''Hamlet'' is a

grand opera Grand opera is a genre of 19th-century opera generally in four or five acts, characterized by large-scale casts and orchestras, and (in their original productions) lavish and spectacular design and stage effects, normally with plots based on o ...

in five acts of 1868 by the French composer

Ambroise Thomas Charles Louis Ambroise Thomas (; 5 August 1811 – 12 February 1896) was a French composer and teacher, best known for his operas '' Mignon'' (1866) and ''Hamlet'' (1868). Born into a musical family, Thomas was a student at the Conservatoire de ...

, with a libretto by

Michel Carré Michel Carré (20 October 1821, Besançon – 27 June 1872, Argenteuil) was a prolific French librettist. He went to Paris in 1840 intending to become a painter but took up writing instead. He wrote verse and plays before turning to writing lib ...

and

Jules Barbier Paul Jules Barbier (8 March 182516 January 1901) was a French poet, writer and opera librettist who often wrote in collaboration with Michel Carré. He was a noted Parisian bon vivant and man of letters.Alexandre Dumas, père, and

Paul Meurice Paul Meurice (5 February 1818 - 11 December 1905) was a French novelist and playwright best known for his friendship with Victor Hugo. Biography Meurice was born and died in Paris. In 1836, aged eighteen, he was introduced to Hugo by his frie ...

William Shakespeare William Shakespeare ( 26 April 1564 – 23 April 1616) was an English playwright, poet and actor. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's nation ...

's play ''

Hamlet ''The Tragedy of Hamlet, Prince of Denmark'', often shortened to ''Hamlet'' (), is a tragedy written by William Shakespeare sometime between 1599 and 1601. It is Shakespeare's longest play, with 29,551 words. Set in Denmark, the play depicts ...

''.Fauser, Annegret. "Hamlet. Ophélie: Shakespeare in Paris" in ''Hamlet'' CD Booklet (1993), pp. 33–41.

Background

Ophelia mania in Paris

The Parisian public's fascination with

Ophelia Ophelia () is a character in William Shakespeare's drama '' Hamlet'' (1599–1601). She is a young noblewoman of Denmark, the daughter of Polonius, sister of Laertes and potential wife of Prince Hamlet, who, due to Hamlet's actions, ends u ...

, prototype of the ''femme fragile'', began in the fall of 1827, when an English company directed by

William Abbot William Abbot or Abbott (12 June 1790 – 1 June 1843) was an English actor, and a theatrical manager, both in England and the United States. Life Abbot was born in Chelsea, London, and made his first appearance on the stage at Bath in 1806, ...

came to Paris to give a season of Shakespeare in English at the Odéon. On 11 September 1827 the Irish actress

Harriet Smithson Harriet Constance Smithson (18 March 1800 – 3 March 1854), most commonly known as Harriet Smithson, who also went by Henrietta Constance Smithson,, Murphy, Groghegan, 2015 p.196. Harriet Smithson Berlioz, and Miss H.C. Smithson, was an Anglo- ...

played the part of Ophelia in ''Hamlet''. Cairns, David (1969), p. 70. Harriet Smithson as Ophelia 1827 (cropped)

Her mad scene appeared to owe little to tradition and seemed almost like an improvisation, with several contemporary accounts remarking on her astonishing capacity for mime. Her performances produced an extraordinary reaction: men wept openly in the theater, and when they left were "convulsed by uncontrollable emotion." Cairns, David (1969), pp. 619–620. The twenty-five-year-old Alexandre Dumas, père, who was about to embark on a major career as a novelist and dramatist, was in the audience and found the performance revelatory, "far surpassing all my expectations". Cairns, David (1999), p. 247. The French composer Hector Berlioz was also present at that opening night performance and later wrote: "The lightning flash of that sublime discovery opened before me at a stroke the whole heaven of art, illuminating it to its remotest depths. I recognized the meaning of dramatic grandeur, beauty, truth." Even the wife of the English ambassador, Lady Granville, felt compelled to report that the Parisians "roar over Miss Smithson's Ophelia, and strange to say so did I". (The actress's Irish accent and the lack of power in her voice had hindered her success in London.) It wasn't long before new clothing and hair styles, ''à la mode d'Ophélie'' and modeled on those of the actress, became all the rage in Paris. Not everything about the performance or the play was considered convincing. The supporting players were conceded to be weak. The large number of corpses on the stage in the final scene was found by many to be laughable. But Hamlet's interaction with the ghost of his father, the play-within-the-play, Hamlet's conflict with his mother, Ophelia's mad scene, and the scene with the gravediggers were all found to be amazing and powerful. The moment in the Play Scene when Claudius rises up and interrupts the proceedings, then rushes from the stage, provoked a long and enthusiastic ovation. The journal ''Pandore'' wrote about "that English candour which allows everything to be expressed and everything to be depicted, and for which nothing in nature is unworthy of imitation by drama". Dumas felt the play and the performances provided him "what I was searching for, what I lacked, what I had to find – actors forgetting they were on stage ..actual speech and gesture such as made actors creatures of God, with their own virtues, passions and weaknesses, not wooden, impossible heroes booming sonorous platitudes". The composer Berlioz was soon totally infatuated with Miss Smithson. His love for her, initially unrequited, became an obsession and served as inspiration for his music. His '' Symphonie fantastique'' (''Fantastic Symphony'', 1830) portrays an opium-induced vision in which the musician's beloved appears as a recurrent musical motif, the ''idée fixe'', which like any obsession "finds its way into every incredible situation ovement. The ''Fantastic Symphony's'' sequel ''Lélio, ou Le retour à la vie'' (''Lélio, or the Return to Life'', 1831) contained a song ''Le pêcheur'' ("The Fisherman"), a setting of Goethe's

ballad A ballad is a form of verse, often a narrative set to music. Ballads derive from the medieval French ''chanson balladée'' or ''ballade'', which were originally "dance songs". Ballads were particularly characteristic of the popular poetry and ...

''Der Fischer'', the music of which included a quotation of the ''idée fixe'' that is associated with a siren who draws the hero to a watery grave. His ''Tristia'', Op. 18'', written in the 1830s although not published until 1852, included "La mort d'Ophélie" ("The death of Ophelia"), a setting of a ballade by

Ernest Legouvé Gabriel Jean Baptiste Ernest Wilfrid Legouvé (; 14 February 180714 March 1903) was a French dramatist. Biography Son of the poet Gabriel-Marie Legouvé (1764–1812), he was born in Paris. His mother died in 1810, and almost immediately after ...

, the text of which is a free adaptation of Gertrude's monologue in act 4, scene 7. Berlioz married Smithson in 1833, although their relationship ultimately fell apart. Although Harriet Smithson's stardom faded within a year and a half of her debut there, the Parisian fascination with the character of Ophelia continued unabated. Besides in music, it also manifested itself in art.

Auguste Préault Auguste may refer to: People Surname * Arsène Auguste (born 1951), Haitian footballer * Donna Auguste (born 1958), African-American businesswoman * Georges Auguste (born 1933), Haitian painter * Henri Auguste (1759–1816), Parisian gold an ...

's relief ''Ophélie'' (1844) depicted a young woman wading into water with her hair let down and swirling in the current.

French versions of the play

By the early 1840s Alexandre Dumas, who had become a personal friend of Berlioz and Smithson, had achieved international fame with his historical novels and dramas. With the heightened interest in Shakespeare, and in particular ''Hamlet'', that had been aroused by Smithson's performances at the Odéon, he decided to prepare a new French translation of the play to be presented at his

Théâtre Historique The Théâtre Historique, a former Parisian theatre located on the boulevard du Temple, was built in 1846 for the French novelist and dramatist Alexandre Dumas. Plays adapted by Dumas from his historical novels were mostly performed, and, althoug ...

. An earlier verse translation of ''Hamlet'' into French by

Jean-François Ducis Jean-François Ducis (; 22 August 173331 March 1816) was a French dramatist and adapter of Shakespeare. Biography Ducis was born in Versailles, one of ten children. His father, Pierre Ducis, originally from Savoy, was a linen draper at Versa ...

, first performed in 1769, was still being given at the

Comédie-Française The Comédie-Française () or Théâtre-Français () is one of the few state theatres in France. Founded in 1680, it is the oldest active theatre company in the world. Established as a French state-controlled entity in 1995, it is the only state ...

, and Dumas knew the leading role by heart. The Ducis play bore very little resemblance to the Shakespeare original. There were far fewer characters: no ghost, no Rosencrantz and Guildenstern, no players, no gravediggers. There was no duel, and Hamlet did not die at the end. Modifications such as these were necessary to gain performances in the French theaters of his time. Ducis had told the English actor-impresario David Garrick that a ghost which speaks, itinerant players, and a fencing duel were "absolutely inadmissible" on the French stage. Dumas realized that Ducis' play was not the same as the original: Pierre Le Tourneur had published a relatively faithful prose translation, not intended for performance, in 1779. Nevertheless, moral propriety and ''politesse'' dictated that only such highly sanitized versions as that of Ducis could be performed on stage. The French referred to these performing editions as ''imitations'', and most knew that they were highly modified versions of the original. All the same, Ducis was at first accused of polluting French theaters with Shakespeare; only much later was he indicted for mutilating the original. Dumas could not speak or read English well. He needed help, so he selected a younger writer by the name of

from among his coterie of protégés and assistants. Meurice had earlier collaborated with

Auguste Vacquerie Auguste Vacquerie (1819–1895) was a French journalist and man of letters. Biography Vacquerie was born at Villequier (Seine-Maritime) on 19 November 1819. He was from his earliest days an admirer of Victor Hugo, with whom he was connected ...

on ''Falstaff'', a combination of Parts I and II of Shakespeare's ''Henry IV'', which had been presented at the Odéon in 1842. The Dumas-Meurice ''Hamlet'' was performed at Dumas' Théâtre Historique in 1847 and had an enormous success. (With some alterations the Comédie-Française took it into repertory in 1886, and it continued to be performed in France until the middle of the 20th century.) The Dumas-Meurice version was more faithful to Shakespeare and restored much of what was missing from the Ducis version, including Rosencrantz and Guildenstern, the ghost, the duel, and the gravediggers. Still, by modern standards, it was a rather free adaptation of the original. Fortinbras was dropped, and the entire opening scene with the sentinels on the ramparts of the castle was excised. A love scene between Hamlet and Ophelia was added to the first act. Claudius does not send Hamlet to England, so Rosencrantz and Guildenstern do not die. Notably, at the end of the play, as Gertrude, Claudius, and Laertes are dying, the ghost of Hamlet's father reappears and condemns each of the dying characters. To Claudius it says: ''Désespère et meurs!'' – "Despair and die!"; to Laertes: ''Prie et meurs!'' – "Pray and die!"; and to the Queen: ''Espère et meure!'' – "Hope and die!". When the wounded Hamlet asks: ''Et quel châtiment m'attend donc?'' – "And what punishment awaits me?", the ghost responds: ''Tu vivras!'' – "You shall live!", and the curtain falls. Dumas explained these "improvements" to Shakespeare's play by insisting that the original violated plausibility, transgressed decency, and destroyed the dramatic balance. "Since Hamlet is not guilty to the same degree as the others, he should not die the same death as the others." Four dead bodies would constitute "the most unpleasant effect." Since the ghost appears at the beginning of the play, "it must necessarily reappear to be present at the end."

Preparation of the libretto

The librettists for the opera of ''Hamlet'', Michel Carré and Jules Barbier, were experienced: they had already provided librettos for Thomas' ''Mignon'' and also for Gounod's ''Faust''. Forbes, Elizabeth, "Hamlet" in ''Hamlet'' CD Booklet (1993), p. 21. They chose Dumas' version of the play as the basis for their libretto. This was the version with which French audiences of the day were most familiar, and the one against which the opera would be compared and judged. When adapting a play for opera, it was imperative to shorten and simplify. Traditionally

conveys plot in broad brushstrokes; the audience is not particularly interested in its intricacies, or its detours and complexities. An uncut version of Shakespeare's play had more than 30 characters and could run for over four hours. The libretto reduced the total number of characters to fifteen (counting the four mime players required for the Play scene), and also reduced the number of subplots. Dumas had cut the scene with the sentinels Bernardo and Francisco. Gone also were Voltimand, Cornelius, Osric, and Reynaldo. Like Dumas, Fortinbras was omitted, thus there was no need to mention an invasion from Norway. Dumas omitted the subplot of Hamlet's voyage to England, so Rosencrantz and Guildenstern were also omitted, removing most of the black humor of the play. Polonius' accidental murder in act 4 was excised, and his singing part reduced to only eight measures.Salter, Lionel (1994)
Review of the recording of ''Hamlet'' with Thomas Hampson
''Gramophone'', January 1994. This simplification of characters and subplots focused the drama on Hamlet's predicament and its effects on Ophélie and left the opera with essentially 4 main characters: Hamlet and Ophélie, Claudius and Gertrude. This constellation of roles preserved the tetradic model and the balance of male and female parts which had become established in French grand opera at the time of Meyerbeer's ''

Robert le diable ''Robert le diable'' (''Robert the Devil'') is an opera in five acts composed by Giacomo Meyerbeer between 1827 and 1831, to a libretto written by Eugène Scribe and Germain Delavigne. ''Robert le diable'' is regarded as one of the first grand o ...

'' in 1831. The libretto originally specified for these roles one soprano (Ophélie), one mezzo-soprano (Gertrude), one tenor (Hamlet), and one baritone or bass (Claudius). Other plot changes, such as making Läerte less cynical and more positive towards Hamlet early on, not only simplified the story but heightened the tragedy of their duel in the Gravediggers Scene. Making Gertrude a co-conspirator alongside Claudius, enhanced the dramatic conflict between Hamlet and Gertrude when Hamlet attempts to coerce a confession from her in the Closet Scene. Making Polonius a co-conspirator, as revealed in the Closet Scene, strengthened Hamlet's motivation in rejecting his marriage to Ophélie. This crucial change facilitated the transformation of Shakespeare's Ophelia into the opera's Ophélie, a creature who dramatically is almost entirely drawn from the 19th-century, whose madness stems not from the actions of a man who creates an intolerable situation, but rather from a man whose withdrawal leaves an emptiness she is unable to fill. Musically, of course, the Mad Scene was one of those audience-pleasing creations which drew upon well-established operatic tradition.Forbes, Elizabeth, "Hamlet" in ''Hamlet'' CD Booklet (1993), p. 24. Another change, the addition of Hamlet's drinking song for the Players in act 2, created another opportunity for an audience-pleasing musical number. It also led to a shortening of his instructions to them before the song and could be justified dramatically as a cover for his ulterior motive in asking them to enact the mime play. In the final scene, in another simplification of the plot, Laërte, Polonius, and Gertrude survive. As in the Dumas' play, the ghost returns at the end, but unlike in Dumas, the ghost merely banishes Gertrude to a convent for her role in the conspiracy. Finally, exactly as in Dumas, Hamlet lives and is proclaimed King. Tubeuf, André; Corbier, Annie, trans. "Synopsis" in ''Hamlet'' CD Booklet (1993), pp. 30–32.

Composition

Hamlet (opera) by Thomas, Cover of Piano-Vocal Score

Very little is known concerning the details of the composition of the music. Thomas may have received the libretto around 1859. The original libretto was in four acts, but the requirements of the authorities at that time specified the premiere at the Paris Opera of at least one 5-act opera per season. The inclusion of a ballet was also obligatory. The fourth and final act, which included the Mad Scene and the Gravediggers Scene, was simply split into two. To confer more weight to the new fourth act, the ballet was added between the choral introduction of the Mad Scene and Ophélie's recitative and aria. In 1863 the director of the Opéra,

Émile Perrin Émile-César-Victor Perrin was a French painter, mainly known as a theatre director and impresario, born in Rouen on 9 January 1814, died 8 October 1885.Dean W. ''Bizet.'' London, JM Dent & Sons, 1978. His son-in-law was Camille du Locle. Bio ...

, wrote in a letter to a minister of state that Thomas had nearly finished writing the music. Later the press conjectured as to the reason for the delay of the opera, suggesting that Thomas had yet to find his ideal Ophélie. Thomas' opera ''

Mignon ''Mignon'' is an 1866 ''opéra comique'' (or opera in its second version) in three acts by Ambroise Thomas. The original French libretto was by Jules Barbier and Michel Carré, based on Goethe's 1795-96 novel '' Wilhelm Meisters Lehrjahre''. ...

'' (1866), an adaptation of Goethe's novel '' Wilhelm Meisters Lehrjahre'', had been the composer's very effective response to Gounod's earlier Goethe adaption, the opera ''Faust'', which had premiered in 1859. ''Mignon'' had been performed at the Opéra-Comique, and Thomas was under pressure to provide a similar success at the Opéra, in particular as several of his earlier productions there had done poorly. Forbes, Elizabeth, "Thomas, (Charles Louis) Ambroise" in Sadie (1992) 4: 726-727. When Gounod's Shakespeare adaptation, the opera '' Roméo et Juliette'', appeared at the

Théâtre Lyrique The Théâtre Lyrique was one of four opera companies performing in Paris during the middle of the 19th century (the other three being the Opéra, the Opéra-Comique, and the Théâtre-Italien). The company was founded in 1847 as the Opér ...

in 1867, it provided additional impetus for Thomas to finish working on his own adaptation of ''Hamlet''. According to accounts in the press, it was that same year, at his publisher Heugel's office in Paris, that Thomas met the Swedish soprano

Christine Nilsson Christina Nilsson, Countess de Casa Miranda, also called Christine Nilsson (20 August 1843 – 22 November 1921) was a Swedish dramatic coloratura soprano. Possessed of a pure and brilliant voice of first three then two and a half octaves tr ...

, who had just been engaged at the Opéra. Thomas finally consented to the scheduling of the premiere. Consistent with this press report, parts of the soprano role were altered around this time with Nilsson's capabilities in mind. Thomas replaced a dialog with the women's chorus in the Mad Scene in act 4 with a Swedish Ballade. The ballad is Neck’s

Polska Poland, officially the Republic of Poland, is a country in Central Europe. It is divided into 16 administrative provinces called voivodeships, covering an area of . Poland has a population of over 38 million and is the fifth-most populous ...

, "Deep in the sea” (in Swedish Näckens Polska, “Djupt i hafvet”) with lyrics by

Arvid August Afzelius Arvid August Afzelius (; 8 October 1785, in Fjällåkra2 September 1871, in Enköping) was a Swedish pastor, poet, historian and mythologist. From 1828 till his death he was parish priest of Enköping. He is mainly known as a collaborator with ...

. The tune is a traditional Swedish folk tune. The ballad is well known in all the Nordic countries, and is also used the first Danish national play

Elves' Hill ''Elves' Hill'' ( da, Elverhøj) is a comedy by Johan Ludvig Heiberg, with overture and incidental music by Friedrich Kuhlau (Op. 100), which is considered the first Danish national play. History ''Elves' Hill'' was commissioned by Frederik V ...

, Deep in the sea (in Danish Elverhøj “Dybt i havet”). The Ballade resembles the first movement of Grieg's Op. 63 (''Two Nordic Melodies''), and its use was suggested to Thomas by Nilsson. A tenor suitable for the role of Hamlet could not be found, but an outstanding dramatic baritone,

Jean-Baptiste Faure Jean-Baptiste Faure () (15 January 1830 – 9 November 1914) was a French operatic baritone and art collector who also composed several classical songs. Singing career Faure was born in Moulins. A choirboy in his youth, he entered the Pari ...

, was available, so Thomas decided to transpose the part, originally written for a tenor, to baritone. In the event, Faure "achieved a tremendous personal triumph as Hamlet."

Performance history

The work was premiered at the Paris Opera (

Salle Le Peletier The Salle Le Peletier or Lepeletier (sometimes referred to as the Salle de la rue Le Peletier or the Opéra Le Peletier) was the home of the Paris Opera from 1821 until the building was destroyed by fire in 1873. The theatre was designed and con ...

) on 9 March 1868. Among the noted singers in the original cast were

as Hamlet and

as Ophelia. The opera was staged, sung in Italian, at the Royal Italian Opera, Covent Garden (later the

Royal Opera House The Royal Opera House (ROH) is an opera house and major performing arts venue in Covent Garden, central London. The large building is often referred to as simply Covent Garden, after a previous use of the site. It is the home of The Royal Ope ...

, Covent Garden) in June 1869, with Nilsson as Ophelia and

Charles Santley Sir Charles Santley (28 February 1834 – 22 September 1922) was an English opera and oratorio singer with a ''bravura''From the Italian verb ''bravare'', to show off. A florid, ostentatious style or a passage of music requiring technical skill ...

as Hamlet. ''Hamlet'' was Thomas's greatest success, along with ''

'', and was further staged in Leipzig, Budapest, Brussels, Prague, New York City, Saint Petersburg, Berlin, and Vienna within five years of the Paris premiere. The changes to Shakespeare's version of the story led to criticism of the opera in London. For instance, in 1890 a critic with ''

The Pall Mall Gazette ''The Pall Mall Gazette'' was an evening newspaper founded in London on 7 February 1865 by George Murray Smith; its first editor was Frederick Greenwood. In 1921, '' The Globe'' merged into ''The Pall Mall Gazette'', which itself was absorbed in ...

'' wrote:

No one but a barbarian or a Frenchman would have dared to make such a lamentable burlesque of so tragic a theme as Hamlet.

''Hamlet'' (Vienna, 1874), an operetta by

Julius Hopp Julius Hopp (18 May 1819 – 28 August 1885) was an Austrian composer, conductor, arranger and translator. Life and career Born in Graz, Empire of Austria, the son of the actor and poet Friedrich Hopp, Lucius became known in the 1860s and 1870s ...

, who adapted many of Offenbach's works for the Austrian capital, is a comic parody of Thomas's artistic methods in the opera. Baritone

Titta Ruffo Titta Ruffo (9 June 1877 – 5 July 1953), born as Ruffo Cafiero (double forename) Titta, was an Italian operatic baritone who had a major international singing career. Known as the "Voce del leone" ("voice of the lion"), he was greatly admi ...

performed the title role with bass

Virgilio Lazzari Virgilio Lazzari (20 April 1887 – 4 October 1953) was an Italian operatic bass (voice type), bass who had an active international performance career from 1908 to 1953. He had lengthy associations with the Chicago Civic Opera (1918–1932) and th ...

as Claudius and

Cyrena van Gordon Cyrena van Gordon was the stage name of an American operatic contralto born Cyrena Sue Pocock on September 4, 1892, in Camden, Ohio; she died on April 4, 1964, in New York City. In 1912 she married Shirley B. Munns, an eye, ear, nose, and throat ...

as Gertrude for both the opera's Chicago premiere and on tour to New York City with the

Chicago Opera Association The Civic Opera Company (1922–1931) was a Chicago company that produced seven seasons of grand opera in the Auditorium Theatre from 1922 to 1928, and three seasons at its own Civic Opera House from 1929 to 1931 before falling victim to financi ...

in 1921. Afterwards, the opera fell into neglect. However, since 1980, interest in the piece has increased, and the work has enjoyed a notable number of revivals, including Sydney, with Sherrill Milnes in the title role (1982),

Toronto Toronto ( ; or ) is the capital city of the Canadian province of Ontario. With a recorded population of 2,794,356 in 2021, it is the most populous city in Canada and the fourth most populous city in North America. The city is the anch ...

(1985), Vienna (1992–1994, 1996),

Opera North Opera North is an English opera company based in Leeds. The company's home theatre is the Leeds Grand Theatre, but it also presents regular seasons in several other cities, at the Theatre Royal, Nottingham, the Lowry Centre, Salford Quays and ...

(1995),

Geneva , neighboring_municipalities= Carouge, Chêne-Bougeries, Cologny, Lancy, Grand-Saconnex, Pregny-Chambésy, Vernier, Veyrier , website = https://www.geneve.ch/ Geneva ( ; french: Genève ) frp, Genèva ; german: link=no, Genf ; it, Ginevr ...

(1996),

San Francisco Opera San Francisco Opera (SFO) is an American opera company founded in 1923 by Gaetano Merola (1881–1953) based in San Francisco, California. History Gaetano Merola (1923–1953) Merola's road to prominence in the Bay Area began in 1906 when h ...

(1996),

Copenhagen Copenhagen ( or .; da, København ) is the capital and most populous city of Denmark, with a proper population of around 815.000 in the last quarter of 2022; and some 1.370,000 in the urban area; and the wider Copenhagen metropolitan ar ...

(1996 and 1999),

Amsterdam Amsterdam ( , , , lit. ''The Dam on the River Amstel'') is the capital and most populous city of the Netherlands, with The Hague being the seat of government. It has a population of 907,976 within the city proper, 1,558,755 in the urban ar ...

(1997),

Karlsruhe Karlsruhe ( , , ; South Franconian: ''Kallsruh'') is the third-largest city of the German state (''Land'') of Baden-Württemberg after its capital of Stuttgart and Mannheim, and the 22nd-largest city in the nation, with 308,436 inhabitants. ...

(1998), Washington Concert Opera (1998),

Tokyo Tokyo (; ja, 東京, , ), officially the Tokyo Metropolis ( ja, 東京都, label=none, ), is the capital and List of cities in Japan, largest city of Japan. Formerly known as Edo, its metropolitan area () is the most populous in the world, ...

(1999), Paris (2000), Toulouse (2000), Moscow (2001), Prague (2002),

Opera Theatre of Saint Louis Opera Theatre of Saint Louis (OTSL) is an American summer opera festival held in St. Louis, Missouri. Typically four operas, all sung in English, are presented each season, which runs from late May to late June. Performances are accompanied by th ...

(2002), London (2003),Law, Joe Keith (2003)
"Three Hamlets"
''The Opera Quarterly'' 19 (3): 587-591. . and Barcelona (2003, DVD available). The latter production (first shown in Geneva) was presented at the

Metropolitan Opera The Metropolitan Opera (commonly known as the Met) is an American opera company based in New York City, resident at the Metropolitan Opera House at Lincoln Center, currently situated on the Upper West Side of Manhattan. The company is oper ...

in 2010. The

Washington National Opera The Washington National Opera (WNO) is an American opera company in Washington, D.C. Formerly the Opera Society of Washington and the Washington Opera, the company received Congressional designation as the National Opera Company in 2000. Perform ...

's 2009/2010 season also featured a production of ''Hamlet'' and the

Opéra de Marseille The Opéra de Marseille, known today as the Opéra Municipal, is an opera company located in Marseille, France. In 1685, the city was the second in France after Bordeaux to have an opera house which was erected on a tennis court. However, the fi ...

presented the work in 2010 with

Patrizia Ciofi Patrizia Ciofi (born 7 June 1967) is an Italian operatic coloratura soprano. Career Born in Casole d'Elsa, Ciofi studied at the Istituto Musicale Pietro Mascagni in Livorno. She subsequently took part in master classes at the Accademia Musicale ...

. The

Minnesota Opera Minnesota Opera is a performance organization based in Minneapolis, Minnesota. It was founded as the Center Opera Company in 1963 by the Walker Art Center, and is known for premiering such diverse works as ''Where the Wild Things Are'' by Oliver ...

presented it during its 2012/13 season the same year as

La Monnaie The Royal Theatre of La Monnaie (french: Théâtre Royal de la Monnaie, italic=no, ; nl, Koninklijke Muntschouwburg, italic=no; both translating as the "Royal Theatre of the Mint") is an opera house in central Brussels, Belgium. The National O ...

, in Brussels, with Stéphane Degout in the leading role. The same Stéphane Degout sang Hamlet in Paris, at

Opera Comique The Opera Comique was a 19th-century theatre constructed in Westminster, London, between Wych Street, Holywell Street and the Strand. It opened in 1870 and was demolished in 1902, to make way for the construction of the Aldwych and Kingsway. ...

, in December 2018.

Roles

Synopsis

:Place:

Denmark ) , song = ( en, "King Christian stood by the lofty mast") , song_type = National and royal anthem , image_map = EU-Denmark.svg , map_caption = , subdivision_type = Sovereign state , subdivision_name = Kingdom of Denmark , establish ...

Elsinore Castle Kronborg is a castle and stronghold in the town of Helsingør, Denmark. Immortalized as Elsinore in William Shakespeare's play ''Hamlet'', Kronborg is one of the most important Renaissance castles in Northern Europe and was inscribed on the UNE ...

Act 1

''Scene 1: The Coronation Hall'' The royal Danish court is celebrating the coronation of Queen Gertrude who has married Claudius, brother of the late King Hamlet. Claudius places the crown on Gertrude's head. All leave, and Prince Hamlet, son of the late King and Gertrude, enters. He is upset that his mother has remarried so soon. Ophélie enters, and they sing a love duet. Laërte, Ophélie's brother, enters. He is being sent to Norway and gives his farewells. He entrusts Ophélie to the care of Hamlet. Hamlet refuses to join Laërte and Ophélie as they leave to join the banquet, and goes off in another direction. Courtiers and soldiers, on their way to the banquet, enter the hall. Horatio and Marcellus tell the soldiers that they have seen the ghost of Hamlet's father on the ramparts of the castle the previous night and go off to tell Hamlet. ''Scene 2: The Ramparts'' Horatio and Marcellus meet Hamlet on the ramparts. The Ghost appears, Horatio and Marcellus leave, and the Ghost tells his son that Claudius murdered him with poison. The Ghost commands Hamlet to take vengeance on Claudius, but Gertrude must be spared. The Ghost withdraws. Hamlet draws his sword and swears to avenge his father. Christine Nilsson as Ophelia in Ambroise Thomas' Hamlet

Christine Nilsson as Ophelia in Ambroise Thomas' Hamlet

Act 2

''Scene 1: The Gardens'' Ophélie, reading a book, is concerned at Hamlet's new indifference. Hamlet appears in the distance, but leaves without speaking. The Queen enters. Ophélie says she would like to leave the court, but the Queen insists she should stay. Ophélie leaves the garden and King Claudius enters. Gertrude suspects that Hamlet now knows about the murder of his father, but Claudius says he does not. Hamlet enters and feigns madness. He rejects all overtures of friendship from Claudius, then announces he has engaged a troupe of actors to perform a play that evening. Claudius and Gertrude leave, and the players enter. Hamlet asks them to mime the play ''The Murder of Gonzago'' and then sings a drinking song, playing the fool, so as not to arouse suspicion. ''Scene 2: The Play'' The King and Queen and the other guests assemble in the castle hall where the stage has been set up. The play begins, and Hamlet narrates. The play tells a story similar to the murder of Hamlet's father. After the "poison" is administered, the "assassin" places the "crown" on his head. Claudius turns pale, rises abruptly, and commands the play to stop and the actors to leave. Hamlet accuses Claudius of the murder of his father, and snatches Claudius' crown from his head. The entire assembly reacts in a grand septet with chorus.

Act 3

''Closet Scene'' In the Queen's chambers Hamlet delivers the monologue "To be or not to be", then hides behind a tapestry. Claudius enters and prays aloud of his remorse. Hamlet, deciding Claudius' soul may be saved, if he is killed while praying, delays yet again. Polonius enters and in his conversation with Claudius reveals his own complicity. The King and Polonius leave, Hamlet emerges, and Gertrude enters with Ophélie. The Queen tries to persuade Hamlet to marry Ophélie, but Hamlet, realizing he can no longer marry the daughter of the guilty Polonius, refuses. Ophélie returns her ring to Hamlet and leaves. Hamlet tries to force Gertrude to confront her guilt, but she resists. As Hamlet threatens her, he sees the Ghost, who reminds him he must spare his mother.

Act 4

''The Mad Scene'' After Hamlet's rejection, Ophélie has gone mad and drowns herself in the lake.

Act 5

''Gravediggers Scene'' Hamlet comes upon two gravediggers digging a new grave. He asks who has died, but they do not know. He sings of remorse for his ill treatment of Ophélie. Laërte, who has returned from Norway and learned of his sister's death and Hamlet's role in it, enters and challenges Hamlet to a duel. They fight, and Hamlet is wounded, but Ophélie's funeral procession interrupts the duel. Hamlet finally realizes she is dead. The Ghost appears again and exhorts Hamlet to kill Claudius, which Hamlet does, avenging his father's death. The Ghost affirms Claudius' guilt and Hamlet's innocence. Hamlet, still in despair, is proclaimed King to cries of "Long live Hamlet! Long live the King!". :[In the much shorter "Covent Garden" ending the ghost does not appear, and, after Hamlet finally attacks and kills Claudius, he embraces Ophélie's body and dies. This version had apparently never been used until recently].Forbes, Elizabeth, "Hamlet" in ''Hamlet'' CD Booklet (1993), p. 26.

Detailed description with commentary

Rehearsal of 1875 Paris revival of Hamlet by Ambroise Thomas GNO3-1270

Prelude. The opera begins with a brief prelude approximately three and a half minutes in length. The music commences with soft timpani rolls, proceeds to string tremolandi, horn calls, and anguished string motifs, and "evokes the hero's tormented mind as well as the cold ramparts of Elsinore."Scherer, Barrymore Laurence (March 1994)
"Recordings. Thomas: Hamlet"
'' Opera News'', 58 (12). . Retrieved 12 March 2010. Subscription required.

Act 1

Scene 1 ''A hall in the castle of Elsinore'' (set designed by

Auguste Alfred Rubé Auguste Alfred Rubé (20 June 1817 – 13 April 1899) was a French painter. Biography Born in the 9th arrondissement of Paris, Rubé was an innovator in the field of theatrical set design. This "decorator of rare ingenuity", focused on a local ...

and

Philippe Chaperon Philippe Chaperon (2 February 1823 – 21 December 1906) was a French painter and scenic designer, particularly known for his work at the Paris Opera. He produced stage designs for the premieres of numerous 19th-century operas, including Verdi's ...

)''.'' 1. Introduction, march and chorus. The court celebrates the Coronation of Gertrude, widow of King Hamlet; and her marriage to his brother, Claudius (Courtiers: ''Que nos chants montent jusqu'aux cieux'' – "Let our songs rise to the skies"). The new king, Claudius, stands before his throne on a dais, surrounded by the nobles of the court. His court chancellor, Polonius, is nearby. Queen Gertrude enters, approaches the dais, and bows to the King (Courtiers: ''Salut, ô Reine bien-aimée!'' – "Greetings, O beloved Queen!"). Polonius hands the King a crown, which he takes and places on her head (The King: ''Ô toi, qui fus la femme de mon frère'' – "O you who were my brother's wife"). Gertrude comments in an aside to Claudius that she does not see her son Hamlet. Claudius admonishes her to bear herself as a queen. The courtiers sing of their joy as they celebrate the King and Queen's glorious marriage (Courtiers: ''Le deuil fait place aux chants joyeux'' – "Mourning gives way to joyful songs"). The King and Queen leave the hall followed by the courtiers. 2. Recitative and duet. Prince Hamlet, son of the late King and Gertrude, enters the empty hall. As Hamlet enters, before he begins singing, the low strings in the orchestra play Hamlet's Theme: He laments that his mother has remarried scarcely two months since his father's death (Hamlet: ''Vains regrets! Tendresse éphémère!'' – "Futile regrets! Ephemeral tenderness!"). Ophélie enters. Her entrance is accompanied by Ophélie's Theme. According to the German musicologist Annegret Fauser, Ophélie's music contrasts with Hamlet's very regular 8-bar phrase: the 4-bar theme accentuates her nervous character by the use of dotted-note rhythms, a chromatic melody line, and high-range woodwind instruments. The excerpt below ends with 3 bars of florid solo flute music which foreshadows Ophélie's coloratura singing later in the opera. She is worried that Hamlet's grief will blight their happiness (Ophélie: ''Hélas! votre âme'' – "Alas! your soul") and is concerned that, since Claudius has given Hamlet permission to leave, Hamlet will flee the court. Hamlet protests he cannot make promises of love one day, only to forget them the next. His heart is not that of a woman. Ophélie is distraught at the insult, and Hamlet begs forgiveness. The duet affirms their love (Hamlet, Ophélie: ''Doute de la lumière'' – "Doubt that the light"). The text of the duet is based on Shakespeare's "Doubt thou the stars are fire", which is part of a letter from Hamlet to Ophelia which Polonius reads to Gertrude and Claudius. The melody of the vocal line in Hamlet's first phrases has been called the Theme of Hamlet's Love for Ophélie and appears several more times in the opera, with particular poignancy near the end of the Mad Scene (see below). The three themes which have been introduced in this number are the most important elements which Thomas uses for creating compositional and dramatic unity in the opera. They reoccur, usually in modified form, whenever significant situations relevant to the ideas they represent present themselves, although without having, in the Wagnerian sense, a

leitmotiv A leitmotif or leitmotiv () is a "short, recurring musical phrase" associated with a particular person, place, or idea. It is closely related to the musical concepts of ''idée fixe'' or ''motto-theme''. The spelling ''leitmotif'' is an anglic ...

ic function. 3. Recitative and cavatina of Laërte. Ophélie's brother, Laërte, enters. He tells Hamlet and Ophélie that the King is sending him to the court of Norway, and he must leave that very night (unlike in the play where, as Matthew Gurewitsch of '' Opera News'' has said, he embarks for "the fleshpots of Paris").Gurewitsch, Matthew (March 2010)
"Honored in the Breach"
'' Opera News'' 74 (9). . Retrieved 12 March 2010. Subscription required. In his cavatina, Laërte asks Hamlet to watch over his sister while he is gone (Laërte: ''Pour mon pays, en serviteur fidèle'' – "For my country, in faithful service"). (In the play Laertes warns Ophelia to be wary of Hamlet's intentions.) Fanfares are heard as servants and pages pass at the back. Laërte asks Hamlet and Ophélie to come with him to the banquet, but Hamlet declines. The couple separates, as Laërte and Ophélie leave for the banquet, and Hamlet goes off in the other direction. More fanfares are heard as lords and ladies enter on their way to the banquet (Lords and Ladies: ''Honneur, honneur au Roi!'' – "Honor, honor to the King!"). They are followed by a group of young officers. 4. Chorus of Officers and Pages. The officers sing of their hope that the call of pleasure will dispel their current ennui (Officers: ''Nargue de la tristesse!'' – "Scoff at sorrow"). Horatio and Marcellus enter in haste, looking for Hamlet. They tell of having seen the ghost of the late King upon the ramparts the previous night. The skeptical officers respond: "An absurd illusion! Lies and sorcery!" Undeterred, Horatio and Marcellus leave to find and warn the young prince. The officers, with the lords and ladies, finish the chorus and depart for the banquet. (Again, this scene is unlike the play in which Horatio, who has not seen the ghost himself but has merely heard of it from the sentinels, reports the news of the ghost's appearance to Hamlet directly, and not to a group of soldiers. For some reason Matthew Gurewitsch finds this change somewhat odd: "Horatio and a sidekick blab the dread news of the Ghost's appearance to a squadron of frolicking young officers, who are totally unimpressed.") Scene 2 ''The ramparts. At the back, the illuminated castle. – It is night. The moon is partially obscured by dense clouds'' (set designed by Auguste-Alfred Rubé and

)''.'' Prelude. The five-minute prelude sets the sinister atmosphere of the scene. 5. Scene at the ramparts. Horatio and Marcellus enter (Horatio: ''Viendra-t-il?'' – "Will he come?") and are soon followed by Hamlet (Hamlet: ''Horatio! n'est-ce point vous?'' – "Horatio! is that you?"). Horatio and Marcellus tell Hamlet that they have seen his father's ghost on the previous night at the stroke of twelve. Fanfares are heard emanating from the banquet hall within the castle, and soon thereafter the bells begin to toll midnight. The ghost appears, and they express their fear. Invocation. Hamlet addresses the Ghost (Hamlet: ''Spectre infernal! Image venerée!'' – "Infernal apparition! Venerated image!"). The ghost gives a sign indicating that Horatio and Marcellus should withdraw, and Hamlet orders them to do so. The ghost speaks: ''Écoute-moi!'' – "Listen to me!". He identifies himself and commands Hamlet to avenge him. Hamlet asks what is the crime he must avenge, and who has committed it? Sounds of music from within the castle, fanfares, and distant cannon are heard, and the Ghost responds: "Hark: it is he they are honoring, he who they have proclaimed King! ... The adulterer has defiled my royal residence: and he, to make his treason more complete, spying upon my sleep and taking advantage of the hour, poured poison on my sleeping lips. ... Avenge me, my son! Avenge your father! ... From your mother, though, turn your anger away, we must leave punishment in the care of heaven." The ghost withdraws, his parting words: ''Souviens-toi!'' – "Remember me!" Hamlet draws his sword and proclaims his intention to obey the ghost's command (Hamlet: ''Ombre chére, ombre vengeresse, j'exaucerai ton vœu! ... je me souviendrai!'' – "Beloved shade, avenging shade, I shall fulfill your command! ... I shall remember!"). The English musicologist Elizabeth Forbes has written: "Even the composer's detractors, and there have been many, are agreed that Thomas' music for this scene is masterly; he catches the chilling, gloomy atmosphere perfectly...."Forbes, Elizabeth, "Hamlet" in ''Hamlet'' CD Booklet (1993), p. 22. In his review of the recording with

Thomas Hampson Thomas Walter Hampson (born June 28, 1955) is an American lyric baritone, a classical singer who has appeared world-wide in major opera houses and concert halls and made over 170 musical recordings. Hampson's operatic repertoire spans a range ...

as Hamlet, Barrymore Laurence Scherer says "Thomas captures Hamlet's shadowy malaise in both vocal line and somber accompaniment ... The intimacy of the recording provides Thomas Hampson with ample opportunity to make the most of the relationship between words and music..." The orchestral music which accompanies his vow to avenge his father's murder is another example of a theme which reoccurs multiple times at key points in the drama.

Act 2

Entr'acte. The second act begins with a musical interlude of about two minutes, which sets the scene in the garden. After some emphatic introductory orchestral chords and horn calls, harp arpeggios lead into the main section which employs the Theme of Hamlet's Love, initially played by horn and strings, followed by solo horn accompanied with clarinet and flute figures reminiscent of bird calls. Scene 1 ''The castle gardens'' (set designed by Charles-Antoine Cambon)''.'' 6. Aria of Ophélie. Ophélie is in the garden with a book in her hand. She laments Hamlet's distance, feeling his look is something like reproach (Ophélie: ''Sa main depuis hier n'a pas touché ma main!'' – "His hand has not touched mine since yesterday"). She reads from her book, at first silently, then aloud (Ophélie: ''"Adieu, dit-il, ayez-foi!"'' – "'Adieu, he said, trust me!'"). Hamlet appears on the other side of the garden. (An English horn plays the Theme of Hamlet's Love.) Hamlet sees Ophélie and tarries. Again she reads aloud from her book (Ophélie: ''"En vous, cruel, j'avais foi! Je vous aimais, aimez moi!"'' – "'In you, O cruel one, I believed. I loved you! Love me too!'"), then looks at Hamlet. However, he remains silent, then rushes away. Ophélie says ruefully: ''Ah! ce livre a dit vrai!'' – "Ah! This book spoke the truth!" and continues her aria (Ophélie: ''Les serments on des ailes!'' – "Promises have wings!"). 7. Recitative and arioso. The Queen comes into the garden hoping to find Hamlet. She sees Ophélie's distress and presses her for information as to its cause (The Queen: ''Je croyais près de vous trouver mon fils'' – "I thought to find my son with you"). Ophélie says Hamlet no longer loves her and begs permission to leave the court. In the Queen's arioso, one of the finest numbers in the score, she rejects Ophélie's request, saying that the barrier between Ophélie and Hamlet comes from another source (The Queen: ''Dans sons regards plus sombre'' – "In his sombre expression"). She argues that Ophélie's presence may help cure Hamlet of his madness. Ophélie says she shall obey and leaves. 8. Duet. The King now comes into the garden (The King: ''L'âme de votre fils est à jamais troublée, Madame'' – "Your son's soul is ever troubled, Madame"). The Queen suggests Hamlet may have discovered the truth, but Claudius believes he suspects nothing. An extended version of this very short duet appears in the piano-vocal score. Only the initial phrases of this passage are found in the original full score, and the section which begins with the Queen's phrase ''Hélas! Dieu m'épargne la honte'' – "Alas! may God spare me the shame" is marked as a possible cut. The scoring of the remainder of the duet was thought lost. The original manuscript with the full score of the duet was recently found at the Bibliothèque nationale de France in Paris. The uncut duet is performed in the video recording with

Simon Keenlyside Sir Simon Keenlyside (born 3 August 1959) is a British baritone who has performed in operas and concerts since the mid-1980s. Biography Early life and education Keenlyside was born in London, the son of Raymond and Ann Keenlyside. Raymond play ...

as Hamlet. It is included as an appendix in the recording with

as Hamlet (see Recordings). Recitative. At the conclusion of the duet Hamlet enters, and the orchestra plays Hamlet's Theme. When the 8-bar theme has concluded, the King calls to Hamlet (The King: ''Cher Hamlet'' – "Dear Hamlet"), and Hamlet responds "Sire!". Claudius asks Hamlet to refer to him as Father, but Hamlet responds that his father is dead. Claudius offers his hand, in Hamlet's father's name. There is a pause as the orchestra begins again to play Hamlet's Theme, and Hamlet responds: "His is cold and lifeless." When the theme has finished, Claudius calls Hamlet "My son...", but Hamlet angrily responds: "My name is Hamlet!", and starts to walk away. The orchestra begins Hamlet's Theme again, and Gertrude asks whether Hamlet seeks the young and beautiful Ophélie, but Hamlet responds that youth and beauty will vanish in a single day. When the orchestra has finished playing Hamlet's Theme, Claudius suggests that Hamlet may wish to travel abroad, to France and Italy, but Hamlet responds he'd rather travel, like the clouds, among the stars, amid bolts of lightning. There is a distant sound of festive music. The theme employed is that of the Danish March (which accompanies the entrance of the royal court in the following Play Scene). The King tells Hamlet to listen to the sound of the festivities and admonishes him to hold up his head. Hamlet announces he has summoned an itinerant troupe of actors to provide entertainment. Claudius agrees to this, and then says to Gertrude, "He knows nothing!", but she replies "I am afraid!" as they turn to leave. The orchestra begins to play the theme of Hamlet's Promise, and Hamlet sings: ''Mon pére! Patience! Patience!'' – "My father! Patience! Patience!". 9. Recitative and chorus of comedians. Marcellus and Horatio enter with the Players (tenors and basses). Marcellus announces: ''Voici les histrions mandés par vous, Seigneur.'' – "Here are the actors you sent for, my lord." The players sing a chorus (Players: ''Princes sans apanages'' – "Princes without privilege"). In an aside Hamlet reveals his true purpose (Hamlet: ''C'est en croyant revoir se dresser sa victime que plus d'un meurtrier a confessé son crime'' – "In believing he sees his victim rise up, more than one murderer has confessed his crime"). He asks the players to enact the play ''The Murder of Gonzago'', saying he shall tell them when to pour the poison. He then asks the pages to bring in wine for all. 10. ''Chanson Bacchique''. Seizing a goblet, Hamlet sings a song in praise of wine (Hamlet: ''Ô vin, dissipe la tristesse qui pése sur mon cœur! À moi les rêves de l'ivresse et le rire moqueur!'' – "O wine, dispel the sorrow which weighs on my heart! Give me dreams of euphoria and the mocking laugh!"). In a florid cadenza it rises to a high G ( G4). (An easier version with fewer notes and a lower top note, F ( F4), is also included in the score.) This drinking song, which is not found in Shakespeare, has been the object of much negative criticism.

Edward Greenfield Edward Harry Greenfield OBE (3 July 1928 – 1 July 2015) was an English music critic and broadcaster. Early life Edward Greenfield was born in Westcliff-on-Sea, Essex. His father, Percy Greenfield, was a manager in a labour exchange, while his ...

, on the other hand, has written that "Thomas brings off a superb dramatic coup with the most memorable of the hero's solos, his drinking song for the players...."Greenfield, Edward (1984). "Thomas. Hamlet." (Review of the recording with Joan Sutherland), ''Gramophone'' July 1984, p. 152. Retrieved 6 April 2010. Scene 2 ''The Great Hall of the castle, festively lit. The royal throne is on the right, a platform for the courtiers on the left; at the back, a small theatre, curtains closed'' (set by Charles-Antoine Cambon)''.'' 11. Danish march. The entrance of the royal court is accompanied by a four-and-a-half minute

march March is the third month of the year in both the Julian and Gregorian calendars. It is the second of seven months to have a length of 31 days. In the Northern Hemisphere, the meteorological beginning of spring occurs on the first day of March ...

in ''

alla breve ''Alla breve'' also known as cut time or cut common timeis a musical meter notated by the time signature symbol (a C with a vertical line through it), which is the equivalent of . The term is Italian for "on the breve", originally meaning th ...

'' time and A-B-A form which is introduced with a fanfare. The theme of the A section was first heard near the end of the trio recitative with Claudius, Hamlet, and Gertrude in the first scene of act 2. The King and Queen enter first, followed by Polonius, Ophélie, Hamlet, Horatio, Marcellus, and the court. Recitative and prologue. Hamlet asks Ophélie if he may sit at her feet (Hamlet: ''Belle, permettez-nous'' – "Lady, permit me"). She responds that his expression frightens and chills her. Hamlet sits, his eyes fixed on the King and Queen. Everyone takes their places, and the curtains of the small theatre are opened. The play is introduced with a short orchestral passage featuring a

saxophone The saxophone (often referred to colloquially as the sax) is a type of Single-reed instrument, single-reed woodwind instrument with a conical body, usually made of brass. As with all single-reed instruments, sound is produced when a reed (mouthpi ...

solo. (According to Annegret Fauser this is the first instance of the use of a saxophone in an opera.) In an aside Hamlet asks Marcellus to watch the King (Hamlet: ''Voici l'instant! fixez vos regards sur le Roi, et, si vous le voyez pâlir, dites-le moi!'' – "Now! Fix your gaze on upon the King, and, if he should turn pale, tell me!"). 12. Pantomime and finale. On the small stage an aged king wearing a crown enters slowly on the arm of a queen whose features and costume are similar to those of Queen Gertrude. Hamlet, whose eyes never leave the face of King Claudius, narrates the action of the mimed play (Hamlet: ''C'est le vieux Roi Gonzague et la Reine Genièvre'' – "This is the aged King Gonzago and Queen Guinevere"). The play proceeds as follows: With protestations of love Guinevere leads Gonzago to a lonely spot. The drowsy king soon falls asleep in her arms. The villain enters. She holds out a cup, he seizes it, and pours the fatal potion, then takes the crown and places it on his head. At this point Hamlet interrupts his narrative and addresses Claudius directly (Hamlet: ''Sire, vous pâlissez'' – "Sire, you grow pale!"). Angered and fearful, the King rises (The King: ''Chassez, chassez d'ici ces vils histrions!'' – "Expel, expel these vile minstrels!"). Hamlet, feigning madness, accuses Claudius of the murder of his father (Hamlet: ''C'est lui qui versait le poison!'' – "He's the one who poured the poison!"). Hamlet approaches the King, pushing aside the courtiers who surround him, and snatches the crown from Claudius' head (Hamlet: ''A bas, masque menteur! vaine couronne, à bas!'' – "Down with the lying mask! Down with the empty crown!"). The King, pulling himself together, solemnly declares: ''Ô mortelle offense! Aveugle démence, qui glace tous les cœurs d'effroi!'' – "O fatal insult! Blind lunacy, which chills every heart with dread!" The melody of the vocal line is a variant of the theme of Hamlet's Promise. Ophélie cries out, and the Queen declares her outrage (The Queen: ''Dans sa folle rage, il brave, il outrage'' – "In his mad rage, he defies, he offends"). These utterances of the King and the Queen begin a grand ensemble passage, "a magnificent septet",Forbes, Elizabeth, "Hamlet" in Sadie (1992) 2: 611. which builds to a climax in which Hamlet bursts out in "mad Berlioz-like excitement" with snatches of the ''Chanson Bacchique''. At the end, Hamlet totally collapses. The King rushes out, followed by the Queen, and the entire court.

Act 3

"Closet Scene" ''A chamber in the Queen's apartments. At the back are two full-length portraits of the two kings. A

prie-Dieu A prie-dieu (French: literally, "pray oGod") is a type of prayer desk primarily intended for private devotional use, but which may also be found in churches. A similar form of chair in domestic furniture is called "prie-dieu" by analogy. So ...

. A lamp burns on a table'' (set by

Édouard Desplechin Édouard Desplechin His name is often spelt "Despléchin" » with an acute accent. (12 April 1802 – 10 December 1871), was a 19th-century French scenic designer, one of the most famous of his time. Biography He created numerous settings for ...

)''.'' Entr'acte. The act begins with a short but powerful introduction, "almost Verdian" in its effect. Fortissimo French horns play the variant of Hamlet's Promise (the King's ''Ô mortelle offense!'') which began the septet that closed act 2. The music becomes more agitated, reflecting Hamlet's highly conflicted state of mind. The trumpets sound mutated snippets of the royal court's Danish march. 13. Monologue. Hamlet is alone and seated on a couch. He chastises himself for his failure to act (Hamlet: ''J'ai pu frapper le misérable'' – "I could have killed the scoundrel.") This leads to a calmer, more introspective section (Hamlet: ''Être ou ne pas être'' – "To be or not to be"), which follows the Shakespeare original closely, although greatly shortened. He hears someone approaching (Hamlet: ''Mais qui donc ose ici me suivre? Le Roi!...'' – "But who then dares to follow me here? The King!..."). He hides behind a tapestry (arras). 14. Recitative and bass aria. The King enters. He muses to himself (The King: ''C'est en vain que j'ai cru me soustraire aux remords.'' – "In vain have I thought to escape my remorse."). The King kneels at the prie-Dieu and prays aloud (The King: ''Je t'implore, ô mon frère!'' – "I implore you, O my brother!"). Hamlet overhears and fears Claudius' remorse could yet save his soul. He therefore delays yet again, deciding that Claudius must be dispatched in drunken revels at the court. The King rises. Thinking he has seen a ghost, he calls out for Polonius. Polonius comes rushing in. The King tells him he has seen the ghost of the dead king. Polonius tries to calm the King and warns him to beware lest a word betray them both. The King rushes out followed by Polonius. Hamlet emerges from behind the tapestry (Hamlet: ''Polonius est son complice! le père d'Ophélie!'' – "Polonius is his accomplice. Ophelia's father!"). He regrets having overheard this terrible revelation. Nellie Melba as Ophelia in Hamlet (opera) - Henri Gervex ON2010-03-12

Nellie Melba as Ophelia in Hamlet (opera) - Henri Gervex ON2010-03-12

15. Trio. Ophélie enters with the Queen. (The Queen: ''Le voilà! Je veux lire enfin dans sa pensée'' – "There he is! I must know what is on his mind"). The Queen tells Hamlet, the altar awaits him, here is his betrothed. Hamlet looks away, without replying. The Queen persists. Hamlet thinks of Polonius' perfidy (Hamlet: ''Sur moi tombent les cieux avant que cet hymen funeste s'accomplisse!'' – "May the heavens fall upon me before such an ill-fated marriage can be solemnized!"). Ophélie asks what he means. He responds: ''Non! Allez dans un cloître, allez, Ophélie.'' – "No! Go to a nunnery, go, Ophélie."). The Queen asks whether he has forgotten all Ophélie's virtues. He replies he now feels nothing in his heart. Ophélie despairs (Ophélie: ''Cet amor promis à genoux'' – "The love that on your knees you swore"). She returns her ring to him (Theme of Hamlet's Love), and Hamlet weeps. The Queen turns to Ophélie saying he weeps, he remembers, he loves you. Hamlet cries out again (Hamlet: ''Non! Allez dans un cloître, allez, Ophélie'' – "No! Go to a nunnery, go, Ophélie"). Each continues to express conflicting feelings in an extended ensemble. Ophélie leaves, hiding her tears. 16. Duet. The Queen warns Hamlet that he has offended his father, and she may be powerless to save his life (The Queen: ''Hamlet, ma douleur est immense!'' – "Hamlet, my grief is great!"). Hamlet asks, who has offended his father? She denies any understanding of his meaning. Hamlet blocks her attempt to leave, tries to force her to confront her guilt (Hamlet: ''Ah! que votre âme sans refuge pleure sur les devoirs trahis'' – "Ah! Let your defenseless heart weep over duties betrayed"). Hamlet leads his mother to the two portraits and points to the portrait of his father (Hamlet: ''Ici la grâce et la beauté sereines'' – "Here are grace and serene beauty"), then to the other portrait (''Là, tous les crimes de la terre!'' – "There, all crimes of the earth!"). The Queen begs for mercy, kneeling before Hamlet (The Queen: ''Pardonne, hélas! ta voix m'accable!'' – Forgive me, alas! Your voice devastates me!"). The Queen collapses on a couch. The orchestra repeats the distinctive ostinato first heard in the Ramparts Scene as the accompaniment to Hamlet's aria (''Spectre infernal!''). The light dims, and the Ghost appears behind the couch, one arm extended toward Hamlet (Ghost: ''Mon fils!'' – "My son!"). Hamlet pulls back in confusion. The Ghost warns Hamlet (Ghost: ''Souviens-toi... mais épargne ta mère!'' – "Do not forget... but spare your mother!"). As the Ghost vanishes, the orchestra plays the theme of Hamlet's Promise, and the doors close themselves. Hamlet asks his mother not to think he is mad; his rage has calmed. He tells her to repent and sleep in peace, then leaves. She collapses at the foot of the prie-Dieu. Elizabeth Forbes states that the final duet of act 3 represents the climax of the act and the pivotal scene of the entire opera, and the act as a whole "is by far the finest of the opera, musically as well as dramatically."

Act 4

''A pastoral spot surrounded by trees. At the back, a lake dotted with verdant islets and bordered with willows and rushes. The day breaks and floods the scene with cheerful light'' (set by

)''.'' 17. Entr'acte. A short musical interlude of about two minutes, which features a soft,

legato In music performance and notation, legato (; Italian for "tied together"; French ''lié''; German ''gebunden'') indicates that musical notes are played or sung smoothly and connected. That is, the player makes a transition from note to note wit ...

clarinet solo, introduces the fourth act. Ballet: ''La Fête du printemps (Celebration of Spring). Divertissement.'' : A. Country dance. A party of young Danish peasants enters, and a spring country festival ensues (Peasants: ''Voici la riante saison'' – "The fun season is here"). : B–F. The ballet proper, which lasts about 18 minutes, consists of the following sections: :: B. Pas des chasseurs :: C. Pantomime :: D. Valse-Mazurka :: E. Scène du bouquet – La Freya :: F. Strette finale The recording conducted by Richard Bonynge (with

Sherrill Milnes Sherrill Milnes (born January 10, 1935) is an American dramatic baritone most famous for his Verdi roles. From 1965 until 1997 he was associated with the Metropolitan Opera. His voice is a high dramatic baritone, combining good legato with an in ...

as Hamlet and Joan Sutherland as Ophelia) includes the ballet music in its proper place at the beginning of act 4, but omits significant portions of it. Edward Greenfield, in his review of the recording in the '' Gramophone'' magazine says the ballet music "may in principle seem an absurd intrusion in this of all operas, but … in effect provides a delightful preparation for Ophelia's mad scene". Mignon Nevada Ophelia2

In the recording with Thomas Hampson as Hamlet, sections B–F of the ballet are included as an appendix. Elizabeth Forbes, in her essay which accompanies that recording, says: "the ballet-divertissement of ''La Fête du printemps'' (a ballet was obligatory at the Opéra in the 19th century) which opens act 4 is frankly an anti climax. … undistinguished musically and unnecessary dramatically". The video with Simon Keenlyside as Hamlet omits the entire ballet and most of its music (sections A–E). 18. Ophélie's Scene and Aria ("Mad Scene"). Recitative. The music begins with Ophélie's Theme. The peasants see a young girl approaching (Peasants: ''Mais quelle est cette belle et jeune demoiselle'' – "But who is this fair young maiden"). Ophélie enters, dressed in a long white gown and with her hair bizarrely adorned with flowers and creepers (Ophélie: ''A vos jeux, mes amis, permettez-moi de grâce de prendre part!'' – "My friends, please allow me to join in your games!"). Ophélie's opening recitative is interrupted by a

florid Florid (literally "flowery") is a word with several meanings, including red in color, ornate, and abundant or disorganized. It may also refer to: * Florid, Illinois, United States, an unincorporated community * Great Wall Florid, a car See also ...

cadenza with an ascending run up to a

trill TRILL (Transparent Interconnection of Lots of Links) is an Internet Standard implemented by devices called TRILL switches. TRILL combines techniques from bridging and routing, and is the application of link-state routing to the VLAN-aware cus ...

on a

forte Forte or Forté may refer to: Music *Forte (music), a musical dynamic meaning "loudly" or "strong" * Forte number, an ordering given to every pitch class set * Forte (notation program), a suite of musical score notation programs * Forte (vocal ...

A ( A5). Andante. Ophélie tells the peasants that, should they hear that Hamlet has forgotten her, they should not believe it (Ophélie: ''Un doux serment nous lie'' – "A tender promise binds us to each other"). The orchestral part features a string quartet accompaniment marked "espressivo". Waltz. This section, marked "Allegretto mouvement de Valse", begins with a short orchestral introduction. Ophélie offers a sprig of wild rosemary to a young girl and a periwinkle to another (Ophélie: ''Partegez-vous mes fleurs'' – "Share my flowers"). It concludes with an even more elaborate cadenza ending with an extended trill on F ( F5), which finishes with a downward octave leap, and a quick passage ascending to the final staccato high B-flat ( B5). In a more difficult alternative version, the trill on F finishes with an upward leap to forte high D ( D6) and a quick passage descending to middle B-flat ( B4), followed by an upward octave leap to a final forte high B flat ( B5) which is held. Ballade. In the mournful Ballade, Ophélie sings about the Willis (water sprite) who lures lovers to their death, dragging them under the water until they drown (Ophélie: ''Et maintenant écoutez ma chanson. Pâle et blonde, dort sous l'eau profonde'' – "And now listen to my song. Pale and fair, sleeping under the deep water"). (The Ballade replaces Shakespeare's "Tomorrow is St. Valentine's Day", the bawdy words of which were probably considered inappropriate at the Opéra.) It includes a quantity of coloratura singing, and, in the words of Matthew Gurewitsch, is "interwoven with a wordless wisp of a refrain, spun out over the nervous pulse of a drum, like birdsong from some undiscovered country." The Ballade concludes with a coloratura passage that finishes with a run up to a high E ( E6) and a fortissimo

on A sharp ( A5 sharp) leading to the final high B ( B5). 19. Waltz-Ballet. A short choral passage (Peasants: ''Sa raison a fui sans retour'' – "Her reason has fled, never to return") introduces an orchestral reprise of the waltz music first heard before the Ballade. 20. Finale. The final section begins with a soft woodwind chord followed by harp arpeggios with a wordless choral accompaniment ''à bouches fermées'' (similar to the "Humming Chorus" from Puccini's later opera, '' Madama Butterfly'') which repeats the theme from ''Pâle et blonde''. Ophélie sings: ''Le voilà! Je crois l'entendre!'' – "There he is! I think I hear him!". As she leans over the water, holding onto the branches of a willow with one hand, and brushing aside the rushes with the other, she repeats some of the words and the melody (Theme of Hamlet's Love) from her love duet with Hamlet in act 1 (Ophélie: ''Doute de la lumière'' – "Doubt that the light illumines"). One sees her momentarily floating in her white gown, as the current carries her away. (The action follows Gertrude's description of Ophelia's death in Shakespeare's act 4, scene 7.)Getrude's monologue from ''Hamlet'', act 4, scene 7, at "The Lied and Art Song Texts Page"
According to Elizabeth Forbes, the opera's initial success at the Opéra was undoubtedly mostly due to the spectacular vocal effects of the "Mad Scene" as executed by the original Ophélie,

Act 5

''The graveyard near Elsinore.'' 21. Song of the Gravediggers. Two gravediggers are digging a grave (First Gravedigger: ''Dame ou prince, homme ou femme'' – "Lady or prince, man or woman"). Hamlet's Theme is heard in the orchestra, and he appears in the distance and slowly approaches (both Gravediggers: ''Jeune ou vieux, brune ou blonde'' – "Young or old, dark or fair"). They drink and sing of the pleasures of wine. Hamlet asks for whom the grave is intended. The gravediggers do not remember. (After this shortened version of the gravediggers scene, the action diverges radically from that of the Shakespeare play.) 22. Recitative and arioso. Hamlet, realizing that Ophélie has gone mad, but still unaware that she is dead, begs forgiveness for his ill treatment of her (Hamlet: ''Comme une pâle fleur'' – "Like a delicate flower"). The English music critic John Steane, reviewing

's performance of this aria, wrote:

Coming after the grave-diggers' scene, it is a tender yet bitterly repentant elegy on Ophelia's death. The soliloquy has no counterpart in Shakespeare and brings out the best in both Thomas and Keenlyside. From the composer it draws on the graceful French lyricism we know from the tenor solos in ''Mignon'', adding a more complex responsiveness to the opera-Hamlet's simpler nature. For the singer, it provides an opportunity to use the refinement of his art yet rise to phrases, high in the voice, where he can expand the riches of his tones and the most heartfelt of his feelings.

Scene and recitative. Laërte appears in the distance, enveloped in a cape (Hamlet: ''Mais qui marche dans l'ombre? Horatio?'' – "Who walks in the shadows? Horatio?"). Hamlet calls out to him, and Laërte answers and comes nearer (Laërte: ''Vous avez frémi, Prince? ... Oui, je suis de retour; c'est moi!'' – "Were you afraid, Prince? ... Yes, I have returned; it is I!"). Knowing of Ophélie's death, Laërte seeks revenge, and challenges Hamlet to a duel. They fight, and Hamlet is wounded. 23. Funeral march and chorus. A funeral march is heard (Hamlet: ''Écoute! Quel est ce bruit de pas?'' – "Listen! What noise is that?"). He asks Laërte: "Who has died?" Laërte, in an aside, is amazed that Hamlet still does not know. The funeral procession appears, led by a choir of men and women (Choir: ''Comme la fleur, comme la fleur nouvelle'' – "Like a flower, like a fresh flower"). Ophélie's body is carried in; the King and Queen, Polonius, Marcellus, Horatio and the courtiers follow behind. 24. Finale. Hamlet finally realizes who has died (Hamlet: ''Ophélie! ... Morte! glacée! Ô crime! Oh! de leurs noirs complots déplorable victime!'' – "Ophélie! ... Dead! Cold! A crime! Oh! Lamentable victim of their black conspiracy!"). He kneels beside the body of Ophélie: "I have lost you!" As the grieving Hamlet prepares to kill himself, his father's Ghost appears, visible to everyone. The King cries out "Mercy!", and the Ghost responds: "The hour has passed! You, my son, finish what you have begun!" Hamlet cries: "Ah! Strengthen my arm to run him through. Guide my strike!" He hurls himself upon the King. The King falls. The Queen cries out "Dieu!" as the others exclaim: "The King!" Hamlet responds: "No! The murderer! The murderer of my father!" The Ghost affirms: "The crime is avenged! The cloister awaits your mother!" The King dies with the words: ''Je meur maudit!'' – "I die accursed!" The Queen begs God for forgiveness, as the Ghost declares: "Live for your people, Hamlet! God has made you King." Hamlet, in despair, sings: ''Mon âme est dans la tombe, hélas! Et je suis Roi!'' – "My spirit is in the grave, alas! And I am King!" Everyone else proclaims: "Long live Hamlet! Long live the King!" and the opera ends.

Alternative endings

A shorter version of the Finale, in which Hamlet dies, and the Ghost does not appear, is called "le dénouement du Theâtre de Covent Garden" ("the ending for Covent Garden"). Thomas may have written it in the belief that the English would not accept an adaptation in which Hamlet lives. There is no evidence, however, that it was performed in Thomas's lifetime, either at Covent Garden or anywhere else. It appears in some German vocal scores and is included as an appendix to the recording with

as Hamlet. There is an additional ending prepared by Richard Bonynge for a performance in Sydney, Australia in 1982 in which Hamlet dies of his wound suffered in the duel with Laërte. This ending appears in the recording with

as Hamlet, conducted by Bonynge.

Recordings

Audio *

(Hamlet); Joan Sutherland (Ophélie); James Morris (Claudius); Gösta Winbergh (Laërte); Barbara Conrad (Gertrude); John Tomlinson (Ghost); Keith Lewis (Marcellus); Philip Gelling (Horatio); Arwel Huw Morgan (Polonius); Peyo Garazzi (First Gravedigger); Joseph Rouleau (Second Gravedigger); Orchestra and Chorus of

Welsh National Opera Welsh National Opera (WNO) ( cy, Opera Cenedlaethol Cymru) is an opera company based in Cardiff, Wales; it gave its first performances in 1946. It began as a mainly amateur body and transformed into an all-professional ensemble by 1973. In its ...

; Richard Bonynge (conductor). (Issued 1983 on LP; 1992 on CD: Decca 433 857-2). . *

(Hamlet);

June Anderson June Anderson (born December 30, 1952) is a Grammy Award-winning American coloratura soprano. She is known for ''bel canto'' performances of Rossini, Donizetti, and Vincenzo Bellini. Subsequently, she has extended her repertoire to include a wi ...

(Ophélie);

Samuel Ramey Samuel Edward Ramey (born March 28, 1942) is an American operatic bass. At the height of his career, he was greatly admired for his range and versatility, having possessed a sufficiently accomplished bel canto technique to enable him to sing th ...

(Claudius);

Gregory Kunde Gregory Kunde (February 24, 1954, Kankakee, Illinois) is an American operatic tenor particularly associated with the French and Italian repertoires. Career Kunde studied choral conducting and voice at Illinois State University before making his ...

(Laërte);

Denyce Graves Denyce Graves (born March 7, 1964) is an American mezzo-soprano opera singer. Early life Graves was born on March 7, 1964, in Washington, D.C., to Charles Graves and Dorothy (Middleton) Graves-Kenner. She is the middle of three children and ...

(Gertrude); Jean-Philippe Courtis (Ghost); Gérard Garino (Marcellus); François Le Roux (Horatio);

Michel Trempont Michel Trempont (28 July 1928 – 30 January 2021) was a Belgian operatic baritone whose repertoire extended from the 18th century to the creation of contemporary works. His brother was Pol Trempont (1923–2007), operatic tenor and one time dire ...

(Polonius); Thierry Félix (First Gravedigger); Jean-Pierre Furlan (Second Gravedigger); Ambrosian Opera Chorus; London Philharmonic Orchestra; Antonio de Almeida (conductor). (Issued 1994 on CD: EMI Classics 7 54820 2) . Video *

(Hamlet);

Natalie Dessay Natalie Dessay (; born 19 April 1965) is a French singer, known for her former career as an operatic soprano. She gained wide recognition after her portrayal of Olympia in ''The Tales of Hoffmann'' in 1992, and then performing at leading stages, ...

(Ophélie); Béatrice Uria-Monzon (Gertrude); Alain Vernhes (Claudius); Daniil Shtoda (Laërte); Markus Hollop (Ghost); Gustavo Peña (Marcellus); Lluís Sintes (Horatio); Celestino Varela (Polonius); Joan Martín-Royo (First Gravedigger); Francesc Garrigoza (Second Gravedigger); Symphony Orchestra and Chorus of the

Gran Teatre del Liceu Gran may refer to: People *Grandmother, affectionately known as "gran" * Gran (name) Places * Gran, the historical German name for Esztergom, a city and the primatial metropolitan see of Hungary * Gran, Norway, a municipality in Innlandet cou ...

Bertrand de Billy Bertrand de Billy (born Paris, 11 January 1965) is a French conductor. He attended a Jesuit school, but only started serious musical studies when he was around 14–15; he studied piano and violin.

(conductor); Patrice Gaurier & Moshe Leiser (stage directors); Jean-Michel Criqui (revival director); Toni Bargalló (video director); Christian Fenouillat (set design); Agostino Cavalca (costume designer); Christophe Forey (lighting); Grand Théâtre de Genève (production); recorded live in October 2003 at the Gran Teatre del Liceu; issued on

DVD The DVD (common abbreviation for Digital Video Disc or Digital Versatile Disc) is a digital optical disc data storage format. It was invented and developed in 1995 and first released on November 1, 1996, in Japan. The medium can store any kind ...

(cat. no. EMI classics 7243 5 99447 9 1); reviewed online by Classical CD Review. . * Stéphane Degout (Hamlet);

Sabine Devieilhe Sabine Devieilhe (; born 12 December 1985) is a French operatic coloratura soprano. She is known for her interpretation of works by Mozart, Baroque music, and 19th-century opera. She is often regarded as a successor to Natalie Dessay. Early ...

(Ophélie), Sylvie Brunet-Grupposo (Gertrude), Laurent Alvaro (Claudius), Julien Behr (Laërte), Jérôme Varnier (Ghost of Old Hamlet), Yoann Dubruque (Horatio), Kevin Amiel (Marcellus); Orchestre des Champs-Elysées, Choeur Les Eléments, Louis Langrée, conductor, Cyril Teste, stage director. Issued 2019.

Naxos Naxos (; el, Νάξος, ) is a Greek island and the largest of the Cyclades. It was the centre of archaic Cycladic culture. The island is famous as a source of emery, a rock rich in corundum, which until modern times was one of the best ab ...

Cat:NBD0103V

Scores

The vocal score, published in 1868 in Paris by Heugel & Cie. (plate H. 3582), is available for download from the

International Music Score Library Project The International Music Score Library Project (IMSLP), also known as the Petrucci Music Library after publisher Ottaviano Petrucci, is a subscription-based digital library of public-domain music scores. The project, which uses MediaWiki softwar ...

web site (see this work page). The web page also includes an arrangement by Georges Bizet of the ballet music from act 4, ''La Fête du printemps'', for piano 4 hands (Paris: Heugel & Cie., n.d., plate H. 4997–5002, 5007), as well as the complete libretto in French (edited by Calmann Lévy, published: Paris: Lévy Frères, 1887).

References

Notes Sources *

Barzun, Jacques Jacques Martin Barzun (; November 30, 1907 – October 25, 2012) was a French-American historian known for his studies of the history of ideas and cultural history. He wrote about a wide range of subjects, including baseball, mystery novels, and ...

(1969). ''Berlioz and the Romantic Century'', 3rd edition in 2 volumes (1st edition, 1950). New York: Columbia University Press. . * Cairns, David, editor and translator (1969). ''The Memoirs of Hector Berlioz''. 2002 edition. New York: Alfred A. Knopf. . * Cairns, David (1999). ''Berlioz. Volume one. The Making of an Artist 1803–1832''. Berkeley, California: University of California Press. (hardcover). (paperback). * Carré, Michel; Barbier, Jules (1868). ''Hamlet, opéra en cinq actes, musique de Ambroise Thomas'', libretto in French. Paris: Michel Lévy Frères
View
at

Google Books Google Books (previously known as Google Book Search, Google Print, and by its code-name Project Ocean) is a service from Google Inc. that searches the full text of books and magazines that Google has scanned, converted to text using optical ...

. * CD Booklet (1993). Thomas: ''Hamlet'' with

, Hamlet;

Antonio de Almeida (conductor) Antonio de Almeida (20 January 1928 – 18 February 1997) was a French conductor and musicologist of Portuguese-American descent. Born Antonio Jacques de Almeida Santos in Neuilly-sur-Seine near Paris, his father was the financier Baron de Almei ...

. EMI France CDCC 7 54820 2. . * Crichton, Ronald (2001). "Ambroise Thomas", pp. 951–952, in ''The New Penguin Opera Guide'', edited by

Amanda Holden Amanda Louise Holden (born 16 February 1971) is an English actress, media personality, and singer. Since 2007, she has been a judge on the television talent show competition ''Britain's Got Talent'' on ITV. She also co-hosts the ''Heart Brea ...

. New York: Penguin Putnam. * Pemble, John (2005). ''Shakespeare in Paris: How the bard conquered France''. London: Hambledon and London. . *

Sadie, Stanley Stanley John Sadie (; 30 October 1930 – 21 March 2005) was an influential and prolific British musicologist, music critic, and editor. He was editor of the sixth edition of the '' Grove Dictionary of Music and Musicians'' (1980), which was publ ...

, ed. (1992). ''

The New Grove Dictionary of Opera ''The New Grove Dictionary of Opera'' is an encyclopedia of opera, considered to be one of the best general reference sources on the subject. It is the largest work on opera in English, and in its printed form, amounts to 5,448 pages in four volu ...

'' (4 volumes). London: Macmillan. . * Thomas, Ambroise (1868). ''Hamlet'', piano-vocal score, piano reduction by Vauthrot. [Original French title: ''Académie impériale de musique: Hamlet, opéra en cinq actes, paroles de MM. Michel Carré et Jules Barbier, musique de Ambroise Thomas de l'institut. Partition piano et chant. Reduction par M. Vauthrot.''] Paris: Heugel & Cie., n.d. [1868]
Copy
at the

Internet Archive The Internet Archive is an American digital library with the stated mission of "universal access to all knowledge". It provides free public access to collections of digitized materials, including websites, software applications/games, music, ...

IMSLP file #48024
. Other sources * Bailey, Helen Phelps (1964). ''Hamlet in France; from Voltaire to Laforgue''. Genève: Droz. . * Ducis, Jean-François (1770). ''Hamlet: Tragédie''. Paris. . * Dumas, Alexandre; Meurice, Paul (1849). ''Hamlet, Prince de Danemark. En vers, par MM. A. Dumas et P. Meurice, etc.'' Paris. . * Le Tourneur, Pierre (1776–1782). ''Shakespeare traduit de l'Anglois''

n prose N, or n, is the fourteenth Letter (alphabet), letter in the Latin alphabet, used in the English alphabet, modern English alphabet, the alphabets of other western European languages and others worldwide. Its name in English is English alphabet# ...

Paris: Chez La Veuve Duchesne

t al. T, or t, is the twentieth letter in the Latin alphabet, used in the modern English alphabet, the alphabets of other western European languages and others worldwide. Its name in English is ''tee'' (pronounced ), plural ''tees''. It is der ...

. * Le Tourneur, Pierre (1779). ''Shakespeare traduit de l'anglois. 5: Le Roi Léar; Hamlet''. Paris: Chez La Veuve Duchesne

External links

*
1869 libretto in French (nouvelle edition)
* Iconographic evidence of the premiere o
Gallica

''Hamlet'' in ''The Victrola Book of the Opera'' (1921)
*
Review of the Met telecast (1 April 2010) at MusicalCriticism.com
{{Authority control Operas 1868 operas French-language operas Operas by Ambroise Thomas Operas based on Hamlet Opera world premieres at the Paris Opera Libretti by Jules Barbier Libretti by Michel Carré