' (Madam Chrysanthemum) is an

opera Opera is a form of History of theatre#European theatre, Western theatre in which music is a fundamental component and dramatic roles are taken by Singing, singers. Such a "work" (the literal translation of the Italian word "opera") is typically ...

, described as a ', with music by

André Messager André Charles Prosper Messager (; 30 December 1853 – 24 February 1929) was a French composer, organist, pianist and conductor. His compositions include eight ballets and thirty , opérettes and other stage works, among which his ballet (1 ...

to a libretto by

Georges Hartmann Romain-Jean-François "Georges" Hartmann (15 May 1843 – 22 April 1900) was a French music publisher, dramatist and opera librettist (publishing under the pen name Henri Grémont). Born in Paris, he was the son of Jean Hartmann (1804–1880), a ...

and Alexandre André, after the

semi-autobiographical novel An autobiographical novel, also known as an autobiographical fiction, fictional autobiography, or autobiographical fiction novel, is a type of novel which uses autofiction techniques, or the merging of autobiographical and fictive elements. The l ...

'' Madame Chrysanthème'' (1887) by

Pierre Loti Pierre Loti (; pseudonym of Louis Marie-Julien Viaud ; 14 January 1850 – 10 June 1923) was a French naval officer and novelist, known for his exotic novels and short stories.This article is derived largely from the ''Encyclopædia Britannica Ele ...

. It consists of four acts with a prologue and an epilogue and is set in

Nagasaki , officially , is the capital and the largest Cities of Japan, city of Nagasaki Prefecture on the island of Kyushu in Japan. Founded by the Portuguese, the port of Portuguese_Nagasaki, Nagasaki became the sole Nanban trade, port used for tr ...

, Japan.

Background

Prior to ''Madame Chrysanthème'', Messager had begun to establish himself as a composer with several ballet scores performed, success at the

Opéra-Comique The Opéra-Comique () is a Paris opera company which was founded around 1714 by some of the popular Théâtre de la foire, theatres of the Parisian fairs. In 1762 the company was merged with – and for a time took the name of – its chief riva ...

in 1890 with ''

La Basoche ''La Basoche'' is an opéra comique in three acts, with music by André Messager and words by Albert Carré. The opera is set in Paris in 1514 and depicts the complications that arise when the elected "king" of the student guild, the Basoche, ...

'' and

incidental music Incidental music is music in a play, television program, radio program, video game, or some other presentation form that is not primarily musical. The term is less frequently applied to film music, with such music being referred to instead as th ...

for the play '' Hélène'' in 1891. Refused by

Carvalho Carvalho (), meaning 'oak', is a Portuguese surname. Origin: Celtic toponymic, from ''(s)kerb(h)''/''karb'' (hard, twisted). The surname is most common in Portugal, Brazil, Galicia (although in Galicia it may be spelled ' Carvallo' or ' Car ...

at the Opéra-Comique ''Madame Chrysanthème'' was first performed at the

Théâtre de la Renaissance The name Théâtre de la Renaissance () has been used successively for three distinct Parisian theatre companies. The first two companies, which were short-lived enterprises in the 19th century, used the Salle Ventadour, now an office building ...

in Paris on 21 January 1893 with Jane Guy and Louis Delaquerrière in the principal roles; there were 16 performances at the theatre in the first year. There were two performances in Monte Carlo on 21 December 1901 and 3 January 1902 with

Mary Garden Mary Garden (20 February 1874 – 3 January 1967) was a Scottish-American operatic lyric soprano, then mezzo-soprano, with a substantial career in France and America in the first third of the 20th century. She spent the latter part of her chil ...

and

Edmond Clément Edmond Clément (28 March 1867, Paris - 24 February 1928, Nice) was a French lyric tenor who earned an international reputation due to the polished artistry of his singing. During his career he also held a private studio, one of his students being ...

in the principal roles. The opera was also seen at the

Théâtre Royal de la Monnaie The Royal Theatre of La Monnaie (, ; , ; both translating as the "Royal Theatre of the Mint") is an opera house in central Brussels, Belgium. The National Opera of Belgium, a federal institution, takes the name of this theatre in which it is ho ...

, Brussels, on 9 November 1906, in Montreal in 1912, and by the Chicago Opera Association in Chicago and New York (Lexington Theatre) in 1920 with

Tamaki Miura , was a Japanese opera singer who performed as Cio-Cio-San in Puccini's ''Madama Butterfly''. Early life Miura was born the first daughter of Shibata Mōho and Shibata Towa () on February 22, 1884, in Tokyo, Japan. Shibata, a music lover had h ...

, Charles Fontaine and

Hector Dufranne Hector Dufranne (25 October 1870 – 4 May 1951) was a Belgian operatic bass-baritone who enjoyed a long career that took him to opera houses throughout Europe and the United States for more than four decades. Admired for both his singing and hi ...

. Although both operas can be traced back to the same original literary source, Puccini's ''

Madama Butterfly ''Madama Butterfly'' (; ''Madame Butterfly'') is an opera in three acts (originally two) by Giacomo Puccini, with an Italian libretto by Luigi Illica and Giuseppe Giacosa. It is based on the short story " Madame Butterfly" (1898) by John Lu ...

'' and ''Madame Chrysanthème'' contrast strongly especially with the mainly internal world of the Puccini setting. The alternation of acts in public and private spaces in Messager's work provides other aspects on the Japan as depicted in the opera, reminding the listener of a teeming world effectively beyond the reach of Europeans: between Messager and Puccini there is a significant contrast between Pierre's failure to understand and master Chrysanthème and Pinkerton's dominance and possession of Butterfly.Cooper C. "Nineteenth Century Spectacle". In: Langham Smith R and Potter C. ''French Music Since Berlioz.'' Ashgate Publishing Ltd, 2006. Messager's librettists changed Loti's original cynical attachment between the main characters into a more genuine love affair, as well as creating the jealous conflict between the two sailors.Blay, Philippe. "Le théâtre lyrique de Pierre Loti: André Messager, Lucien Lambert, Reynaldo Hahn", pp. 89–113. In: ''Le livret d'opéra au temps de Massenet.'' Publications de l'Université de Saint-Etienne, 2002, pp. 103–105. A highlight of the score is the soprano aria "".

Roles

Synopsis

Prologue

After an orchestral introduction the curtain rises on the bridge of a French battleship; two officers, Pierre and Yves are leaning on the balustrade while the topman sings. Pierre sings of his dream of a Japanese love affair. A naval fanfare announces the arrival in port and the scene changes:

Act 1

On arrival in Nagasaki the ship is invaded by merchants, who are then followed by geishas, who dance, among whom is one with whom Pierre immediately falls in love. Born in Yeddo she was abandoned as a child. Before she can give Pierre her name Yves announces the arrival of Kangarou, a jack-of-all-trades, but also a marriage broker. Despite Kangarou fussing, her adopted parents Sucre and Prune are introduced. Pierre contracts a "Japanese marriage" with his chosen geisha, and at the end of the act Kangarou announces Chrysanthème's name.

Act 2

After an orchestral entr'acte the tableau begins in the garden of Chrysanthème, with Prune paying devotions to Buddha. She parts the screens behind which Chrysanthème and Pierre still sleep. Chrysanthème arranges flowers around the house. Pierre declares his love but Chrysanthème chides him. At the end Pierre and Chrysanthème's friends arrive and congratulate the couple and Oyouki sings in Breton mode.

Act 3

In front of the temple of Osueva a festival takes place with a chants and dances. After Chrysanthème has sung her song, Pierre is furious and jealous arguments break out between Yves and Pierre. The act ends with a procession, and chorus of priests.

Act 4

Chrysanthème and Oyouki are heard singing off-stage. Pierre enters the garden and reflects on the emotions evoked by the song. There is a reconciliation between the characters. A cannon shot is heard and Yves enters joyfully looking forward to his return to his family in Brittany. After farewells, Chrysanthème gives Yves a letter to pass on to Pierre once they are at sea.

Epilogue

(Same setting as in the Prologue). After an interlude, out at sea Pierre reads Chrysanthème's letter in which she wrote that although she was smiling when they parted, he should remember, when far away, that in Japan that there are women who love, and cry. He tosses the lotus flowers she had given him into the sea and asks to forget his Japanese marriage.

Notes and references

Notes References {{DEFAULTSORT:Madame Chrysantheme French-language operas 1893 operas Operas Operas by André Messager Operas based on novels Operas set in Japan Japan in non-Japanese culture Operas based on works by Pierre Loti