After “La Gioconda,” the composer wrote this opera, based on a libretto by Angelo Zanardini. The opera premiered at La Scala in 1880, the fourth opera to do so after “I Lituani” and “La Gioconda.”

The Comedians. The scene is the château de Genlis. Saverny enters, incognito, who related to the judge Laffemas the story of his own death. But during the conversation, Saverny learns that the man he fought with was Didier and that it was Marion's lover who saved his life. Shortly afterwards, Laffemas receives a letter announcing the escape of Didier, probably accompanied by Marion. He goes after them. She was the daughter of Jean de Lou, sieur de l'Orme, president of the treasurers of France in Champagne, and of Marie Chastelain. She was born in a wealthy family at her father's château near Champaubert. Initiated into the philosophy of physical pleasures by the epicurean and atheist Jacques Vallée, Sieur Des Barreaux, she soon left him for Henri Coiffier de Ruzé, Marquis of Cinq-Mars, at that time at the height of his popularity, and succeeded, it is said, in marrying him in secret. She began hosting a salon, and was introduced into the life of being a courtesan.

Based on Alessandro Manzoni’s famous novel, which also inspired Verdi’s admiration for the author, and the subsequent Requiem, the opera premiered in 1856 and was later revised for 1872. Among his signature rolees were Jew Élèazar, Mario Cavaradossi, Manrico, Arrigo both in “I Vespri Siciliani and “La Battaglia di Legnano,” Riccardo in “Un Ballo in Maschera,” Enzo Grimaldo, Didier in “Marion Delorme,” Jacopo Foscari, and Avito in “L’Amore dei Tre Re.” In total, he went onto sing 56 leading tenor roles including 22 by Giuseppe Verdi. The Rendezvous. The play opens in 1638, in Blois, in the bedchamber of Marion De Lorme. Marion, famous Parisian courtesan, left the capital two months prior, to the despair of her lovers and admirers, and took refuge in Blois. Pressed by Saverny, who found her, she confesses that she has an appointment with a man named Didier who does not know who she is, and she knows nothing of his identity. She urges Saverny to leave. Didier arrives and confesses his love to Marion; he pressures her to marry him, although he has no fortune and is a foundling without a family. To the despair of Didier, Marion hesitates, judging herself unworthy. But she seems ready to yield when Didier reveals what he thinks of Marion Delorme, the famous courtesan: The Slovak baritone, Dalibor Jenis, studied at the Bratislava Conservatory, and during his studies, he stayed in Italy for one year to study at the Accademia Italiana in Osimo. He has been awarded in several voice competitions; among them Karlsbad ("Antonín Dvorák“), Las Palmas ("Alfredo Kraus“) and in 1990 in Vienna ("Belvedere“), followed by concert invitations to the Wexford Festival, the Hessischer Rundfunk Frankfurt and the Berliner Rundfunk. Marion chce zachránit život svého milence a stráví proto noc s královským soudcem. Didier se dozví o její minulosti a odmítne uprchnout za takovou cenu a navíc nyní Marion pohrdá. Na konci hry se objeví jako hlas z nosítek i Richelieu, ale i on odmítne udělit milost. Didier i de Saverne jsou popraveni, ale ještě před tím Didier Marion její minulost odpustí. Hluboká láska Marion k Diderovi jí tak vrací morální čistotu.

The evening begins with the reading of Madeleine de Scudéry's last novel, Clélie, followed by a long pastoral entertainment with ballet, including notably a sonnet sung by a shepherd ("De vos traits mon âme est navrée"). More serious things are on everyone's mind, however ("Viendra-t-il?"). Fontrailles assures everyone that Cinq-Mars will join the plot, as he predicted, and that Cinq-Mars will arrive soon. He declares that the King is no longer in total control of the country, and that the eviction of the Cardinal is a just cause; civil war is imminent, and he assures his co-conspirators that he arranged a treaty with Spain, which implies that their armies will intervene on their side. De Thou suddenly interrupts him, and warns him against opening France up to a foreign power, but the marquis remains resolute. Concerto in F ♯ minor [Concerto No.3] (1871) for double bass and orchestra. Accidentally miscredited or published as concerto No.1 (also known as Concerto for Students in some publications/arrangements/lower transpositions, studienkonzert in German publications) Dalibor Jenis often has guest appearances at the Hamburgische Staatsoper ( Eugene Onegin, Barbiere di Siviglia, Bohème and Pagliacci), the Wiener Staatsoper ( Barbiere di Siviglia), the Royal Opera House Covent Garden London, where he sang before the role of Guglielmo in W.A. Mozart’s Così fan tutte and Marcello in Puccini’s La Bohème and at the Opéra National de Paris, where he celebrated an enormous success with his Figaro in the new production of Rossini’s Barbiere di Siviglia last season (2003) and could be heard as Yeletzky in Tchaikovsky’s Pique Dame. In Tokyo, he sang the title-role in the first Japanese performance of Ferruccio Busoni ‘s Doktor Faust, and in Montpellier, he appeared in a concert version of Amilcare Ponchielli‘s seldom performed opera Marion Delorme, as well as in the world premiere of Offenbach’s romantic opera die Rhein-Nixen during a concert at the Festival de Radio France. He was also engaged to perform in Janacek’s opera Cunning Little Vixen at the Teatro Colon Buenos Aires and the Teatro Real Madrid. Shortly before his death, in 1888 he was appointed director of Parma Conservatory on Verdi's recommendation. Bottesini died in Parma on 7 July 1889. His solo works remain standard repertoire for accomplished double bassists to this day. Bottesini was a freemason, initiated 20 June 1849, in the Bank of England Lodge No. 263, London.Last season (2003) he sang Sharpless in Madama Butterfly at Covent Garden and at Sächsische Staatsoper Dresden; Barbiere di Siviglia at Vienna State Opera and Dvorak´s Dimitri (Chouiski) in concert. At Deutsche Oper Berlin, he made his role-debut as Renato in Verdi’s Un ballo in maschera. At the Deutsche Staatsoper Berlin he made his role-debut as Posa in a new production of Don Carlo. When conducting opera, Bottesini would frequently bring his double bass on stage during the intermission to play fantasies on the evening's opera. His fantasies on Lucia di Lammermoor, I puritani and Beatrice di Tenda are virtuosic tours de force that are still popular with those who are highly accomplished on the instrument. Largely eschewing the melodramatic gestures and invigorating energy of Gioconda, Ponchielli shows the influence of the school of his French contemporaries in his light, elegant scoring and through the presence of a peripheral, travesty character, Lelio, sung by a mezzo. The work is lop-sided in that the longest, most emotion-laden Act is the fourth and last. There Marion and Didier have finely shaped solos, then a lengthy duet of recrimination with an original structure. Act 1 has a warm romance for the heroine followed by a love duet. All the other characters have solos suited to their characters, Lelio’s appropriately light and catchy. There is rather too much anonymous infilling, but enough of merit to make the opera worthinvestigating, especially to those sated by the regular repertory. Her last years have been adorned with considerable legend (cf. Eugène de Mirecourt, Confessions de Marie Delorme, Paris, 1856). It seems established that she died in 1650. But she was believed to have lived until 1706 or even 1741, after having had the most fantastic adventures, including marriage with an English lord, and an old age spent in poverty in Paris. Her name has been popularized by various authors, especially by Alfred de Vigny in his novel Cinq Mars, by Victor Hugo in the drama Marion Delorme, and by Amilcare Ponchielli and Giovanni Bottesini in two operas of the same title, as well as Camille Saint-Saëns opera Cinq Mars.

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Cinq-Mars, subtitled Une conjuration sous Louis XIII, is an opera in four acts by Charles Gounod to a libretto by Paul Poirson [ fr] and Louis Gallet loosely adapted from Alfred de Vigny's historical novel. Friedemann Layer presides over all with a refined ear for the keen scoring and for keeping the drama on the move. He is particularly good in the concertato (large ensemble) that closes Act 3. The recording, though a shade confined, is adequate enough for anyone to enjoy thiswelcome newcomer to the catalogue. ---Alan Blyth, gramophone.co.uk

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It was revived by Leipzig Opera in May 2017, conducted by David Reiland, in a production by Anthony Pilavachi, with Mathias Vidal in the title role. [3] Roles [ edit ] Marion (soprano), costume design for Cinq-Mars (1877) Roles, voice types, premiere cast Role He went on to obtain international success in 1996 when he replaced Luciano Pavarotti in a concert with the New York Philharmonic and went on to make his Metropolitan Opera debut in 2001. He performed 39 times with the company including a highly praised revival of “I Vespri Sicilianni,” and productions of “Tosca” and “Il Trovatore.” History may have sided with the critics and abandoned a melodrama that was undoubtedly old-fashioned in 1885, but the first audiences at La Scala took Ponchielli’s last opera Marion Delorme to their hearts. So congratulations to Friedemann Layer for this enterprising concert performance.