I’ve done this before, but decided to have another go at it – NK
Opera has a number of one hit wonders. French Composer Gustave Charpentier (1860-1956) is one of the few half hit wonders. He was a French proto-hippy whose worldview is perfectly expressed in his first opera Louise. The title character is the daughter of a working class family. She’s in love with Julien – a poet. She runs off with him only to return home when she learns that her mild mannered father is ill. He recovers and she once more leaves home to return to Julien. The father is grief stricken at her departure which he correctly attributes to the charms of Paris. He utters the opera’s last lines: “Louise!… Louise! … O Paris!!!” The city is as much a star of the opera as is Louise. Its vivid life is depicted by the work’s large cast.
I saw a production of this opera given by the New York City Opera when it was still on 55th St. All I can remember from it are the last lines just quoted. Louise is still occasionally presented, though I could not find a production staged over the last decade, hence it’s half a hit. It was very popular in the years immediately following its premiere in 1900 by the Opéra-Comique. It was first given in New York by Oscar Hammerstein’s Manhattan Opera Company in 1908. The Met didn’t get around to it until 1921 when it was staged for Geraldine Farrar. Interestingly, the Met had presented Charpentier’s sequel Julien in 1914 with Caruso in the title role along with Farrar as Louise. But even this dynamic duo couldn’t save the opera which vanished after five shows. Louise lasted a bit longer at the Met. It was last seen there in 1949.
After Julien Charpentier dried up and produced virtually nothing over the remaining half century of his life. During the arid stretch he was a ghostly presence on the operatic scene appearing here and there and the subject of occasional interviews some of which I hazily recall.
The subject of this article is the only long term survivor from Charpenier’s gritty paean to Paris and the bohemian life. It appears at the beginning of the third act – there are four. As you can see from the text below Louise, who is likely still a teenager, is hormonally intoxicated past delirium. If the rest of the opera were as good as this aria everybody would still be giving it. The piece is a staple of almost every soprano’s recital repertoire. Charpentier’s music gives more depth and emotional impact than the somewhat giddy text, also by Charpentier, would suggest.
Below are 11 versions of Louise’s manic burst of joyful excitement honed to a lyric beauty that doesn’t require lithium therapy. I’ll present them in no particular order. Among these 11 ladies are some with the greatest voices of the last 60 years. I have my favorite, but I won’t intrude on your choice.
Maria Callas brought sensitivity and feeling to everything she sang. Even though she lacked the vocal beauty of some of her great contemporaries she fully realizes this aria. Maria Callas Depuis le jour
Eleanor Steber was a mainstay at the Met for more than a quarter of a century. She sang 427 performances with company, everything from Mozart to Wagner to Verdi to Strauss and beyond. She was often taken for granted, but she was a great artist. This recording was supposedly made in a single take when the singer was hung over. She had a lifetime problem with alcoholism. Eleanor Steber Depuis le jour
Joan Sutherland is not usually associated with a verismo opera like Louise which is a French version of that realistic style. She was was so good that she easily brings off the famous number. Joan Sutherland Depuis le jour
Beverly Sills had this aria in her concert repertoire. This recording was made at a 1971 Paris recital. Hers is a very sensitive reading. Beverly Sills Depuis le jour
Leontyne Price brings all the intensity and feeling inherent in her lush voice to Charpentier’s beautiful melody in this recording made in concert. Her voice sounds as beautiful as I’ve ever heard it, either live or on records. Leontyne Price Depuis le jour
Montserrat Caballé had the perfect voice for this music. Nothing more need be said. Montserrat Caballé Depuis le jour
Mirella Freni brought artistry to everything she sang. Her career lasted so long because she never went beyond her limits. This aria is in the center of her comfort zone. Mirella Freni Depuis le jour
Lucia Popp was a high soprano. She takes a much faster tempo than any of the other sopranos presented here; she’s a minute faster than some of them. Still, a convincing performance. Lucia Popp Depuis le jour
Anna Netrebko currently stands at the top of the operatic hillock. A somewhat subdued reading by a beautiful voice. Anna Netrebko Depuis le jour
Renee Fleming gives a gorgeous rendition in a recording taken from a recital. The great American singer creates an almost dream-like interpretation that is a vocal seminar on singing. Renee Fleming Depuis le jour
Alyn Pérez is a young American soprano who is in the process of establishing herself as a major force in the operatic world. This recording, with piano accompaniment, shows an exceptional voice that still has a little way to go before it can match that of some of the brilliant ladies above – fine singing that doubtless will soon be even better. A singer to watch (and listen). Alyn Pérez Depuis le jour
Depuis le jour où je me suis donnée,
toute fleurie semble ma destinée.
Je crois rêver sous un ciel de féérie,
l’âme encore grisée de ton premier baiser !
Quelle belle vie !
Mon rêve n’était pas un rêve !
Ah! je suis heureuse !
L’amour étend sur moi ses ailes !
Au jardin de mon cœur
chante une joie nouvelle !
Tout vibre,
tout se réjouit de mon triomphe !
Autour de moi tout est sourire,
lumiére et joie !
Et je tremble délicieusement
Au souvenir charmant
Du premier jour
D’amour !
Quelle belle vie !
Ah! je suis heureuse! trop heureuse…
Et je tremble délicieusement
Au souvenir charmant
Du premier jour
D’amour !
Since the day I gave myself
my destiny seems all flower-strewn
I think I’m dreaming under a fairy sky
my soul still intoxicated by your first kiss!
What a beautiful life!
My dream wasn’t a dream!
Oh! I’m so happy!
Love is spreading its wings over me!
In the garden of my heart
sings a new joy!
Everything is vibrant
everything rejoices at my triumph!
All around me everything is smiling
light and joy!
And I’m trembling delightfully
from the charming memory
of the first day
of love!
What a beautiful life!
Oh! I’m so happy! …utterly happy!
And I’m trembling delightfully
from the charming memory
of the first day
of love!
No Grace Moore?? She made a film of Louise which I had. As I recall, she studied Louise with Charpentier, and sent Dorothy Kirsten to study with him. Incidentally, Kirsten was the first opera singer I heard live at 12 years old.