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Bacchus (opera)

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Bacchus
Opera by Jules Massenet
Middle-aged man, receding hair, moustached, looking at camera
The composer, Jules Massenet, photographed by Eugène Pirou, 1895
LibrettistCatulle Mendès
LanguageFrench
Based onBacchus and Ariadne
Premiere
5 May 1909 (1909-05-05)
Palais Garnier, Paris

Bacchus is an opera in four acts by Jules Massenet to a French libretto by Catulle Mendès after Greek mythology. It was first performed at the Palais Garnier in Paris on 5 May 1909.

The story is based on the mythology surrounding Bacchus and Ariadne (Ariane). The Gods, among them the demi-god Bacchus, appear in human form in ancient India to attempt to persuade the people away from the pervading Buddhist influence. Ariane has followed them, convinced that Bacchus is in fact Theseus, her unrequited love. In the end, Ariane sacrifices herself to save humanity and in doing so, Bacchus becomes a God.

Although not a proper sequel, as Ariane dies in both pieces, Bacchus is a companion to Massenet's earlier opera, Ariane. Of Massenet's twenty-five operas, Bacchus is probably the least known, without a modern performance history or single modern recording. The ballet music has been recorded and issued appropriately by Naxos (company).

The story of this opera is also related to that of Ariadne auf Naxos from Richard Strauss.

Roles

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Lucy Arbell in the role of Queen Amahelli at the Théâtre de l'Opéra (Palais Garnier), during the creation of Bacchus in 1909. Photograph by Paul Nadar.
Role Voice type Première Cast[1]
Conductor: Henri Rabaud
Bacchus tenor Lucien Muratore
Ariane soprano Lucienne Bréval
Queen Amahelli mezzo-soprano Lucy Arbell
Révérend Ramavaçou[note 1] bass André Gresse
Kéléyï[note 2] soprano Antoinette Laute-Brun
Silène baritone Marcelin Duclos[note 3]
Mahouda baritone Triadou
Pourna tenor Nansen
Ananda baritone Cerdan
Manthra, a mime mute Blanche Kerval
Clotho spoken role Brille
Perséphone spoken role Renée Parny
Antéros spoken role de Max
Chorus: Followers of Perséphone, Nuns, Monks, Warriors, Priests, Bassarides, Fauns, Bacchantes, Heavenly voices.

There are also a number of dance roles in the various ballets.[2]

List of musical numbers

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[3]

Act I, The Underworld

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  • "Hélas!" - Voices of Spirits
  • "Pourpre déchue, encens funèbres" - Perséphone
  • Dance by the Spectres of the Roses[4][note 4]
  • "Ariane n'est point chez les morts douloureux" - Companions of Perséphone
  • "Tourne, fuseau du sort" - Clotho
  • "Il n'est destin, hasards, ni volonté de l'homme" - Antéros
  • An apparition (The travels of Bacchus and Ariane, as shown to Persephone and her companions)[5]

Act II

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Scene 1, in Nepal

  • Arrival of the Beggar Monks to the Réverénd Ramavaçou[6]
  • "L'apparence n'est rien" - Réverénd Ramavaçou
  • "Quel brut déchire le silence?" - Réverénd Ramavaçou
  • "Io! Io! Pœan! Evohé!" - the tumult
  • "Une tourbe énorme s'élance" - Pourna
  • "Plein de toi, vigneron divin" - Silène
  • "Il vacille!" - Réverénd Ramavaçou
  • "Tu mens! L'eau du fleueve n'est pas verte" - Mahouda
  • "Le Règle est blasphémée" - Amahelli
  • "Cent viharas sacrés et vingt cités profanes" - Amahelli
  • Invocation: "Très saint qui nous promis la paix définitive" - Amahelli
  • "Dans l'âpre forêt de rocs et d'arbres tours" - Réverénd Ramavaçou
  • Sacred chant: "O fils sans mère d'un père Dieu" - Voices of distant priests. Setting of an Ancient Greek Melody[7]
  • The Triumph of Bacchus
  • "Mortels! La vie est dans le monde!" - Bacchus
  • "N'est-il pas l'heure aussi qu'à l'épouse l'époux sourie?" - Ariane
  • "Et je ris, doucement mourante, selon mes vœux" - Ariane
  • "Roi, par fauves troupeaux, d'affreux géants camards hurlent" - Silène
  • "Tant d'émoi pour quelque harde échappée" - Bacchus

Interlude: The Battle of the Monkeys

Scene 2: After the Battle

  • "Vois! par l'arme de pierre et l'ongle et la mâchoire" - Réverénd Ramavaçou
  • "Sortis enfin de leur torpeur" - Amahelli
  • "Ah! je m'éveille! Un rêve!" - Ariane
  • "Zeus immortel! Ton fils va-t-il devenir Dieu?" - Bacchus
  • "Qu'il soit prisonnier!" - Amahelli

Act 3

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Scene 1: A Terrace of the Palace of the Sakias

  • Prelude
  • "Sur quel point de l'erreur ou de la connaissance" - Kéléyï

Notes

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  1. ^ Full name given at Mendès, Catulle; Massenet, Jules (1909). Bacchus. Paris: Au Ménestrel / Heugel et Cie. pp. 30–1. Retrieved 1 August 2020.
  2. ^ Written "Kéléyi" in the cast list, but Kéléyï everywhere else, e.g. Mendès, Catulle; Massenet, Jules (1909). Bacchus. Paris: Au Ménestrel / Heugel et Cie. pp. Table of Contents. Retrieved 1 August 2020.
  3. ^ In the Act III ballet, Charles Javon substituted for Duclos. See Mendès, Catulle; Massenet, Jules (1909). Bacchus. Paris: Au Ménestrel / Heugel et Cie. p. Front matter: Dances. Retrieved 1 August 2020.
  4. ^ In the Table of Contents, scenes without dialogue or vocal lines are generally (but not always) listed only by the main group performing them, in the same manner as the main singer is listed for the songs. The descriptions used here are summarised from the actions described in the score.

References

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  1. ^ Mendès, Catulle; Massenet, Jules (1909). Bacchus. Paris: Au Ménestrel / Heugel et Cie. pp. Front matter. Retrieved 1 August 2020.
  2. ^ Mendès, Catulle; Massenet, Jules (1909). Bacchus. Paris: Au Ménestrel / Heugel et Cie. pp. Front matter: Dances. Retrieved 1 August 2020.
  3. ^ Mendès, Catulle; Massenet, Jules (1909). Bacchus. Paris: Au Ménestrel / Heugel et Cie. pp. Table of Contents. Retrieved 1 August 2020. Additional clarifications, where needed, are referenced specifically.
  4. ^ Details taken from Mendès, Catulle; Massenet, Jules (1909). Bacchus. Paris: Au Ménestrel / Heugel et Cie. pp. 6–7. Retrieved 1 August 2020.
  5. ^ Details taken from Mendès, Catulle; Massenet, Jules (1909). Bacchus. Paris: Au Ménestrel / Heugel et Cie. pp. 28–9. Retrieved 1 August 2020.
  6. ^ Details taken from Mendès, Catulle; Massenet, Jules (1909). Bacchus. Paris: Au Ménestrel / Heugel et Cie. pp. 30–1. Retrieved 1 August 2020.
  7. ^ Details taken from Mendès, Catulle; Massenet, Jules (1909). Bacchus. Paris: Au Ménestrel / Heugel et Cie. p. 76. Retrieved 1 August 2020.
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