Dimitri

The fourth of seven operas by Joncières, Dimitri was the only one successful enough to enjoy a revival at the Opéra-Comique in 1890. Premiered at the Gaité Lyrique on 5 May 1876, the opera was based on Schiller’s unfinished play, Demetrius. Joncières’ work, comprising 5 acts and 7 scenes, has a libretto by Henri de Bornier and Armand Silvestre and tackles the subject of Dimitri, the putative son of Tsar Ivan the Terrible. On the request of Princess Vanda, who loves Dimitri, the Comte de Lusace helps the latter replace Ivan’s heir, Boris Godunov. But Dimitri only has eyes for Marina. In the end, Lusace plots to have Dimitri assassinated after establishing that he is definitely not Ivan’s son. Directed by Vizentini at its premiere, Dimitri was received enthusiastically, although the press expressed reservations. The libretto was regarded as ill-suited to the stage, since it contained some unnecessary episodes and overly long recitatives. Some of the musical influences were also too obvious: that of Wagner, often found in Joncières’ work, combined with that of Italian music (in the finale of Act 2, for example). The critic Arthur Pougin described it as an accomplished work, although somewhat lacking in personal ideas. Joncières’ score is nevertheless rich, substantial and brilliantly orchestrated, becoming increasingly interesting as the dramatic situation unfolds. Worthy of note are beautiful numbers such as the arias “Pâles étoiles” (Marina), “Moscou! Voici la ville sainte” (Dimitri), the recitative “Voilà quinze ans…” (Lusace), the Romance “Si Dieu, Marpha” (Dimitri), or the Coronation March. The opera was expertly orchestrated and only the overture, by its sheer scale, recalls Joncières’ almost quasi-pre-cinematographic ambitions. It should perhaps be remembered that he also wrote a Lancelot, a Sardanapale and also Le Dernier Jour de Pompéi.