Le postillon de Lonjumeau

"Le postillon de Lonjumeau" ("The Coachman of Lonjumeau") is an opéra-comique in three acts by Adolphe Adam to a French libretto by 'Adolphe de Leuven' and 'Brunswick' (pen names of Adolphe von Ribbing and Léon Lévy).

The opera has become the most successful of Adam's works and the one by which he is best known outside his native France. The opera is known for the difficult aria "Mes amis, écoutez l'histoire" which has been referred to as a test for tenors because of the demanding high D in the end of the aria.

Performance history

It was first performed in Paris at the Opéra-Comique on October 13th, 1836. Performances followed in London at the St. James Theatre on 13 March 1837, and in New Orleans at the Théâtre d'Orléans on 19 April 1838.

Recent productions has been seen in the Berlin Staatsoper Unter den Linden (from 4 August 2000) under Sebastian Weigle, directed by Alexander Schulin with Gert Henning-Jensen (Chapelou), Simone Nold (Madeleine), Hanno-Müller Brachmann (Biju), Klaus Häger (Corcy), and Bernd Zettisch (Bourdon), and at the Grand Théâtre, Dijon (from 30 March 2004 under Philippe Cambreling, directed by Patrick Abéjean with Bruno Comparetti (Chappelou / Saint-Phar), Isabelle Poulenard (Madeleine / Madame de Latour), Laurent Alvaro (le marquis de Corcy), Jean Vendassi (Biju / Alcindor), Michèle Dumont (Rose), and Matthieu Grenier (Bourdon). The latter was a coproduction of Opéra Paris-Sud and Le Duo / Dijon.

Roles

ynopsis

*Act 1 : The newly married postilion (coachman) (Chapelou) and his wife (Madeleine), an innkeeper, to ensure that their marriage will be a joyous one, decide to consult a clairvoyant. However, she predicts that things will not go smoothly in their marriage, but does not state exactly what will occur and when. Initially concerned, their thoughts are temporarily forgotten when they go to enjoy their wedding night. Several days into the marriage, the Marquis de Corcy (who is also the director of the Royal Paris Opera House) arrives at the inn that Madeleine owns and Chapelou works at. He is immediately smitten with Chapelou's wife, but doesn't say anything to her. Then he overhears her husband, the Chapelou singing his ‘usual’ song with other guests at the inn, and is impressed with his beautiful voice. He decides to invite the young coachman to join the Marquis’s company, but they have to leave immediately. With excitement, the Chapelou asks his friend, Bijou, to tell his wife where he has gone and plans to do. Chapelou and the Marquis, then, quickly depart for Paris, leaving Madeleine in a state of shock.

*Act 2 : Ten years later. By now Madeleine has come into an inheritance and is now known as Madame Latour. While in the meantime, Chapelou has become a star at the Paris Opera. After a "performance", the Marquis holds a reception and, by some strange coincidence, has invited Madame Latour. Immediately, Chapelou falls for the charms of her, not recognising the wife he left behind. He proposes, she accepts, and a wedding takes place.

*Act 3 : The Marquis has gone off to inform the police and denounce this act of bigamy. Meanwhile, on the "wedding night" - Madeleine appears in her old peasant clothes and Chapelou recognises her. Then she transforms before his eyes into Madame Latour, the rich heiress. She reveals her deception to the Marquis, as he arrives with the police and declares to them her game - the couple have married twice and vow from that day on to love like good village people. This induces a hearty response from the chorus to provide a stirring finale.

Recording

* 17–25 September 1985, Salle Garnier, Monte-Carlo : Thomas Fulton conducting the Orchestre philharmonique de Monte-Carlo, with John Aler (Chapelou / Saint-Phar), François Le Roux (le marquis de Corcy), Jean-Philippe Lafont (Biju / Alcindor), June Anderson (Madeleine / Madame de Latour), Daniel Ottewaere (Bourdon), Balvina de Courcelles (Rose). (EMI 557106-2)

References

*Warrack, John and West, Ewan (1992), "The Oxford Dictionary of Opera", 782 pages, ISBN 0-19-869164-5