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La muette de Portici
''La muette de Portici'' (''The Dumb Girl of Portici'', or ''The Mute Girl of Portici''), also called ''Masaniello'' ((:mazaˈnjɛllo)) in some versions,〔Tamvaco 2000, p. 1273. For example, Covent Garden performed it in English as ''Masaniello; or, The Dumb Girl of Portici'' on 4 May 1829 (Loewenberg 1978, column 712) and in Italian as ''Masaniello'' on 10 March 1849 (Tamvaco 2000, p. 957). It was given the title ''Mazaniello'' on certain repetitions at the Paris ''Opéra'' (Lajarte 1878, (p. 129 )).〕 is an opera in five acts by Daniel Auber, with a libretto by Germain Delavigne, revised by Eugène Scribe. The work has an important place in musical history, as it is generally regarded as the earliest French grand opera.
==Background==
The opera was first given at the Salle Le Peletier of the Paris Opéra on 29 February 1828.〔(Herbert Schneider: ''La Muette de Portici'' ) ''Grove Music Online'', Accessed: 10 April 2007.〕 The role of Masaniello was taken by the famous tenor Adolphe Nourrit and Princess Elvire was sung by Laure Cinti-Damoreau. The dancer Lise Noblet played the mute title role, a part later taken by other dancers such as Marie Taglioni and Fanny Elssler, also the actress Harriet Smithson (the future wife of Hector Berlioz). Alphonse was created by Alexis Dupont, who was Lise Noblet's brother-in-law. The conductor at the premiere was Henri Valentino.〔Pougin 1880; Chouquet 1889; Tamvaco 2000, pp. 87, 619; Cooper & Ellis 2001. Other sources credit François Habeneck as the conductor: Parouty; Wolff 1962, p. 152; Casaglia 2005.〕
''La muette'' was innovative in a number of ways. First, it marked the introduction into opera of mime and gesture as an integral part of an opera plot (although these formats were familiar to Parisian audiences from ballet and mélodrame).〔Hibberd (2003), 154〕 Its historic setting, liberal political implications, use of popular melodies, handling of large orchestra and chorus and spectacular stage effects immediately marked it as different from preceding types of opera, in retrospect earning it the title of the first of the genre of 'Grand Opera'. The journal ''Pandore'' commented after the premiere "for a long time, enlightened critics have thought that alongside the old ''tragédie lyrique'' it was possible to have a more realistic and natural drama which might suit the dignity of this theatre."〔cited in Hibberd (203), 150〕 The new genre was consolidated by Rossini's ''Guillaume Tell'' (1829) and Meyerbeer's ''Robert le diable'' (1831).
Richard Wagner remarked, in his 1871 ''Reminiscences of Auber'', that the opera "whose very representation had brought () about, was recognised as an obvious precursor of the July Revolution, and seldom has an artistic product stood in closer connection with a world-event."〔Wagner (1966) 53〕''La muette'' was revived in Paris immediately after the French July Revolution of 1830.
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