Cinq-Mars is an opera in four acts by Charles Gounod to a libretto by Paul Poirson & Louis Gallet looosly adapted from Alfred de Vigny's historical novel. It was first performed at the Opéra-Comique on April 5, 1877.
The plot faithfully follows the external events of failed revolt of the French nobility against Richelieu's consolidation of power, but supplies a secret love affair between Cinq-Mars and a princess. Whereas de Vigny's character yearned to become her social equal, the opera's hero enters politics only on learning of a planned marriage between Marie and the king of Poland. After the conspiracy is discovered, she is given a chance to save him by agreeing to the match, but her sacrifice is in vain: before their escape plans can be put into effect, the hour of execution is suddenly moved forward.
The work work's reception was luke warm: "If [it] adds nothing to the glory of Gounod, neither does it diminish it." [1] Some critic seized on the straddling of the genres of grand opéra and opéra comique; a second edition (Léon Grus, n.d.) contains recitatives for the very few spoken scenes as well as an act III cantabile for de Thou written for the La Scala production.
Roles
editRole | Voice type | Premiere Cast, April 5, 1877 (Conductor: - ) |
---|---|---|
Le Marquis de Cinq-Mars | 1re. ténor d'opéra | Dereims |
Le Conseiller de Thou | 1re. baryton | Stéphanne |
Père Joseph, an emissary of Cardinal Richelieu | 1re.basse | Giraudet |
Le Vicompte de Fontrailles | 1re. baryton d'opéra comique | Barré |
Le Roi (Louis XIII of France) | basse chantant | Maris |
Chancellor | basse | Bernard |
De Montmort | ténor | Lefèvre |
De Montrésor | basse | Teste |
De Brienne | baryton | Collin |
De Monglat | ténor | Chenevière |
De Château-Giron | baryton | Villars |
Eustache, a spy | basse | Davoust |
Princesse Marie de Gonzague | première chanteuse falcon | Chevrier |
Marion Delorme | première chanteuse légère | Frank-Duvernoy |
Ninon de l'Enclos | soprano | Périer |
- ^ La Comedie no. 18; cited in Steven Huebner: The Operas of Gounod, p.92