Maria di Rohan

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Maria di Rohan is a melodramma tragico, or tragic opera, in three acts by Gaetano Donizetti. The Italian libretto was written by Salvadore Cammarano, after Lockroy and Edmond Badon's Un duel sous le cardinal de Richelieu, which had played in Paris in 1832.

Performance history[edit]

It premiered at the Kärntnertortheater, Vienna on 5 June 1843. In 2011 the work was performed in Berlin by the Berliner Operngruppe under Felix Krieger with Iride Martínez in the title role.

Roles[edit]

Role Voice type Premiere Cast,
5 June 1843
(Conductor: - )
Revised version,
14 November 1843
Paris
Maria, countess of Rohan soprano Eugenia Tadolini Giulia Grisi
Riccardo, count of Chalais tenor Carlo Guasco Lorenzo Salvi
Enrico, duke of Chevreuse baritone Giorgio Ronconi Giorgio Ronconi
Armando di Gondì tenor (then contralto) Michele Novaro Marietta Brambilla
The visconte of Suze bass Friedrich Becher Giovanni Rizzi
de Fiesque bass Gustav Hölzel
Aubry, secretary of Chalais tenor Anton Müller Nicola Ivanoff
A familiar of Chevreuse bass
Knights, the king's cabinet, pages, guards and domestic servants of Chevreuse

Synopsis[edit]

Eugenia Tadolini, Giorgio Ronconi, and Carlo Guasco in the final scene of Maria di Rohan at its world premiere in Vienna, 1843

The story of Maria Di Rohan is both simple (the classic love triangle) and complicated. Chalais loves Maria, who has been forced to secretly marry Chevreuse. Chevreuse is in deep trouble, because he has killed a nephew of Richelieu.

Time: Early 17th century
Place: Paris

Act 1[edit]

Maria seeks Chalais’ help. Chalais offers it, hoping that Maria will join him, obviously not knowing that she is already married to Chevreuse. Chalais succeeds and Chevreuse is pardoned. Gondi appears on the scene and insults Maria. Chalais challenges him to a duel, and Chevreuse offers to be the second. Richelieu is suddenly ousted from the court, and Chalais is offered his post. Everything looks great for him, but Maria is terribly worried. Richelieu’s demise means that Chevreuse can disclose his marriage without fear. When he points to Maria, Chalais’ world begins to collapse.

Act 2[edit]

Chalais writes a love letter to Maria and encloses her portrait. Both are hidden in his desk, to be given to Maria should he perish. He’s suddenly visited by Maria who tells him that Richelieu has regained power. She tells Chalais to flee or he will be executed. Chevreuse is heard approaching and Maria hides in an adjoining chamber. Chevreuse tells Chalais that they must leave for the Gondi duel and Chalais says he will follow. Of course he doesn’t follow, but stays to profess his love for Maria and she also admits that she has always and continues to love him. When he finally leaves for the duel, it is too late. Chevreuse has taken his place and is wounded.

Act 3[edit]

Chevreuse’s residence

He tells Maria and Chalais that he will arrange to have Chalais escape from the city. Chalais leaves, and again, everything looks good at first, but disaster strikes. Chalais’ letter and Maria’s portrait are discovered by one of the courtiers in Chalais’ desk. Chalais tells Maria about the letters and she says all is lost. Once again she tells him to flee through a secret passage, and he does, but tells her he will return if she does not follow him within an hour. Maria sings her beautiful prayer Havvi un Dio che in sua clemenza.

The courtier gives the letter and portrait to Chevreuse and he is alternatively nostalgic and enraged. He confronts Maria and vows revenge. Suddenly Chalais returns for Maria through the secret passage. In a final trio Maria pleads for Chevreuse to kill her, Chalais says he doesn’t fear death, and Chevreuse thunders that Chalais’ death is imminent. He gives Chalais a dueling pistol and the two race out. A shot is heard. Chevreuse is furious because Chalais has committed suicide. He throws the letter and portrait to the floor before Maria and cries out La vita coll’infamia A te, donna infidel / "Life with infamy to you, faithless woman".

Note: Donizetti wrote a culminating cabaletta for Maria, but crossed it out, preferring to end the opera in a distinctly non-bel canto, but highly dramatic manner

Recordings[edit]

Year Cast
(Maria,
Riccardo
Enrico
Armando di Gondi)
Conductor,
Opera House and Orchestra
Label[1]
1974 Renata Scotto,
Umberto Grilli,
Renato Bruson,
Elean Zilio
Gianandrea Gavazzeni,
Orchestra & Chorus of Teatro La Fenice, Venice
(Recorded at a live performance at Le Fenice, Venice on 26 March)
Audio CD: Opera D'Oro
Cat: OPD 1412
1996 Edita Gruberova,
Octavio Arévalo,
Ettore Kim,
Ulrika Precht
Elio Boncompagni,
Radio Symphonieorchester Wien and Wiener Konzertchor
(Recorded at performances in the Konzerthaus, Vienna, on 6 and 12 December)
Audio CD: Nightingale
Cat: NC 070567-2
2009 Krassimira Stoyanova,
José Bros,
Christopher Purves,
Loïc Félix
Sir Mark Elder,
Orchestra of the Age of Enlightenment
Recorded at Henry Wood Hall, Oct/Nov.
Audio CD: Opera Rara
Cat: ORC44

References[edit]

Notes

  1. ^ Source for recording information: operadis-opera-discography.org.uk

Sources

External links[edit]