La Muette de Portici
(the deaf and dumb woman of Portici)

An opera by Daniel-François-Esprit Auber (1782 - 1871).

This opera was first performed at the Paris Operas Salle le Peletier on 29 February 1828 - a date of prime importance in Auber's career as he could now consider himself as a rival to Rossini, except that Rossini retired shortly afterwards once William Tell had been staged in 1829. This was however, the date from which French opera could be considered seriously alongside operas from other countries. The following decades saw Halévy's Grand Opera 'La Juive' and Meyerbeer's extravagant masterpieces 'Robert le Diable' & Les Huguenots' take centre stage in the affections of the Parisian audiences. These operas set great store on a vigorously deployed vocal line capable of enrapturing lovers of sensation and strong emotions. To compose an opera whose heroine does not sing is not exactly the usual thing. One of 'La Muette's' strongest points was its cast. The dancer Lise Noblet was given the task of playing the title role of Fenella; later Marie Taglioni, Fanny Elssler and Rosita Mauri all rejoiced in the part. The character of Princess Elvira was entrusted to Laure Cinti - Damoreau, one of the great names of romantic singing and one of the best interpreters of Rossini, with whom she had worked, before appearing in the Paris premieres of 'Elisabetta, regina d'lnghilterra', 'Mosè in Egitto' and 'Il viaggio a Reims', at the Théâtre ltalien, and then at the Opera, of 'Le Siége de Corinthe', 'Moïse', 'Le Comte Ory' and 'Guillaume Tell'. She would later be billed in 'Robert le Diable' and Auber wrote the role of Angèle in 'Le Domino noir' with her in mind. Masaniello, the Neapolitan fisherman, was played by Adolphe Nourrit, another legend, and a performer whose career may be traced through the key works of these years (1820 1840), led by 'Moïse', 'Le Siège de Corinthe' and 'Guillaume Tell', but including also 'Robert le Diable', 'La Juive' and 'Les Huguenots'. Likewise the baritone Henri-Bernard Dabadie, as Pietro: he too was a Rossinian emeritus (Moise, Tell, Le Comte Ory), whose career even took him to La Scala, Milan, where he was the first Belcore in Donizetti's 'L'elisir d'amore'. Carried by such a cast, what work could have passed unnoticed? As for the conductor, Jean - François Habeneck, he too may be counted among the important figures in the musical life of the times.

Not the least paradox concerning 'La Muette' is that it should put on stage, in such an official institution as the Paris Opera, an uprising (that of the people of Naples against Spanish occupation, in 1647) even if it ended in defeat. But the librettists, Eugène Scribe and Germain Delavigne, as little inclined to revolution as Auber himself, managed to submerge the political aspect under a sentimental, romantic tale fit to move the stoniest heart. In Belgium, though, passions were kindled, in June 1830, by the resonances of the duet 'Amour sacré de la patrie' and a riot broke out, an unexpected and influential incident from which flowed the country's independence. Within the framework which was to become that of grand opera five acts with obligatory ballet - 'La Muette de Portici' is an astonishing piece of work, revealing in Auber a different tone, an inspiration and a passion which do not exclude sentiment but are far removed from the amiable trifling normally associated with his name. Among other compliments to it, Richard Wagner, in his 'Recollections of Auber', remarked that the work made an unusual impression, each of its five acts painting a remarkably vivid scene in which it was hard to separate out arias and duets as one usually could in opera. He added that each act therefore moved forward in a single sweep, carrying one along with bated breath. One cannot say fairer than that.

Act 1

In 1647, in Naples, during the Spanish occupation. Princess Elvire is to marry Alphonse, son of the Duke of Arcos. On his wedding day Alphonse confesses to his friend Lorenzo that he has seduced and abandoned a young mute girl, Fenella. She has been imprisoned but has escaped and comes to seek aid from Elvire. When Alphonse appears, Fenella points him out as her abuser. The princess accords her her protection; her fiancé, unmasked, is full of remorse.

Act 2

At Portici the fisherman Masaniello, Fenella's brother, and his friend Pietro are anxious about the young girl's disappearance and swear vengeance. She appears, in suicidal mood. Masaniello and Pietro save her from drowning herself and try to rouse their companions to rebel against the Spaniards.

Act 3

Elvire forgives Alphonse but still wants to help Fenella. Selva, sent to search for her, finds Fenella in the great market square in Naples. But she resists him, believing he will return her to prison. Masaniello and his friends resist violently; this is the start of the uprising.

Act 4

The revolution has got out of hand and Masaniello cannot control his friends. Alphonse and Elvire have become involved and take refuge incognito in Masaniello's hut. But Pietro recognises Alphonse and demands his death. Masaniello, risking being thought a traitor, lets the couple escape, to the fury of Pietro. The Neapolitans bring Masaniello the keys of the city. Pietro swears to bring down the man he sees as a new tyrant.

Act 5

Pietro has poisoned Masaniello. Alphonse is marching on Naples with an army. Vesuvius is about to erupt. The people beg Masaniello to save them again; weakened by the poison he breaks down, but before dying has time to protect Elvire, again. The rebels are put to flight. With a last sight of Alphonse and Elvire, Fenella throws herself into the lava - stream as the volcano erupts.