Overview
Synopsis
After performing their show for the King and Queen, Pierrot is quite exhausted with all the clowning. Seeing him in a trance-like state, Columbine believes that Pierrot has fallen out with her, thinking that she does not love him because she left him for Harlequin in the show. But Pierrot’s depression is deeper than that. He wants just a few moments alone, where he can take off his mask and not be expected to make jokes. He finds happiness in being himself, and falls asleep.
When he wakes up, he hears the voices of two lovers nearby. He is captivated by the beauty of their melodies, and joins in with his own, which is tinged with melancholy. Meanwhile, Columbine returns, looking for Pierrot. She hears his voice entwines with the Queen’s and assumes them to be having an affair. Both Columbine and the King demand that Pierrot tell them the truth, but he cannot; he does not know the identity of the Queen’s lover. The King sends him away, giving whispered orders to the guards, summons dancers for a great Bacchanal.
At the end of the celebrations, a piercing scream is heard. Pierrot’s body is hanging from a beam in the temple. Columbine has fainted, and the Queen looks on, horrified.
Described as a dance-dream, Ethel Smyth’s one act opera Fête Galante is a short, tragic story which combined characters from fairy tales and the commedia dell’arte tradition.
Show Information
- Music
- Ethel Smyth
- Libretto
- Edward Shanks
- Based on the Play/Book/Film
- Fête Galante by Maurice Baring
- Category
- Opera
- Age Guidance
- Thirteen Plus (PG-13)
- Number of Acts
- 1
- First Produced
- 1923
- Genres
- Fairy Tale/Fantasy, Tragedy
- Settings
- Fantasy/Imaginary, Simple/No Set
- Time & Place
- the garden of a castle, night time
- Cast Size
- medium
- Orchestra Size
- Large
- Dancing
- Some Dance
- Licensor
- None/royalty-free
- Ideal For
- College/University, Professional Opera, Mostly Male Cast, Includes Mature Adult, Adult, Young Adult, Elderly Characters, Medium Cast
Context
Plot
Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Male |
Baritone |
|
|
Lead |
Male |
Bass-Baritone |
|
|
Lead |
Female |
Soprano |
|
|
Supporting |
Male |
Tenor |
|
|
Supporting |
Female |
Mezzo-Soprano |
|
|
Featured |
Male |
Tenor |
|
|
Featured |
Male |
Silent |
|
|
Ensemble |
Either Gender |
Soprano, Mezzo-Soprano, Tenor, Baritone |
|
|
Ensemble |
Either Gender |
Soprano, Mezzo-Soprano, Tenor, Baritone, Bass, Contralto |
Songs
Author's Note: This opera is mostly through-composed. The breakdown below is the author's own and may differ from other sources.
- Sarabande
- Musette ‘Hushed is the world, faded the light’ - Chorus
- Puppet-Quartett ‘Since in deceit there is much pleasure’ - Four Puppets
- Scene ‘Now see! The blossom from the bough is fallen’ - King, Columbine, Harlequin
- Scene ‘I am amazed that Columbine could be so light’ - Queen, Pierrot, King
- Aria ‘Pierrot! Did you hear what the King said?’ - Columbine
- Duet ‘Columbine! Columbine!’ - Harlequin, Columbine
- Aria ‘Oh! It is sweet to be alone!’ - Pierrot
- Madrigal ‘Soul’s joy, now I am gone’ - Chorus
- Scene and duet ‘Ah! What madness!’ - Queen, Lover
- Trio ‘Lovers in bliss’ - Pierrot, Queen, Lover
- Scene ‘Pierrot betrays me, with the Queen!’ - Columbine, Queen, Lover, Pierrot
- Scene and Duet ‘Question him! He loves you, to you he will speak the truth’ - King, Columbine, Pierrot
- Scene ‘I too bid you speak… since you spurn the claims of love’ - King, Pierrot
- Dance and Chorus ‘Let the mad rout begin!’ - King, Chorus
- Pierrot’s death ‘Hushed is the world’ - Chorus
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Monologues
Scenes
Key Terms
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Videos
Quizzes
Themes, Symbols & Motifs
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Quote Analysis
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Guide Written By:
Wendy Silvester
Singer and vocal coach based in the UK.