[Bizet, Georges. (1838–1875)] Puccini, Giacomo (1858–1924) & Saint-Saëns, Camille (1835–1921) & D'Indy, Vincent. (1851–1931) & Charpentier, Gustave (1860–1956) & Dubois, Théodore (1837–1924) & Pierné, Gabriel (1863–1937) & Humperdinck, Engelbert. (1854–1921)
A collection of composers' tributes and musical ephemera related to the 1,000th performance of Bizet's Carmen at the Opéra-Comique in Paris on December 23, 1904.
An extraordinary series of autograph Letters to the French Impresarios André Charlot and Jean Charlot, organizers of the 1,000th performance of Carmen at the Opéra-Comique on December 23, 1904. The Charlots solicited acknowledgements of the opera's importance from leading composers and librettists prior to the performance, and the present collection includes responses to this solicitation from Alfred Bruneau, Gustave Charpentier, Vincent D'Indy, Théodore Dubois, Engelbert Humperdinck, Gabriel Pierné, Giacomo Puccini, Camille Saint-Saëns, and the opera's co-librettist, Ludovic Halévy. Most of the letters are dated November, 1904.1) Bruneau, Alfred (1857-1934). Autograph letter signed in full. 2 pp. Octavo. Undated. In black ink on paper with two partial watermarks. In French (with translation). Creased at folds; minor browning, soiling, and staining; remnants of former mount to verso. In a lengthy, eloquent, and at times chauvinistic panegyric, Bruneau extolls Carmen as an epitome of French musical taste. He goes on to praise the opera's chiaroscuro handling of human emotion and Zola- esque realism, which Bizet was only able to achieve with his own tragic self-sacrifice. The French public, which once decried the taboo love between a bohémienne and a soldier, is now open to "a universality of subject, to the suffering and amusements of the little people, to the intimacy of the humble, to the modernity of sentiments and of existence."
"Carmen will remain one of the works that demonstrate the best of the prized qualities of our race in the future... There, indeed, all is clear, all is frank, all is simple, all is brief, all is strong, all is natural. The score is enlivened by such an intensity of life; it is at the same time so dolorous and happy, so spiritual and passionate, so violent and tender that it seems to justify, alas!, the brusque premature death of our great musician. Bizet wrote it with his blood and his tears and he ripped his heart out to leave it after him, vibrant, beating and singing, in these pages of magnificent realism... Its 1000th performance will be a brilliant victory of progress, of reason, of French genius."
2) Charpentier, Gustave (1860-1956). Autograph inscription on a visiting card. Ca. 56 x 97 mm. In black ink. With the composer's name and Paris address printed to recto. In French. "With my best regards." Slightly worn and soiled; remnants of former mount to verso.
3) D'Indy, Vincent (1851-1931). Autograph letter signed in full. 2 pp. of a bifolium. Octavo. Dated Paris, November 17, 1904. Notated in black ink on mourning stationery. In French (with translation). Slightly soiled; creased at folds; two minor abrasions to verso of second leaf.
Using somewhat anti-Semitic language, D'Indy boldly declares that Bizet's Carmen was initially a failure because it was so unlike the sterile "Jewish" opera of the period. "I consider Carmen as a point of departure for the current evolution of dramatic music in France. After the sterile productions of the Jewish period, which cluttered the French stage from 1830 until after the Franco-Prussian War, the work of Bizet, full of life- blood, vigor, movement, sacrificing the piece of music itself to expression, seemed a novelty without precedent. It was, in effect, a new endeavor, audacious, [and] that is why (quite naturally) it did not obtain any success then... justice was rendered later, when it returned to us consecrated by the acclamations of Brussels and Vienna."
4) Dubois, Théodore (1837-1924). Autograph letter signed "Th. Dubois." 2 pp. of a bifolium. 12mo. Dated Paris, November 20, 1904. In black ink. On stationery with "Conservatoire National de Musique et de Déclamation / Cabinet du Directeur" printed at head. In French (with translation). Slightly soiled, browned and stained; creased at folds; remnants of adhesive to blank verso of second leaf. In answer to his own rhetorical questions, Dubois proclaims Carmen a masterpiece. "What can one say about Carmen today that hasn't been said? That it is a masterpiece? The universe has proclaimed it! There is a great melodic abundance, harmonic and rhythmic richness, dramatic feeling, concision and color; all qualities little prized by the current generation. But what does it matter! Time has done its work and Carmen will remain the one of the works that bring the most honor to the French school."
5) Halévy, Ludovic (1834-1908). Autograph letter signed in full. 2 pp. of a bifolium. Octavo. Dated Sunday, November 13, 1904. In black ink. In French (with translation). Creased at folds; minor abrasion and remnants of adhesive and former mount to verso of second leaf. Halévy agrees to meet his correspondent (probably one of the Charlots), but warns that he is in the worst condition for a conversation with him: “I am in great pain, condemned to repose and to silence."
6) Humperdinck, Engelbert (1854-1921). Autograph letter on a postcard signed "E Humperdinck." Ca. 139 x 92 mm. Dated December 26, [190]4. Postmarked Grunewald (Berlin), December 27 [19]04. In black ink. With the names and Paris address of André and Jean Charlot notated to address panel, above Humperdinck's personal oval handstamp. In French (with translation). Slightly worn, soiled and creased; remnants of adhesive to upper panel. Humperdinck has not had the time to supply the Charlots' requested tribute until now (3 days after the 1,000th performance), and fears it is too late.
7) Pierné, Gabriel (1863-1937). Autograph letter on a notecard signed in full. Ca. 91 x 117 mm. Dated Paris, November 22, 1904. In black ink. With original autograph envelope postmarked Paris, November 22, [19]04. In French (with translation). Slightly worn, soiled, and browned; minor loss to upper edge and verso of envelope. Pierné regrets that lack of time prevents him from fully responding to the Charlots' inquiry; indeed, he would have to analyze Bizet's entire oeuvre to fully appreciate the latter's contributions to French music. He nevertheless singles out L'Arlésienne, and especially Carmen, for praise. "...What can you say about Bizet in a simple letter? In order to conscientiously take part in the study that you are doing on the author of L'Arlésienne, it would be necessary to 'dissect' his whole oeuvre, from the sojourns in Rome, already so personal, to the admirable Carmen, the most musical, the most 'theatrical' work of our radiant French School... "
8) Puccini, Giacomo (1858-1924). Autograph inscription on a visiting card. Ca. 48 x 85 mm. Undated. In black ink. With the composer's name printed to recto. In French (with translation). Trimmed and browned; remnants of adhesive and former mount to verso "To Monsieur A[ndré] Charlot... Salutations."
9) Puccini. Typed telegram. Ca. 112 x 191 mm. Dated Torre del Lago, November 11, [19]04. In purple ink. In Italian (with translation). With numerous corrections and annotations in blue and black ink. Trimmed and browned; several perforations to upper portion; remnants of former mount to verso. "I adore Bizet and Carmen is the most organic and most heartfelt opera that has been written in these last years."
10) Saint-Saëns, Camille (1835-1921). Important autograph letter with introduction signed "C. Saint- Saëns." 5 pp. Ca. 133 x 207 mm. (introduction) and ca. 269 x 207 mm. (pp. 1-4). [November, 1904.] In black ink with numerous corrections in the composer's hand. With original autograph envelope postmarked Paris, November [?]15 and 17 [?18], [19]04. In French (with translation). Slightly worn, browned, and soiled at edges; creased at folds; two short tears to central fold of first leaf; remnants of former mount to blank versos; date of receipt notated in pencil on introductory page. Envelope lacking small portion of lower panel; some tears, browning, soiling, and staining; light remnants of former mount to verso. Introduction: Saint-Saëns gives the Charlots the tribute they requested; he apologizes for sending them a draft, but did not have time to recopy it. Letter: Saint-Saëns unleashes the full extent of his vitriolic wit upon Camille Du Locle, the director of the Opéra-Comique who oversaw the première of Carmen. He maintains that Du Locle, the "most capricious director ever," mounted Carmen "with the intention of making it fail." Determined to expose a plot which was "not generally known," he claims that "the bad reception had been prepared, contrary to all good sense, by even those who ought to have had a total interest in seeing [the opera] succeed." Du Locle's plan was "to kill the old repertory by bad performances, to discourage the young school by lack of success, and then, the terrain cleared, to recognize only two composers: Gounod and Verdi." (Indeed, Du Locle had provided Verdi with the outline of the Aida plot, and translated into French the texts of Aida, La Forza del Destino, and Simon Boccanegra). Not wishing to be reproached for the work's failure, Du Locle produced Carmen to perfection ("all was ireproachable"); but, when asked about the new work, he scornfully uttered: "It's Cochin-Chinese music--one can't understand any of it!" The critics, who were "entirely reactionary at that time," followed suit, and denounced the work as indecent and appallingly immoral. Saint-Saëns then recounts his own impressions of the finely executed première, which exemplified a style no longer practiced by younger singers. "I was finally able to see the third performance. Upon leaving the theater, I hurried to a café to scribble to Bizet, 'I find the work marvelous and I'm telling you so in no uncertain terms!' The marvelous work was marvelously rendered... The music was sung as it was written, in its rhythmic character. Today, the 'traditions' have arrived: singers, for whom song and music are two different things, have destroyed rhythm, which is the soul of this Spanish music... and the public, having adopted the work, is enchanted..., it would be still more enchanted if the true Carmen were restored – the one it didn't want in the past." Ephemera
11) Official Program for the 1,000th performance of Carmen. [20 pp.] + wrappers. Octavo. Dated [Paris,] December 23, 1904. In French (with translation). With a color reproduction of "Le Chant au-Moyen-Age," by Luc-Olivier Merson to front cover. Includes cast list and photos, program notes, numerous advertisements, and a seating chart for the Opéra-Comique. Wrappers lightly worn, browned, and soiled; remnants of adhesive to left edge of upper wrapper.
12) Opéra-Comique program entitled "Soirée de Gala a l'occasion de la Millième Représentation de Carmen... " [8 pp.] + wrappers. Octavo. Dated [Paris,] December 23, 1904. In French (with translation). Includes program notes, photographs of the composer and librettists, and full-length role portraits of cast members, including Emma Calvé (Carmen), Marie Thiéry (Micaëla), Edmond Clément (Don José), and Hector Dufranne (Escamillo). Wrappers slightly worn and soiled; some tears, loss, cuts, and remnants of adhesive and former mount to lower.
13) Illustrated ticket to the 1000th performance at the Opéra Comique. Numbered and signed "Charlot." Ca. 135 x 179 mm. [December 23, 1904.] "Orchestre" handstamped above ticket number. With the names of the illustrator and publisher printed to lower portion. Laid down to backing paper with remnants of adhesive and former mount; creased at folds and lower right corner; two small tears at right edge; some browning and light staining. Together with a green note card, ca. 51 x 91, reading "my press invitation ticket to the 1.000th performance of Carmen at the Paris Opera Comique."
14) Charlot, André and Jean. "A propos de la 'Millième' de 'Carmen'... " in L'Art du Théâtre No. 49, pp. 9-16. Extracts. [12 pp.] Octavo. [January 1, 1905.] In French. Includes information about the première of Bizet's Carmen and its subsequent performances, as well as transcriptions of several of the composers' autograph letters included in this collection. Slightly worn and creased; uniformly browned. The première of Bizet's Carmen, which took place on March 3, 1875, elicited devastating condemnations from both the director of the Opéra-Comique, Camille Du Locle, and its "respectable," bourgeois audiences, as well as the Parisian press. Particularly repugnant were the opera's unabashedly promiscious heroine, and her on stage murder at the final curtain. By 1904, however, Carmen enjoyed world-wide success. Determined to redress old wounds, the brothers André and Jean Charlot mounted the 1000th performance of the work at the Opéra-Comique. The "Soirée de Gala," as it was known, featured the inimitable, even scandalous, Carmen of Emma Calvé, the fiery Don José of Edmond Clement, the grand Escamillo of Hector Dufranne, and the demure Micaëla of Marie Thiéry. To augment the festivities, the Charlots solicited tributes from leading composers and librettists. André Charlot (1882-1956) is remembered for his highly successful musical revues at the Vaudeville Theatre in London, and subsequently, on Broadway. Before 1912, when he moved to London, he honed his managerial skills at various Parisian theatres and music halls, including the Folies-Bergère. (12144)
Ephemera Opera