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Valentine d'Aubigny
''Valentine d'Aubigny'' is an opéra comique in three acts composed by Fromental Halévy to a libretto by Jules Barbier and Michel Carré. It premiered in Paris on 26 April 1856 at the Théâtre de l'Opéra-Comique (2° Salle Favart). The comic story is set in Fontainebleau and Paris at the beginning of the 18th century and revolves around mistaken identities and the machinations of the Chevalier de Boisrobert and Sylvia, an actress at the Théâtre-Italien, who try but ultimately fail to prevent the marriage of Gilbert de Mauléon and Valentine d'Aubigny.〔Letellier, Robert Ignatius (2010). (''Opéra-Comique: A Sourcebook'' ), pp. 44; 421–422. Cambridge Scholars Publishing〕〔Clément, Félix; Larousse, Pierre (1873). (''Dictionnaire lyrique, ou Histoire des operas'' ), p. 688. Larousse 〕
==Background and reception==
''Valentine d'Aubigny'' was first and only time that Halévy used a libretto by Barbier and Carré, who went on to co-write several libretti for operas by other composers including Gounod and Ambroise Thomas. It was also the last opéra comique composed by Halévy. He completed only one more stage work before his death in 1862, the five-act grand opera ''La magicienne''. Clément and Larousse wrote in their 1869 ''Dictionnaire lyrique'' that the "bizarre" plot of ''Valentine d'Aubigny'' detracted somewhat from the score which had several distinguished pieces and singled out Gilbert's aria "Comme deux oiseaux", Sylvia's bolero, and Chevalier Boisrobert's aria "Un amoureux".〔 Their assessment that Halévy's music for ''Valentine'' was superior to Barbier and Carré's libretto echoed that of the critic Paul Scudo in his review of the 1856 premiere for ''Revue des deux Mondes''. He described the libretto as a "mediocre fable" and compared Barbier and Carré's work unfavorably to that of Eugène Scribe in the opéra comique genre.〔Scudo, Paul (1 June 1856). ("Revue Musicale" ). ''Revue des deux Mondes'', Vol. 3, p. 672 〕 (Scribe had written the libretti for several of Halévy's earlier works in the genre, including ''Le shérif'' and ''Le nabab''.) The assessments from other critics excerpted in the 8 May 1856 edition of ''Le Guide Musicale'' were much in the same vein. The critic from ''La Presse théâtrale'' described the libretto as a "monster" which defied all logic, but concluded:
Thank God, M. Halévy's music has enough power and charm to almost make us forget the nonsense of the piece.〔
Hector Berlioz wrote in the ''Journal des débats''
The score is one of M. Halevy's best. It is written with care and a remarkable delicacy. We warmly applauded many pieces. There's nothing in there that is banal, petty, 'Parisian'. It is the music of a master.〔
The Parisian music publisher Jules Heinz brought out several adaptations and extracts from the score, including its overture and 13 of its arias arranged for solo voice and piano by Auguste Charlot.〔(''Catalogue de Jules Heinz, éditeur de musique'' ) (1860) 〕 However, despite its success with the audience on the opening night when Halévy was called to the stage by their applause,〔''Le Guide Musical'' (8 May 1856). ("France" ), p. 2 〕 the opera does not appear to have been revived after its initial run.
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