Performances
The original production brought together the finest actors and musicians of the time. Molière played the role of Monsieur Jourdain, clothed in bright colors trimmed with silver lace and muilticolored feathers; Hubert played Madame Jourdain ; Mlle de Brie played Dorimène; Armande Béjart played Lucile; and the composer Jean-Baptiste Lully danced the mufti in the last act cérémonie des Turcs.
Le Bourgeois gentilhomme reflected the then-current trend for les turqueries, all things related to the Ottoman Empire. The work stemmed from the scandal caused by the Turkish ambassador Suleiman Aga who, upon visiting the court of Louis XIV in 1669, affirmed the superiority of the Ottoman court over that of the Sun King.
The first performance of Der Bürger als Edelmann, a German version of the play, took place on 25 October 1912, adapted by Hugo von Hofmannsthal with incidental music by Richard Strauss. The turquerie was replaced by an appended operatic entertainment Ariadne auf Naxos, composed by Strauss to a libretto by Hofmannsthal, in which Jourdain's eccentric requirements have led to Ariadne being marooned on a desert island where there just happens to be a commedia dell'arte troupe. The whole was directed by Max Reinhardt. The combination of play and opera proved problematic. Hofmannsthal created a revised version of the play, reinstating the turquerie and removing the opera. Strauss provided further incidental music including some arrangements of Lully. Meanwhile the entertainment was provided with a separate operatic prologue and this is the form in which Ariadne is now usually given.
George Balanchine choreographed a modern version in 1979 for the New York City Opera, using Strauss's score. The production starred Jean-Pierre Bonnefoux, Patricia McBride, Rudolf Nureyev, Darla Hoover, Michael Puleo and students of the School of American Ballet.
In 2005 Le Poeme Harmonique in collaboration with Benjamin Lazar (stage director) and Cecile Roussat (choreographer) presented Le Bourgeois Gentilhomme at the Utrecht Baroque Festival. Informed by the musical and theatrical traditions of 17th century France, the production revived the musical and dance interludes originally scored by Jean-Baptiste Lully and the work was presented in its entirety. The wardrobe was notably bourgeois and ridiculous, evidently the intent of the directors to present Monsieur Jordain as a naive, stunned and yet vulnerable man new to the world of money and privilege "victim and architect of the action". The use of candlelight as the only lighting source on stage and a frontal performance style even during conversations between characters gave the production a distinctly baroque air and was well received. The 2005 production was the first ever since the play's first performance to render it in its entirety, as faithful as possible to the original score and script by Molière and Lully.
Read more about this topic: Le Bourgeois Gentilhomme
Famous quotes containing the word performances:
“At one of the later performances you asked why they called it a “miracle,”
Since nothing ever happened. That, of course, was the miracle
But you wanted to know why so much action took on so much life
And still managed to remain itself, aloof, smiling and courteous.”
—John Ashbery (b. 1927)
“This play holds the season’s record [for early closing], thus far, with a run of four evening performances and one matinee. By an odd coincidence it ran just five performances too many.”
—Dorothy Parker (1893–1967)