Music Expert B. Green is an expert on classical music and music history, with more than 10 years of both solo and ensemble performance experience. The story is set in 13th century France during the crusades. The young Count Ory, who burns with desire for Adele, decides to capitalize on the situation. Count Ory disguises himself as a hermit, and his friend, Raimbaud, enters the castle to announce that the hermit will give advice on matters of the heart. One by one, the women, who have been alone in the castle while their husbands and lovers are away, visit and receive blessings from the hermit who has taken up residence near the castle gate.

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The courtyard before the castle of Formoutiers No. The young and dissolute Comte Ory, accompanied by his faithful Raimbaud, has disguised himself as a hermit to console the lonely maidens. Her duenna, Dame Ragonde, announces her imminent visit to the Comte. The Comte appears and blesses his flock, then listens to their desires. The Gouverneur has had enough of his tiresome office. Isolier is all a tremble to learn that the Countess is coming, because he has a crush on her.

He decides to consult the hermit. The hermit releases the Comtesse from her vows of eternal solitude, which she welcomes with delight. Furious, the Comte decides to mount his attack the next night. One of them comes to present her homages to the Comtesse. The pilgrimesses are, in reality, his disguised companions. Isolier announces to the Comtesse and her friends that the crusaders will soon arrive. He must prevent at all costs the husbands from learning they were there.

Disguised as a woman, Isolier responds to his advances, all the while seizing the opportunity to declare his love to the Comtesse.

No longer able to contain himself, the Comte drops his disguise and showers the page with tender kisses. The Comte and his companions flee through a secret passage. Next time: Matricide and human sacrifice.

Bordogni, Pellegrini et Levasseur. Bordogni, Pellegrini and Levasseur. All the rest of this work offers delightful melodies. Adolphe Nourrit, Mme Damoreau and Levasseur were the most applauded interpreters of this rich score.

This opera contains very few feeble, or at least criticable, passages, especially compared to the multitude of charming pieces. It can only be a joke on the part of the author who, on the day that he wrote it, laughed a little at his art and his public. Apart from this momentary caprice, the rest of the work was obviously composed with love. Everywhere there is a luxury of happy melodies, new designs, accompaniments, sought-after harmonies, piquant orchestral effects, and dramatic intentions as full of reason as wit.

Since the harum-scarum young man has covered his head with a black hood and his chin with a long grey beard, because he pretends to walk heavily, in the broken gait of an old hermit, he should also, it seems to me, disguise his voice and his style of singing. In any case, the musician should have watched his work, and not allowed him to take such liberties.

But what compensations for these blotches! What musical riches in these two acts! These form a collection of diverse beauties which, adroitly distributed, would suffice for the success of two or three operas. O the stupid, insipid formula! When shall we be delivered from it? Many people laugh at it; I do too, sometimes; but in that case I must be in a good mood. Share this:.


Comte Ory Libretto



1. Le comte Ory (Gioachino Rossini)



Le Comte Ory Synopsis


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