{"id":1764,"date":"2013-10-30T11:32:52","date_gmt":"2013-10-30T15:32:52","guid":{"rendered":"http:\/\/blogs.law.harvard.edu\/loebmusic\/?p=1764"},"modified":"2020-10-16T16:32:42","modified_gmt":"2020-10-16T20:32:42","slug":"newly-digitized-spontinis-fernand-cortez-in-2-versions","status":"publish","type":"post","link":"https:\/\/archive.blogs.harvard.edu\/loebmusic\/2013\/10\/30\/newly-digitized-spontinis-fernand-cortez-in-2-versions\/","title":{"rendered":"Newly Digitized: Spontini’s Fernand Cortez, in 2 versions"},"content":{"rendered":"

Nearly two years ago, I shared a vocal score of Gaspare Spontini’s propagandistic Napoleonic-era opera Fernand Cortez<\/em> (1809)<\/a>, a precursor of Auber’s La muette de Portici<\/em> (1828) and the heights of 19th century grand opera. Joining it now are two other editions of the opera. The first is a full score of the original 1809 version, to a libretto by Joseph-Alphonse d\u2019Esmenard and Etienne de Jouy. Premiered at the height of the Peninsular War, the opera portrays Cortez (or Napoleon) as enlightened hero, versus the savage Aztec (or Spanish) priests. The production was not an unqualified success, and despite its grand spectacle – in addition to dramatic, militaristic choruses and elaborate ballet sequences, a fully-staged production requires a number of live horses and includes a scene in which Cortez burns his own fleet – it was withdrawn after only a handful of performances.<\/p>\n

\"[Fernand
\nCostume designs by Fran\u00e7ois-Guillaume M\u00e9nageot (1809): Montesuma, Telasco, Amazily, Pontife mexicain. [Fernand Cortez ou la conqu\u00eate du Mexique : sept pl. de costumes \/ par Fran\u00e7ois-Guillaume M\u00e9nageot]. 1809
\nSource: gallica.bnf.fr (click for higher resolution image)<\/a><\/p>\n

Even in 1809, as Napoleon’s Spanish campaign dragged on, Fernand Cortez<\/em> was uncomfortably behind the political times; by 1816, a work celebrating a Napoleon-esque conqueror’s achievements was obviously out of style.1<\/sup> In response, Spontini and Jouy made heavy revisions for the second version, changing the plot, characters, music, and dramatic structure of the opera. As Philipp Spitta’s lengthy article in Grove’s Dictionary of Music and Musicians<\/em> describes, in the revival of May, 1817, “the 3rd act now became the 1st, the 1st act the 2nd, and a part of the 2nd the 3rd.”2<\/sup> If anything, this simplifies the structural changes; Th\u00e9odore de Lajarte provides a more detailed enumeration in Curiosit\u00e9s de l’Op\u00e9ra<\/em> (1883).3<\/sup> Among numerous other revisions, the role of Montezuma is entirely new to the second version, and Spontini rewrote Cortez’s part (originally for haute-contre) for tenor or bari-tenor.<\/p>\n

While the second version of Fernand Cortez<\/em> enjoyed greater success, remaining a fixture of the repertoire through the early 1830s, Spontini made still more changes to the third act for Berlin productions in 1824 and 1832, this time with the assistance of the poet M. Th\u00e9aulon (Marie-Emmanuel-Guillaume-Marguerite Th\u00e9aulon de Lambert). The vocal score here, most likely published ca. 1830, probably reflects one of these later versions; although I haven’t yet compared the editions measure-to-measure, most notably it does not include the lengthy 3rd act ballet published in Erard’s 1817 full score<\/a> (HOLLIS record).<\/p>\n