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''Dinorah'', originally ''Le pardon de Ploërmel'' (''The Pardon of Ploërmel''),〔In France the opera is most often performed as ''Le pardon de Ploërmel''. The translation "The Pilgrimage of Ploërmel" is by Huebner (1992) and is not generally used as the title in English-speaking countries. Some revivals in France and most performances outside of France have used the name ''Dinorah''. Other French titles have included ''Le Pardon de Notre-Dame d'Auray'' and ''Les Chercheurs d'or'' (Wild and Charlton, p. 353).〕 is an 1859 French opéra comique in three acts with music by Giacomo Meyerbeer and a libretto by Jules Barbier and Michel Carré.〔Additions to the libretto were made in German by Meyerbeer and Charlotte Birch-Pfeiffer and translated into French by Georges-Frédéric Burguis and Joseph Duesburg respectively (Arsenty, p. 1).〕 The story takes place near the rural town of Ploërmel and is based on two Breton tales by Émile Souvestre, "La Chasse aux trésors" and "Le Kacouss de l'Armor", both published separately in 1850 in the ''Revue des deux mondes''.〔Wild and Charlton, p. 353; Letellier, p. 187. (Letellier gives the title of the second story as "Le Kacouss de l'amour".)〕 ==Performance history== The opera was first performed at the Opéra-Comique (Salle Favart), in Paris, on 4 April 1859 under the title ''Le pardon de Ploërmel''. The stage designs for Acts 1 and 3 were by Edouard-Désiré-Joseph Despléchin and Jean-Louis Chéret.〔Henze-Döhring 2004, (p. 682 ), identifies the set designer Chéret as Jean Louis Chéret (1810–1882). Letellier, p. 196, gives the name Jules Chérets (probably confusing him with the painter Jules Chéret).〕 Those for the more technically demanding Act 2, which included onstage running water, were by Joseph and Karl Wilhelm Mühldorfer.〔Letellier, p. 196.〕 The principal singers were highly acclaimed: "Marie Cabel for her vertiginous-virtuoso interpretation of Dinorah; Sainte-Foy for his overwhelmingly convincing characterization of Corentin, lyrically as well as dramatically; Jean-Baptiste Faure for his fascinating stage presence as Hoël, Meyerbeer's first big baritone role."〔Letellier, p. 196.〕 The supporting singers were also greatly admired, in particular, Barreille as the huntsman and Warot as the harvester. Meyerbeer's music was praised for its originality, but the libretto was found incomprehensible and even met with derision. In the initial run of performances up to the end of 1859, changes were made, the most significant being the casting of the contralto Palmyre Wertheimber in the role of Hoël.〔 The opera remained very successful in Paris up to 1912.〔Loewenberg 1978, column 942.〕 Under its original title it was revived at the Opéra-Comique on 27 August 1874, 23 May 1881, 6 June 1896, and 16 March 1912,〔 by which time it had been performed over 200 times by the company.〔Wolff 1953, p. 135.〕 It was revived in Brussels as late as 11 January 1939.〔 Meyerbeer composed recitatives to replace the spoken dialog for performances abroad.〔Huebner 1992, p. 1180.〕 The opera was translated into Italian for the premiere in London on 26 July 1859 (with Miolan-Carvalho) and became known internationally as ''Dinorah'', but it was first performed in America on 4 March 1861 at the French Opera House in New Orleans in French.〔Belsom 2007; Joyce & McPeek 2001. Loewenberg 1978, column 942 has the exact date and language, but not the venue. Note that Brown 2001, p. 576, and Belsom 1992, p. 584, say it was given at the Théâtre d'Orléans.〕 ''Dinorah'' was performed in New York (at the Academy of Music) in Italian on 24 November 1862.〔 As a novelty, it attracted a great deal of attention and (starring the now nearly forgotten Angelina Cordier) was very popular. One of its attractions was to be the appearance of an actual, live goat on stage, which "inspired a vast dissemination of facetious goat-lore in all the papers."〔Lawrence 1999, p. 514.〕 Unfortunately, the opera followed close on the heels of a highly successful production of Bellini's ''Norma'', and Meyerbeer's work suffered by comparison. The reviewer in ''Dwight's Music'' (6 December 1862) was highly critical, writing: "Beside such music as this (the heaviest of light operas), Bellini's melodies are golden and Rossini's operas classic." 〔Quoted in Lawrence 1999, pp. 514–515.〕 Nevertheless, ''Dinorah'' was initially performed quite often outside of France and became a great favorite of Adelina Patti, but is nowadays rarely performed except for the famous virtuoso aria for soprano "Ombre légère", also known as the ''Shadow Song'' as it is a one-sided 'duet' by Dinorah with her shadow. Other sopranos who have enjoyed considerable success in the role of Dinorah are Amelita Galli-Curci, Ilma di Murska, Luisa Tetrazzini and Maria Barrientos and Lily Pons. Although the opera has been largely neglected during the latter half of the last century,〔Kobbé comments: "...Meyerbeer evidently wanted to write a pastoral opera... now, instead of pastoral it sounds pasteurised."〕 a rare broadcast performance of the overture by Arturo Toscanini and the NBC Symphony Orchestra from 12 November 1938, has been preserved. This unusual overture has several sections with chorus, ample percussion, and has been compared favorably with those of Rossini and Verdi. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Dinorah」の詳細全文を読む スポンサード リンク
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