampa
398:Act 3
389:Act 2
380:Act 1
223:Role
216:Roles
201:gigue
32:Opera
906:ISBN
872:ISBN
154:and
140:was
683:in
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851:1
93:)
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