La chartreuse de Parme (opera)

The first tableau shows the encounter of Fabrice and Clélia near an auberge on the mountain road to Milan. Fabrice, still a teenager, has fled the Grianta castle in a barouche with his mother and aunt, seeking safety in Milan. The carriage is stopped by police looking for a certain Conti travelling without a passport, who then appears, with his young and beautiful daughter Clélia. The Général Conti is escorted to Milan while Fabrice offers a seat in the barouche to Clélia. The second tableau takes place in the box of Gina at La Scala, where she receives Milanese liberals trying with her to find a way of getting Fabrice from arrest by Austrian police, then her lover Mosca, Conti and Clélia and finally Fabrice to whom she explains the plan to help him. By the end of the act, the feelings of Fabrice and Clélia are clear although Gina's towards Fabrice are less so.

The first tableau, in the palace of the Duchess Sanseverina during a ball shows Fabrice's fears at losing Clélia; he annoys his aunt by talking about his love, and offends Mosca. Clélia's father hopes to find her a better match but a misunderstanding between the young people occurs when she overhears a comment that Fabrice loves the duchess. When Fabrice asks Clélia the reason for her sadness she rushes off. In the next scene at the trattoria of Théodolinde Fabrice is discovered in the arms of the wife of actor Giletti and a duel is declared. Fabrice wins it, but must flee; he writes a farewell letter to Gina.

Fabrice has been captured and imprisoned in the Farnese Tower in Parma, where the commander is the Général Conti. But Fabrice sees Clélia again, feeding her birds in the prison courtyard – and although she has agreed with her father to marry the Marquis Crescenzi, love is rekindled and he would rather stay in prison near her than escape. Clélia decides to save Fabrice who is in danger of poisoning because of his Bonapartist views. Gina plans to free Fabrice, but he only agrees to go if Clélia meets him. In the final tableau of the act they meet and Clélia swears to help him, but after that will never see him again. The two women give Conti sleeping draft and Fabrice flees with Gina.

In the first tableau, set in Locarno, Gina watches over Fabrice, who has started to paint. The feelings of the freed Fabrice are explored. Mosca who now realizes the extent of the attachment of Fabrice for Clélia, reports that following the death of the prince, the judgement condemning Fabrice can be lifted. The young man departs for Parme. Mosca once more opens his heart to Gina. Next, Fabrice and Clélia meet at the charterhouse, and in darkness and Fabrice blesses Clélia's marriage to the marquis. A chorus tells of the life of Fabrice from his attachment to the Napoleonic cause to his retreat into orders. In the final scene, Fabrice gives a homily on the rejection of the unhappy sinner, such as he is. He prays for forgiveness.

Sauguet's longest work is traditional in form, but whereas earlier works had been characterized by clear textures, limpid harmonies and relatively straightforward melodies, his music now takes on a more complex harmonic language, suggesting influence of contemporary Russian symphonists.^[1]

Darius Milhaud (who attended seven consecutive performances) claimed that he knew nothing of the quality of Chartreuse de Parme since Pelléas et Mélisande or Pénélope. Stravinsky situated the opera "in the line of Bizet, Delibes, Milhaud, Poulenc", while Charles Koechlin summed up his thoughts on the work in three words: "naturel, simplicité, sincerité", and made a comparison with Chabrier. The work was broadcast by French radio.^[4]

The opening of the first tableau contains a gendarmes chorus worthy of an opérette. From there the music grows via a bravura D major to a more tender E-flat section where the principal three characters one by one express their feelings, leading to a trio. In the fourth tableau, Sauguet gives Théodolinde's song an ancient air. At times Sauguet's writing echoes both the spontaneity of Schubert and pages of bel canto, where characters immerse themselves in their interior torments.^[3] The second tableau ends with a quintet in the style of a grand opera ensemble: the protagonists (Clélia, Gina, Fabrice, Mosca et le Général) sing a common theme then branch into their own character, from the youthful enthusiasm of Fabrice to the melancholy of Mosca. At various points Sauguet exploits an iambic rhythm which serves to express heightened emotions, such as Fabrice writing his farewell letter to Gina, or the final moments of the opera. His orchestration is lucid, supporting the melody. ^[3]

The overture, depicting the Battle of Waterloo, was withdrawn before the premiere, but Sauguet used it in his war-time Symphonie expiatoire, dedicated to innocent victims of war.^[8]