LA BELLE HELENE (Offenbach) Paris 2000 Felicity Lott, Yann Beuron

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LA BELLE HELENE Operetta by Jacques Offenbach
Theatre du Chatelet, Paris, France
2000

CAST

Helen – Lady Felicity Lott
Paris – Yann Beuron
Menelaus – Michel Sénéchal
Agamemnon – Laurent Naouri
Achilles: Eric Huchet
Leoena: Stephanie d’Oustrac
Ajax I: Alain Gabrie
Ajax II: Laurent Alvaro
Bacchis: Hjordis Jakobsen
Calchas: Francois Le Roux
Orestes: Marie-Ange Torodovitch
Parthoenis: Magali Leger
Philocome: Jose Canales
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Conductor: Marc Minkowski
Les Musiciens du Louvre
Chorus of the Musiciens du Louvre
Chorus Master: Sébastian Rouland
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Stage Director: Laurent Pelly
Stage Designer: Laurent Pelly
Costume Designer: Laurent Pelly
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La belle Hélène (French pronunciation: [la bɛl elɛn], The Beautiful Helen) is an opéra bouffe in three acts, with music by Jacques Offenbach and words by Henri Meilhac and Ludovic Halévy. The piece parodies the story of Helen of Troy’s elopement with Paris, which set off the Trojan War.

The premiere was at the Théâtre des Variétés in Paris, on 17 December 1864. The work ran well, and productions followed in three continents. La belle Hélene continued to be revivedLa belle Hélène (French pronunciation: [la bɛl elɛn], The Beautiful Helen) is an opéra bouffe in three acts, with music by Jacques Offenbach and words by Henri Meilhac and Ludovic Halévy. The piece parodies the story of Helen of Troy’s elopement with Paris, which set off the Trojan War.

The premiere was at the Théâtre des Variétés in Paris, on 17 December 1864. The work ran well, and productions followed in three continents. La belle Hélene continued to be revived throughout the 20th century and has remained a repertoire piece in the 21st.

By 1864, Offenbach was well established as the leading French composer of operetta. After successes with his early works – short pieces for modest forces – he was granted a licence in 1858 to stage full-length operas with larger casts and chorus. The first of these to be produced, Orphée aux enfers, achieved notoriety and box-office success for its risqué satire of Greek mythology, French musical tradition, and the Second Empire.[1] During the subsequent six years the composer attempted, generally in vain, to emulate this success. In 1864 he returned to classical mythology for his theme. His frequent collaborator, Ludovic Halévy, wrote a sketch for an opera to be called The Capture of Troy (La prise de Troie). Offenbach suggested a collaboration with Hector Crémieux, co-librettist of Orphée, but Halévy preferred a new partner, Henri Meilhac, who wrote much of the plot, to which Halévy added humorous details and comic dialogue. The official censor took exception to some of their words for disrespect for Church and state, but an approved text was arrived at.

caricature of two women in Ancient Greek costume locked in mutual strangleholds
Caricature of the feud between Offenbach’s star sopranos
In the Grove essay on the work, Andrew Lamb writes: “As with most of Offenbach’s greatest works, the creation of La belle Hélène seems to have been largely untroubled”. Although the writing of the work went smoothly, rehearsals did not. The manager of the Théâtre des Variétés, Théodore Cogniard, was penny-pinching and unsympathetic to Offenbach’s taste for lavish staging and large-scale orchestration, and the two leading ladies – Hortense Schneider and Léa Silly – engaged in a running feud with each other. The feud became public knowledge and provoked increasing interest in the piece among Parisian theatregoers.

The opera opened on 17 December 1864. The first night audience was enthusiastic but the reviews were mixed,[n 2] and box-office business was sluggish for a few subsequent performances until supportive reviews by leading writers such as Henri Rochefort and Jules Vallès made their impression on the public, after which the piece drew large audiences from fashionable bohemians as well as respectable citizens from the wealthy arrondissements. It ran through most of 1865 (with a summer break in mid-run), and was replaced in February 1866 with Barbe-bleue, starring the same leading players, except for Silly, with whom Schneider declined ever to appear with again.

Synopsis

Place: Sparta and the shores of the sea
Time: Before the Trojan War.

Act 1

Paris, son of Priam, arrives with a missive from the goddess Venus to the high priest Calchas, commanding him to procure for Paris the love of Helen, promised him by Venus when he awarded the prize of beauty to her in preference to Juno and Minerva.

Paris arrives, disguised as a shepherd, and wins three prizes at a “contest of wit” (outrageously silly wordgames) with the Greek kings under the direction of Agamemnon, whereupon he reveals his identity. Helen, who was trying to settle after her youthful adventure and aware of Paris’s backstory, decides that Fate has sealed hers. The Trojan prince is crowned victor by Helen, to the disgust of the lout Achilles and the two bumbling Ajaxes. Paris is invited to a banquet by Helen’s husband Menelaus, the king of Sparta. Paris has bribed Calchas to “prophesise” that Menelaus must at once proceed to Crete, which he agrees to reluctantly under general pressure.

Act 2

While the Greek kings party in Menelaus’s palace in his absence, and Calchas is caught cheating at a board game, Paris comes to Helen at night. After she sees off his first straightforward attempt at seducing her, he returns when she has fallen asleep. Helen has prayed for some appeasing dreams and appears to believe that this is one, and so resists him not much longer. Menelaus unexpectedly returns and finds the two in each other’s arms. Helen, exclaiming “la fatalité, la fatalité”, tells him that it is all his fault: A good husband knows when to come and when to stay away. Paris tries to dissuade him from kicking up a row, but to no avail. When all the kings join the scene, berating Paris and telling him to go back where he came from, Paris departs, vowing to return and finish the job.

Act 3

The kings and their entourage have moved to Nauplia for the summer season, and Helen is sulking and protesting her innocence. Venus has retaliated for the treatment meted out to her protégé Paris by making the whole population giddy and amorous, to the despair of the kings. A high priest of Venus arrives on a boat, explaining that he has to take Helen to Cythera where she is to sacrifice 100 heifers for her offences. Menelaus pleads with her to go with the priest, but she refuses initially, saying that it is he, and not she, who has offended the goddess. However, when she realises that the priest is Paris in disguise, she embarks and they sail away together.

Quoted from Wikipedia