Lalo completed only two operas, one of which was never performed yet he still believed himself to be born to the Theatre. Before commencing work on 'Le Roi D'Ys' in 1873, he had already achieved fame as a composer of chamber music and orchestral works and in the 1870's his fame spread through the popularity of his 'Symphonie Espagnole.'
His first attempt at Opera was in 1866 with 'Fiesque' which was a complete disaster and was never staged. He started work on 'Le Roi D'Ys' in 1875 and while excerpts from it were given on occasion, in concert and in orchestral form, it was not staged until 1888 when the Opera-Comique put it on. It has remained fairly popular, mainly in France, until well into the last Century and it is still given the odd revival.
At the time of its first production, Lalo regarded it as something of a make or break. In the event, the gamble paid off even if some critics did carp about Lalo's 'Wagnerism', due to the outbreaks of surging orchestration which are certainly Wagner-like; and the plot, which has decidedly Wagnerian undertones. None the less, there are melodies and sensuous harmonies and at times Lalo's lightness of touch is at odds with the gravity of the drama.
The plot is complex. It concerns two sisters
who unknown to each other, love the same man. Sister Number 1 is contracted to marry the leader of the enemy faction, Karnac, who has recently been at war with the City of Y's. This marriage is supposed to seal the peace but Margarad (Sister No.1) would prefer to marry our hero, the tenor Mylio. Karnac is not very pleased with this situation and swears revenge. War is therefore back on the itinerary. Just to make things worse, Mylio intends to marry Margared's sister, Rozenn. Margared, feeling herself spurned, turns to Karnac and plots with him to destroy the City of Ys, by opening the floodgates protecting the city from the sea.
Rozenn and Mylio are married, Margared is struck by remorse, Karnac opens the floodgates for which Margared kills him. The crowd prays for deliverance as half the city is washed away and Margared, realizing that the waters need a sacrifice, hurls herself into the sea whereupon the waters recede. All very Wagnerian!!
However, Lalo's predilection for sweet sounds is often to the opera's advantage. Mylio's tenor aubade, "Vainement, ma bien-aimee" is an absolute delight and this solitary piece, fortunately for us has been widely recorded and there are numerous versions for our consumption:
LALO - 'LE ROI D'YS.' "Vainement, ma bien-aimee."
(01) Laurence Dale » listen
to audio | 784 kb
(02) Andre D'Arkor » listen
to audio | 810 kb
(03) Nicolai Gedda » listen
to audio | 792 kb
(04) William Matteuzzi » listen
to audio | 708 kb
(05) Alain Vanzo » listen
to audio | 790 kb
(06) Roberto Alagna » listen
to audio | 862 kb
NB: All audio removed in accordance with GT.com's policy
on audio files.
| French lyrics |
English translation |
Puisqu'on ne peut flechir ces jalouses gardiennes,
Ah! laissez-moi conter mes peines
Et mon emoi !
Vainement, ma bien-aimee,
On croit me desesperer :
Pres de ta porte fermee.
Je veux encor demeurer !
Les soleils pourront s'eteindre,
Les nuits remplacer les jours,
Sans t'accuser at sans me plaindre,
La je resterai toujours !
Je le sais, ton ame est douce,
Et l'heure bientot viendra,
Ou la main qui me repousse.
Vers la mienne se tendra!
Ne sois pas trop tardive
A te laisser attendrir !
Si Rozenn bientot n'arrive,
Je vais, helas ! mourir ! |
Since these jealous retainers will not be
softened, ah, let me tell you of my suffering
and my emotion!
In vain, my beloved,
do they think they can put me off:
close by your shut door
I am determined to stay!
The stars may fade,
nights replace days,
without blaming you and without
complaining,
I shall stay here for ever!
I know what a sweet soul you are,
and the hour will soon come
when the hand which now pushes me away
will reach out towards mine!
Do not take too long
to allow yourself to melt;
If Rozenn does not appear soon soon,
Alas, I shall die! |
Le Roi D'Ys is a schizophrenic opera, there is a bit of Wagner in the mix while the melodies look back to Gounod and the scented harmonies look forward to Debussy. There may be live recordings available but to my knowledge the only studio recording on the Erato label, with Barbara Hendricks and Eduardo Villa, has now been with drawn from the catalogue. There may an elusive and interesting 1943 version on the Malibran label.
I have not made any comment or recommendation about the six versions presented. They are all well sung and give a great deal of pleasure. I leave the comments to those interested enough to read this and to listen.
Acknowledgements:
- Joern Anthonisen and everyone at Grandi-tenori;
- 'The Rough Guide to Opera,'
3rd Edition; Mattew Boyden,
- My wife Verna, for allowing me to spend so much time on this computer.
Extras: Grandi Tenori.com biographies:
- Roberto Alagna
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