To my Opera Friends:

[gallahadesquire]

I was at my Alma Mater today. I didn't realize that they have a piano-vocal score that was Lily Pons', for Fille de la Regiment of Donizeetti. Neat thing to look at. Not too many notations, except for a cadenza. One assumes this score was for her Accompaniest, and he need to know where the hell she was in the scaore.

[Bargara Leatherboy]

cadenza's were normally improvised - some were written down - but yes the repititeur would need an idea as to when it was going to transition into the next aria or recitive

[whipped guy]

Does the score include the cuts and and any other interpolations that were used in the performance, such as the inclusion of the Marseillaise at the conclusion of the piece?

[+ quoththeraven]

Does the score include the cuts and and any other interpolations that were used in the performance, such as the inclusion of the Marseillaise at the conclusion of the piece?

 

The what? Sounds like the definition of a musical non sequitur.

[+ honcho]

The what? Sounds like the definition of a musical non sequitur.

 

I have to admit that I've never seen the opera and am not familiar with it's story line, but given that the title

is the equivalent of "The daughter of the regiment" in the French language, interpolation of what is now

the French national anthem would not seem totally out of place. Given the supposed historical context of the piece, it might be anachronistic . . .

 

After all, Puccini quotes the US national anthem in Madama Butterfly.

[whipped guy]

When there opera was produced for Lily Pons at the MET in 1940 it was during the early days of the Second World War and even though that was obviously prior to the United States being involved in the conflict public sentiment was obviously on the side of the French. Paris had fallen earlier in the year and Pons being French used the opera as a bit of pro-French wartime propaganda by interpolating the French National Anthem at the conclusion of the piece. From what I recall reading about the production a large French flag was also on display for the finale. The opera itself concludes with a reprise of the soprano's cabaletta "Salute a la France", so the addition of the Marseillaise at the end fits the situation even though it was not part of Donizetti's' original concept.

 

Here are the final moments of La Fille du Régiment from the 1940 MET broadcast.

 

 

Here is the finale in 2008 from the MET with Natalie Dessay and Juan Diego Flórez.

 

[body2body]

Here is Lily Pons singing Salut à la France with additional material.I don't know when it was recorded, but the sound quality indicates it may have been earlier than 1940 ( she had a recording contract as early as 1930). She was a remarkable woman who beyond her career in Opera, did films, radio, had endorsement contracts with Knox Gelatine, and Libby's Tomato Juice. During WWII she toured overseas with her husband Andre Kostelanetz and his orchestra giving concerts for the troops. She gave a concert in Chicago's Grant Park in 1939 that drew a crowd of 300,000.

[whipped guy]

LOL! This is not "Salute a la France" as Donizetti composed it!!!!! It begins as "Salute a la France", but then morphs into the cabaletta from the first act aria from the French version of Donizetti's Lucia di Lammermoor (Lucie de Lammermoor)!!!! That aia originally "Perché non ho del vento" was culled from the earlier opera Rosmonda d'Inghilterra! Of course Pons adds an elaborate cadenza to finish things off! I wonder if that's what the OP referenced?!?! So somehing a bit naughty by Miss Pons, but typical for the time.

 

Here is the original version with embellishments in the repeat...

 

 

(Sorry for being a frustrated musicologist... )

[whipped guy]

For the record here's the original aria also sung by Sutherland...

 

 

Here's the French version sung by Patrizia Ciofi...

 

 

(Again sorry...)

[gallahadesquire]

What was cool was holding the Score that Pons had used. Of course, I've also held a copy of Galileo's book from 1637 ... and a Missa Romanum from 1542. It's fun to be into this old stuff.

 

I found a transcription of a facsimile Codex that my college has (Squarcialupi, Palatino 87) on ebay, so I bought it. I finally gave it to the Medievalist scholar. He said:

 

I've had copies of the table of contents, and I've referenced it hundreds of times, but I've never held a copy of it before!

Now he needs to go and check his references .... >>giggle<<

[whipped guy]

What was cool was holding the Score that Pons has used... Now he needs to go and check his references .... >>giggle<<

 

Since I had asked, do you recall at what point in the score that cadenza was located... first act, second act, etc.??? Was it as elaborate as in the recording etc.??? Also were the cuts marked as well...

[body2body]

LOL! This is not "Salute a la France" as Donizetti composed it!!!!! It begins as "Salute a la France", but then morphs into the cabaletta from the first act aria from the French version of Donizetti's Lucia di Lammermoor (Lucie de Lammermoor)!!!! That aia originally "Perché non ho del vento" was culled from the earlier opera Rosmonda d'Inghilterra! Of course Pons adds an elaborate cadenza to finish things off! I wonder if that's what the OP referenced?!?! So somehing a bit naughty by Miss Pons, but typical for the time.

 

Here is the original version with embellishments in the repeat...

 

 

(Sorry for being a frustrated musicologist... )

Yikes! After reading your comments I edited my post.

[Bargara Leatherboy]

My best memories are of Dame Joan Sutherland in this role at the Sydney Opera House

[whipped guy]

Yikes! After reading your comments I edited my post.

LOL! I don't recall if this is how she performed the piece at the MET as I don't have the recording. But obviously Pons was familiar with the French version of Lucie de Lammermoor and liked the aria. Incidently Pons always sang the Mad Scene in the original Key of F as opposed to E-flat even when she sang the Italian version. Again this was probably due to her familiarity with the French version (and French editions) which preserved the original key while Italian publications such as the Ricordi score lowered the key to E-flat.

My best memories are of Dame Joan Sutherland in this role at the Sydney Opera House

 

I recall making the treck to the MET with my college roommate and seeing her from standing room at the Family Circle in 1972. That's as far back as one can be and her voice soared like a laser beam throughout the house. Alas the tenor was not Pavarotti but the underrated John Alexander.

[+ Charlie]

I know there is another opera which includes a snippet of the Marsellaise (and a few other recognizable national anthems?), but I can't remember what it is . Could it be Rossini's Il Viaggio a Reims?

[body2body]

Here is Lily Pons at Promenade concert at Philharmonic Hall in 1972. She was 74 (not 76 as described in the clip). I think she sounds pretty amazing for that age. I believe she retired from the Met in 1960 after a 30 years of performances there.

[whipped guy]

I know there is another opera which includes a snippet of the Marsellaise (and a few other recognizable national anthems?), but I can't remember what it is . Could it be Rossini's Il Viaggio a Reims?

Yes! In the final scene the various characters who are from different European nations each sing a song from their own country. The British character sings "God save the king". In his performances the late Claudio Abbado interpolated a snippet from the Marseillaise. However, that is not authentic, and given the fact the that piece was part of the coronation festivities for the ill fated reign of Charles X it would have been unthinkable to have included it in the score!! In fact Janet Johnson who painstakingly reconstructed and complied the critical edition of the score was quite upset at Abbado for having interpolated the snippet. Abaddo also took some other liberties with which she was not pleased.

[bostonman]

I know there is another opera which includes a snippet of the Marsellaise

 

There's also Andrea Chenier, where a few phrases of the Marseillaise are hummed by the character Mathieu at the top of Act IV.

[gallahadesquire]

Since I had asked, do you recall at what point in the score that cadenza was located... first act, second act, etc.??? Was it as elaborate as in the recording etc.??? Also were the cuts marked as well...

I'll have to ask. I wasn't paying that much attention, as a Sacerdotale of 1542 (Missal Romanum) was on the same table, and I was more interested in that.

[whipped guy]

I'll have to ask. I wasn't paying that much attention, as a Sacerdotale of 1542 (Missal Romanum) was on the same table, and I was more interested in that.

 

Do they just leave these things lying around on a table for anyone to peruse (or potentially abuse)!!!??? I would think not?!?!?

[TruHart1]

LOL! I don't recall if this is how she performed the piece at the MET as I don't have the recording...

 

I recall making the treck to the MET with my college roommate and seeing her [Joan Sutherland] from standing room at the Family Circle in 1972. That's as far back as one can be and her voice soared like a laser beam throughout the house. Alas the tenor was not Pavarotti but the underrated John Alexander.

 

I always thought John Alexander was the most rock-solid tenor on the MET roster during the 26 seasons he sang at the MET (1961-1987) Heaven knows he stepped in all the time for indisposed leading tenors singing bel canto to Wagner and everything in between! Sure, he was an unimpressive actor, quite short and with a pretty bad toupee when he wasn't wigged professionally for a MET performance, but I heard him first on radio broadcasts and I found his tenor instrument thrilling in most everything I heard him perform. Secure high notes were one of his hallmarks along with amazing use of legato when he wanted to spin a long vocal line!

 

Here is the first act duet with Sutherland from a 1968 Saturday Afternoon MET broadcast of La Sonnambula:

 

TruHart1

[gallahadesquire]

Do they just leave these things lying around on a table for anyone to peruse (or potentially abuse)!!!??? I would think not?!?!?

 

LOL! No, it was a Donor's Recognition Reception. They're very, very careful with the fragile and rare stuff, and the Archives / Controlled Atmosphere room is across the hall. which is where the stuff normally is kept.

[whipped guy]

I always thought John Alexander was the most rock-solid tenor on the MET roster during the 26 seasons he sang at the MET (1961-1987) Heaven knows he stepped in all the time for indisposed leading tenors singing bel canto to Wagner and everything in between! Sure, he was an unimpressive actor, quite short and with a pretty bad toupee when he wasn't wigged professionally for a MET performance, but I heard him first on radio broadcasts and I found his tenor instrument thrilling in most everything I heard him perform. Secure high notes were one of his hallmarks along with amazing use of legato when he wanted to spin a long vocal line!

 

Here is the first act duet with Sutherland from a 1968 Saturday Afternoon MET broadcast of La Sonnambula:

 

TruHart1

I saw Alexander as Polione to Sills Norma in 1972 and as I recall he had decent looking legs in his Roman soldier outfit! He also sang well that evening. I have an in house recording the performance which confirms it.

[whipped guy]

LOL! No, it was a Donor's Recognition Reception. They're very, very careful with the fragile and rare stuff, and the Archives / Controlled Atmosphere room is across the hall. which is where the stuff normally is kept.

LOL! I figured that it was probably that type of situation!!!!

[+ Charlie]

Yes! In the final scene the various characters who are from different European nations each sing a song from their own country. The British character sings "God save the king". In his performances the late Claudio Abbado interpolated a snippet from the Marseillaise. However, that is not authentic, and given the fact the that piece was part of the coronation festivities for the ill fated reign of Charles X it would have been unthinkable to have included it in the score!! In fact Janet Johnson who painstakingly reconstructed and complied the critical edition of the score was quite upset at Abbado for having interpolated the snippet. Abaddo also took some other liberties with which she was not pleased.

I remembered it because it was on my recording of the opera that Abbado made in 1984.