We must here revert to J. J. Rousseau's intermezzo, "Le Devin du Village," the origin of which he describes in the eighth book of his "Confessions."[31] The pleasure which he had derived during his stay in Italy from the performances of the opera buffa was revived in 1752 at Passy, where he encountered a zealous musical friend, Musard, who shared the same tastes. This suggested to Rousseau the idea of placing something of the same kind on the French stage; in a few days the plan of the piece, the text, and some of the music were sketched out, and within six weeks, the poem and composition were complete. At a private rehearsal, which Duclos arranged, the operetta made a great sensation, and attracted the attention of the manager des menus plaisirs, De Cury, who ordered and directed a performance of it at court.
It was twice (on October 18 and 24,1752) performed before the King at Fontainebleau, Mdlles. Fel and Jeliotte singing Colette and Colin, with great applause. Then it was given publicly in Paris before the Académie Royale de Musique on March 1, 1753, and met with great and universal approbation.[32] From the King, who, "with the worst voice in his whole kingdom," sang "J'ai perdu mon serviteur," downwards, the couplets of the operetta were in every one's mouth, and it became popular to a remarkable degree. In 1774 it received almost as much applause as Gluck's "Orpheus,"[33] THE FIRST OPERA IN VIENNA. and even in 1819 and 1821 German musicians were astonished at its popularity. It did not finally disappear from the stage until 1828.[34] The plot could not be simpler:—
Colette, a village maiden, is inconsolable for her faithless swain, Colin, and goes to a soothsayer for advice and assistance. He informs her that the lady of the manor has entangled Colin in her toils, but that he is still faithful at heart, and will return to his first love; she must punish him by pretended indifference, so as to inflame his desires afresh; this she promises. Colin then enters; he is healed of his madness, and returns to his Colette. On being informed by the soothsayer that she loves another, he, too, begs for help; the soothsayer undertakes to summon Colette by magic, but Colin must himself do the rest. Colette appears, and somewhat unsuccessfully plays the prude; her lover thereupon rushes off in despair, she calls him back, and then follow reconciliation and renewed assurance of love and constancy. The soothsayer receives thanks and reward, and the assembled villagers take part in the joy of the lovers.
The simplicity and naïve sentiments, which atone for the poverty of the plot, are also characteristic of the music. A certain inequality in technical details, and here and there gross errors, betray the amateur;[35] but there is a natural feeling in the melodies, and a playful tenderness in the whole composition, which must have had an extraordinary effect at the time of its production. Rousseau, who aimed at unity of tone before all things in this little sketch, was not satisfied with furnishing the couplets with easy flowing melodies, but bestowed great care on the recitatives, which, in imitation of the Italian, were intended to be pieces of artistic and studied declamation.[36] The minute care with which he indicated the smallest detail in the delivery of his recitatives is almost incredible; it is plain that he gave credit to the performers for no musical feeling or power of expression whatever.
Rousseau's opera coincided in point of time with the first THE PARODY, "BASTIEN ET BASTIBNNE." appearance of Italian opera buffa in Paris; and though he had avowedly taken, this as his model, comparison serves only to prove the complete originality of his work. It bore unmistakable traces of its nationality, and was French in feeling and tone.[37] The abiding impression created by it is best shown by the innumerable operas of the same kind, which followed closely in its rear,[38] such as "Rose et Colas," "Annette et Lubin," "La Clochette." The Comédie-Italienne ratified the success of the "Devin du Village" in yet another way. According to the custom, by which every piece of any importance was parodied as soon as it appeared on the stage, a parody of Rousseau's intermezzo appeared at the Italiens, September 26, 1753, with the title: "Les Amours de Bastienet Bastienne."[39]
It was composed by the witty and agreeable Madame Favart and Hamy,[40] and, without attempting to disparage the original, it transforms the Arcadian idealism of Rousseau's shepherds into the unromantic realism of country life. Genuine French peasants express appropriate sentiments in their patois, and the whole piece is rustic and natural.
The dialogue is strung together by well-known melodies, as was always the case in vaudeville. The piece was highly applauded, owing its success in great measure to the lively and natural acting of Madame Favart. She was the first actress who ventured to appear in the genuine simple costume of a peasant woman, and her appearance in sabots created a great sensation. Her portrait was painted in this THE FIRST OPERA IN VIENNA. character, and it had much to do in laying the foundation of her fame.[41]
The parody was elaborated into a German operetta. In Vienna, low comedy had never entirely renounced the aid of music; Haydn composed his operetta "Der neue Krumme Teufel" for Kurz-Bemardon. When the more refined comic opera was introduced by Hiller, it was accepted and imitated in Vienna. In 1764 Weiskem translated Madame Favart's parody with some slight alterations,[42] and to this text Mozart composed the music.[43] The piece is a continuous dialogue, interrupted by isolated songs and duets at appointed places. These, consisting of eleven solo songs, three duets, and one terzet do not always correspond to those of Rousseau's opera, which was unknown to the adapter; many songs have several verses, of which Mozart has only transcribed the first.
The French parody has been most unskilfully travestied, as will be seen by a comparison of the first song in its various forms.
ROUSSEAU.