Chapelou, postilion.
Madeleine, mistress of the inn.
Marquis de Courcy, opera manager.
Bijou, village blacksmith.
Boudon, chorus leader.
[Villagers, chorus singers, etc.]
The scene of the opera is laid in Lonjumeau, a French village, and
Paris; time of Louis the Fifteenth.
The sprightly opera "The Postilion of Lonjumeau" is characterized by
grace and elegance of treatment, fascinating rhythm, and odd contrasts in
effects. Its plot is very dramatic, and affords ample scope for humorous
action. The opening scene of the first act introduces us to the wedding
of Chapelou, the postilion, and Madeleine, mistress of the inn. During
the merriment which follows, the Marquis de Courcy, Superintendent of the
Paris Grand Opera, whose carriage has broken down, makes his appearance,
seeking the aid of a wheelwright. He hears Chapelou singing, and is so
pleased with his voice that he offers him a position in the opera.
Chapelou after some persuasion accepts, entreats Bijou, the village
blacksmith, to look after Madeleine, and goes off with the Marquis in
quest of artistic glory. Bijou informs Madeleine of Chapelou's baseness,
and the act closes with her denunciations of him, in which she is
enthusiastically assisted by the female members of the wedding-party.
The second act opens in Paris. Madeleine has inherited a fortune from an
aunt, and makes her appearance in the gay city as a rich and noble lady,
under the assumed name of Madame de la Tour. The Marquis de Courcy, who
is in love with her, at her request brings Chapelou, who is now a famous
tenor known as St. Phar, Bijou, the Lonjumeau blacksmith, who is primo
basso under the name of Alcindor, and the operatic chorus to her château
for a rehearsal. St. Phar, not wishing to sing, pleads a cold, but when
he learns that he is in the apartments of Madame de la Tour he consents,
and the rehearsal goes off finely. Left alone with his hostess, he
proposes to her and is accepted, but as he is already married he arranges
that Boudon, the chorus leader, shall play the part of priest. The
Marquis, who overhears the conspiracy, informs Madame de la Tour, who
sends for a real priest and accompanies St. Phar to the altar, where they
are married for the second time.
In the third act St. Phar, who fears that he will be hanged for
committing bigamy, finds a happy escape from his troubles. The Marquis,
furious because he has been rejected by Madame de la Tour in favor of an
opera singer, seeks revenge, but his plans are thwarted. A humorous scene
ensues, in which St. Phar is tormented by Alcindor and the wedding-party,
as well as by the Marquis, who is now reconciled. Finally, upon being
left alone in a darkened room with Madame de la Tour, she also aggravates
him by personating two characters, singing from different sides of the
apartment in the voice of the Madame and that of Madeleine. The
dénouement ensues when she appears to him as the veritable Madeleine of
Lonjumeau, whither the joyous pair return and are happy ever after.
The principal music of the first act is a romanza for soprano, "Husband
ever Dear," leading into a dance chorus; the famous Postilion's Song with
whip-snapping accompaniment; and a balcony serenade by Madeleine. The
second act opens with a long and well-written aria for soprano, which is
followed by the rehearsal scene,--a clever bit of humorous musical
writing. In the course of this scene the tenor has a characteristic aria,
preceded by a clarinet obligato, and the basso also has one running down
to G, in which he describes with much gusto the immunities of a basso
with a "double G." A duet follows for soprano and tenor with a cadenza of
extraordinary length, the act closing with a finale in the conventional
Italian style.
The third act opens with a long clarinet solo, the refrain of which is
heard in the close of the act. This is followed by a "Good Night" chorus
in mazurka time. The tenor then has an aria followed by a comic trio,
which in reality is a duet, as the soprano is personating two singers
with different voices. A duet and finale close the opera, the music of
which is of just the class to be popular, while the action is so
sustained in its humor as to make the bright little opera a favorite
wherever heard.