554:
reveals his identity to the surprised
Marguerite. King Richard is nearby, he tells her; they must free him that night! Marguerite is traveling with a couple dozen men; in an action-packed ensemble they fill these soldiers in on the situation. A war council follows, in dialogue; one of the soldiers objects that they don't have enough men to storm the fortress, but Blondel's reconnaissance mission that morning discovered a weak spot in the castle wall. Also, he has a plan to get rid of Governor Florestan, which he puts into play when he sings a trio with Williams, the Welshman who owns this house, and his daughter Laurette, who is more than happy to distract Florestan that evening as part of the rescue. Following this lively patter trio, the old couple's fiftieth anniversary party gets going with a jolly, silly peasant song and a dance. Florestan is dancing with Laurette when there's a noise from the fortress. Panicking, Florestan makes as if to return to his duty, but Williams and his men stop him. Trumpets sound a call to arms, and a wild, swirling orchestral passage describes Blondel's attack on the fortress. Galloping rhythms indicate a chase on horseback, and finally we hear men crying “Vive Richard!” Long live King Richard! To the sounds of a victorious march, Blondel brings Richard in to the wedding celebration; Countess Marguerite, overcome, faints. Williams and his men make Florestan kneel before Richard, but the king magnanimously returns his captor's sword. In the midst of the excited ensemble that concludes the opera listen for the sweet trio sung by Richard, Marguerite, and Blondel, saluting the minstrel's faithful love.
516:
celebrating their fiftieth wedding anniversary, and they all perform a merry dance. A young boy guides an old blind man onstage; the young fellow is a local, Antonio (sung by a soprano); the man he's leading is
Blondel, minstrel and companion to Richard the Lionheart. Blondel has disguised himself as an old blind man as he searches for Richard all over Europe. Antonio describes this location to Blondel, including the grim, forbidding fortress of Linz, which can be seen in the distance. He tells Blondel he can't act as his guide tomorrow, because all the village is going to this big anniversary celebration. Antonio has a crush on a local girl, whom he describes to Blondel in a cheery little song, expressing his regret that Blondel will never see her. Blondel asks Antonio to find someplace for him to sleep that night, and Antonio goes into the nearby mansion.
541:
joins in to sing the second verse. Blondel is ecstatic to hear his beloved king sing their song back to him, and baritone and tenor voices mingle sweetly as they sing together. But the rapture of this ideal moment is interrupted when a crowd of soldiers emerges from the fortress; they seize
Blondel. He begs them to let him speak with Florestan, and when the prison governor arrives Blondel tells him he brings a message from Laurette, the girl he loves from the village: Florestan should come meet her that night, her father will be distracted by the fiftieth anniversary wedding celebration that he is hosting. Florestan is delighted; he pretends to be gruff and angry, yelling at Blondel in front of his soldiers, but Antonio comes to Blondel's rescue and the act concludes with a lively ensemble for Blondel, Antonio, and the soldiers of the fortress.
524:
Austria? Williams had fought with King
Richard's English army in the crusades, but upon returning home, to Wales, he found that his father had been killed while he was away, for poaching a rabbit; so Williams killed the killer and then fled to the continent. “That’s two men killed for a rabbit,” says Blondel. Williams exits, and Blondel then quizzes Laurette, his daughter, about Florestan and his high-security prisoner mentioned in his love-note. She doesn't know anything about the prisoner, but she sings an aria, “Je crains de lui parler la nuit,” describing the passion she feels for Florestan. Blondel then teaches her a song he's written about the blind god of love, and together they turn it into a charming duet.
520:
man—he's young and full of strength and fire. But he reassumes his former identity when two new characters run onstage: Williams, the short-tempered rich man who owns the mansion that's onstage, and
Guillot, servant to Florestan, governor of the nearby fortress. Williams has caught Guillot bringing a love letter from his master, Florestan, to Williams’ daughter Laurette; he chews Guillot out and decries Florestan as a seducer in a comic duet that becomes a quartet when Blondel and Laurette, the young lady in question, add their voices.
90:("A burning fever"). Richard recognises the music and tries to communicate with Blondel, who is seized by the guards, but he is freed when he tells Florestan of an assignation Laurette wants with him the following night. Blondel reveals the truth to Williams and the countess and they plan to free the king. Marguerite holds a party, during which Florestan, who had come to meet Laurette, is held captive. The countess's troops besiege the castle and rescue Richard.
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to hear that tune in this remote location and stops to talk with
Blondel; “Have mercy on a poor old blind man,” he says, “and grant me shelter for the night.” She agrees—on condition that he entertain them with music. So he repeats the violin tune, this time with orchestral accompaniment. Marguerite's servants offer Blondel a drink, and he leads them in a rousing drinking song, “Que le sultan Saladin.”
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side of the stage, a forest stretches away into the distance. It's the hour before dawn, and
Florestan, the prison governor, allows King Richard one hour to walk the balcony and get some fresh air. Left alone, Richard broods over his fate and sings of his love for Marguerite in the aria, "Si l'univers entier m’oublie." All his glory and fame just make this shameful captivity that much worse.
635:, Marinella Pennicchi, Barbara Pichler, Mattia Nicolini, Flavia Bernardi, Kurt Pircher, Silvia Wieser, Ulrike Malsiner, Georg Zingerle, Armin Kolarczyz; Kurt Pircher; Georg Zingerle; Gotthard Bonell; Maria Pia Zanetti; Gabriella Cacciatori; Monica Trettel; Paolo Florio, and Leandro Pegoretti (Nuova Era, 7157/7158; CD digitaler; recorded 6–9 August 1990, at the Haus der Kultur in Bolzano)
115:, USA, in 1797. It was immensely popular and was still being played in France at the end of the 19th century. Being consistently interpreted as a 'royalist' piece, it fell out of public favour during the revolutionary periods and was not billed in Paris in 1791–1806, 1827–1841, 1847–1856. Charlton counts 485 performances in total up to 1827. In 1841
251:
20:
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The act begins with an entr’acte detailing the sorrowful plight of the captive King
Richard. The curtain goes up and we see a split-stage. On one side there's the prison where Richard the Lionheart is being kept; his room has a fenced-in balcony which looks out on the moat. Opposite it, on the other
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At this point a great lady arrives with her entourage: it's
Marguerite, the Countess of Flanders and Artois, who is staying with Williams. Blondel recognizes her—she's the fiancée of King Richard of England—so he plays on his violin a song composed for Marguerite by Richard. Marguerite is surprised
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Blondel then gets
Antonio to read the letter out loud: Florestan wants to come woo Laurette in person, but he can't leave his high-security prisoner alone in the fortress. (Blondel is intrigued by this description of the prisoner.) The minstrel then asks Williams what a Welshman is doing in central
85:
where he meets the English exile Sir Williams and his daughter Laurette, who tell him of an unknown prisoner in the nearby castle. Laurette is in love with the prison governor, Florestan. Countess Marguerite, who is in love with King Richard, arrives and offers Blondel her help. Blondel goes to the
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Antonio brings Blondel through the forest, to the opposite site of the moat. Hoping Richard will hear him, Blondel sings the tune he was playing on the violin in Act 1, now with passionate words describing the pain of love. Richard interrupts, first with dialogue: “I know that voice!” and then he
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Blondel insists on speaking with Countess Marguerite. Two of her servants block his way, but after a lively trio with them he pushes his way past. Marguerite is telling Williams of her plans to go join a convent when her servant, BĂ©atrix, brings in Blondel. Blondel gets rid of everybody else and
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The energetic, anguished overture depicts the capture of King Richard, en route back to England from the Crusades. We then hear a lively peasant dance, and a handful of peasants fill the stage, excited about the party they'll have tomorrow night: an elderly couple, Mathurin and his wife, will be
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Left alone onstage, Blondel sings his aria, “O Richard, o mon roi,” asserting his faithful, selfless love for his king, whom all the world has abandoned. This minstrel's love is all fidelity and devotion without any expectation of reward. It becomes clear that Blondel isn't really an old blind
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on 25 October 1785, and later in Paris on 21 December. A new definitive three-act version was then reworked and mounted at the Comédie-Italienne on 29 December, subsequently entering the Opéra-Comique repertoire. The opera reached the United Kingdom in 1786 and
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provided new orchestration for that year's revival at the Opéra-Comique and through the following decades reached over 600 further performances by that company by 1910. Another 302 were given at the
242:, Laurette's aria "Je crains de lui parler la nuit" is sung by the Countess, remembering her days in 18th century Paris, just before she is frightened and dies from a sudden heart attack.
884:
Sources will refer to this singer stating simply his surname 'Narbonne'. Campardon does not report any first name, either, in his work on the 'comédiens italiens' cited below (article:
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857:
Grand Dictionnaire universel du XIXe siècle : français, historique, géographique, mythologique, bibliographique, littéraire, artistique, scientifique, etc., etc.
939:
81:, King Richard has been imprisoned by Leopold, Archduke of Austria. The king's faithful squire Blondel seeks him out disguised as a blind troubadour. He arrives in
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1324:
700:
896:, Paris, Berger-Levrault, 1884, II, p. 193). The name 'Louis' is given instead by Georges de Froidcourt in his collection of Grétry's correspondence (
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Orchestra giovanile Conservatorio "Claudio Monteverdi" di Bolzano, and Coro lirico "Gretry", conducted by Fabio Neri, with Hubert Zingerle,
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1274:
1047:
1019:
Les Comédiens du roi de la troupe italienne pendant les deux derniers siècles: documents inédits recueillis aux Archives Nationales
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185:, is called Florestan, though he is the prisoner not the jailor. Grétry attempted to imitate Medieval music in Blondel's song
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650:, Melody Louledjian, Enguerrand de Hys, and Geoffrey Buffière (Château de Versailles Spectacles, CVS028, released 2020)
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859:, Paris, Administration du Grand Dictionnaire universel, 1874, II, p. 814 (accessible for fre online at
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197:. 72.) He also used the same melody as a recurring theme, a technique developed by later composers of
689:
153:
145:
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935:, eds. Piero Gelli and Filippo Poletti (Milan, Baldini Castoldi Dalai, 2007) (reproduced online at
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55:. The work is generally recognised as Grétry's masterpiece and one of the most important French
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228:("Oh Richard, oh my king!") became a popular rallying song amongst royalists during the
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628:, and Jean Bussard (EMI Classics/Angel Records CD: B000063XQN, recorded 16–26 May 1977);
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Scene: Outside a magnificent home, with a view in the distance of the fortress of Linz.
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175:. Significantly, one of the chief characters in the most famous rescue opera of all,
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888:, II, p. 29), whereas the name 'Pierre-Marie' is set forth in his later book on the
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684:, where only the 21 December public performance is reported (p. 249) For a sort of
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on 21 October 1784. It was unsuccessfully given in a revised four-act version at
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in its treatment of a serious, historical subject. It was also one of the first
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984:, Cambridge, Cambridge University Press 1986 (paperback edition cited: 2010,
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where it was very successful in 1788. Another translated version, written by
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Singing the French Revolution: Popular Culture and Politics, 1787–1799
680:. No mention of the court performance is made by Charlton in his book
722:, Newcastle upon Tyne, Cambridge Scholars Publishing, 2010, p. 382,
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Marie-Thérèse-Théodore Rombocoli-Riggieri, 'Mlle Colombe l'Aînée'
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Orchestre de Chambre de la Radio-Télévision Belge, conducted by
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1021:, Paris, Berger-Levrault, 1880 (accessible for free online at
624:, Ludovic de San, Monique Bost, Nicole Dukens, Jean van Gorp,
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103:
82:
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Philippe (Philippe Cauvy, connu au théâtre sous le nom de)
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André Grétry: Richard Coeur-de-lion. In: Kaminski, Piotr.
193:. (Beethoven wrote a set of piano variations on the song,
194:
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Le Concert Spirituel Orchestra and Chorus, conducted by
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Booklet notes to the Doneux recording by Michel Parouty
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and his example would be followed by composers of the
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There are three recordings of the three-act version:
1286:
900:, Bruxelles, Brepols, 1962, p. 145, footnote 8).
232:and was banned by the republican government. In
167:played an important role in the development of
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894:L'Académie Royale de Musique au XVIIIe siècle
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98:It was first performed in three acts by the
1325:Cultural depictions of Richard I of England
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688:of the unsuccessful staging at court, see
620:, Jacqueline Sternotte, Danièle Perriers,
1048:International Music Score Library Project
770:Un demi-siècle d'Opéra-Comique 1900–1950.
805:. Cornell University Press. p. 56.
788:. Eighteenth century collections (2009).
423:Rosalie de Saint-Évreux, 'Mlle Rosalie'
249:
18:
1006:The Oxford Illustrated History of Opera
781:
749:
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26:, depicted in a 13th-century manuscript
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982:Grétry and the Growth of Opéra-Comique
937:Operamanager.com, accessed 27 May 2014
836:. Full names are drawn from Campardon.
682:Grétry and the growth of opéra-comique
475:Angélique Erbennert, 'Mlle Desforges'
209:. Through them it would influence the
93:
1056:
970:', ed. Stanley Sadie (London, 1992)
898:La correspondance générale de Grétry
762:
956:. L'Almanacco di Gherardo Casaglia
892:, where Narbonne began his career (
875:Spelt Meunier in the 1841 libretto.
13:
864:, Bibliothèque Nationale de France
332:the governor of the castle of Linz
14:
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678:The New Grove Dictionary of Opera
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782:Leonard, Macnally (April 2009).
59:. It is based on a legend about
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270:Premiere Cast, October 21, 1784
86:castle where he sings the song
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550:Scene: The mansion of Williams
1:
968:New Grove Dictionary of Opera
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404:basse-taille (bass-baritone)
372:basse-taille (bass-baritone)
351:basse-taille (bass-baritone)
102:at the first Salle Favart in
1008:ed. Roger Parker (OUP, 1994)
7:
966:by David Charlton, in 'The
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291:Philippe Cauvy, 'Philippe'
10:
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952:Casaglia, Gherardo (2005).
933:Dizionario dell'opera 2008
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890:Académie Royale de Musique
468:an attendant of Marguerite
160:The work and its influence
130:version of Sedaine's work
47:, by the Belgian composer
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772:André Bonne, Paris, 1953.
713:Robert Ignatius Letellier
690:Louis Petit de Bachaumont
308:Jean-Baptiste Guignard, '
77:On his way home from the
61:King Richard I of England
51:. The French text was by
931:by Raffaele Mellace, in
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156:and equally successful.
942:21 January 2015 at the
459:Louise-Rosalie Lefebvre
343:Philippe-Thomas MĂ©nier
142:Thomas Linley the elder
123:between 1856 and 1868.
45:comédie mise en musique
1305:Operas by André Grétry
1300:French-language operas
1000:The Viking Opera Guide
354:Pierre-Marie Narbonne
258:
257:in the role of Blondel
67:and his rescue by the
27:
1240:Richard Coeur-de-lion
1232:L'Ă©preuve villageoise
1200:Aucassin et Nicolette
1120:Les mariages samnites
929:Richard Coeur de Lion
785:Richard Coeur de Lion
759:. Fayard, 2003, p537.
278:Richard the Lionheart
253:
226:Ă” Richard, Ă´ mon roi!
37:Richard the Lionheart
22:
1224:La caravane du Caire
1184:Le jugement de Midas
1044:Richard CĹ“ur-de-lion
964:Richard CĹ“ur-de-lion
644:Reinoud van Mechelen
590:1841 libretto online
581:1787 libretto online
572:1786 libretto online
565:Richard CĹ“ur-de-lion
165:Richard CĹ“ur-de-lion
133:Richard CĹ“ur de lion
32:Richard CĹ“ur-de-lion
24:Richard I of England
1216:Colinette Ă la cour
832:As reported by the
585:Library of Congress
568:(French Wikisource)
461:, 'Madame Dugazon'
451:Williams's daughter
301:a squire of Richard
239:The Queen of Spades
187:Une fièvre brûlante
152:, was performed at
94:Performance history
88:Une fièvre brûlante
53:Michel-Jean Sedaine
1176:CĂ©phale et Procris
1136:Le tableau parlant
757:Mille et Un Opéras
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146:Drury Lane Theatre
28:
16:1784 opéra comique
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1002:ed. Holden (1993)
990:978-0-521-15881-7
980:Charlton, David,
954:"21 October 1784"
768:Wolff, Stéphane.
728:978-1-4438-2140-7
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72:Blondel de Nesle
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626:Jules Bastin
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1320:1784 operas
1012:(in French)
998:Article in
846:(in French)
622:Mady Mesplé
330:Florestan,
267:Voice type
234:Tchaikovsky
1289:Categories
1208:Andromaque
742:Charlton,
676:Charlton,
655:References
600:Recordings
449:Laurette,
325:Courcelle
128:semi-opera
69:troubadour
744:Grétry...
466:BĂ©atrix,
411:Antonio (
400:A peasant
359:Mathurin
348:Williams
236:'s opera
207:Cherubini
177:Beethoven
1275:Category
1112:Le Huron
940:Archived
886:Narbonne
692:et al.,
558:Libretto
502:Synopsis
493:soprano
490:Colette
483:soprano
472:soprano
455:soprano
441:soprano
432:Flanders
413:travesti
389:Charles
379:Guillot
310:Clairval
255:Clairval
201:such as
144:for the
39:) is an
1144:Silvain
920:Sources
862:Gallica
642:, with
612:, with
592:at the
583:at the
419:soprano
369:Urbain
322:spoken
297:Blondel
182:Fidelio
65:Austria
1315:Operas
1259:(1791)
1251:(1790)
1243:(1784)
1235:(1784)
1227:(1783)
1219:(1782)
1211:(1780)
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1147:(1770)
1139:(1769)
1131:(1769)
1128:Lucile
1123:(1768)
1115:(1767)
1104:Operas
1017:(ed),
988:
974:
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686:review
667:Viking
436:Artois
392:tenor
382:tenor
362:tenor
305:tenor
219:Wagner
113:Boston
910:CĂ©sar
851:, in
545:Act 3
532:Act 2
507:Act 1
287:tenor
264:Role
246:Roles
215:Weber
203:MĂ©hul
104:Paris
986:ISBN
972:ISBN
820:2023
807:ISBN
724:ISBN
434:and
217:and
205:and
83:Linz
697:...
574:at
213:of
195:WoO
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