By late 1827 the operatic scene had changed radically as the center of operatic activity was beginning to shift northward from Italy to Paris. Spontini, who had laid the ground work for French grand opera with La vestale (1807) and Fernand Cortez (1809), had been less successful with Olimpie and had already left for Berlin, where he was to take over as "Kappelmeister" at the Hofoper. Cherubini, who had also contributed to the development of French grand opera with his Abencerages (1813), and who had helped teach Auber, was concentrating on church music, although there was yet to be another opera from his pen. Boieldieu, the composer of La Dame Blanche (1825) and several earlier works, was less active. However, Gioacchino Rossini bad settled in Paris in 1824 and was destined to influence French opera to almost the same extent as he influenced Italian opera. His two major efforts in that direction, Le Siege de Corinthe (1826) and Moise (1827) were, however, only extensive revisions of their Italian versions and cannot be regarded as French grand operas in the same sense as the later William Tell (1829).
Perhaps the most important difference between Le Siège de Corinthe and the earlier Maometto II is the assignment of the role of Néocle to a dramatic tenor while the equivalent role of Calbo in Maometto II had been sung by a musico. But even though Néocle was created by Adolphe Nourrit, it was not as important a role as the later Arnold, Robert or Eléazar. Néocle's primary aria, that in the catacombs, is superb and more modern than anything in Maometto II. However, this difference is relatively small when contrasted to the increase in vigor and dramatic impact between La Muette de Portici and everything that came before it.
Auber again struck gold with Fra Diavolo (Jan. 26, 1830), giving the Opéra Comique a work that they presented 909 times through 1911 and the world an opera that has been given regularly almost up to the present day. It was so popular in both the French and German versions that, in 1856-57 Auber himself transformed it into the equivalent of an Italian opera buffa, by adding some extra numbers and replacing the spoken dialogue with recitative. This version had it's premiere in London on July 9, 1857, with a brilliant cast, headed by Angiolina Bosio, Italo Gardoni and Giorgio Ronconi. The performance took place at a lesser theatre, the Lyceum, because Covent Garden had been destroyed by a fire.
The next quarter century saw Auber achieve one success after another and the discussion of all of but the most important would be beyond the scope of this essay. However, Gustave III (Opéra, Feb. 27, 1833) seems too important to ignore, and although it only ran up 169 performances at that theatre, the very fact that it is an earlier setting of the story of Un Ballo in Maschera resulted in a revival in France some years ago, which is still available on CD. It was particularly popular in London for two years, being heard some 235 times at Covent Garden in 1833 and 1834, and staid in the International repertory for many years. Thus, it was heard in Vienna as late as 1882, 23 years after the first Ballo in maschera. Oddly, it was destined to be more popular in the German speaking world than in France.
Several more successes followed in the mid 1830s, but only Le Cheval de Bronze (1835), an opera that was broadcast on French radio in 1979, and subsequently issued on both LP and CD, L'ambassadrice (1836--broadcast on French radio many years ago and currently occasionally encountered on tape, and Le domino noir are familiar to present day aficionados. Le Domino Noir was introduced in 1837, and has been described by Chorley (1) as one of the best comic operas ever, second only to the Barber of Seville. Musically, it is just as melodious, but entirely different. It's rediscovery by Richard Bonynge, and subsequent release on CD (combined with a revival at Compiègne, in the same theatre which had seen Gustave III) seems one of the major musical events of the 1990s, at least to fans of mid-nineteenth century French opera.
Of all of Auber's operas, Le Domino Noir was the most successful in Paris, with 1,209 performances in the Opéra Comique alone through up to around the first world war. It was later revived at the Gaitée Lyrique in 1917, during a season that specialized in such forgotten works, Les diamants de la Couronne also being given. It was not completely forgotten, even after World War II, since extensive excerpts had been broadcast by French radio in 1950, and again in 1972. The 1950 broadcast was issued in the early 1990s on a Melodram CD, and the 1972 excerpts on a much earlier private label LP.
Auber had four more major successes after Le Domino Noir: Les Diamants de la Couronne (1841) eventually reached 379 performances while La Part du Diable (1843) was given 263 times. The former was revived at Compiègne in late 1999, and a commercial recording was released a few years ago. But the most important work of Auber's mature period was Haydée first given on December Z8, 1847 and presented 499 times. The role of Haydée was created by Lavoye, the celebrated Gustave Roger (eventually the first Jean in Le Prophète) sang Lorédan and Hermann-Leon the wicked Malipiero. It abounds in charming barcaroles (Auber's specialty), thrilling arias and dramatic duets and was highly praised by Clement. The latter cites the moving situations of the libretto as well as the high quality of the score. It briefly survived into the 20th century, being given in Nice as in 1924 and was the first Auber rarity to be revived in the 21st century, with a wonderful production in Compiègne in 2004. The latter featured the very promising young French tenor Bruno Comparetti, and the soprano Isabelle Phillippe. It is expected to be released on DVD, and, hopefully, on CD as well.
In the next 15 or so years not one of Auber's works achieved the coveted century mark, although Manon Lescaut has become famous through the heroine's laughing song. Then, in 1868, Le Premier Jour de Bonheur triumphed, and was heard 175 times. One more opera followed, but Auber was unable to survive the hardships of the Prussian occupation and died on May 12, 1871.
1. Chorley, Henry: Thirty Years Musical Recollections; Alfred A. Knopf. New York and London, 1926