[Opera bouffe, in three acts; text by Vanloo and Aterrier. First produced at the ThÈÂtre des Fantasies Parisiennes, Brussels, March 21, 1874; in Paris, November 11, 1874; in New York at the Park Theatre, 1875.]
PERSONAGES.
- Don Bolero d’Alcarazas, a Spanish grandee.
- Marasquin, banker.
- Mourzook, a Moorish chief.
- GiroflÉ,
Girofla, } Don Bolero’s twin daughters. - Aurore, their mother.
- Pedro, the page.
- Paquita.
- Pirate Chief.
- Godfather.
- Godmother.
- Fernand.
- Guzman.
[Cousins, bridesmaids, pages, pirates, Moors, etc.]
The scene is laid in Spain; time, the last century.
The opening scene of “GiroflÉ-Girofla” which, with “La Fille de Madame Angot,” made the reputation of Lecocq as an opera-bouffe composer, introduces Don Bolero d’Alcarazas, a Spanish grandee, and Aurore, his wife, also their twin daughters, GiroflÉ and Girofla, who, being of marriageble age, have been hastily betrothed, GiroflÉ to Marasquin, a banker to whom Don Bolero is heavily indebted, and Girofla to Mourzook, a Moorish chief who has made regular demands upon Don Bolero for money on penalty of death. By the double marriage he expects to get rid of his obligations on the one hand and avoid the payment of the enforced tribute on the other. GiroflÉ is married as arranged, but Girofla, who was to have been married the same day, is abducted by pirates before the ceremony can be performed. When Mourzook arrives and finds he has no bride, he is in a terrible rage, but is quieted down when, after a little manoeuvring by Aurore, GiroflÉ is passed off on him as Girofla and is thus to be married a second time.
In the second act the wedding festivities are going on and both bridegrooms are clamoring for their brides. No word is heard from Admiral Matamoras, who has been sent to capture the pirates. Don Bolero and Aurore resort to all kinds of expedients to settle matters and pacify the irate banker and the furious Moor, and besides have much trouble in restraining GiroflÉ from flying to her Marasquin. At last she is locked up. She manages to get out, however, and goes off with some of her cousins for a revel. Her absence is explained by a report that the pirates have carried her off also, which adds to the parents’ perplexity as well as to the fury of Marasquin and Mourzook. At last GiroflÉ appears in a tipsy condition and is claimed by both. The act closes with the report that Matamoras has been defeated, and that the pirates have carried Girofla to Constantinople.
The third act opens on the following morning. The two would-be husbands have been locked into their apartments. Marasquin has passed a quiet night, but Mourzook has smashed the furniture and escaped through the window from his chamber. The parents assure Marasquin that even if Mourzook returns he will have to leave that afternoon, and suggest that there can be no harm in letting him have GiroflÉ for his wife until that time. Marasquin reluctantly consents, and when Mourzook returns and GiroflÉ is presented to him as Girofla, a ridiculous love scene occurs, which Marasquin contrives to interrupt by various devices. Finally the return of Girofla is announced, and Matamoras with his sailors appears, leading her by the hand. Explanations are made all round, the parents are forgiven, and Mourzook is satisfied.
The music is lively throughout and oftentimes brilliant, and of a higher standard than usually characterizes opera bouffe. The most taking numbers are the ballad with pizzicato accompaniment, sung by Paquita, “Lorsque la journÉe est finis” (“When the Day is finished”); the concerted ensemble, “À la chapelle” (“To the Church”); the grotesque pirates’ chorus, “Parmi les choses dÉlicates” (“Among the Delicate Things to do”), and the sparkling duet for GiroflÉ and Marasquin, “C’est fini, le mariage” (“The Marriage has been solemnized”), in the first act: the bacchanalian chorus, “Écoutez cette musique” (“Listen to this Music”), leading up to a dance; a vivacious and well-written quintette, “Matamoras, grand capitaine” (“Matamoras, our Great Captain”); a fascinating drinking-song, “Le Punch scintille” (“This Flaming Bowl”), and the andante duet “O GiroflÉ, O Girofla,” a smooth, tender melody, which is in striking contrast with the drinking-music preceding it and that which immediately follows the chorus of the half-tipsy wedding-guests, “C’Ést le canon” (“It is the Cannon”): and the rondo, “Beau pÈre une telle demand” (“Oh, my Father, now you ask”), sung by Marasquin, and the duet for Mourzook and GiroflÉ “Ma belle GiroflÉ” (“My Lovely GiroflÉ”), in the third act.
La Fille de Madame Angot.
[Opera bouffe, in three acts; text by Clairville, Sirandin, and Konig. First produced at the Fantasies Parisiennes, Brussels, November, 1872; in Paris at the Folies Dramatiques, February 23, 1873.]
PERSONAGES.
- Clairette Angot, daughter of the market.
- Mlle. Lange, comedienne.
- Ange Pitou, street singer.
- Pomponnet, hairdresser.
- LarivaudiÈre,
Louchard, } police officials. - Javotte.
- Amaranthe.
- Cydalise.
- Hersilie.
- Babet.
- Trenitz.
[Bourgeois, grenadiers, conspirators, hussars, servants, marketwomen, etc.
The scene is laid in Paris; time, about the period of the French Revolution.
The first act opens in a market square in Paris where the marketwomen and others in holiday costume are making ready to celebrate the wedding of Pomponnet, the hairdresser, and Clairette, the daughter of the late Madame Angot. During the festive preparations, for which Clairette has little desire, as her affections are fixed upon Ange Pitou, a street singer, who is continually in trouble by reason of his political songs, the latter makes his appearance. He is informed of the forthcoming wedding, which has been arranged by the market people, who have adopted Clairette as the child of the market. At the same time LarivaudiÈre and Louchard, the police officials who caused his arrest because of his knowledge of the relations of LarivaudiÈre and Mademoiselle Lange, the comedienne and favorite of Barras, are surprised to find him at large. To prevent him from reciting his knowledge in a song which he is sure has been written, LarivaudiÈre buys him off. Pitou subsequently regrets his bargain. When the crowd clamors for a song, he says he has none. The people are furious with him, but Clairette comes to his rescue. She has found the song denouncing LarivaudiÈre, sings it, and is arrested, notwithstanding Pitou’s declaration that he is the author of it.
The second act opens in Mademoiselle Lange’s salon. She has persuaded Barras to release Clairette and have her brought to her apartments, so that she may discover why she sings this song denouncing the government and insulting her also. In the mean time she has also sent for Pomponnet, her hairdresser, and informs him what his future wife has done. He replies that Pitou wrote the song, and that he (Pomponnet) has it. She orders him to fetch it to her. When Clairette arrives they recognize each other as old school friends. Mademoiselle Lange assures her she shall not go back to prison and that she need not marry Pomponnet. She retires to Mademoiselle Lange’s boudoir, when a visitor is announced. It is Ange Pitou, and a love scene at once occurs. The jealous LarivaudiÈre enters and accuses them of being lovers. To justify herself Mademoiselle Lange declares that Pitou and Clairette are lovers, and the latter confirms the statement. Pomponnet’s voice is heard in the outer room. He is admitted, and promptly arrested for having the revolutionary song on his person. The act closes with a meeting of conspirators, and Mademoiselle Lange’s clever oiling of the grenadiers who have come to arrest them by turning the whole affair into a grand ball, to which they are invited.
The last act is occupied with plots and counter-plots which at last succeed in disentangling all the complications. Mademoiselle Lange’s perfidy, as well as Pitou’s, is shown up, LarivaudiÈre has his revenge, and Clairette and Pomponnet are made happy.
The music of the opera is so bright, gay, and characteristic that it made Lecocq a dangerous rival of Offenbach. The most conspicuous numbers are Clairette’s pretty romance, “L’enfant de la Halle” (“The Child of the Market”); Amaranthe’s jolly couplets, “Marchande de marÉe” (“A Beautiful Fishwoman”); Ange Pitou’s rondo, “Certainement j’aimais Clairette” (“’Tis true I loved Clairette”) and Clairette’s spirited song, “Jadis les rois, race proscrite” (“Once Kings, a Race proscribed”), in the first act: another equally spirited song, “Comme un Coursier” (“Like a Courser”); Pomponnet’s pretty air, “Elle est tellement innocente” (“She is so innocent”); a charming sentimental duet for Mademoiselle Lange and Clairette, “Jours fortunes de notre enfance” (“Happy Days of Childhood”); a striking ensemble in the form of a quintette, “Oui, je vous le dis, c’est pour elle” (“Yes, ’tis on her Account alone”); and the famous conspirators’ chorus, “Quand on conspire” (“When one conspires”), in the second act: and Clairette’s couplets with chorus, “Vous aviez fait de la dÉpense” (“You put yourselves to Great Expense”); the humorous duet, “LarivaudiÈre and Pomponnet,” and Clairette’s song, “Ah! c’est donc toi” (“Ah! ’tis you, then”), in the last act.
