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previously he was dragged in front of the real prince Fè-ni-han and told that the only way he would avoid execution was by assuming the habits and role of emperor. He now makes the same offer to Ké-ki-ka-ko who naturally refuses, and asks why an insurrection is being plotted. Fè-ni-han, it seems, through not speaking
Chinese had accidentally impaled the five most virtuous people in the land, and now faces a conspiracy against his rule. KĂ©-ki-ka-ko threatens to join the conspiracy so both summon the conspirators with the Ba-ta-clan anthem (mixed with the Chorale 'Ein feste Burg' from
139:. The witty piece satirised everything from contemporary politics to grand opera conventions. It was frequently revived in Paris, London and New York for decades, and Offenbach eventually expanded it as a full-length piece with a cast of eleven. Offenbach's early operettas were small-scale one-act works, since the law in France limited the licence for musical theatre works (other than most operas) to one-act pieces with no more than three singers and, perhaps, some mute characters. In 1858, this law was changed, and Offenbach was able to offer full-length works, beginning with
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320:. They realize that each of them is not Chinese, but French. KĂ©-ki-ka-ko is the Viscount Alfred CĂ©risy, once shipwrecked on the coast of China and captured, tortured and brought to the palace and condemned to only repeat the rebels' song Ba-ta-clan. FĂ©-an-nich-ton confesses in song that she is Mademoiselle Virginie Durand, a light soprano who was on a Far East tour to initiate the locals into the great French repertoire:
375:). Finally, Fè-ni-han is handed a letter from the chief conspirator on a silver platter, revealing that he, Ko-ko-ri-ko, is also of French origin (born rue Mouffetard) and he is ready to provide the means for their escape in return for being allowed himself to become Emperor. All ends happily with a reprise of the Ba-ta-clan anthem, and Fé-an-nich-ton, Ké-ki-ka-ko and Fé-ni-han prepare to depart for France.
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In their distress, Virginia and Alfred sing one last time La Ronde de
Florette, and Fè-ni-han is amazed to hear them speaking French, likewise Fé-an-nich-ton and Ké-ki-ka-ko are surprised to hear the Emperor talking their language. Fè-ni-han dismisses the conspirators and explains how eight years
189:, has passed, the situation mocked is timeless, the emperor FĂ©-ni-han being able to represent any great ruler on earth. Three years after the coup that replaced the Republic with the Empire and as France celebrated a victory in Crimea, the fake Chinese poke fun at the chauvinism of the time; in
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The action takes place in Ché-i-no-or, in the gardens of the palace of the
Emperor Fè-ni-han, with kiosks and pagodas. Ko-ko-ri-ko, chief of the guard is the head of a conspiracy to dethrone the Emperor; the opera opens with the conspirators setting the scene in
356:, when she was captured by the soldiers of FĂ©-ni-han. The two Parisians reflect wistfully of home, and FĂ©-an-nich-ton sings the 'Ronde de Florette'. They both decide to run away, dancing as they go.
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France, everything is under state surveillance, little different from the imaginary China depicted on stage. Kracauer summed up the target of the piece as; "Power is a joke and court life mere
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was first performed in
England on 20 May 1857 at St James's Theatre during Offenbach's second visit to London, arranged by his father-in-law John Mitchell, when the composer brought the
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Principal singers: Huguette
Boulangeot (Fé-an-nich-ton), Raymond Amade (Ké-ki-ka-ko), Rémy Corazza (Fé-ni-han), René Terrasson (Ko-ko-ri-ko); a linking narration is read by
367:. In fact FĂ©-an-nich-ton and KĂ©-ki-ka-ko have been caught by Ko-ko-ri-ko while trying to flee, and the emperor has been asked for the death penalty, which he cannot refuse.
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including orchestra and offered 19 different pieces, 11 by him. In 1867 the work was produced on a triple bill at St George's Opera House in London (as
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Principal singers: Maryse
Castets (FĂ©-an-nich-ton), Vincent Vittoz (KĂ©-ki-ka-ko), Bernard van der Meersch (FĂ©-ni-han), Michel Hubert (Ko-ko-ri-ko)
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and his only wish is to see France again. Ko-ko-ri-ko comes back threateningly and he and Fè-ni-han sing a duo in made-up
Italian in the style of
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571:, Vol. 5, No. 12, Summer 1980, pp. 35–39. The article was originally published by the Offenbach 1980 Centenary Committee, London.
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587:, Vol.5, No.12, Summer 1980, p35-39. The article was originally published by the Offenbach 1980 Centenary Committee, London.
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The conspirators return, but when alone, Fè-ni-han laments on his lot; he is actually
Anastase Nourrisson, a native of
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124:, Paris, on 29 December 1855. The operetta uses set numbers and spoken dialogue and runs for under an hour.
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626:(translated by David, G. & Mosbacher E.). London: Constable, 1937, p144.
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opened in Paris, named after the operetta, and is still functioning today.
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Jacques
Offenbach: Ba-ta-clan. In: Kaminski, Piotr.
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1456:Le barbier de Séville ou La précaution inutile
793:Tromb-al-ca-zar, ou Les criminels dramatiques
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650:Operadis discography, accessed 11 March 2011
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185:While the historical butt of the satire,
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567:. "Offenbach's conquest of London",
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416:Label: Erato 063-19 989-2 (CD, with
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583:. Offenbach's conquest of London.
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176:) and the premiere of Sullivan's
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120:. It was first performed at the
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640:Information about the operetta
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529:"European Operetta: 1850–1880"
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1412:(chinoiserie musicale) (1855)
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108:) in one act with music by
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310:La Laitière de Montfermeil
75:29 December 1855
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645:Opera-opera plot summary
514:Lamb A. Ba-ta-clan. In:
247:Jean-François Berthelier
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555:retrieved 16 June 2013.
1547:French-language operas
1368:Le voyage dans la lune
1215:La chanson de Fortunio
816:La rose de Saint-Flour
600:. Fayard, 2003, p1062.
546:Website of Le Bataclan
462:Libretto in WikiSource
391:Jean-François Paillard
112:to an original French
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774:Bouffonnerie musicale
714:The Tales of Hoffmann
622:Kracauer, Siegfried.
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1419:Lischen et Fritzchen
1012:Geneviève de Brabant
959:Mesdames de la Halle
906:Pierrette et Jacquot
551:29 June 2013 at the
448:Recording date: 1986
329:La Dame aux Camélias
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1397:
1376:
1366:
1356:
1348:Opéra féerie
1333:
1323:
1313:
1303:
1293:
1283:
1273:
1263:
1253:
1243:
1233:
1223:
1213:
1203:
1193:
1170:
1160:
1150:
1142:Les brigands
1140:
1130:
1122:La PĂ©richole
1120:
1110:
1100:
1090:
1085:(1866, 1873)
1080:
1070:
1060:
1050:
1040:
1030:
1020:
1010:
1000:
990:
982:Opéra bouffe
967:
957:
947:
937:
927:
904:
894:
884:
874:
864:
854:
844:
834:
824:
814:
791:
781:
749:
740:
712:
702:
623:
618:
610:
605:
597:
592:
584:
581:Lamb, Andrew
576:
568:
565:Lamb, Andrew
560:
541:
532:
523:
515:
478:
466:
428:
426:
425:
417:
389:, Orchestre
385:
383:
382:
372:
369:
358:
353:Passé minuit
351:
345:
339:
333:
327:
321:
317:
314:Paul de Kock
309:
302:
253:Ko-ko-ri-ko
238:KĂ©-ki-ka-ko
216:(Conductor:
187:Napoléon III
184:
177:
173:
167:
166:) alongside
163:
155:
154:
147:
140:
132:
131:
96:
95:
94:
15:
1557:1855 operas
1390:Other types
1378:Whittington
1235:Les bergers
1072:Barbe-bleue
896:Pomme d'api
742:Le papillon
439:Conductor:
419:Les bavards
400:Conductor:
211:Voice type
102:chinoiserie
1536:Categories
1409:Ba-ta-clan
754:(arranged
497:References
480:The Mikado
429:Ba-Ta-Clan
386:Ba-Ta-Clan
379:Recordings
266:FĂ©-ni-han
156:Ba-ta-clan
133:Ba-ta-clan
128:Background
97:Ba-ta-clan
79:1855-12-29
53:Librettist
23:Ba-ta-clan
1305:La créole
1295:Bagatelle
1265:Vert-Vert
318:La Patrie
1449:(1851/2)
1275:Fantasio
1195:L'alcĂ´ve
806:Opérette
549:Archived
491:Bataclan
456:See also
393:, Choir
335:La Juive
299:Synopsis
257:baritone
150:Bataclan
114:libretto
106:operetta
71:Premiere
63:Language
31:Operetta
1022:Barkouf
732:Ballets
717:(1881)
365:Bellini
306:Chinese
229:soprano
195:mummery
77: (
1562:Operas
1469:(1852)
1459:(1852)
1381:(1874)
1371:(1875)
1361:(1872)
1338:(1880)
1328:(1879)
1318:(1878)
1308:(1875)
1298:(1874)
1288:(1873)
1278:(1872)
1268:(1869)
1258:(1867)
1248:(1867)
1238:(1865)
1228:(1862)
1218:(1861)
1208:(1853)
1205:PĂ©pito
1198:(1847)
1175:(1878)
1165:(1877)
1155:(1874)
1145:(1869)
1135:(1869)
1125:(1868)
1115:(1868)
1105:(1868)
1095:(1867)
1075:(1866)
1065:(1864)
1055:(1862)
1045:(1861)
1035:(1861)
1025:(1860)
1015:(1859)
1005:(1858)
995:(1857)
972:(1861)
962:(1858)
952:(1861)
942:(1856)
932:(1856)
909:(1876)
899:(1873)
889:(1863)
879:(1860)
869:(1859)
859:(1858)
849:(1857)
839:(1857)
829:(1856)
819:(1856)
796:(1856)
786:(1855)
707:(1864)
694:Operas
347:Phèdre
290:tenor
280:tenor
269:tenor
100:is a "
66:French
826:Le 66
242:tenor
208:Role
201:Roles
350:and
338:and
326:and
172:(as
483:by
471:by
312:by
197:".
116:by
33:by
1538::
531:.
505:^
432:,
344:,
332:,
220:)
182:.
145:.
758:)
678:e
671:t
664:v
535:.
422:)
410:.
81:)
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