Maestro Adolphe Adam is not a name that comes to mind very often (though you are not aware, you most assuredly know his music) however COMMANDOpera has seen fit to enlighten you. Adolphe Adam was born in Paris to one Mr. Louis Adam (1758-1848), who was also a composer, as well a professor at the Paris Conservatoire. His mother was the daughter of a physician. As a child, Mr. Adam preferred to improvise music on his own rather than study music seriously. He entered the Paris Conservatoire in 1821, where he studied organ and harmonium under the celebrated opera composer François-Adrien Boïeldieu. Mr. Adam also played the triangle in the orchestra of the Conservatoire; however, he did not win the Grand Prix de Rome and his father did not encourage him to pursue a music career. By age 20, he was writing songs for Paris vaudeville houses and playing in the orchestra at the Gymnasie Dramatique, where he later became chorus master. Like many other French composers, he made a living largely by playing the organ. In 1825, he helped Boïeldieu prepare parts for his opera La dame blanche and made a piano reduction of the score. Mr. Adam was able to travel through Europe with the money he made, and he met Mr. Eugène Scribe, with whom he later collaborated, in Geneva. By 1830, he had completed twenty-eight works for the theatre. Mr. Adam is probably best remembered for the ballet Giselle (1841). He wrote several other ballets and 39 operas, including Le postillon de Lonjumeau (1836) and Si j’étais roi (1852).
After quarreling with the director of the Opéra, Mr. Adam invested his money and borrowed heavily to open a fourth opera house in Paris: the Théâtre National (Opèra National). It opened in 1847, but closed because of the Revolution of 1848, leaving Adam with massive debts (Théâtre National later was resurrected under the name of Théâtre Lyrique at the Boulevard du Temple). His efforts to extricate himself from these debts include a brief turn to journalism. From 1849 to his death in Paris, he taught composition at the Paris Conservatoire. His Christmas carol “Cantique de Noël”, translated to English as “O Holy Night“, is an international favorite, and is said to have been the first music broadcast on radio.
Mr. Kaufmann sings ‘O Holy Night’ by Adolphe Adam. Dresden 2008.
COMMANDOpera appreciates houses like to stay with the tried and true, particularly when they feel an economic downturn will affect their sales. Nevertheless, after launching COMMANDOpera I have spoken with a very many artists regarding repertoire. Virtually all do not see a major house investing itself with works which are not generally Bel Canto in nature. This is not to say they will not mount the occasional Handel work, or yet another Ring Cycle to prove they can. Mr. Adolphe Adam arrives directly from the Bel Canto period, whose product enjoys all the essentials which today’s opera going public are comfortable with. Yet his great masterpiece LE POSTILLON DE LONJUMEAU rarely is mounted. It cannot be a question a lack of vocal resources given his works are no more difficult then say Donizetti or Massenet. There is only one complete recorded version of the work made in 1985 with, included Mr. John Aler, and Miss June Anderson among others.
Miss Ewa Malas Godlewska sings Madeliene’s air from Le postillon de Lonjumeau. 1989.
Here is the plot to Le postillon de Lonjumeau:
Act 1: The newly married postilion, or coachman, (Chapelou) and his wife (Madeleine), an innkeeper, to ensure that their marriage will be a joyous one, decide to consult a clairvoyant, who predicts that things will not go smoothly in their marriage but does not state exactly what will occur nor when. Initially concerned, their thoughts are temporarily forgotten as they enjoy their wedding night. Several days into the marriage, the Marquis de Corcy (who is also the director of the Royal Paris Opera House) arrives at the inn that Madeleine owns and Chapelou works at. He is immediately smitten with Chapelou’s wife, but doesn’t say anything to her. Then he overhears her husband singing his ‘usual’ song with other guests at the inn, and is impressed with his beautiful voice. He decides to invite the young coachman to join the Marquis’ company, but they have to leave immediately. With excitement, the Chapelou asks his friend, Bijou, to tell his wife where he has gone and what he plans to do. Chapelou and the Marquis then quickly depart for Paris, leaving Madeleine in a state of shock.
Act 2: Ten years later. By now Madeleine has come into an inheritance and is now known as Madame Latour, and Chapelou has become a star at the Paris Opera. After a performance, the Marquis holds a reception to which he has invited Madame Latour. As soon as they meet at the reception, Chapelou falls for the Madame’s charms, not recognising the wife he left behind. He proposes, she accepts, and a wedding occurs.
Act 3: The Marquis has gone to inform the police and denounce this apparent act of bigamy. On the wedding night, Madeleine appears in her old peasant clothes and Chapelou recognises her. Then she transforms before his eyes into Madame Latour, the rich heiress. She reveals her deception to the Marquis, as he arrives with the police and declares to them her game – the couple have married twice and vow from that day on to love like good village people. This induces a hearty response from the chorus to provide a stirring finale.
Mr. Nicolai Gedda ‘Mes amis ecoutez’.
If in the next few years a theater determines to mount this oddly seldom heard work with a new production or utilise the ones from Geneva, operaphiles need not thank COMMANDOpera. Look to this young tenor to applaud.
No Adolphe Adam in 2010 2011?
Maestro Adolphe Adam is not a name that comes to mind very often (though you are not aware, you most assuredly know his music) however COMMANDOpera has seen fit to enlighten you. Adolphe Adam was born in Paris to one Mr. Louis Adam (1758-1848), who was also a composer, as well a professor at the Paris Conservatoire. His mother was the daughter of a physician. As a child, Mr. Adam preferred to improvise music on his own rather than study music seriously. He entered the Paris Conservatoire in 1821, where he studied organ and harmonium under the celebrated opera composer François-Adrien Boïeldieu. Mr. Adam also played the triangle in the orchestra of the Conservatoire; however, he did not win the Grand Prix de Rome and his father did not encourage him to pursue a music career. By age 20, he was writing songs for Paris vaudeville houses and playing in the orchestra at the Gymnasie Dramatique, where he later became chorus master. Like many other French composers, he made a living largely by playing the organ. In 1825, he helped Boïeldieu prepare parts for his opera La dame blanche and made a piano reduction of the score. Mr. Adam was able to travel through Europe with the money he made, and he met Mr. Eugène Scribe, with whom he later collaborated, in Geneva. By 1830, he had completed twenty-eight works for the theatre. Mr. Adam is probably best remembered for the ballet Giselle (1841). He wrote several other ballets and 39 operas, including Le postillon de Lonjumeau (1836) and Si j’étais roi (1852).
After quarreling with the director of the Opéra, Mr. Adam invested his money and borrowed heavily to open a fourth opera house in Paris: the Théâtre National (Opèra National). It opened in 1847, but closed because of the Revolution of 1848, leaving Adam with massive debts (Théâtre National later was resurrected under the name of Théâtre Lyrique at the Boulevard du Temple). His efforts to extricate himself from these debts include a brief turn to journalism. From 1849 to his death in Paris, he taught composition at the Paris Conservatoire. His Christmas carol “Cantique de Noël”, translated to English as “O Holy Night“, is an international favorite, and is said to have been the first music broadcast on radio.
Mr. Kaufmann sings ‘O Holy Night’ by Adolphe Adam. Dresden 2008.
COMMANDOpera appreciates houses like to stay with the tried and true, particularly when they feel an economic downturn will affect their sales. Nevertheless, after launching COMMANDOpera I have spoken with a very many artists regarding repertoire. Virtually all do not see a major house investing itself with works which are not generally Bel Canto in nature. This is not to say they will not mount the occasional Handel work, or yet another Ring Cycle to prove they can. Mr. Adolphe Adam arrives directly from the Bel Canto period, whose product enjoys all the essentials which today’s opera going public are comfortable with. Yet his great masterpiece LE POSTILLON DE LONJUMEAU rarely is mounted. It cannot be a question a lack of vocal resources given his works are no more difficult then say Donizetti or Massenet. There is only one complete recorded version of the work made in 1985 with, included Mr. John Aler, and Miss June Anderson among others.
Miss Ewa Malas Godlewska sings Madeliene’s air from Le postillon de Lonjumeau. 1989.
Here is the plot to Le postillon de Lonjumeau:
Act 1: The newly married postilion, or coachman, (Chapelou) and his wife (Madeleine), an innkeeper, to ensure that their marriage will be a joyous one, decide to consult a clairvoyant, who predicts that things will not go smoothly in their marriage but does not state exactly what will occur nor when. Initially concerned, their thoughts are temporarily forgotten as they enjoy their wedding night. Several days into the marriage, the Marquis de Corcy (who is also the director of the Royal Paris Opera House) arrives at the inn that Madeleine owns and Chapelou works at. He is immediately smitten with Chapelou’s wife, but doesn’t say anything to her. Then he overhears her husband singing his ‘usual’ song with other guests at the inn, and is impressed with his beautiful voice. He decides to invite the young coachman to join the Marquis’ company, but they have to leave immediately. With excitement, the Chapelou asks his friend, Bijou, to tell his wife where he has gone and what he plans to do. Chapelou and the Marquis then quickly depart for Paris, leaving Madeleine in a state of shock.
Act 2: Ten years later. By now Madeleine has come into an inheritance and is now known as Madame Latour, and Chapelou has become a star at the Paris Opera. After a performance, the Marquis holds a reception to which he has invited Madame Latour. As soon as they meet at the reception, Chapelou falls for the Madame’s charms, not recognising the wife he left behind. He proposes, she accepts, and a wedding occurs.
Act 3: The Marquis has gone to inform the police and denounce this apparent act of bigamy. On the wedding night, Madeleine appears in her old peasant clothes and Chapelou recognises her. Then she transforms before his eyes into Madame Latour, the rich heiress. She reveals her deception to the Marquis, as he arrives with the police and declares to them her game – the couple have married twice and vow from that day on to love like good village people. This induces a hearty response from the chorus to provide a stirring finale.
Mr. Nicolai Gedda ‘Mes amis ecoutez’.
If in the next few years a theater determines to mount this oddly seldom heard work with a new production or utilise the ones from Geneva, operaphiles need not thank COMMANDOpera. Look to this young tenor to applaud.