Le Martyre de saint Sébastien
The work is a five-act musical mystery play on the subject of Saint Sebastian. It was produced in collaboration with Gabriele D'Annunzio (at that time living in France to escape his creditors) and designed as a vehicle for Ida Rubinstein. Debussy's contribution was a large-scale score of incidental music for orchestra and chorus, with solo vocal parts (for a soprano and two altos).
Debussy accepted the commission in February 1911. Some of the material was orchestrated by André Caplet. During auditions for the female semi-chorus, the chorus director Désiré-Émile Inghelbrecht suggested, on hearing Ninon Vallin, that she take over the role of the celestial voice. As Rose Féart (who had been engaged) was absent from the general rehearsal, Vallin sang the role and Debussy insisted on her singing it in the production.
The premiere had sets and costumes designed by Léon Bakst, stage direction by Armand Bour and choreography by Michel Fokine. The orchestra was conducted by André Caplet, and Désiré-Émile Inghelbrecht directed the chorus. Alongside Rubinstein as Saint Sébastien, Adeline Dudlay sang La Mère douloureuse, Vera Sargine sang La Fille malade des fièvres, Ninon Vallin was the off-stage voice, Desjardins was the emperor, and Henry Krauss was the préfet.
Though the first Gabriel Astruc production was attended by scandal (the Archbishop of Paris requested Catholics not attend because the dancer playing St. Sebastian was a woman and a Jew), the work was not successful and did not enter the repertoire; thanks to Debussy's score, however, it has been recorded in abridged and adapted versions several times—notably by Pierre Monteux (in French), Leonard Bernstein (sung in French, acted in English), and Michael Tilson Thomas (in French).
Though Debussy's complete score still exists and can be performed in its original form (including linking narration taken from the original play, if the story is not staged), the work is very seldom heard in this way. More often performed is a four-movement orchestral suite made up of music extracted from the score and subtitled 'Fragments Symphoniques' (Symphonic Fragments). In addition, there are also two short brass fanfares which are sometimes presented with the symphonic fragments.
Mystère en cinq actes
Following the acts of the original play, each section is called a 'mansion'. The narrator sets the scene at the beginning of each section.
- La Cour de Lys (The Court of Lilies)
- La Chambre Magique (The Magic Chamber)
- Le Concile des Faux Dieux (The Council of the False Gods)
- Le Laurier Blessé (The Wounded Laurel)
- Le Paradis (Paradise)
- La Cour de Lys (The Court of Lilies)
- Danse extatique et Final du 1er Acte (Ecstatic Dance and Finale of the 1st Act)
- La Passion (The Passion)
- Le Bon Pasteur (The Good Shepherd)
The work has been recorded several times, in abridged format or with the symphonic music only. In 1953 the first full recording appeared, by the Oklahoma City Symphony Orchestra and Chorale, with soloists Frances Yeend and Miriam Stewart, sopranos, and Anna Kaskas, contralto, conducted by Victor Alessandro. In the same year almost the complete score was recorded for Decca by Suzanne Danco, Nancy Waugh, Lise de Montmollin, Union Chorale de la Tour-de-Peilz (Chorus master Robert Mermoud), l'Orchestere de la Suisse Romande under Ernest Ansermet; digital remastering at Naxos. In 1991 it was recorded digitally with soloists Ann Murray, Sylvia McNair, Nathalie Stutzmann, narrator Leslie Caron and the London Symphony Orchestra and Chorus conducted by Michael Tilson Thomas. In 2011 Thierry Fischer conducting the BBC National Chorus and Orchestra of Wales recorded the complete score.
- Inghelbrecht D-É. Mouvement Contraire (Chapter XVII, 1911). Editions Domat, Paris, 1947, p214-223.
- Stoullig E. Les Annales du Théâtre et de la Musique, 37eme année, 1911. Librairie Paul Ollendorf, Paris, 1912.