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Uthal has seized the lands of his father-in-law Larmor, who sends the bard Ullin to get help from Fingal, chief of Morven. Malvina, Uthal's wife and Larmor's daughter, is divided between love for her husband and her father and seeks in vain to delay the war. Uthal is beaten in battle and sentenced to
294:
he used them constantly, even to the complete exclusion of the violins. The result, according to the critics of the day, was an intolerable monotony which ruined the opera's chances of success. This is what prompted
290:, an admirer of the composer, wrote, "MĂ©hul was so struck by the kinship between the sound of violas and the dreamy character of Ossianic poetry that in his opera
135:
in Paris on 17 May 1806. MĂ©hul tried to give the work a dark "Scottish" atmosphere by eliminating the violins from the orchestra and replacing them with violas.
957:
551:
315:
is in one act only and quite short, so that its peculiar colouring would hardly have time to become oppressive." In fact, contemporary critics praised
322:
The overture depicting the heroine
Malvina crying out for her lost father amid the storm has been compared to similar opening music in Grétry's
591:
908:
545:
239:
banishment. When
Malvina offers to follow him into exile, Uthal confesses that he has been wrong and he and Larmor are reconciled.
267:
264:, an allegation Saint-Victor rejected, claiming his work would have been ready in 1804 had it not been for a "host of obstacles".
927:
609:
354:
In modern times, a BBC studio recording of the opera was made on 21 October 1972 for broadcast on Radio 3 on 4 March 1973.
250:
was part of the
European vogue for the Ossianic poems of Macpherson. Another notable example from the time is the opera
815:
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167:
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conducted the BBC Concert
Orchestra with John Wakefield in the role of Uthal and Laura Sarti as Malvina.
937:
863:
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wrote, "It has been suggested that the opera would for this reason be unbearably tedious, but, as
319:, it was the public that was less enthusiastic and the opera was withdrawn after 15 performances.
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for the sound of an E string!'" Part of this statement has been challenged.
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735:
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370:
339:
520:
The New Oxford
History of Music Volume 8: The Age of Beethoven 1790-1830
751:
624:
260:. In fact, critics accused MĂ©hul's librettist Saint-Victor of copying
123:, by Jacques-Benjamin-Maximilien Bins de Saint-Victor is based on the
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343:
720:
207:
120:
361:
On 30 May 2015 there was a concert performance at
Versailles with
177:
569:
124:
68:
533:
518:
Winton Dean, chapter on French opera in Gerald
Abraham (ed.)
385:
The
Rousset performance was recorded and released as a CD by
192:
478:
More EJS: Discography of the Edward J. Smith
Recordings
919:
52:Jacques-Benjamin-Maximilien Bins de Saint-Victor
342:describes it as "athematic, at moments almost
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958:Opera world premieres at the Opéra-Comique
592:
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515:(Cambridge University Press, 1979 edition)
37:
266:
920:
480:(Greenwood Press, 1999). pages 136-137
349:
573:
531:Hugh Macdonald (ed, and translator)
562:. L'Almanacco di Gherardo Casaglia
369:and the Chœur de Chambre de Namur.
282:is strikingly experimental. In his
13:
542:(Cambridge University Press, 1988)
535:(Cambridge University Press, 2002)
271:MĂ©hul in 1799 – portrait by
115:in one act by the French composer
14:
974:
599:
904:
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416:Berlioz's Orchestration Treatise
131:. It was first performed at the
522:(Oxford University Press, 1988)
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168:Jean-Baptiste-Sauveur Gavaudan
1:
649:Le jeune sage et le vieux fou
490:Château de Versailles website
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346:, and in no definable form."
405:Adélaïde de Place pp.129-132
380:
7:
808:Les deux aveugles de Tolède
242:
233:
10:
979:
550:Casaglia, Gherardo (2005).
513:The Rise of Romantic Opera
498:
152:Premiere Cast, 17 May 1806
901:
882:
784:Le baiser et la quittance
729:La taupe et les papillons
616:
607:
528:ed. Holden (Viking, 1993)
508:(Bleu Nuit Éditeur, 2005)
284:Treatise on Orchestration
278:MĂ©hul's orchestration in
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64:
56:
48:
36:
25:
18:
864:La journée aux aventures
299:to exclaim: 'I'd give a
256:(1804) by MĂ©hul's rival
138:
928:Operas by Étienne Méhul
546:Del Teatro (in Italian)
436:Adélaïde de Place p.130
43:Title page of the score
943:French-language operas
526:The Viking Opera Guide
476:William Shaman et al.
275:
258:Jean-François Le Sueur
506:Étienne Nicolas Méhul
325:Aucassin et Nicolette
270:
253:Ossian, ou Les bardes
83:17 May 1806
848:Le prince troubadour
800:L'heureux malgré lui
673:MĂ©lidore et Phrosine
540:Berlioz: Les Troyens
467:Dean in Abraham p.47
445:Dean in Abraham p.49
387:Ediciones Singulares
335:Iphigénie en Tauride
183:Julie-Angélique Scio
816:Gabrielle d'Estrées
657:Le congrès des rois
511:Edward Joseph Dent
367:Les Talens Lyriques
350:Performance history
872:Valentine de Milan
504:Adélaïde de Place
389:in February 2017.
363:Christophe Rousset
276:
915:
914:
776:Le trésor supposé
356:Stanford Robinson
311:has pointed out,
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213:Jean-Pierre Solié
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309:Sir Donald Tovey
154:(Conductor: - )
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129:James Macpherson
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73:James Macpherson
41:
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938:Opéras comiques
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891:Chant du départ
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705:Le pont de Lody
665:Horatius Coclès
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538:Ian Kemp (ed.)
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375:Karine Deshayes
373:sang Uthal and
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227:Baptiste Cadet
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948:One-act operas
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610:List of operas
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198:Pierre Gaveaux
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601:Étienne Méhul
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133:Opéra-Comique
130:
126:
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118:
117:Étienne Méhul
114:
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112:opéra comique
108:
107:
95:
94:Opéra-Comique
81:
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67:
63:
59:
55:
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40:
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31:Étienne Méhul
28:
27:Opéra comique
24:
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840:Les amazones
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564:(in Italian)
560:17 May 1806"
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273:Antoine Gros
261:
251:
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237:
163:haute-contre
110:
105:
104:
103:
19:
933:1806 operas
883:Other works
856:L'oriflamme
456:Les Troyens
371:Yann Beuron
365:conducting
340:Winton Dean
305:Edward Dent
219:Chief bard
149:Voice type
922:Categories
681:La caverne
641:Stratonice
625:Euphrosine
414:Macdonald
393:References
301:louis d'or
262:Les bardes
87:1806-05-17
49:Librettist
760:Une folie
427:Dent p.88
381:Recording
377:Malvina.
127:poems of
71:poems by
909:Category
721:Ariodant
454:Kemp in
243:The work
234:Synopsis
208:baritone
174:Malvina
121:libretto
79:Premiere
65:Based on
57:Language
752:L'irato
744:Épicure
499:Sources
458:, p.108
288:Berlioz
204:Larmor
178:soprano
96:, Paris
85: (
963:Ossian
953:Operas
894:(1794)
875:(1822)
867:(1816)
859:(1814)
851:(1813)
843:(1811)
835:(1807)
832:Joseph
827:(1806)
819:(1806)
811:(1806)
803:(1803)
795:(1803)
792:Héléna
787:(1803)
779:(1802)
771:(1802)
768:Joanna
763:(1802)
755:(1801)
747:(1800)
739:(1800)
724:(1799)
716:(1799)
713:Adrien
708:(1797)
700:(1797)
692:(1795)
684:(1795)
676:(1794)
668:(1794)
660:(1794)
652:(1793)
644:(1792)
636:(1791)
628:(1790)
617:Operas
558:
418:, p.40
344:atonal
297:Grétry
189:Ullin
159:Uthal
125:Ossian
119:. The
109:is an
69:Ossian
60:French
824:Uthal
689:Doria
554:Uthal
330:Gluck
317:Uthal
313:Uthal
292:Uthal
280:Uthal
248:Uthal
193:tenor
146:Role
139:Roles
106:Uthal
20:Uthal
736:Bion
633:Cora
328:and
223:bass
332:'s
29:by
924::
286:,
593:e
586:t
579:v
566:.
556:,
552:"
89:)
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