Les martyrs - Knowledge

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preparation of Cammarano's libretto as he adapted Corneille's play from what William Ashbrook describes as "a spiritual drama, with its carefully observed unities" into a Romantic melodrama, achieved by adding plot features such as Poliuto's jealousy of his wife's previous relationship with the Roman pro-consul, Severus (Sévère in this opera), which did not exist in the original play. In doing so, the play's narrative perspective of the action (which was originally seen through the eyes of Pauline's confidante, Stratonice) was significantly altered by the use of directly shown dramatic action. This is especially evidenced at the end of act 2 of

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for her to intercede. He is moved and agrees that he will help. In a stirring trio, all three reveal their emotions with Pauline's cries of "O sublime devotion!" in response to Sévère's support, while Félix staunchly maintains his position as the Emperor's representative in opposition to the Roman: "Me! who alone reigns in this province! Me, more than you, am faithful to my honour and to my prince". "Where they will die for their God", he states, "I would die for mine!" But the extended trio continues to close with Félix stating that he will be gracious: "If he repents ... I can save his life!". Pauline immediately runs out of the room.

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Sévère, she also insists on her love for her husband: "And whom I love! Yes, my heart belongs to him forever" and she continues (in an aside to herself) "since the dangers he faces have redoubled my love". Then, as martial music is heard from afar, the High Priest Callisthėnes arrives accompanied by other priests and magistrates. He announces the arrival of the Roman proconsul whose standard can be seen in the distance. When asked who it is, Callisthėnes learns that it is the warrior whom all thought to be dead: Sévère. All except Pauline leave to welcome the Roman's arrival.

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he is seeking new converts. Both officials demand to know the name of the new convert who is thought to have been baptised the previous day. Néarque rebuffs them: "Neither you, nor your torturers, have methods sure enough / Nor your false gods power enough / To force a Christian to betray his oath". As it appears that Néarque is about to be dragged to his death, Polyeucte steps forward and reveals himself to be the man they seek:

1126:/ "Gods of the Romans, , I will serve your wrath". Pauline enters in a rather dream-like state. Her father tells her that he believes that she shares his hatred of the Christians and asks her to read the edict which he has prepared. As she stares at it and, at his insistence hesitatingly reads the edict aloud, she is privately horrified at its strictures. In reinforcing his beliefs, Félix affirms his convictions. (Cabaletta): 1161:

off, concentrating instead on seeking out Pauline while expressing his continued love for her. Just then, Pauline appears with a group of women – as well as with Polyeucte. Behind them all is Néarque and a group of Christians. The Roman anxiously reaches out to Pauline: "I see Pauline again in this place". "And her husband" Pauline proudly replies, indicating Polyeucte. Sévère expresses his shock and surprise. Cabaletta:

226: 3199: 361:, needed the libretto to be first approved by the court censor, Royer, who gave his support. But when the completed libretto finally moved up the chain of command to the king, a response was forthcoming on 11 August to the effect that "His majesty deigned with his own sacred hand to declare that the histories of the martyrs are venerated in the Church and are not presented on the stage". 2806: 526:

governor, Felice (now Félix). This latter role was changed from the original tenor to become a deep bass. An additional element was that the tenor arias needed to be rewritten in order to suit the voice of Duprez (as Polyeucte) rather than that of Nourrit, due to the former's capability for reaching high C sharp from the chest, thus far surpassing the vocally declining Nourrit.

1074:/ "Let the water of salvation / Flow over my brow / And the evils of the earth / For me will disappear!" Néarque pleads for heaven and the angels to receive his friend and the two men enter the catacombs. As they leave, a Christian rushes in to inform them that the governor's soldiers are on their way. Unafraid, Polyeucte declares "Let's go! God expects us!" 1320:

freed, all the Christians sing in praise of God: "It is God who calls us; it is God who hears us." The signal is given, Sévère pulls out his sword and tries to reach Pauline but is restrained by his men, Félix faints, and the Christians kneel. Pauline rushes into Polyeucte's arms as they stand apart, awaiting death. The roar of the lions is heard.

1190:/ "Touching these shores, everything seemed to offer me the picture of a pure and cloudless day". While privately feeling some confusion, she expresses her love for her husband and rebuffs his advances, warning that both will suffer if it continues. Each express his/her feelings. Duet, Pauline and Sévère: Pauline: 322:. Therefore, on 25 May 1838, Donizetti responded to an invitation from the Paris Opéra to compose two new works, specifying that the contract would require a libretto from Scribe with specific performance dates and a rehearsal periods included. Now committed to produce his next opera for Naples, the composer wrote 1270:

Pauline continues to plead with her father, but Félix remains firm. Sévère enters and addresses the governor, initially not seeing Pauline. Félix immediately proclaims his allegiance to the emperor and to his gods, and Pauline throws herself at the Proconsul's feet begging him in the name of his love

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Sévère then sees Félix, greets him while privately wondering where Pauline is. Both men move to a location where they may view the entertainment and dancers appear. A ballet is presented. At its conclusion, Félix assumes that the Emperor will have sent decrees with Sévère, but the pro-consul puts him

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Although Donizetti was obliged to shift the placement of arias to other locations within the text, Scribe had to accept the modification of some of his text to fit the existing music. But given the overall expansion of the opera into four acts, new material needed to be created by both the librettist

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At that moment, singing is heard coming from a group of Christians from outside the arena. Along with Néarque, all are in chains. They are led into the arena and gather around Pauline and Polyeucte as the sound of heavenly harps is heard once again. As the crowd continues to demand that the lions be

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Pauline entreats her father to save her husband's life, and then throws herself at Callisthènes' feet, begging him to show mercy. Polyeucte, angry that she has to beg for his life and plead with her gods, breaks free from his captors and climbs to the altar, then smashes the pagan relics: "Your gods

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Sévère, Félix, and Pauline enter and join the assembled gathering. A chorus of women and then another chorus of priests follows. Death for the godless is proclaimed. Néarque is dragged into the temple in chains, and Callisthènes explains to Sévère that not only is he guilty of worshiping his God but

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During a confrontation between Polyeucte and Sévère in which the former proposes that there may be a higher power than Caesar and the latter expresses surprise and skepticism, Pauline tries to keep the peace. However, the High Priest announces that a new convert has been baptised the previous night,

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As the edict is proclaimed to the people, Félix is concerned about his daughter's state of mind: "What is the reason for this gloomy sadness, my child?". She appears to be distraught, and he assumes that it may be because of her memories of her unhappy love. As she confesses to some sorrow in losing

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Polyeucte's feelings about how he would reconcile his wife's beliefs with his own. Polyeucte assures him that when his wife was deathly ill, his local gods were deaf to his pleas, but the Christian God provided a signal by means of a clap of thunder and His voice saying "I am waiting for you". Aria:

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As they are about to go into the catacombs, Polyeucte, the principal magistrate of Mytilene, is approached by his friend Néarque, the Christian leader, who questions him on his faith: "New Christian, has the God whose law we follow put faith and bravery in your heart?", he asks, continuing to pursue

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goes from good to better. Today the fourth performance. From three o'clock on, neither loges nor tickets ... The performance is of the best." he wrote. The ninth performance was attended by many of the French royal family and, in late May, Donizetti wrote to his friend Tommaso Persico in Italy with

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However, while Ashbrook notes that it was not particularly successful, at the time there was disagreement between those critics who loved and approved of Italian opera, and those who worried that the quality of French opera was being compromised by the introduction of Italian works and features into

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but without the motivation of the hero's jealousy", he states that Donizetti was in favour of more closely mirroring Corneille's original play for the Paris version, rather than accepting Cammarano's initial attempts to appease the censors in Naples by playing down the religious rivalry, an attempt,

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as an expanded, four-act French grand opera set to Scribe's French text, Donizetti had to make many changes. In addition to re-writing and expanding the overture, a ballet was needed. Other changes had to accommodate the expanded roles of both the Roman Proconsul Severus (now Sévère) and that of the

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Suddenly a beam of light enters the prison cell. For Pauline it is the great revelation: "A new ardour inflames my heart", she says as she kneels before Polyeucte who places his hands on her head. She rises, a new Christian, as the sound of celestial harps are heard. Together they express their joy

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In a concerted finale, Polyeucte and Néarque proclaim their faith in God as king of heaven and earth; confused, Pauline finds herself praying to the Christian god to intercede, while Sévère, who sees Pauline's anguish, declares that while he wants to intercede for her, "Love wants!...duty forbids!"

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As the Christians leave the catacombs, Polyeucte is surprised to find Pauline there; she is equally shocked and, while he proclaims his faith, she maintains her skepticism. Néarque and the group kneel in prayer for her, while she pleads to Polyeucte to abandon his beliefs. He continues to refuse as

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The opera's last-minute cancellation angered Donizetti so much that he resolved to move to Paris to further his career there. He left Naples in October 1838, vowing never to have any further dealings with the San Carlo administration. But the cancellation dealt a crushing blow to Nourrit's hopes of

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Upon arriving in Naples, Donizetti found that Nourrit was also staying there. The tenor was determined to "take on a technique which was so different from that which he had been taught" and he was grateful to the composer for lessons in that technique. Writing to his wife, he expressed his joy "at

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Polyeucte enters and finds Pauline. He tells her that a sacrifice is being prepared at the temple, and she asks if he will accompany her there. He refuses. "God forbids me to do so!" he declares while she suggests that "if you loved me...". In response, Polyeucte expresses his supreme love for his

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Armenia has been conquered by the Romans, and they have decreed that Christianity, which has a significant following in the country, must be destroyed and its followers put to death. Pauline had been in love with the Roman general, Sévère, but had married Polyeucte after pressure from her father,

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Polyeucte and Pauline are then led in. The crowd continues to demand action. Seeing his daughter, Félix is horrified and demands to know what she is doing: "My duty!" she declares. "Our God, our faith are the same". Equally horrified, Sévère approaches Pauline pleading with her to consider her

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In the distance, the people can be seen seated in the amphitheatre; others continue to enter and find seats. The crowd demands that the Christians be delivered to the lions. Sévère and Félix enter, the latter concerned that his daughter has not appeared. From elsewhere, the priests, along with

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Nourrit greatly influenced the composer in his choice of subject and in the progress of the new opera, such that Donizetti tailored the title role for the tenor who had, by then, been engaged for the autumn season in Naples. Moreover, Nourrit is also regarded as important in influencing the

666:" (aria with chorus) at the beginning is replaced with a trio for Félix, Sévère, and Pauline, which made Pauline's role longer and more demanding. In addition, other changes were seen in the final two scenes, one being the expansion of the opening of the choral finale to double its length. 1077:

Pauline arrives to pray at her mother's tomb. The accompanying soldiers depart, and she offers a sacrifice. Along with the group of young girls who have accompanied her, they sing a hymn to Proserpine, after which she orders all to leave her. Alone, Pauline sings to her dead mother. Aria

1153:/ "Glory to you, Mars and Bellona! Glory to you, young hero!". He addresses the people, and without specifying that he is describing the Christians, he tells them that he will sweep away the "this ungodly sect" and then, to himself, expresses his desire to once again see his love. Aria: 1082:/ "You, who see into my heart, oh mother! Oh you who witnessed the love of Sévère". In her prayer, she tries to balance her feelings for her dead lover with those for her new husband. However, as she prays, she hears the sound of Christian singing coming from the catacombs. Chorus: 1169:

and, in an ensemble finale involving all, Sévère encourages the search for the culprit while at the same time laments the loss of Pauline. Néarque and the Christians express their beliefs and Félix and the High Priest condemn the Christians. The Roman and Armenian officials leave.

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Act 1 is extended. It includes Polyeucte's surprised reaction upon finding Pauline near the catacombs immediately after he has been baptised. While he proclaims his new faith, she pleads with him to officially keep silent. The act ends with "a new and beautiful trio,

610:/ "Roman gods, I will serve your wrath". When Pauline enters, he makes her read aloud his newly written edict banning Christianity and, although anguished, she disguises her feelings from her father, who then expresses his anti-Christian sentiments in the 414:(in which he asks that it not be shown to anyone else) where he laid out some of his objections to Scribe's libretto, mentioning potential issues such as the basic storyline and his concern over the vocal capabilities of the proposed dramatic soprano 1214:/ "Yes, I will go into their temples! Soon you will see me there" and, as they leave, he states: "Yes, the time has come!... God summons me and inspires me! Yes, I must share the martyrdom of a friend!", and he too leaves for the temple. 800:, Polyeucte by Ian Thompson, Sévère by Terence Sharpe, and Callestènes by Alan Watt. The Pro Opera Orchestra and Chorus were conducted by Leslie Head. The performance was presented on BBC radio and recorded by that organisation. 584:. Pauline is given new motivation for her presence at the catacombs, in that now she does not follow her husband there but comes to pray at her mother's tomb, asking to have her feelings for Sévère removed from her heart: (aria) 1279:

In his prison cell, Polyeucte is asleep and wakes up, somewhat confused. He has dreamed that Pauline is in truth a loyal and faithful wife and that she has said that "your God will be mine ... and your life is my life". Aria:

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Félix then arrives, telling of the capture of Néarque, and announcing that they must all go to the temple. Pauline attempts to dissuade Polyeucte from attending but, as father and daughter leave, he remains steadfast. Aria:

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the pleading goes on; finally Pauline threatens to reveal the sect's existence to her father, but she is rebuffed. Together the couple plead their cases: his to call upon God's mercy while hers is to beg him to keep silent.

1284:/ "Delicious dream that moves my soul, it was Pauline. Yes, that is who I saw". Suddenly, Pauline enters and runs to him, saying that she wants to save his life, but he replies that we wishes to save her soul. In her aria 598:/ "You are object of your husband's constant love ", which, in addition to the couple, includes Néarque (formerly Nearco) and his chorus of Christians. The trio's music has been described as "exceptionally felicitous". 290:) after that composer had moved to Paris in 1829. However, by the late 1830s, Nourrit's popularity in Paris was in decline, and he was in danger of being supplanted in the public's affections by rising star 655:/ "Yes, I shall go into their temples". With jealousy no longer being the motive for some of the character's actions, "the new material has a very different effect" as written for a different tenor voice, 617:/ "Death to those infamous ones". Up to this point in the opera, Pauline believes that Sévère is dead, but when the High Priest Callisthènes enters to announce the Roman's imminent arrival, her aria 1186:/ "Immortal gods, witnesses to my just fears / To you alone I entrust my agony and my tears". Suddenly and to her surprise, Sévère enters. He is distraught and expresses his hopes and fears. Aria: 1288:/ "My ardent and sincere prayer for you has softened the heart of a judge and a father" she explains that her father will not condemn him if he returns to believing in the old gods. He responds: 255:, the director of the Opéra, took on a positive note for the first time" and "the road to Paris lay open for him", the first Italian to obtain a commission to write a real grand opera. 418:

who would have been available to sing the principal soprano role."A traitor to his country and love also as an episode do not please me". The following month, Donizetti wrote to Count

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Finally, January 1840 became the time for rehearsals to begin. However, delays due to illness close to the April premiere abounded, much to the composer's frustration and annoyance.

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Act 3: Both musicologists note that this act is almost identical to the original act 2, with the exception of a few significant alterations, the original aria for Poliuto (

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Félix, Callisthènes, the priests and people all proclaim the Christians as cursed unless they relent, but Polyeucte is steadfast and both he and Néarque are led away.

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but, at the same time, he had also hoped for a permanent supervisory appointment at the Collegio di San Pietro a Maiella there. However, the post went the composer,

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Act 2, scene 2 begins with Sévère's triumphal arrival, after which the ballet consisting of three numbers is performed. Ashbrook observes that Sévère's second aria—

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and, between 1839 and 1840, a French text was prepared by the noted French librettist and dramatist, Eugène Scribe, which conformed to the conventions of French

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Prior to Donizetti's letter written from Naples to the Paris Opéra on 25 May 1838, it appears that he had already been told that a libretto written by Scribe,

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Most of the French text of the synopsis is taken from the 1975 recorded version, but additions and modifications come from the Opera Rara performance libretto

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is known to have liked the opera, writing that "M. Donizetti has understood in a superior way all the beauties that this situation could contain." But writer

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does not weaken ... One must hurry...to see this work as Duprez begins his leave in June". Donizetti left Paris sometime around 7 June and returned to Rome.

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Act 1: Cammarano's first act was divided into two acts and each was expanded with new material. This included new music for what was originally Paolina's

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on 10 April 1840 in Paris, which was popular with audiences, it was presented over twenty times that season in addition to opening the following season.

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The original act 1, scene 2, which depicts the arrival of Severus in triumph, is now moved into the second part of act 2, and it now includes the ballet.

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was banned by the King of Naples just before it was due to be performed in 1838, Donizetti became angry at this decision and, with a commission from the

3254: 3249: 549:... Gone is the Italian emphasis on display for its own sake. In its place is a more passionate declaration coupled to a richly textured orchestra... 425: 1198:/ "Do you not see that your severity / Rends and breaks, alas! my heart?". Finally each is able to resolve that they must part, and Sévère leaves. 1222:

Callisthènes and the Priests have assembled outside the temple. Together with the people who leave the sacred grove, all sing a hymn to Jupiter:

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being born to a new artistic life" in singing Italian opera under the composer's direction. He added: "pulling strings to get me engaged here".

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due, he paid the penalty to the San Carlo for not producing an original work as a substitute, and left Naples for Paris arriving on 21 October.

630:/ "I lose you, you who I love"—is the only aria in the transfer from one version to another which has been significantly altered from "what in 541:

Donizetti's mastery of the preferences of his Parisian audience. The whole sound world is markedly different from the familiar Donizetti of

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who disliked Italian operas by Donizetti and Vincenzo Bellini, (a composer who was also popular at the time in Paris), found that for him,

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It is regarded by one writer as Donizetti's "most personal opera" with the music being "some of the finest Donizetti was to compose".

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during the following December and January, and he also negotiated a longer time-frame for the delivery of the completed libretto of

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was generally preferred" after it was finally given its Naples premiere on 30 November 1848, a few months after Donizetti's death.

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from Scribe as well as that for having the completed score of the second commission ready. This commission, which became known as

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to finally appear at the San Carlo in its original Italian three-act version, the one which is most frequently performed today.

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Callisthènes, enter the arena; the High Priest calls upon Félix to pronounce the sentence, which he does from the rostrum.

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disaster behind him, Donizetti arrived in Paris in late October 1838 and quickly met and became friendly with the composer

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Toi, qui lis dans mon coeur, ô ma mere! / O toi, qui fus témoin de l'amour de Sévère, de ces nœuds par toi-même approuvés!

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The other principal change was in the plot itself. Although Ashbrook regards it as essentially being the same as "that of

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which followed, depression overtook him. On 8 March 1839 he jumped to his death from a window of his apartment in Naples.

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stating that this aria was written to accommodate Duprez's ability to reach "a high C sung in full voice from the chest".

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Donizetti had been gradually considering further involvement with the Parisian stage after the tremendous success of his

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Mon seul trésor, mon bien suprême, tu m'es plus chère que moi-même, et Dieu seul partage avec toi, mon amour et ma foi!

1086:/ "O you, our Father, who reigns on earth as in heaven". She is horrified at hearing the words of "that ungodly sect". 2225: 2134: 2107: 2086: 2057: 2050: 2041: 2026: 2009: 1971:

Some of the English translation comes from the Opera Rara libretto from the 4 November 2014 live concert performance.

816: 268:, who had been the principal tenor in Paris, having sung roles written for him by the major French composers such as 1316:

father's feelings, but the couple is steadfast; the trumpets sound signalling that the execution is about to begin.

1130:/ "Death to those vile men! And to the flames send, / Their children and their wives,/ Their gold and their goods." 1053:

A secret gathering of Christian worshipers assembles, ready to be baptised into the new faith. Chorus of Christians:

415: 306: 1165:/ "I am losing you, you whom I adore, I am losing you and forever, and still I must conceal My fury and my love!" 3229: 2805: 2333: 2671: 2122: 2070:: the Critical Edition of an 'International' Opera", in booklet accompanying the Gavazenni / Ricordi recording. 1141:/ "Sévère is alive! A saviour God ". But she quickly represses all emotion: "Be silent!...Be silent my heart!" 656: 566: 943: 1122:

Felix has prepared edicts which condemn the Christians; he proclaims his allegiance to the Roman gods. Aria:

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Jusqu'au sein du sanctuaire, le parjure qu'il profère, a d'effroi glacé la terre, et le ciel ne tonne pas!

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Donizetti and the World of Opera in Italy, Paris, and Vienna in the First Half of the Nineteenth Century

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Amour de mon jeune âge, toi dont la douce image, au sein de l'esclavage, soutint ma vie et mon espoir!

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and the composer, most especially for the end of the expanded act 1 and the beginning of new act 2.

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Dieux immortels, témoins de mes justes alarmes / Je confie à vous seuls mes tourments et mes larmes

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Donizetti himself appears to have been happy with what he saw at the performance on 20 April: "My

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Act 2: In the enlarged first scene, Félix, as principal bass, is given two arias, the first being

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has noted that while twenty performances is no failure, when compared against the popularity of

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exclaiming that he did not want "warlike things I want emotions on the stage and not battles".

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was initially presented in a translation from the French version under several titles including

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Que l'onde salutaire, s'épanche sur mon front! Et les maux de la terre, pour moi disparaîtront!

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prepared by Dr. Flora Willson of King's College, Cambridge. Presented in partnership with the

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was presented in New Orleans on 24 March 1848. London also saw the French work in April 1852.

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reviving his flagging career, and even though he appeared in the opera which was substituted,

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written in 1641–42, the story of which reflected the life of the early Christian martyr Saint

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then follows, moved from its original position at the end of the opening scene of the opera.

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While in Paris, a city which increasingly he came to dislike, Donizetti oversaw stagings of

441:, who was living in the same apartment building where he was staying. Donizetti offered his 3239: 2727: 2719: 2687: 2615: 2535: 2503: 2471: 1399: 326:"with more than half an eye to its potential for it being recast as a French grand opera". 314:

Donizetti returned to Naples on 24 February, where he began planning for the production of

286: 240: 2599: 716: 187:. Revised to suit the taste of the Paris opera-going public and with the title changed to 8: 3014: 2900: 2799: 2703: 2567: 2487: 2278:: Opera Rara/Orchestra of the Age of Enlightenment performance programme 2014, pp. 13–16. 2234:: Opera Rara/Orchestra of the Age of Enlightenment performance programme 2014, pp. 11–12. 1889: 1296:

at being united in their faith. Cabaletta: first Pauline, then Polyeucte, then together:

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Dieu du tonnerre, ton front sévère émeut la terre, et fait aux cieux trembler les dieux!

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Alone, she is unable to repress a moment of joy at the news of Sévère's survival. Aria:

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Guards enter to take Polyeucte, but embracing each other, the couple leaves together.

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Salle le Peletier, the Théâtre de l'Académie royale de Musique (Paris Opéra) c. 1821)

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En touchant à ce rivage, tout semblait m'offrir l'image, d'un jour pur et sans nuage

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received its first performance in modern times in a concert version presented at

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not planned until early 1840, the composer had time to write yet another opera,

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in London on 4 November 2014 sponsored by the specialised recording company,

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Donizetti: in the light of Romanticism and the teaching of Johann Simon Mayr

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outline the following major alterations which came about in order to create

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as Pauline, and David Kempster as Sévère. As part of its 2015 season, the

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Jean-Étienne-Auguste (aka Eugène) Massol sang Sévėre in the 1840 premiere.

2932: 2639: 2004:, Shaftesbury: Element Books, Ltd (UK); Rockport, MA: Element, Inc.(USA) 811:

in Venice in 1978, which has been recorded. It was also presented by the

180: 120: 29: 1479: 3176: 2439: 2401: 2112: 1597:, in Robert Potterson, "The Letters of Adolfe Nourrit on Donizetti" in 1307:

Scene 3: At the entrance of the Roman amphitheatre close to the rostrum

843: 831: 534: 333: 158: 3106: 2812: 2259:"Recordings View; Filling Out the Callas Legacy (in Spite of Callas)" 1880:

Announcement of the November 2014 performance on opera-rara.com/media

808: 691: 611: 269: 175:

As his first of two commissions for the Opéra, he proposed to revise

153: 78: 2318: 2158: 1898:, Opera Rara, Royal Festival Hall, review: 'enthralling conclusion'" 2591: 938: 410:, was on its way to him. But on 12 May he had written to the tenor 128: 1249:/ "Divine light, holy light, that embraces me and enlightens me". 1241:/ "The sacrilegious word, still resounds in the temple"; Pauline: 1192:

Ne vois-tu pas qu'hélas! mon cœur / Succombe et cède à sa douleur?

495:, after being somewhat revised and translated into French, became 3123: 2868: 2115:(2014), "A message from Sir Mark Elder, CBE, Artistic Director", 1030: 920: 281: 225: 142: 3100: 1637:

King's Minister to Barbaja, 11 August 1838, in Black 1984, p. 48

1292:/ "What good is my life if God doesn't lead you to happiness?". 499:, and this version was presented in August. With rehearsals for 294:

who the composer had tried to interest in a Paris production of

2511: 258:

In addition, while Donizetti was in Venice for the premiere of

456:

Juliette Borghèse and François-Louis Henry in the premiere of

264:

the following January, he had met and had been impressed with

2828: 2100:

The Italian Romantic Libretto: A Study of Salvadore Cammarano

1084:

O toi, notre Père, qui règnes sur terre, comme dans les cieux

1058:/ "O dark vault, o immense vault, tombs where peace reigns". 902: 739:

the news—quoting the French press as stating—"The success of

577:

Overture: a new, longer one was substituted for the original.

449:

and it was accepted for performances to begin in April 1840.

3198: 1684:

notes Adam's admiration for Donizetti, who became his friend

147:, which was not performed until after the composer's death. 2139:

Parouty, Michel (tran. Hugh Graham) (1997), "Donizetti and

1804:

Donizetti to Innocenzo Giampieri, in Weinstock 1963, p. 150

1667:

Donizetti to Melzi, 26 June 1838, in Weinstock 1963, p. 136

1658:

Donizetti to Duprez, 12 May 1838, in Weinstock, pp. 136—137

1040:

Félix, who told her that Sévère had been killed in battle.

792:, London on 23 January 1975. The role of Félix was sung by 303:

in 1836, but which failed to gain attention outside Italy.

1247:

Feu divin, sainte lumière, qui m'embrase et qui m'éclaire

1151:

Gloire à vous, Mars et Bellone! Gloire à toi, jeune héro!

533:

But also of significance, according to British conductor

1163:

Je te perds, toi que j'adore, je te perds et sans retour

822:

A revival of both the French and Italian is in process:

651:/ "My only treasure, my supreme goodness" and cabaletta 647:) being one. This is replaced with Polyeucte's cavatina 395: 2127:

The Bel Canto Operas of Rossini, Donizetti, and Bellini

1845:", Donizetti Society (London), Newsletter 71, May 1997. 1832:", Donizetti Society (London), Newsletter 68, June 1996 1676:

Weinstock, p. 139: In regard to the premiere of Adam's

1380:(recording of a performance at Bergamo, 22 September) 1282:

Réve delicieux dont mon âme est émue, c'était Pauline!

3187: 1212:

Oui, j'irai dans leurs temples! Bientôt tu m'y verras

1234:/ "You were looking for his accomplice? It is me!". 1178:

Scene 1: Pauline's bedroom in the women's apartments

49:, who sang the title role in the posthumous premiere 2183:

Gaetano Donizetti: a Research and Information Guide

1275:

Scene 2: Inside the prison of the Temple of Jupiter

878:

Julie Dorus-Gras sang Pauline in the 1840 premiere.

2251:", in booklet accompanying the 1960 EMI recording. 1601:, April 1975, p. 5. The Donizetti Society (London) 1232:C'est son complice que vous cherchez?...C'est moi! 1065:François Wartel sang Néarque at the 1840 premiere. 2312:on "Libretto Index by H. Weber", 8 February 2014 2143:" in booklet accompanying the 1960 EMI recording. 2045:, Vol. Three. London: Macmillan Publishers, Inc. 1243:L'insensé, le téméraire, se dévoue à leur colère! 1118:Scene 1: The office of Félix, Governor of Armenia 217: 3211: 638:, become a cross between an aria and a finale". 2230:Keates, Jonathan (2014), "Donizetti in Paris", 2073:Ashbrook, William and Sarah Hibberd (2001), in 1237:All assembled express their reactions. Sévère: 1113:Prosper Dérivis sang the role of Felix in 1840. 687:Costume design for Néarque in the 1840 premiere 2081:, New York: Penguin Putnam, pp. 224–247. 1973:Retrieved 11 November 2014 from opera-rara.com 1149:A jubilant crowd hails the arrival of Sévère: 1097:/ "Silence, if you love me!"; then Polyeucte: 1093:Act finale: Duet and ensemble, first Pauline: 3086: 2334: 2267:, 1 February 1998. Accessed 23 December 2008. 731:in France, it did not compare in popularity. 183:but which incorporated 80% of the music from 1904:(London), 5 November 2014 on telegraph.co.uk 1253:are powerless from the force of my blows!". 715:was merely a "Credo in four acts," although 588:/ "Here may your icy hand bless your child". 513:was in rehearsal for performances in April. 310:Henri Duponchel, director of the Paris Opéra 191:, the opera was presented on 10 April 1840. 161:, is the original source for both versions. 1768: 1766: 1764: 1762: 762:. It was presented in Barcelona in 1850 as 390: 135:. The libretto was based on one written by 3093: 3079: 2341: 2327: 1828:Alexander Weatherson, "Gaetano Donizetti, 1791: 1789: 1787: 1336:(Polyceute, Pauline, Sévère, Callisthènes, 826:was given in a concert performance at the 634:had been a simple baritone cabaletta , in 40: 3255:Operas based on works by Pierre Corneille 2296:International Music Score Library Project 1864:on mus.cam.ac.uk. Retrieved 22 April 2014 1752: 1750: 1748: 1746: 1744: 1742: 1740: 1738: 1719: 1717: 1707: 1705: 1703: 1701: 1699: 1494: 1492: 1490: 1128:Mort à ces infâmes, Et livrez aux flammes 1099:Objet de ma constance, amour de ton époux 139:for an original Italian version known as 3250:Opera world premieres at the Paris Opera 2656:Le convenienze ed inconvenienze teatrali 2552:Le convenienze ed inconvenienze teatrali 2197:"Donizetti e il grand-opéra: il caso di 1812: 1810: 1759: 1581: 1579: 1544: 1416:(recording of performance at La Fenice) 1108: 1060: 873: 690: 682: 451: 424: 332: 305: 224: 2093:Donizetti's Operas in Naples, 1822—1848 1784: 1652: 1645: 1643: 1510: 1508: 1506: 1504: 898:A magistrate; a convert to Christianity 834:, which recorded the opera using a new 803:William Ashbrook mentions a revival of 558:which in any case, had been a failure. 350:) when Polyeucte overthrows the altar. 3212: 1735: 1714: 1696: 1615: 1613: 1611: 1609: 1607: 1569: 1567: 1565: 1487: 1447:Orchestra of the Age of Enlightenment, 1286:Pour toi, ma prière, ardent et sincère 673: 353:Work began by 10 May on the music for 212: 3074: 2348: 2322: 2241:, 2nd edition. Rowman and Littlefield 1807: 1576: 1298:O sainte mélodie! Concerts harmonieux 1145:Scene 2: The Great Square of Mytilene 952:Pauline's father, Governor of Armenia 840:Orchestra of the Age of Enlightenment 2608:Elisabetta al castello di Kenilworth 1988:on operadis-opera-discography.org.uk 1819:on operadis-opera-discography.org.uk 1640: 1501: 1182:Pauline is alone in her room. Aria: 758:appeared in Italy, finally becoming 707:the French repertoire. For example, 662:Act 4: Callisthène's "old fashioned 2712:Il furioso all'isola di San Domingo 2129:, Portland, Oregon: Amadeus Press. 2102:, Edinburgh: The University Press. 1948:. L'Almanacco di Gherardo Casaglia 1604: 1562: 815:in February 1996 as well as at the 13: 2301:Donizetti Society (London) website 2274:: lost and found in translation", 2164: 1918:to open 2015 Glyndebourne Festival 1595:Nourrit to his wife, 10 April 1838 1451:(studio recording, November 2014) 1290:Qu'importe ma vie, sauvée ou ravie 14: 3266: 2282: 2042:The New Grove Dictionary of Opera 1498:Ashbrook and Hibberd 2001, p. 224 516: 3197: 3055: 3054: 2804: 2095:. London: The Donizetti Society. 1056:O voûte obscure, ô voûte obscure 819:, Reggio Emilia, in March 1997. 764:Paulina y Poliuto ó Los mártires 337:Teatro San Carlo, Naples c. 1830 194:When eventually given in Italy, 1976: 1964: 1955: 1930: 1907: 1883: 1867: 1848: 1841:Alexander Weatherson, "An Echt 1835: 1822: 1798: 1775: 1772:Ashbrook 1982, pp. 432–434 1726: 1687: 1670: 1661: 1631: 1622: 1588: 1378:di Bergamo Orchestra and Chorus 984:A Christian, Polyeucte's friend 16:1840 opera by Gaetano Donizetti 2456:Chiara e Serafina, o Il pirata 2303:. Source for further research. 2170:Allitt, John Stewart (1975), " 2021:, Cambridge University Press. 1553: 1535: 1526: 1517: 1473: 1218:Scene 2: The Temple of Jupiter 1139:Sévère existe! Un dieu sauveur 773:The United States premiere of 1: 2409:I piccioli virtuosi ambulanti 2000:Allitt, John Stewart (1991), 1462: 1323: 1196:Ne vois-tu pas que ta rigueur 891:Premiere cast: 10 April 1840 2829:Betly, o La capanna svizzera 2153:, New York: Pantheon Books. 1855:Profile of Dr. Flora Willson 1619:Ashbrook 1998, pp. 1045—1046 1480:Project Gutenberg e-text of 754:(in Rome in December 1849), 653:Oui, j'irai dans les temples 375:, as well as productions of 7: 3220:Operas by Gaetano Donizetti 2672:La romanziera e l'uomo nero 2237:Loewenberg, Alfred (1970). 2181:Cassaro, James. P. (2009), 2079:The New Penguin Opera Guide 2031:Ashbrook, William (1998), " 1795:Weinstock 1963, pp. 149—153 1649:Weinstock 1963, pp. 358—359 1585:Ashbrook, 1982, pp. 418—419 1514:Weinstock 1963, pp. 135—139 1023: 944:Jean-Étienne-Auguste Massol 846:, the performance featured 10: 3271: 2568:L'eremitaggio di Liverpool 2239:Annals of Opera, 1597–1940 2218:The New Kobbe's Opera Book 1936:Casaglia, Gherardo (2005). 1781:Weinstock 1963, p. 149—152 1693:Weinstock 1963, p. 142—143 1541:Parker and Ashbrook, p. 17 1343:opera house and orchestra 1266:Scene 1: Félix's apartment 699:Following the premiere of 628:Je te perds que je t'adore 447:Académie Royale de Musique 3225:Libretti by Eugène Scribe 3169: 3150: 3115: 3050: 3024: 3007: 2576:Alina, regina di Golconda 2544:Il borgomastro di Saardam 2365: 2356: 1333: 1124:Dieux des Romains, dieux 251:note, "negotiations with 85: 72: 64: 54: 39: 28: 23: 2270:Willson, Flora (2014), " 2019:Donizetti and His Operas 1983:Source of recordings of 1927:on glyndebourne.com/news 1532:Allitt 1991, pp. 177—187 1260: 1172: 1104: 1043: 869: 746:First in translation as 391:Donizetti moves to Paris 2416:Il falegname di Livonia 2220:, London: Ebury Press. 2185:. New York: Routledge. 1095:Si tu m'aimes, silence! 817:Teatro Municipale Valli 781:20th century and beyond 645:Fu macchiato l'onor mio 486:, was never completed. 346:(which became act 3 in 218:Composed for Naples as 90:10 April 1840 3230:French-language operas 3042:Donizetti's birthplace 2760:Rosmonda d'Inghilterra 2632:Imelda de' Lambertazzi 2062:Ashbrook, William and 1678:Le Brasseur de Preston 1114: 1066: 992:Pierre-François Wartel 970:High Priest of Jupiter 879: 750:(in 1843) and then as 696: 688: 551: 461: 430: 338: 311: 230: 2752:Il diluvio universale 2624:Il diluvio universale 1914:"First UK staging of 1817:Recording information 1723:Ashbrook 1982, p. 428 1711:Ashbrook 1982, p. 429 1628:Black 1984, pp. 46—47 1550:Ashbrook 1982, p. 137 1112: 1064: 877: 856:Glyndebourne Festival 796:, that of Pauline by 694: 686: 596:Objet de ma constance 586:Qu'ici ta main glacée 582:Di quai soave lagrime 539: 455: 428: 336: 309: 301:(The Siege of Calais) 243:in December 1837. As 228: 2925:La fille du régiment 2720:Otto mesi in due ore 2688:Ugo, conte di Parigi 2616:I pazzi per progetto 2536:Otto mesi in due ore 2480:L'ajo nell'imbarazzo 2472:Il fortunato inganno 2247:(1997), "Callas and 2098:Black, John (1984), 2091:Black, John (1982), 1756:Osborne 1994, p. 269 1414:Orchestra and Chorus 1400:Ferruccio Furlanetto 506:La fille du régiment 458:La fille du régiment 2885:Lucie de Lammermoor 2837:L'assedio di Calais 2800:Lucia di Lammermoor 2704:Sancia di Castiglia 2488:Emilia di Liverpool 1890:Rupert Christiansen 1406:Oslavio di Credico 977:Jacques-Émil Serda 866:in the title role. 828:Royal Festival Hall 674:Performance history 543:Lucia di Lammermoor 497:Lucie de Lammermoor 492:Lucia di Lammermoor 297:L'assedio di Calais 236:Lucia di Lammermoor 213:Composition history 137:Salvadore Cammarano 3032:Donizetti Monument 3008:Other compositions 2965:Linda di Chamounix 2520:Gabriella di Vergy 2448:La lettera anonima 2432:Zoraida di Granata 2394:Enrico di Borgogna 2264:The New York Times 2255:Tommasini, Anthony 2203:on www-5.unipv.it 2147:Weinstock, Herbert 1923:2014-11-06 at the 1860:2014-04-24 at the 1573:Parouty, pp. 15—17 1438:Brindley Sherratt, 1409:Gianluigi Gelmetti 1393:Ottavio Garaventa, 1115: 1067: 880: 697: 689: 615:Mort à ces infâmes 462: 460:, 11 February 1840 431: 399:adapted to become 367:Saverio Mercadante 339: 320:Saverio Mercadante 312: 231: 3185: 3184: 3068: 3067: 2664:Francesca di Foix 2600:Il giovedì grasso 2496:Alahor in Granata 2464:Alfredo il grande 2424:Le nozze in villa 2350:Gaetano Donizetti 2310:: French libretto 2210:Harewood, Earl of 2195:Giradi, Michele, 2191:978-0-8153-2350-1 2015:Ashbrook, William 1523:Black 1982, p. 51 1460: 1459: 1449:Opera Rara Chorus 1429:Joyce El-Khoury, 1385:Cat: MCD 972 154 1370:Renato Cazzaniga 1035:Time: c. 259 A.D. 1021: 1020: 1011:Second Christian 748:Paolina e Poliuto 721:Herbert Weinstock 717:Théophile Gautier 608:Dieux des Romains 125:Gaetano Donizetti 108: 107: 34:Gaetano Donizetti 3262: 3202: 3201: 3193: 3102:Pierre Corneille 3095: 3088: 3081: 3072: 3071: 3058: 3057: 3037:Donizetti Museum 2973:Caterina Cornaro 2901:L'Ange de Nisida 2853:Roberto Devereux 2808: 2696:L'elisir d'amore 2648:Gianni di Parigi 2584:Gianni di Calais 2528:Olivo e Pasquale 2387:L'ira di Achille 2343: 2336: 2329: 2320: 2319: 2315: 2294:: Scores at the 2206: 2123:Osborne, Charles 1989: 1980: 1974: 1968: 1962: 1959: 1953: 1951: 1945: 1934: 1928: 1911: 1905: 1887: 1881: 1871: 1865: 1852: 1846: 1839: 1833: 1826: 1820: 1814: 1805: 1802: 1796: 1793: 1782: 1779: 1773: 1770: 1757: 1754: 1733: 1732:Elder 2014, p. 5 1730: 1724: 1721: 1712: 1709: 1694: 1691: 1685: 1674: 1668: 1665: 1659: 1656: 1650: 1647: 1638: 1635: 1629: 1626: 1620: 1617: 1602: 1592: 1586: 1583: 1574: 1571: 1560: 1557: 1551: 1548: 1542: 1539: 1533: 1530: 1524: 1521: 1515: 1512: 1499: 1496: 1485: 1477: 1421:Cat: MFOH 10061 1419:CD: Mondo Musica 1412:Teatro La Fenice 1376:Teatro Donizetti 1366:Vincenzo Sagona, 1354:Mario Di Felici, 1338:Félix, Néarque) 1328: 1327: 926:Julie Dorus-Gras 916:Polyeucte's wife 882: 881: 836:critical edition 790:Imperial College 752:Paolina e Severo 563:William Ashbrook 521:In re-designing 473:L'elisir d'amore 467:Roberto Devereux 359:Domenico Barbaja 249:William Ashbrook 149:Pierre Corneille 127:set to a French 119:) is a four-act 97: 95: 44: 21: 20: 3270: 3269: 3265: 3264: 3263: 3261: 3260: 3259: 3210: 3209: 3208: 3196: 3188: 3186: 3181: 3165: 3162:(1891 overture) 3146: 3111: 3099: 3069: 3064: 3046: 3020: 3003: 2909:Lucrezia Borgia 2877:Pia de' Tolomei 2861:Maria de Rudenz 2845:Pia de' Tolomei 2744:Lucrezia Borgia 2560:L'esule di Roma 2361: 2352: 2347: 2313: 2285: 2216:(eds.) 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Comte Julien 404: 393: 378:Elena da Feltre 266:Adolphe Nourrit 261:Maria de Rudenz 253:Henri Duponchel 241:Théâtre-Italien 229:Adolphe Nourrit 223: 215: 104: 103: 98: 93: 91: 50: 17: 12: 11: 5: 3268: 3258: 3257: 3252: 3247: 3242: 3237: 3232: 3227: 3222: 3207: 3206: 3183: 3182: 3180: 3179: 3173: 3171: 3167: 3166: 3164: 3163: 3154: 3152: 3148: 3147: 3145: 3144: 3136: 3128: 3119: 3117: 3113: 3112: 3098: 3097: 3090: 3083: 3075: 3066: 3065: 3063: 3062: 3051: 3048: 3047: 3045: 3044: 3039: 3034: 3028: 3026: 3022: 3021: 3019: 3018: 3011: 3009: 3005: 3004: 3002: 3001: 2993: 2989:Maria di Rohan 2985: 2977: 2969: 2961: 2953: 2945: 2937: 2929: 2921: 2913: 2905: 2897: 2889: 2881: 2873: 2865: 2857: 2849: 2841: 2833: 2825: 2817: 2809: 2796: 2792:Marino Faliero 2788: 2784:Gemma di Vergy 2780: 2772: 2764: 2756: 2748: 2740: 2736:Torquato Tasso 2732: 2724: 2716: 2708: 2700: 2692: 2684: 2676: 2668: 2660: 2652: 2644: 2636: 2628: 2620: 2612: 2604: 2596: 2588: 2580: 2572: 2564: 2556: 2548: 2540: 2532: 2524: 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2657: 2653: 2650: 2649: 2645: 2642: 2641: 2637: 2634: 2633: 2629: 2626: 2625: 2621: 2618: 2617: 2613: 2610: 2609: 2605: 2602: 2601: 2597: 2594: 2593: 2589: 2586: 2585: 2581: 2578: 2577: 2573: 2570: 2569: 2565: 2562: 2561: 2557: 2554: 2553: 2549: 2546: 2545: 2541: 2538: 2537: 2533: 2530: 2529: 2525: 2522: 2521: 2517: 2514: 2513: 2509: 2506: 2505: 2501: 2498: 2497: 2493: 2490: 2489: 2485: 2482: 2481: 2477: 2474: 2473: 2469: 2466: 2465: 2461: 2458: 2457: 2453: 2450: 2449: 2445: 2442: 2441: 2437: 2434: 2433: 2429: 2426: 2425: 2421: 2418: 2417: 2413: 2410: 2407: 2404: 2403: 2399: 2396: 2395: 2391: 2388: 2385: 2382: 2379: 2376: 2375: 2374:Il Pigmalione 2371: 2370: 2368: 2364: 2360: 2355: 2351: 2344: 2339: 2337: 2332: 2330: 2325: 2324: 2321: 2311: 2309: 2305: 2302: 2299: 2297: 2293: 2292:, (Donizetti) 2291: 2287: 2286: 2277: 2273: 2269: 2266: 2265: 2260: 2256: 2253: 2250: 2246: 2243: 2240: 2236: 2233: 2229: 2227: 2226:0-09-181410-3 2223: 2219: 2215: 2211: 2208: 2202: 2200: 2194: 2192: 2188: 2184: 2180: 2177: 2176:Journal No. 2 2173: 2169: 2168: 2160: 2156: 2152: 2148: 2145: 2142: 2138: 2136: 2135:0-931340-71-3 2132: 2128: 2124: 2121: 2118: 2114: 2111: 2109: 2108:0-85224-463-0 2105: 2101: 2097: 2094: 2090: 2088: 2087:0-14-029312-4 2084: 2080: 2076: 2072: 2069: 2065: 2061: 2059: 2058:1-56159-228-5 2055: 2052: 2051:0-333-73432-7 2048: 2044: 2043: 2038: 2037:Stanley Sadie 2034: 2030: 2028: 2027:0-521-23526-X 2024: 2020: 2016: 2013: 2011: 2010:1-85230-299-2 2007: 2003: 1999: 1998: 1997: 1996: 1987: 1986: 1979: 1972: 1967: 1958: 1947: 1941: 1933: 1926: 1922: 1919: 1917: 1910: 1903: 1902:The Telegraph 1899: 1897: 1891: 1886: 1879: 1877: 1870: 1863: 1859: 1856: 1851: 1844: 1838: 1831: 1825: 1818: 1813: 1811: 1801: 1792: 1790: 1788: 1778: 1769: 1767: 1765: 1763: 1753: 1751: 1749: 1747: 1745: 1743: 1741: 1739: 1729: 1720: 1718: 1708: 1706: 1704: 1702: 1700: 1690: 1683: 1679: 1673: 1664: 1655: 1646: 1644: 1634: 1625: 1616: 1614: 1612: 1610: 1608: 1600: 1596: 1591: 1582: 1580: 1570: 1568: 1566: 1559:Girardi, p. 1 1556: 1547: 1538: 1529: 1520: 1511: 1509: 1507: 1505: 1495: 1493: 1491: 1484: 1483: 1476: 1472: 1470: 1469: 1453: 1444: 1440:Clive Bayley, 1433: 1428: 1425: 1424: 1418: 1413: 1408: 1401: 1395:Leyla Gencer, 1392: 1389: 1388: 1382: 1377: 1372: 1363: 1362:Renato Bruson 1358: 1353: 1350: 1349: 1345: 1340: 1330: 1329: 1321: 1317: 1313: 1309: 1308: 1304: 1301: 1299: 1293: 1291: 1287: 1283: 1277: 1276: 1272: 1268: 1267: 1258: 1254: 1250: 1248: 1244: 1240: 1235: 1233: 1227: 1225: 1220: 1219: 1215: 1213: 1207: 1205: 1199: 1197: 1193: 1189: 1185: 1180: 1179: 1170: 1166: 1164: 1158: 1156: 1152: 1147: 1146: 1142: 1140: 1135: 1131: 1129: 1125: 1120: 1119: 1111: 1102: 1100: 1096: 1091: 1087: 1085: 1081: 1075: 1073: 1063: 1059: 1057: 1051: 1050: 1049:The Catacombs 1041: 1034: 1032: 1028: 1027: 1016: 1013: 1010: 1009: 1006: 1003: 1000: 997: 996: 993: 990: 987: 985: 981: 980: 976: 973: 971: 967: 966: 963: 960: 958: 955: 953: 949: 948: 945: 942: 940: 937: 935: 931: 930: 927: 924: 922: 919: 917: 913: 912: 909: 906: 904: 901: 899: 895: 894: 890: 887: 884: 883: 876: 867: 865: 861: 857: 853: 849: 845: 841: 837: 833: 829: 825: 820: 818: 814: 810: 806: 801: 799: 798:Lois McDonall 795: 791: 787: 783: 782: 778: 776: 771: 769: 765: 761: 757: 753: 749: 744: 742: 737: 732: 730: 726: 722: 718: 714: 710: 704: 702: 693: 685: 681: 680: 671: 665: 664:aria con coro 661: 658: 654: 650: 646: 642: 641: 637: 633: 629: 625: 624: 620: 616: 613: 609: 605: 604: 600: 597: 592: 591: 587: 583: 579: 576: 575: 574: 572: 568: 564: 559: 556: 550: 548: 547:Maria Stuarda 544: 538: 536: 531: 527: 524: 514: 512: 508: 507: 502: 498: 494: 493: 489:During 1839, 487: 485: 484: 483:Le duc d'Albe 479: 475: 474: 469: 468: 459: 454: 450: 448: 444: 440: 436: 427: 423: 421: 420:Gaetano Melzi 417: 413: 409: 402: 398: 388: 386: 385: 380: 379: 374: 373: 372:Il giuramento 368: 362: 360: 356: 351: 349: 345: 335: 331: 327: 325: 321: 317: 308: 304: 302: 299: 298: 293: 289: 288: 283: 280:, as well as 279: 275: 271: 267: 263: 262: 256: 254: 250: 246: 242: 238: 237: 227: 221: 210: 207: 205: 201: 197: 192: 190: 186: 182: 178: 173: 171: 167: 162: 160: 156: 155: 150: 146: 145: 144: 138: 134: 133:Eugène Scribe 130: 126: 122: 118: 114: 113: 102: 88: 84: 81: 80: 75: 71: 67: 63: 60: 59:Eugène Scribe 57: 53: 48: 43: 38: 35: 31: 27: 22: 19: 3235:Grand operas 3157: 3138: 3131: 3130: 3122: 3105: 2995: 2987: 2981:Don Pasquale 2979: 2971: 2963: 2955: 2947: 2939: 2931: 2923: 2916: 2915: 2907: 2899: 2891: 2883: 2875: 2867: 2859: 2851: 2843: 2835: 2827: 2819: 2811: 2798: 2790: 2782: 2776:Buondelmonte 2774: 2766: 2758: 2750: 2742: 2734: 2726: 2718: 2710: 2702: 2694: 2686: 2678: 2670: 2662: 2654: 2646: 2638: 2630: 2622: 2614: 2606: 2598: 2590: 2582: 2574: 2566: 2558: 2550: 2542: 2534: 2526: 2518: 2510: 2504:Don Gregorio 2502: 2494: 2486: 2478: 2470: 2462: 2454: 2446: 2438: 2430: 2422: 2414: 2408: 2400: 2392: 2386: 2380: 2372: 2307: 2289: 2275: 2271: 2262: 2248: 2245:Steane, John 2238: 2231: 2217: 2205:(in Italian) 2198: 2182: 2175: 2171: 2150: 2140: 2126: 2116: 2099: 2092: 2078: 2067: 2064:Roger Parker 2040: 2032: 2018: 2001: 1994: 1993: 1984: 1978: 1966: 1957: 1950:(in Italian) 1939: 1932: 1915: 1909: 1901: 1895: 1885: 1875: 1874:"Donizetti: 1869: 1850: 1842: 1837: 1829: 1824: 1800: 1777: 1728: 1689: 1677: 1672: 1663: 1654: 1633: 1624: 1599:Newsletter 7 1598: 1590: 1555: 1546: 1537: 1528: 1519: 1481: 1475: 1467: 1466: 1442:Wynne Evans 1357:Leyla Gencer 1318: 1314: 1310: 1306: 1305: 1302: 1297: 1294: 1289: 1285: 1281: 1278: 1274: 1273: 1269: 1265: 1264: 1255: 1251: 1246: 1242: 1238: 1236: 1231: 1228: 1223: 1221: 1217: 1216: 1211: 1208: 1203: 1202:wife. Aria: 1200: 1195: 1191: 1187: 1183: 1181: 1177: 1176: 1167: 1162: 1159: 1154: 1150: 1148: 1144: 1143: 1138: 1136: 1132: 1127: 1123: 1121: 1117: 1116: 1098: 1094: 1092: 1088: 1083: 1079: 1076: 1071: 1068: 1055: 1052: 1048: 1047: 1038: 998:A Christian 983: 969: 951: 933: 915: 897: 859: 823: 821: 804: 802: 785: 784: 780: 779: 774: 772: 767: 763: 759: 755: 751: 747: 745: 740: 735: 733: 728: 724: 712: 705: 700: 698: 679:19th century 678: 677: 669: 663: 652: 648: 644: 635: 631: 627: 618: 614: 607: 595: 585: 581: 570: 560: 554: 552: 546: 542: 540: 532: 528: 522: 520: 510: 504: 500: 496: 490: 488: 481: 477: 471: 465: 463: 457: 442: 439:Adolphe Adam 434: 432: 407: 405: 400: 396: 382: 376: 370: 363: 354: 352: 347: 343: 340: 328: 323: 315: 313: 300: 295: 287:William Tell 285: 259: 257: 245:Roger Parker 234: 232: 219: 208: 203: 199: 195: 193: 188: 184: 176: 174: 165: 163: 152: 141: 140: 116: 111: 110: 109: 77: 76:Corneille's 18: 3240:1840 operas 3170:Inspiration 3132:Les martyrs 2933:La favorite 2917:Les martyrs 2640:Anna Bolena 2314:(in French) 2308:Les martyrs 2290:Les martyrs 2276:Les martyrs 2272:Les martyrs 2232:Les martyrs 2199:Les martyrs 2172:Les martyrs 2117:Les martyrs 2113:Elder, Mark 1985:Les martyrs 1940:Les martyrs 1896:Les martyrs 1876:Les martyrs 1830:Les martyrs 1456:Cat: ORC52 1383:CD: Myto 3 1368:Luigi Roni, 896:Polyeucte, 888:Voice type 862:with tenor 824:Les martyrs 805:Les martyrs 786:Les martyrs 775:Les martyrs 756:Les martyrs 741:Les martyrs 713:Les martyrs 701:Les martyrs 636:Les martyrs 571:Les martyrs 501:Les martyrs 478:Les martyrs 401:Les martyrs 348:Les martyrs 196:Les martyrs 189:Les martyrs 181:grand opera 170:Paris Opéra 121:grand opera 117:The Martyrs 112:Les martyrs 101:Paris Opéra 30:Grand opera 24:Les martyrs 3214:Categories 3177:Polyeuctus 2440:La zingara 2402:Una follia 2174:Revived", 2125:, (1994), 1463:References 1341:Conductor, 1324:Recordings 858:presented 844:Mark Elder 842:under Sir 832:Opera Rara 535:Mark Elder 159:Polyeuctus 94:1840-04-10 55:Librettist 3159:Polyeucte 3140:Polyeucte 3107:Polyeucte 2813:Belisario 2651:(1828-31) 2381:Olimpiade 2066:(1994), " 1682:Weinstock 1482:Polyeucte 1014:baritone 982:Néarque, 914:Pauline, 809:La Fenice 760:I martiri 612:cabaletta 433:With the 270:Meyerbeer 200:I martiri 154:Polyeucte 79:Polyeucte 3060:Category 2728:Parisina 2592:Il paria 2159:63-13703 2149:(1963), 2017:(1982), 1921:Archived 1858:Archived 1031:Mytilene 1024:Synopsis 1017:Wideman 1005:Molinier 939:baritone 932:Sévère, 729:L'elisir 151:'s play 129:libretto 86:Premiere 73:Based on 65:Language 3124:Poliuto 3025:Related 3015:Requiem 2869:Poliuto 2803:(1835) 2249:Poliuto 2141:Poliuto 2077:(Ed.), 2068:Poliuto 2039:(ed.), 2033:Poliuto 1995:Sources 1916:Poliuto 1843:Martyrs 1029:Place: 950:Félix, 921:soprano 860:Poliuto 768:Poliuto 736:martiri 632:Poliuto 555:Poliuto 537:, was: 523:Poliuto 511:Martyrs 445:to the 443:Poliuto 435:Poliuto 397:Poliuto 355:Poliuto 344:Poliuto 324:Poliuto 316:Poliuto 282:Rossini 239:at the 220:Poliuto 204:Poliuto 185:Poliuto 177:Poliuto 166:Poliuto 143:Poliuto 92: ( 3245:Operas 3190:Portal 3143:(1878) 3135:(1840) 3127:(1838) 3110:(1642) 3017:(1835) 3000:(1843) 2992:(1843) 2984:(1843) 2976:(1844) 2968:(1842) 2960:(1841) 2952:(1841) 2944:(1841) 2941:Adelia 2936:(1840) 2928:(1840) 2920:(1840) 2912:(1840) 2904:(1839) 2896:(1839) 2888:(1839) 2880:(1838) 2872:(1838) 2864:(1838) 2856:(1837) 2848:(1837) 2840:(1836) 2832:(1836) 2824:(1836) 2816:(1836) 2795:(1835) 2787:(1834) 2779:(1834) 2771:(1834) 2763:(1834) 2755:(1834) 2747:(1833) 2739:(1833) 2731:(1833) 2723:(1833) 2715:(1833) 2707:(1832) 2699:(1832) 2691:(1832) 2683:(1832) 2680:Fausta 2675:(1831) 2667:(1831) 2659:(1831) 2643:(1830) 2635:(1830) 2627:(1830) 2619:(1830) 2611:(1829) 2603:(1829) 2595:(1829) 2587:(1828) 2579:(1828) 2571:(1828) 2563:(1828) 2555:(1827) 2547:(1827) 2539:(1827) 2531:(1827) 2523:(1826) 2515:(1826) 2512:Elvida 2507:(1826) 2499:(1826) 2491:(1824) 2483:(1824) 2475:(1823) 2467:(1823) 2459:(1822) 2451:(1822) 2443:(1822) 2435:(1822) 2427:(1820) 2419:(1819) 2411:(1819) 2405:(1818) 2397:(1818) 2389:(1817) 2383:(1817) 2377:(1816) 2366:Operas 2224: 2212:, and 2189: 2157: 2133: 2106: 2085: 2056: 2049: 2025: 2008: 1944: 1346:Label 988:tenor 278:Halévy 68:French 3204:Opera 3151:Music 3116:Opera 2035:" in 1468:Notes 1426:2015 1390:1978 1351:1975 1334:Cast 1331:Year 1261:Act 4 1173:Act 3 1105:Act 2 1044:Act 1 1001:bass 974:bass 903:tenor 885:Role 870:Roles 725:Lucie 561:Both 384:Norma 274:Auber 164:When 2949:Rita 2222:ISBN 2187:ISBN 2155:LCCN 2131:ISBN 2104:ISBN 2083:ISBN 2054:ISBN 2047:ISBN 2023:ISBN 2006:ISBN 957:bass 727:and 565:and 470:and 381:and 284:(in 247:and 3104:'s 807:at 545:or 369:'s 131:by 123:by 32:by 3216:: 2261:, 2257:, 1900:, 1892:, 1809:^ 1786:^ 1761:^ 1737:^ 1716:^ 1698:^ 1680:, 1642:^ 1606:^ 1578:^ 1564:^ 1503:^ 1489:^ 573:: 276:, 272:, 3192:: 3094:e 3087:t 3080:v 2342:e 2335:t 2328:v 2201:" 1952:. 1942:, 1938:" 1894:" 1878:" 1434:, 1402:, 1364:, 1359:, 115:( 96:)

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