Le roi malgré lui

"Le roi malgré lui" "(The King in Spite of Himself)" is an opéra-comique in three acts by Emmanuel Chabrier with an original libretto by Emile de Najac and Paul Burani.

Background

Around May 1883 Chabrier wrote to his publishers that he was hoping to create something like Offenbach’s successful grand fantaisie "Le roi Carotte". [Delage R. "Emmanuel Chabrier". Paris, Fayard, 1999, p355.]

According to Victorin de Joncières, Chabrier had confided in him that he was looking for an amusing book to set, and suggested "Le Roi malgré lui", a vaudeville by Marguerite-Louise Virginie Ancelot (1792–1875) first seen at the Théâtre du Palais-Royal on 19 September 1836. [Joncières V de. "Notes d'un Musicien." "Le Gaulois", 14.3.1899.]

An article by Theodore Massiac [(Gils Blas, 29 September 1886) quoted in Delage R. "Emmanuel Chabrier". Paris, Fayard, 1999, p371-3.] described in some detail Chabrier's composition process in relation to "Le roi malgré lui". He carefully supervised the work of the librettists Paul Burani and Emile de Najac in adapting the Ancelot work. Burani would send drafts of scenes and songs to de Najac who would send back comments and changes to Burani, and when, after some to-ing and fro-ing (by correspondence) de Najac was happy, he would send words to Chabrier to set to music. At his home at La Membrolle, Chabrier would read the words out loud in order to find the tone and rhythm of each piece and only after having played around with the text for some time would take up his pen and start writing. Chabrier did not compose at the piano – melody and rhythm came first with harmony later. He was particularly critical of being supplied with mute syllables. Finally, Jean Richepin, an old friend of the composer, had a major part in helping provide Chabrier with a libretto he could feel happy with. [Delage R. "Emmanuel Chabrier". Paris, Fayard, 1999, p374-5.]

The work is dedicated to Madame Victorin de Joncières.

Performance history

The premiere was on 18 May 1887 at the Opéra-comique (Salle Favart) in Paris. After three performances, the Opéra-comique theatre was ravaged by fire, although the full score and orchestral parts were saved [Probably by the conductor Danbé (Delage R, p402)] . The opera was played in Dresden on 26 April 1890 under Ernst von Schuch, Cologne on 15 October 1891 under Julius Hofmann, and on 9 March 1892 in Toulouse under Armand Raynaud. [Delage R. "Emmanuel Chabrier". Paris, Fayard, 1999.]

In 1929 Albert Carré revised the text and a new version was performed at the Opéra-comique on 6 November to greater acclaim. There followed productions in Brussels (16 May 1931), Hamburg (17 April 1931) and Prague (27 August 1931). [Loewenberg A. "Annals of Opera." London, John Calder, 1978.]

The British stage premiere had to wait until the centenary of the composer's death, when it was produced by Opera North.

Roles

ynopsis

Act 1

"A castle outside Krakow, in 1574"

The Polish people have elected a French noble, Henri de Valois, to become their king. In a castle near Krakow he awaits incognito for his coronation.

French nobles are idly waiting for news from Krakow. Nangis, a friend of Henri, returns from city, where he had been sent to drum-up support for the future king. Although the ordinary people had been well-disposed towards Henri, the nobility, led by Count Albert Laski seemed to be joining together to oppose him and support the other claimant to the throne, the Archduke of Austria. All except the Duke of Fritelli, a Venetian living in Poland, who has managed to become Henri's chamberlain while remaining in league with Laski.

Fritelli, busy with preparations for the coronation, enters. He pretends to Nangis that he does not know Laski, and, on learning of the king's continued homesickness cannot resist airing his views on the difference between the Poles and the French in a comic song.

After Fritelli has gone, Nangis confesses to his friends that during the eight days he has been away trying to raise an army, he has fallen in love with a charming girl, Minka, who unfortunately is a slave in Laski's household. Minka now enters, avoiding a pursuing sentry; she tells Nangis that she has only come for a moment but when Nangis takes this that she does not love him anymore she gently rebukes him and asks him to be patient. She promises to return later that day, but as she is about to leave, the king himself arrives and Nangis only has time to hide her in an ante-room.

The homesick king sings of his love for France, and says that he would do anything not to be king of Poland. Nangis reminds him that he has not always been so ill-disposed to the Poles; there was a certain lady Henri had known in Venice... Henri's fond memories are interrupted by the return of Fritelli, and it soon becomes apparent that the lady with whom Henri had a liaison in Venice soon became the wife of Fritelli in order to cover up the scandal of that affair.

When Henri and Nangis leave, Fritelli is naturally more determined than ever to rid Poland of Henri. His frenzy is cut short by the arrival of his wife, Alexina, who says that all is ready for Henri's departure: all Fritelli has to do is kidnap Henri and Laski's men will do rest. When the frightened Fritelli says he does not want glory - just a bit of affection, Alexina brushes his objections aside. They leave.

Minka comes out of hiding, but she bumps into the king (who she doesn't know). She says she loves Monsieur Nangis but is worried that there is a plot against the king. Henri can hardly contain his delight, which increases more when she says that Fritelli is implicated. When Minka has left, Henri sends for Fritelli, and after some initial resistance he confesses the plot to Henri and tells him all he wants to know. Fritelli is astonished when Henri says that he too wishes to join the conspiracy; Fritelli is to introduce him to Laski as the Count de Nangis.

Trumpets sound and the French court assemble. Henri has Nangis arrested, so as to be able to use his identity to conspire against the king. Nangis is led away.Fritelli presents Henri (as Nangis) to his wife, Alexina, who recognizes him as the Frenchman with whom she had had an affair in Venice, years before. Minka's lone voice is heard off-stage, but as the curtain falls, Nangis manages to let slip his captors, jump out of a window and escape.

Act 2

"The ballroom of the palace of the Count Albert Laski"

That evening, a ball is being held at Laski's house, under the cover of which Laski and his co-conspirators wish to complete the details for Henri's departure. When the dancing is over, the Duke and Duchess of Fritelli arrive and introduce a new conspirator as the Count de Nangis (in reality the king in disguise). Henri (as Nangis) tells them he is no longer Henri's friend but his greatest enemy.

Alone with Fritelli, Henri is astonished to discover for the first time that Alexina is married to Fritelli, but before he gets any further, Minka and other slave girls enter singing, during which the voice of the real Nangis (who should be under lock and key) is heard outside. Minka believes that Henri has become a traitor to the king but does not yet know his true identity. When she tries to leave to warn the real Nangis, Henri orders Fritelli to lock her up in an ante-room.

Alexina returns and Henri, to be alone with her, hurriedly sends her husband away. Alexina is still furious that Henri left her in Venice without a farewell but during the ensuing duet he gradually wins her round and their feelings are rekindled. They are interrupted first by Fritelli, then by Laski and the Poles who have come to swear in Henri as a conspirator. Henri assures Laski that there will be no problem is getting hold of the king - he will be here soon; all Henri needs is a few moments to arrange this.

Alone, Henri summons Minka and tells her that Nangis must come at once. Minka calls him - and he shortly climbs in through a window and is immediately arrested. Everyone, including Minka, is convinced he is the king and behaves accordingly; Nangis himself is mystified until - in asides - Henri commands him to play the part, which he does with relish. Henri tells Nangis that they are resolved that he leave Poland that very night. Laski then orders Nangis and Minka to leave. To the horror of the conspirators he tells them that the only way to ensure that the king does not return is to kill him that very night. They draw lots and Henri is chosen to do the deed but at that moment Minka re-enters, and boldly announces that she has set Nangis (they think: the King) free, and the act closes with the fury of the Polish nobles, and Henri swearing again that he will get rid of the king.

Act 3

"An inn between Krakow and the Polish frontier"

The innkeeper Basile and his staff are preparing to receive the new king of Poland. Fritelli arrives, and informs them that the new king will not be Henri but the Archduke of Austria. Basile says it's all the same to him. Their cries of ‘long live the archduke’ are echoed by a stranger who has entered: Henri, making his escape from Poland. Fritelli is mystified by Henri’s enthusiasm for the archduke.

Henri, introducing himself to Basile as Nangis, sent in advance of the king, is stunned when he hears that he won't be able to complete his escape, as all the coaches were sent off to meet the Archduke, so he has to settle for a cart and an old nag, with a servant girl to show him the way.

Henri hears a coach approach outside and hides; it is Alexina who has arrived looking for her husband. She says she has changed sides and sent the Archduke back to Austria by telling him that the conspiracy has been discovered. Fritelli is not happy and accuses her of changing sides so as to continue her Venetian affair in Poland. A marital squabble ensues, after which Fritelli tells Alexina that her beloved ‘Nangis’ is disfigured after his murder of the king.

Minka arrives; Alexina is not able to tell her about the king's fate, and they join in a duet in which they worry about the fate of the men they love. Alexina finally tells her that the king (Nangis) is murdered. Minka collapses, as Basile arrives to say that the servant girl he had promised 'Nangis' to guide his way has gone to to the Basilica to watch the coronation. Alexina determines to take her place.

Convinced that Nangis has been killed, Minka sings a lament for her lover – only for him to enter at its climax. After convincing her that he is not an apparition, the two join in an ecstatic duet. Minka tells Nangis that Alexina thinks the king has been killed. Nangis – believing that she means the real king – drags her off to find him.

Alexina enters dressed as a servant girl and meets Henri; Fritelli hurries them on their way, content to be rid of his rival, but his pleasure is short-lived as he learns that the servant-girl was his wife, and rushes off in pursuit of them both. Minka is mystified by all this until Nangis finally tells her who the real king is; and Henri is shortly brought back in, reconciled to becoming king and receiving the acclamation of the pages, lords and soldiers assembled.

History and fiction

Henri de Valois (1551-1589) was the third son of Henri II and Catherine de Medicis. In 1573, Henri was elected King of the Polish-Lithuanian Commonwealth. Three months after his coronation as King of Poland, upon the death of his brother Charles IX, Henri secretly left Poland and returned to France, where he was crowned King on February 13, 1575, at Rheims Cathedral. In La Reine Margot, chapter LXV: Les Ambassadeurs, Dumas conjures up the coronation of Henri in Krakow, and his unhappiness at being king.

Orchestration

Orchestra: Strings, 2 flutes (2 piccolos), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 cornets a piston, 3 trombones, timpani, percussion (bass drum, cymbals, triangle, side drum), 2 harps.

The music

The music has been greatly admired by leading musicians, including Ravel [Opéra de Lyon Programme book. 2004.] (who claimed he could play the whole piece from memory) and Stravinsky [Stravinsky I. "Chroniques de ma vie." Editions Denoël, 2000.] .Grove comments "the brilliance of Chabrier’s music, often reminiscent of Berlioz and sometimes of Bizet, rests on a superbly crafted structure. The balance between romantic and comic episodes, a striking feature of all Chabrier's opera, is at its most perfect in Le roi malgré lui. [Forbes E. Le roi malgré lui in "The New Grove Dictionary of Opera". Macmillan, London and New York, 1997.]

However, it was not to the taste of Cosima Wagner, who attended a 1890 performance in Dresden. She wrote to Felix Mottl: "What vulgarity and lack of ideas. No performance in the world could conceal for an instant these trivialities…." [Opéra de Lyon Programme book. 2004.]

Two orchestral extracts from the opera have from time to time found their way onto concert programmes and recordings : the Fête Polonaise and the Danse Slave.

elected recordings

*Erato 1984: Barbara Hendricks - I. Garcisanz - Gino Quilico - P. Jeffes - J-P. Lafont - C.de Moor - conducted by Charles Dutoit, Choeur de Radio France, Nouvel Orchestre philharmonique de Radio France réf. 2292-45792-2.
*BBC broadcast, 1975. Henri Gui (Henri de Valois), André Mallabrera (Comte de Nangis), Odile Pieti (Minka), Christiane Stutzman (Alexina), Neil Howlett (Laski), Michel Trempont (Fritelli); BBC Northen Singers, BBC Northern Symphony Orchestra, conducted by Manuel Rosenthal.

References

* [http://www.amadeusonline.net/almanacco.php?Start=0&Giorno=18&Mese=05&Anno=1887&Giornata=&Testo=&Parola=Stringa Amadeus Almanac, accessed 18 August 2008 (original version)]
* [http://www.amadeusonline.net/almanacco.php?Start=0&Giorno=6&Mese=11&Anno=1929&Giornata=&Testo=&Parola=Stringa Amadeus Almanac, accessed 18 August 2008 (revised version)]