Le Toreador.

(The bullfighter)
An opera by Adolph Adam (1803 - 1856).

Born in Paris in 1803, the son of a pianist who was a professor at the Conservatoire, Adolphe Adam was not encouraged by his father to have a career in music. In any case, he was not a diligent student and for a time seemed unlikely to have any occupation at all. Eventually, he enrolled in the composition class of Boieldieu and found a mentor to whom he could respond. At his second attempt, he won second prize in the Prix de Rome and decided to abandon academia for the theatre. Boieldeau remained Adam's guide and mentor until his death in 1834. As well as Adam, Boieldeau guided Auber and Hérold who were also were key figures in French theatrical life. Adam was the youngest of the three and his early death robbed the world of much musical enjoyment. Today, his name is kept alive by the ballet 'Giselle' (1841) and occasionally one may hear arias from his operas 'Le Postillon de Lonjumeau' and 'Si j'étais roi' (If I were king).

Adam became involved in a grand theatrical venture in November 1847 but the February 1848 revolution saw the theatre lose money and it closed in March with Adam owing some 70,000 - 80,000 francs. He worked ceaselessly to clear his debts and by 1853 was once again solvent. However, the great struggle undoubtedly shortened his life and in 1856, his wife found him dead in his bed without previous signs of poor health.

'Le Toreador' dates from the debt recovery years and had its premiere in May 1849. It quickly established itself as one of his most successful operas and remained in the repertoire of the Opera-Comique until 1881. Much of its popularity is due to the use of popular songs in the score the best known being 'Ah vous dirais-je maman' better know to English audiences as 'twinkle twinkle little star'. There are in addition, three Spanish melodies: the 'Fandango', the 'Cachucha' and the 'Folies d'Espagne'.

'Le Toreador' also owes merit to the librettist Thomas Sauvage. A good opera requires a good libretto as well as good music, and 'Le Toreador' emphatically has both, While immediately appealing and accessible, it is a work which offers us extra and wickedly delicious rewards as we come to appreciate the subtleties and the innuendos of its musical allusions.

Synopsis

Act One

The garden of Don Belflor's house in Barcelona. In a spoken prologue, Coraline tells us that she used to sing in the theatres of Paris. There she was aware that a flute player, Tracolin, was making eyes at her, but before any affair could develop she was summoned home by her uncle, the Alcalde of Barcelona. She arrived to find herself bustled off to church where in the dark she was married to Don Beflor, a toreador. Seen in the light, he proved old and ugly Now, to add insult to injury, he neglects her, going out at all hours and leaving her alone.

From over the garden wall comes the sound of a flute, playing melodies that reveal that the player is none other than Tracolin. He throws a stone over the wall, with a letter attached, and Coraline, after a pretence of diffidence (Couplets, 'Je tremble et cloute'), writes a note in reply.

Outside in the street Don Belflor is set upon by ruffians. He is rescued by Tracolin; who doubtless instigated the attack in the first place and gratefully invites him in to take a glass of wine (Trio, 'La voila ... Vive a bouteille'). He confides that he believes that his attacker must have been one of the many jealous husbands he has offended (Air, 'Oui, la vie n'est jolie').

Tracolin announces that he comes as ambassador from Caritéa, a dancer at the Opera, VIlto has lost her heart to Belflor (Couplets, 'Vous connaissez de ces femmes aimables'). Belflor rises to the bait, eager at the prospect of a new affair, but demands proof of Caritéa's attachment. Lost for any other expedient, Tracolin gives him the note he has received from Coraline.

As Belflor sits down to write in reply, Coraline takes her guitar, and sings in veiled terms that she knows only Tracolin will be able to interpret, telling him that she cannot live without him (Trio, 'Ah! vous dirai je, maman'). An ardent flirtation is soon underway, in which even an unsuspecting Don Belflor plays his part. Tracolin carries Belflor's note to Caritéa. If the reply is favourable, he whispers to Belflor, he will give a signal by playing his flute in the street.

As Coraline sees her husband preparing to go out once more, she accuses him of infidelity, and declares that if ever she gains proof she will denounce him to her uncle, the Alcalde. Unluckily for Belflor, he drops the note that Tracolin has given him, and Coraline snatches it up (Duo, 'Qu'est ce la?'). Belflor expects to see his guilt exposed, but Coraline, though one moment triumphantly certain that she has the evidence she wishes, is aghast the next to find that the note is her own and proves nothing but her own guilt. Suddenly each is only too anxious to mollify the other. At this moment Tracolin is heard playing in the street, and Belflor, recognising the signal, eagerly makes his escape.

Act Two

The same setting.

Coraline is at a loss to understand why Belflor, with proof of her guilt in his hand, should have proved so amenable and docile and should have vanished at the sound of Tracolin's flute. Tracolin, she can only conclude, is a sorcerer with magic powers (Air, 'Avec son petit air... Temps heureux de la féerie').

Her thoughts are interrupted when Tracolin climbs over the wall and joins her. He tells her of his distress when she left Paris (Air, 'Dans vos regards... Dans une symphonie'), of his inability to concentrate when playing in the orchestra, of his desertion from the army, where he played the fife in a military band, and of his following her to Spain. But his delight in rediscovering her has been tempered by dismay at finding her married to such a scoundrel as Belflor, who betrays her at every turn. He tells her of her husband's affair with Caritéa, a 'Fandango'; if they proceeded to take a sorbet or a lemonade, he will play the 'Cachucha'; and if matters developed even beyond this, he will play the 'Folies d'Espagne'. In this way, Coraline may soon expect to find herself in possession of all the evidence she needs to apply to her uncle for a separation. Tracolin climbs back over the wall as Belflor returns, happily reflecting on his reception by Caritéa. The lady, it seems, was neither young nor beautiful, but at least she was obliging. His complacency proves short lived, for Coraline renews her accusations (Duo et Trio final, 'Ah! tremblez'). At first he protests his innocence, but his confidence is shaken when she mentions Caritéa by name. She draws out a pack of cards and declares that, even though kept a prisoner here at home, she has infallible ways of knowing all his movements. At this moment Tracolin is heard playing the 'Fandango', so she is able to be explicit: he and Caritéa went walking together. If Belflor is disconcerted, he is even more so when the 'Cachucha' is heard, and Coraline adds further precise detail: they took a lemonade together. The 'Folies d'Espagne' follows, and, aghast at Coraline's recriminations, Belflor drops to his knees and sues for pardon. Coraline pretends to be unyielding, and goes to the garden gate, declaring that she is on her way to her uncle. But when she opens it, Tracolin appears.

Belflor is well aware that if he allows Coraline to leave him, she will take her dowry with her. He therefore welcomes Tracolin's mediations, and promises that he will behave better that is to say, more obligingly in future. Yet Coraline insists that she needs still more something or someone to guarantee his conduct. Tracolin offers himself as a willing and permanent hostage and guarantee, and the opera ends, rather more harmoniously than morally, as all three look forward to the advantages they may expect to derive from their 'ménage á trois'.

> This Week

> Archive of operas

Adolphe Adam
1803 - 1856.