by Sam Juliano
Pierre-Alexandre Monsigny developed both the subject matter and the musical style of the opera comique in the middle years of the eighteenth century. The composer is known to have been greatly influenced by Giovanni Battista Pergolesi’s La Serva Padrona, an ‘opera seria’ that exerted enormous influence on the direction of music during this period of rapid expansion, in which the genre was transformed from a marked reliance on popular melodies to a time of exceeding musical creativity. The Italians introduced the French to the idea that libretti be designed to serve and enhance the music, reforming the role of the composer, who had a subservient role in the earlier comedie en vaudevilles. Monsigny’s earlier works, composed circa 1759 to 1761, were basically comic intrigues revolving around disguises, deceptions, misunderstandings and reconciliations.
In 1762, Monsigny departed significantly from this overtly comedic style to a one that incorporated elements of humanism and moral enlightenment. Indeed, the virtues of the common folk, and more importantly personal freedom and equality were themes then embraced by the philosophers of this period. The musical content of Monsigny’s works – unsurprisingly – became more complex as a result, and a number of vocal ensembles were added. It can’t be denied that the composer’s style is repetitive, but his skills as a melodist, the comic spirit evident in his earlier work and the immediacy of dramatic expression his his later works made his a formidable figure in French opera from any period.
Le Deserteur, a three-act play with a libretto by Michel Jean Sedaine, is widely considered by musicologists as Monsigny’s most significant achievement. Indeed, history reveals it was easily his most popular work, and in fact the only one of his prolific output that has survived. It is said that Monsigny was so afraid of further impairing his failing eyesight that he opted not to compose anything for the final forty years of his life. More than any of his operas, Le Deserteur epitomized the late-career maturity that brought the comedy and pathos together. The opera tells a melodramatic tale of a soldier condemned to death for desertion. While on leave, Alexis the hero, is deliberately led to believe that Louise, his fiancee, has wed her cousin Bertrand. In despair he announces his intentions to flee his capture by a quartet of guards. This rousing ensemble closes the first act with hypnotic tempi and dynamics in the work’s first ever CD release by Naxos. Act II is set in the prison cell Alexa shares with the drunken Montaucil, a fellow soldier. Alexis is visited by Louise and her father who explain the misunderstanding. Emotional scenes between the three are punctuated with outbursts from Montauciel; among these is the opera’s most justly celebrated air ‘Je ne deserterai.’ The act concludes with a comic duet between Bertrand and Montauciel juxtaposing two solos. The final act showcases a beautiful wedding of pathos and suspense. Alexis prepares to face his death. Louise undertakes a desperate offstage journey in search of a royal pardon, and having obtained this, returns in time to secure the traditional happy conclusion. The ‘Opera Lafayette Orchestra’ with Ryan Brown manning the baton bring sublime beauty and studied pacing, while a bevy of intense singers make extraordinary contributions. Baritone William Sharp is appropriately light weight as Alexis, while soprano Dominique Labelle is enchanting as Louise. (her second act air, the heavenly ‘Dans quel trouble te plonge’ is one of the opera’s most ravishing passages and a certain selling point for this sadly-neglected opera.) Baritone David Newman gives Montauciel dashing persona with a colorful voice, transforming ‘Je ne deserterai’ into a Rossini-esque showpiece.
The sublime and inobstrusive playing of the distinguished ‘Opera Lafayette Orchestra’ serves as a rapturous underpinning in a work rightly dominated by the human voice. La Deserteur is such an entrancing listen, that this 2 CD set is a must-own for those looking to unearth this hidden gem.
I am thinking this is a baroque opera, and am wondring if Handel influenced this composer? Love the historical perspective and the great writing.
Handel, who died in 1750, wrote in an earlier period, but there are a number of similarities Frank. I hope to be specific at some point.
Thanks as always for the great comments are continued loyalty!
I don’t know why it should be the case, but without necessarily knowing what you are referring to (I’m unfamiliar with all the operatic works you’ve reviewed) I’m caught up in the flow of your enthusiasm and erudition and thoroughly enjoy these pieces. I will use them as guides if/when I give opera more of a whirl than I have up to now…
This is quite a wonderful remark Joel, and I much appreciate it. One day you may well find this form is to your taste! The early opera is rather undervalued. We’ll talk more on this!
Thanks as always my very good friend!
Not so much that it’s not to my taste just that I haven’t really explored. I like what tiny fraction of a fraction of opera I know but, sad to say, that it mostly what I’ve heard on the soundtrack of movies, lol…
Sam, you mention Rossini in this review. I would contend that “Il Barbiere di Siviglia” would have some texual similarities to the main body of Monsigny’s output.
Your use of language serves as a simile for the resplendent work you are examining. I’d love to hear ‘Je ne deserterai’.
That aria (air) is absolutely masterful Peter, and yes, the Rossini comparison is fair enough by way of the comical elements. Of course Rossini’s operas are categorized as ‘bel canto,’ a style with flowing melodic lines.
Thanks so much for the kind words!
WHY? WHY? WHY?
I’ve asked SAM trhis question on numerous occasions in the past…
I’ll ask it again…
WHY is it that a man of your talents is wasting his life teaching in the pucblic school systems when he could be writing reviews on music for a major publication?
SAM-I’ve said it many times that your truest heart reveals itself when the writing is on the subject of music. This review is no less brilliant than the last one you wrote on the subject. Matter of fact, i think you get better with each review!!!!
This is a sublime piece that focuses on a the beauty of how music can stir the souls and every word from you here, I can attest from reading through this piece, is a carefully selected collection of feelings you have for this form.
This is masterful stuff and i wish you’d focus more on the subject of Classical music. It’s your truest vocation!!!!!
GREAT STUFF!!!!!!!!!!!!!!!!!!!!!!!!!!!!
maybe because teaching in a public school is hardly a waste of one’s time.
I was thinking the same thing. Sam is doing something worthwhile and noble. Sure he has the talent to be a music/film writer but what he is doing is hardly a waste.
By the way Jamie did you see that awful Rotten Tomatoes top 50 horror films list? The Exorcist, The Shining, and The Thing among many others all failed to make it. It was a disaster on every level. I know the countdown is reached mathematically but some common sense needs to be applied. Alas, Night Of The Hunter made it in the 20’s I think……
No Maurizio I didn’t see it, thanks for the heads up… I’m heading there right now—–>
What other blog has exchanges like these? Shifting gears comment-to-comment from personalized to generalized to ephemeral. Man, I love this site…
Dennis, I can’t say how much I appreciate that admittedly over-the-top comment. I will admit that while I love film and theatre exceedingly, my supreme joy is in opera and classical. Still, I like them all, and it depends on what mood I’m in.
Jamie is right too though, as I love teaching, and find it far more secure than any writing position can be. Furthermore, those jobs are almost impossible to get. I am NOT among the best writers by a wide margin, and even if I were better, I’d need a big-time political hook. Maurizio continues this rightful sentiment as well. To both of you, ‘thank you.’
I’m glad you stuck with teaching Sam. Nonetheless you do write great music reviews. I’m afraid I have never heard of this composer, much this opera.
The real reason that Sam Juliano is not a professional music critic for some big national publication is because in 1969 in his high school newspaper he compared Handel’s Messiah unfavorably to “Sugar Sugar” by the fictional cartoon character group The Archies. Irving Kolodin of the Saturday Review wrote: “Sam Juliano has the muscial taste of a horseshoe crab…” While Howard Taubman of the New York Times remarked: “I shall make it my lifelong goal to see that Juliano never publishes another word on the Terpsechorian muse even if it forces him into some thankless, nowhere job such as teaching public school.”
When Taubman passed away in January of 1996 Juliano said: “I hope they appreciate The Messiah in Hell you old bastard”
hahahahahahahahaha!!!!!
Now, now, Sugar Sugar is a profound ditty!
I prefer 1910 Bubblegum Co. There stuff always perks me up when I’m down… ‘1-2-3 Redlight’. Wow, ditto for ‘Indian Giver’.
Bonjour! Sam Juliano…
Unfortunately, I’am not familiar with composer Pierre-Alexandre Monsigny, but this is an excellent review filled with very interesting facts, and very informative information too…about the composer Monsieur Pierre-Alexandre Monsigny.
Sam Juliano said,”The Italians introduced the French to the idea that libretti be designed to serve and enhance the music, reforming the role of the composer, who had a subservient role in the earlier comedie en vaudevilles.
Monsigny’s earlier works, composed circa 1759 to 1761, were basically comic intrigues revolving around disguises, deceptions, misunderstandings and reconciliations.”
Hmmm…He kind of, remind me of a French [William] Shakespeare…when it comes to his [Monsigny] comic intrigues and Shakespeares’ comedies of errors…No?
Sam Juliano…Merci, pour le partage!
DeeDee 😉 🙂
Thanks as always Dee Dee, for your spirited and ebullient comment under one of my music pieces. (though it’s been a while since I have written one.)
The Shakespeare comparison is n excellent one, as his work (even his most serious plays) were tempered with humor. Even his most profound comedic works were tinged by serious or tragic underpinnings! Intrigues abound! And apart from that we do know that several of the Bard’s plays were used to compose operas with Giuseppe Verdi’s the most celebrated.
As always my deepest thanks to you my very dear friend!
Hi! again, Sam Juliano-I tried to Re-Tweet this post, but unfortunately,Twitter is still experiencing over-capacity.
Because I tried to Re-Tweet an article before I went to the dentist this morning and now that I have returned the social network is still experiencing over-capacity.
Go-Figure! 😕
DeeDee 😉 🙂
I hope that dentist visit went as planned Dee Dee. Please let me know by e mail. And thanks so much for trying to have this on twitter!
Sam Juliano…
I have Re-Tweeted This Post…Oh! yes…
DeeDee 😉 🙂
Merci Beaucoup!
Bonjour! Sam Juliano…
Sam Juliano said, “Le Deserteur, a three-act play with a The Meaning Of libretto
by Michel Jean Sedaine…”
Sam, after re-reading your post and without further complicating the issue…So, is it Monsieur Michel Jean Sedaine, who deserve the credit for or should be compared more so, to writer [William ]Shakespeare (If that is possible) and not so much Monsieur Pierre-Alexandre Monsigny… No? 😕
I’am asking you…
(By the way, the smiley indicate confusion…on my behalf…Due, to the fact, that I’am not a fan of Opera yet, with “yet” being the operative word…Blah! Blah! Blah…)
DeeDee 🙂
Dee Dee, that is absolutely correct!!!
“Monsieur Michel Jean Sedaine” wrote the libretto, upon which Monsigny wrote this rapturous score. The comparisons you posed still stand, but it’s true that Sedaine deserves much of the credit.
I do believe you will gradually take an interest and a love for this form! And I will rejoice at that point. Thanks as always for the wonderful addition here my friend!
Great review, Sam – I must admit I know very little about opera, but your enthusiasm is infectious.:)