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La mélomanie (1781) - Stanislas Champein
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Background
During his early career, Champein was known for church music composed while he worked as music master at the collegiate church in Pignon (in the southern Provence region of France). He moved to Paris and established himself as an operatic composer; La mélomanie (1781) is one of his most famous operas, and it remained in the repertoire at the Opéra-Comique until 1829.
In his biographical dictionary, Fétis complimented La mélomanie for its “pretty melodies,” “imitation of Italian forms,” and “elegance in the instrumentation.” However, he also noted certain compositional problems, including cadential and other harmonic errors.[1]
La mélomanie actually mocks the debate between French and Italian styles of music, with Fugantini as an Italian who is rejected by the French Elise. References to harmony (a French feature) and melody (emphasized by advocates of Italian music) abound in the opera.
Champein took a break from composition to assume a government position during the Revolution, working in Koblenz from 1793-1804. He then returned to Paris to work on operas once again, but he never enjoyed the same success that he had before his respite. When the monarchy was restored, Champein lost the pension that he had been granted by Napoleon, and it was not until a number of authors (including Fétis) rallied behind him to help him secure a smaller pension—supplemented by a state payment—for the last two years of his life.
[1] François-Joseph Fétis, “Champein, Stanislas,” in Biographie universelle des musicians et bibliographie générale, vol. 2, 2nd ed. (Paris: Firmin-Didot, 1870-75), 246.
Plot
Geronte has decided that his daughter Elise will marry Fugantini, an Italian man who supposedly is an excellent musician, rather than his friend Chrisante’s son Crémonte (also called St. Real), to whom Elise was originally promised. However, Elise is still in love with Crémonte, and she expresses her distress at this change in arrangements. The servant Lisette and her lover Crispin concoct a scheme to trick Geronte into permitting Elise to wed Crémonte after all. Crispin disguises himself as an Italian musician, Béccarre, and tricks Geronte into signing a document that releases Elise to Crémonte. Chrisante’s arrival and ignorance of the situation makes Geronte realize what has happened, but he is persuaded to allow his daughter to marry Crémonte anyway. The opera concludes with a cheerful ensemble finale.
Bibliography
Title from title page: LA / MÉLOMANIE / OPERA COMIQUE EN UN ACTE / en Vers mele d’Ariettes
Genre: Opéra comique mêlée d’ariettes
Composer: Stanislas Champein, 1753-1830
Librettist: E. Grenier, no dates known
Setting: A French music salon
Premiere: Versailles, 23 January 1781
First published: Paris: Des Lauriers, n.d.
Volume in the UNT Lully Collection: First edition, Paris: Des Lauriers, n.d.
For further reading on La mélomanie, see:
Charlton, David. Grétry and the Growth of Opéra-comique. Cambridge: Cambridge University Press, 1986.
Fend, Michael and Michel Noiray. “Champein, Stanislas.” Grove Music Online, ed. Laura Macy. [Accessed 30 May 2005]. <http://www.grovemusic.com>
Fétis, François-Joseph. “Champein, Stanislas.” In Biographie universelle des musicians et bibliographie générale. Volume 2. 2nd edition. Paris: Firmin-Didot, 1870-75. 246-47.
Physical
Dimensions: 29.5 x 22.5 cm.
Conservation: Foxing; cockling; bleed-through; stains; insect marks; pgs. 123-124 replaced with copies on pulp-based paper; spine slightly cracked.
Binding: Marble paper on board with brown leather spine; spine has 5 gold-leafed lyres and reads "Comic Opera."
Comments: From the Lloyd Hibberd Collection; North Texas property stamps.