{"id":7384,"date":"2019-01-28T11:24:05","date_gmt":"2019-01-28T10:24:05","guid":{"rendered":"https:\/\/www.lestalenslyriques.com\/resources\/tarare-ressources\/"},"modified":"2025-06-26T17:04:18","modified_gmt":"2025-06-26T15:04:18","slug":"tarare-ressources","status":"publish","type":"resources","link":"https:\/\/www.lestalenslyriques.com\/en\/resources\/tarare-ressources\/","title":{"rendered":"Tarare | Resources"},"content":{"rendered":"

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\r\n\tChristophe Rousset's astonishment<\/h2>\r\n\r\n<\/div>\t[vc_column_text css=””]<\/p>\n

\u201cI am dazzled by the figure of Salieri. We had already performed some Salieri in Italian; Les Dana\u00efdes<\/em> as well as Les Horaces<\/em> totally astonished me with their compositional mechanisms. Unlike Mozart, Salieri is not a figure of expressiveness aimed at the heart. His expressiveness is much more in the vein of Gluck, through a gesture that is very deliberate, but he doesn\u2019t seek seduction or charm, the kind that can emanate from a Mozartian melody\u2026 That charm is in vain when sought in Salieri. On the other hand, the inventiveness in structure and orchestration is certainly something that inspired Mozart and his contemporaries, and both Les Dana\u00efdes<\/em> and Les Horaces<\/em> contain elements that pave the way for French opera as it would evolve in the late 18th and early 19th centuries. There\u2019s a powerful gesture, a constant desire to break things open in order to find a broader unity \u2014 it\u2019s very adventurous. The paths Gluck opened with French opera are magnificently expanded upon. We are dealing with a genius \u2014 I\u2019m not saying anything less. He is truly a great composer, and I\u2019m very excited at the idea of approaching Tarare<\/em>, which is an exceptional work, with its libretto by Beaumarchais, mixing political arguments with comic \u2014 even cosmic at times \u2014 stories; there are some very strange things\u2026 I\u2019m very curious to see how I\u2019ll manage with a score that is so complex and rich. It\u2019s a real challenge that excites me greatly.<\/p>\n

Salieri and Beaumarchais are rather strange people, not particularly charming.
We know Beaumarchais, and we feel some fondness for him, but he was a rigid character. He held Salieri in high esteem and had been dazzled by Les Dana\u00efdes<\/em>. He thought the reception of Les Horaces<\/em> was unfair because he found the music absolutely wonderful. Beaumarchais was convinced that this was the composer who should write the opera of his dreams. He was a \u2018Salierist.\u2019 Tarare<\/em> is an experimental opera for Beaumarchais. In the preface to Tarare<\/em>, there are a number of theoretical instructions on how to declaim the text, which was quite new. People had always tried to find naturalness, but he wanted to go even further in that direction \u2014 to eliminate the vocal aspect in favor of the purest possible declamation, in the spirit of Lully, who used real tragedians and initially avoided singers. He leaned more toward the H\u00f4tel de Bourgogne \u2014 that is, toward Racine\u2019s actors rather than accomplished singers for his trag\u00e9dies lyriques<\/em>. There is a clear will to return to prima le parole e poi la musica<\/em>.\u201d<\/p>\n

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\r\n\tStory<\/h2>\r\n\r\n<\/div>\t[vc_column_text css=””]Prologue<\/span>
\nNature and the Spirit of Fire calm the elements in order to give life to the drama\u2019s characters, formed from \u201catoms lost in space.\u201d The chorus of shadows proclaims its yearning for human existence. This new creation serves as a pretext to present the political and social ideas that will be developed throughout the opera.<\/p>\n

Act I \u2013 At Ormuz’ royal palace.<\/span>
\nThe despot Atar shows contempt for his subjects and rules over them with tyrannical power. Tarare, a noble and generous soldier, once saved the king\u2019s life and was appointed commander of his militia in gratitude. Tarare\u2019s life remains unchanged: he continues to serve others with humility and enthusiasm. Despite a law permitting polygamy, he lives happily with his one wife, Astasie, who is beautiful and virtuous. Atar confides to Calpigi \u2014 an Italian slave and guardian of his harem \u2014 his hatred of Tarare, driven by jealousy of his happiness and popularity. Atar has ordered Altamort to kidnap Astasie and bring her to the harem, where she will be introduced under the name \u201cIrza.\u201d
During a lavish celebration, Irza \u2014 a miracle of beauty \u2014 is presented to Atar. Upon realizing her dreadful fate, she faints and is taken to her quarters by Spinette, a flirtatious and cunning Neapolitan singer at court. The king rejoices at the thought of his militia leader\u2019s suffering. Unaware of who is behind the abduction, Tarare passionately describes his wife to Atar and begs him to raise an army to punish her kidnapper. Atar grants him permission, while secretly instructing Altamort to follow Tarare and kill him.<\/p>\n

Acte II \u2013 The christians are at the kingdom’s gates.<\/span>
\nAtar and the high priest Arthen\u00e9e divide their respective spheres of influence. Calpigi tells Tarare what has become of Astasie and promises to help her escape. With Arthen\u00e9e\u2019s complicity, Atar plans to place the army under Altamort\u2019s command. However, when the young oracle Elamir is consulted, he names Tarare instead, despite Arthen\u00e9e\u2019s attempts to intervene. The people rejoice. Insulted and humiliated, Altamort challenges Tarare to a duel.<\/p>\n

Act III \u2013 The harem’s gardens.<\/span>
\nAtar demands that the celebration in honor of Irza take place immediately. His plans are interrupted by Urson\u2019s account of Tarare\u2019s victory over Altamort. Nevertheless, Atar insists on the entertainment: a European-style festivity in which he crowns Irza.
During Calpigi\u2019s barcarolle, Tarare sneaks into the harem. Calpigi disguises him as a mute Black slave. Rejected once more by Astasie, Atar grows furious again. In revenge, he decides to have the slave beheaded and present the head to Astasie, making her believe it is Tarare\u2019s. Calpigi is devastated. At the last moment, the king changes his mind and instead orders the slave to be brought to Astasie\u2019s chambers to humiliate her by making her a laughingstock of the harem.<\/p>\n

Acte IV<\/span>
\nStill in disguise, Tarare is brought into Astasie\u2019s room. To protect her mistress from disgrace, Spinette takes her place. Caught off guard, Tarare cries out and reveals his identity. Atar, having changed his mind once again, sends Urson and his soldiers to kill the slave. Desperate to save Tarare, Calpigi finally reveals who he really is.<\/p>\n

Act V<\/span>
\nAtar is delighted at the prospect of killing Tarare \u201cwith the flexible blade of the law.\u201d Despite Arthen\u00e9e\u2019s warnings, he continues to behave like an absolute despot, blind to the fact that he is sealing his own downfall.
The prisoners are handed over to the high priest. Tarare and Astasie are finally reunited. Calpigi enters the palace at the head of many soldiers. All acclaim Tarare and want him to be their king. Atar dies of rage. Urson compels Tarare to reign \u201cthrough justice and the law.\u201d[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1548745311596{margin-top: 40px !important;}”][vc_column]

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\r\n\tA real dramatic and lyrical libretto<\/h2>\r\n\r\n<\/div>\t[vc_column_text css=””]<\/p>\n

This tragicomic libretto, full of dramatic fire and new ideas, tackles absolutism with great ingenuity: \u201cThe abuse of supreme power always ends up shaking it.\u201d It serves as an opportunity to explore the respective roles of royal (Atar) and religious (Arthen\u00e9e) power, and to highlight their collusion in situations where neither the king nor the Church necessarily plays a noble role. Even the queen\u2019s role is sketched out: \u201cAnd you, queen, sensitive spouse, […] often soften authority with inflexible duty.\u201d<\/em>
As for the happy ending, it is far from gratuitous. Tarare is elevated to royal dignity by the will of the people; his power emanates directly from the people themselves.<\/p>\n

Salieri set to music a subject that few composers in Paris would have dared to bring to the stage. Critics described the work as a \u201cdramatic and lyrical monster.\u201d The composer leaves behind the sweetness of bel canto<\/em> in favor of harsher, more mature accents inspired by Gluck\u2019s aesthetics. He vigorously carves out types and characters \u2014 Tarare, for example, brave and strong, symbolizes wisdom and honesty. Spinette\u2019s Italian character often recalls the vocal style of Mozart\u2019s Abduction from the Seraglio<\/em>.
One can even glimpse Beethoven \u2014 who studied Italian declamation with Salieri \u2014 in Tarare\u2019s aria \u201cAlmighty God\u201d<\/em> (Act III, Scene 7).
Several passages display this art of sung declamation. The orchestration is refined, often elegant, and always attuned to the situation and the characters.<\/p>\n

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\r\n\t\"resource-content\"<\/div>\r\n[\/vc_column][vc_column width=”7\/12″][vc_column_text css=””]Tarare, a perfect synthesis of Italian style and French manner, also bears traces of the German Lied aesthetic. The work combines Gluck\u2019s pathos, Paisiello\u2019s psychological finesse, and the elegance of composers like Gr\u00e9try, M\u00e9hul, and Dalayrac. It paves the way for Cherubini, Spontini, and Rossini.<\/p>\n

An Italian adaptation<\/span><\/p>\n

Six months after Tarare<\/em>\u2019s success in Paris, Salieri presented an Italian adaptation in Vienna (January 8, 1788), titled Axur, re d\u2019Ormus<\/em>, with a libretto by Lorenzo Da Ponte. This new version involved significant rewrites, transforming the work into a fully Italian opera in its own right.
Tarare becomes Atar; Atar becomes Axur; Calpigi becomes Biscroma; Astasie becomes Aspasia; and Spinette becomes Fiammetta. Axur<\/em> made a tremendous impression on Viennese audiences and was performed 40 times.[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1548745319886{margin-top: 40px !important;}”][vc_column]

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\r\n\tSalieri-Beaumarchais<\/h2>\r\n\r\n<\/div>\t[vc_row_inner][vc_column_inner width=”7\/12″][vc_column_text css=””]Letter from Salieri to Madame Delarue, daughter of Beaumarchais (October 6, 1805) :<\/span>
\u201c\u2026You are still before my eyes, Madame, that delightful child, that charming Eug\u00e9nie, full of wit and grace. I was staying with your famous papa and your adorable maman, who overwhelmed me with so many favors and kindnesses. In the afternoons, the two of us would sit at the piano playing four-hand sonatas.
At two o\u2019clock, Monsieur or Madame de Beaumarchais would come into the study and say, \u2018Come to dinner, my children.\u2019 We would dine; I would then go out for a walk, read the gazettes, stroll through the Palais-Royal or attend a theatre. I always came home early. When Monsieur de Beaumarchais wasn\u2019t home, I would go up to my room on the second floor, sometimes tuck in my servant \u2014 a drunken German \u2014 and go to bed in a room where, from my bed, I could see the sunrise every morning as I worked, with heavenly delight.
Monsieur de Beaumarchais would come to visit me; I would sing for him what I had composed for our grand opera. He applauded me, encouraged me, and guided me with a fatherly manner.\u201d<\/p>\n

Salieri composed three French-language operas for the court or the Acad\u00e9mie Royale de Musique (Paris Opera):<\/strong><\/p>\n

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    Les Dana\u00efdes<\/em> (1784) \u2013 libretto by Le Blond du Roullet and Tschudi<\/p>\n<\/li>\n

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    Les Horaces<\/em> (1786) \u2013 libretto by Guillard, after Corneille<\/p>\n<\/li>\n

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    Tarare<\/em> (1787) \u2013 libretto by Beaumarchais<\/p>\n<\/li>\n<\/ul>\n

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    \r\n\tTarare : Beaumarchais's opera<\/h2>\r\n\r\n<\/div>\t[vc_column_text css=””]<\/p>\n

    Tarare<\/strong>, which premiered in Paris on June 8, 1787, with a libretto written by Beaumarchais himself, is perhaps the most forgotten among the operas of the universal repertoire. Indeed, when choosing a collaborator, Beaumarchais made a fatal error: instead of bringing Mozart from Vienna, he brought Salieri. He installed him nearby, on Rue Vieille-du-Temple, entrusted him with composing the music for Tarare<\/em>, and worked closely with him, becoming his friend\u2026 and ultimately condemning Tarare<\/em> to oblivion.
    Among Beaumarchais\u2019s many talents, his musical ability was not the least. He had even served as music teacher to the daughters of King Louis XV. His love of music is evident in his comedies, where couples sing to the strumming of guitars \u2014 scenes perfectly suited to lyrical adaptation.<\/p>\n

    A Political Libretto<\/h3>\n

    The premiere of Tarare<\/em> created a tremendous stir. It boldly expanded upon the political, even subversive and revolutionary, themes that had made The Marriage of Figaro<\/em> so famous just a year earlier. Beaumarchais\u2019s political intentions were already clear in that work and became even more pronounced in the politically charged atmosphere of 1787\u20131789. On several occasions, performances of Tarare<\/em> turned into political demonstrations.<\/p>\n

    Beaumarchais completed Tarare<\/em> in 1784, shortly after The Mad Day<\/em> (La Folle Journ\u00e9e<\/em>) had been staged. With Tarare<\/em>, he aimed to transpose onto the operatic stage the political allusions that had worked so well in comedy. Grimm perceived this clearly and wrote in his correspondence:<\/p>\n

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    \u201cHaving said his piece to ministers and great lords in The Marriage of Figaro<\/em>, he still needed to say it to priests and kings. Only Monsieur de Beaumarchais dared to do this \u2014 and perhaps he was the only one permitted to.\u201d<\/p>\n<\/blockquote>\n

    The first drafts of Tarare<\/em> date back to 1775, and some of the surviving notes are mixed with those of The Barber of Seville<\/em>. Both were initially conceived as comic operas. The name \u201cTarare\u201d was borrowed from Hamilton\u2019s tale Fleur d\u2019\u00e9pine<\/em>.
    After placing Figaro in two highly successful plays, Beaumarchais revived his idea for a musical work, retaining only the title\u2019s lightheartedness. Tarare<\/em> thus softens the gravity of the piece and offers a wink to the audience \u2014 a way of signaling that not everything was to be taken at face value. By that point, Beaumarchais felt that a more serious and solemn tone suited his evolving concerns better. Having attained fame in theatre, finance, and politics, he believed it was time to shift toward a grander style \u2014 which also aligned with the public’s tastes. The fashion had turned from comedy to solemnity, with a collective obsession emerging around the Roman Republic and its customs and governance.<\/p>\n

    Tarare<\/em> is set in a fictionalized Eastern setting, in Ormuz. Though its twists and turns involve \u201charem customs,\u201d they are reminiscent of The Mad Day<\/em>, except that instead of jokes, the characters deliver bold speeches \u201cagainst tyranny.\u201d In 1787, such declamations alone were enough to draw attention \u2014 even more so when their author was Beaumarchais, whose clashes with royal authority had been making headlines for nearly fifteen years.
    Some words \u2014 especially \u201cabuse\u201d \u2014 had become fashionable thanks to Beaumarchais and were used repeatedly in the opera.<\/p>\n

    But Beaumarchais went even further. In addition to lavish sets, rich costumes, and large casts, he filled Tarare<\/em> with pointed political references. Audiences recognized in the character of Tarare a clear allusion to the Marquis de Lafayette, newly returned from America covered in glory, whose popularity rivaled Beaumarchais\u2019s own renown.<\/p>\n

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    \r\n\tThe premiere on the 8th of June 1787<\/h2>\r\n\r\n<\/div>\t[vc_row_inner][vc_column_inner width=”7\/12″][vc_column_text css=””]<\/p>\n

    Gudin, Beaumarchais\u2019s friend and first biographer, recounted that
    \u201cthe grandeur of the spectacle astonished\u201d<\/strong>, and that \u201cthe play was a success.\u201d<\/strong>
    There were thirty-three performances. A tremendous effort had gone into the staging: the sets alone had cost over 30,000 livres, and the costumes more than 20,000. The queen had expressed a desire to attend this social event, but was dissuaded. The Count of Artois, on the other hand, did occupy his box.<\/p>\n

    The crowd that surged toward the opera house was so large that 400 guards had to be stationed<\/strong> in the streets and avenues leading to the theater. To prevent a crush at the entrance, the authorities devised a system to channel people through wooden barriers.<\/p>\n

    The performance was tumultuous<\/strong>, with the parterre and boxes reacting according to their political leanings to the piece\u2019s overt political lines. Thus, in the final act, when Tarare exclaims:<\/p>\n

    \u201cHave you forgotten, Soldiers, while usurping power, \/ That respect for the Law is the first of all duties?\u201d<\/em>
    the royalist boxes broke into wild applause, while loud protests erupted from the parterre \u2014 from those already being called the \u201cpatriots.\u201d<\/p>\n

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    \r\n\tPosterity of the work and differences with the original libretto<\/h2>\r\n\r\n<\/div>\t[vc_column_text css=””]<\/p>\n

    Tarare and Revolutionary Revisions<\/strong><\/p>\n

    A revised version of Tarare<\/em> was planned for revival during the Festival of the Federation on July 14, 1790, an event that had drawn delegates from all departments to Paris. Various setbacks prevented this version from being staged as scheduled, and the new version was not performed at the Op\u00e9ra until August 3, 1790. Audiences flocked to see this production, titled The Coronation of Tarare<\/em>, to which Beaumarchais had added a new act promoting both divorce and the emancipation of enslaved people. The result was an uproar, with aristocrats and patriots\u2014though for opposing reasons\u2014uniting in their boos and whistles. Despite many protests, Beaumarchais maintained his new version of Tarare<\/em> in its form as a constitutional monarchy until August 10, 1792, when monarchy itself was no longer a viable subject.<\/p>\n

    In 1795, after the Reign of Terror, while Beaumarchais\u2014then listed as an \u00e9migr\u00e9\u2014was in Hamburg, the Op\u00e9ra revived Tarare<\/em> once again, this time adapting it to the political climate of the moment. The hero could no longer be merely indifferent to the throne; he had to be actively hostile to royalty. The author\u2019s friend Frameray took on the task of implementing this key change, in which the people of Ormuz now proclaimed a republic.<\/p>\n

    Tarare<\/em> was performed again in 1802, after Beaumarchais\u2019s death and under the rule of the First Consul. Although we have no detailed records of this version, it is easy to imagine the contemporary allusions in a work whose hero was a general elevated to power by the people.<\/p>\n

    In 1819, the opera was revived and revised once again, this time to reflect a \u201cmonarchy according to the Charter.\u201d Atar does not die; instead, he is restored by Tarare, and the people swear allegiance to him.<\/p>\n

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    \r\n\tScores<\/h2>\r\n\r\n<\/div>\t[vc_column_text css=””]Autograph score and materials from the Royal Academy of Music (Paris) :<\/span>
    An incomplete score is preserved at the Biblioth\u00e8que nationale de Paris \u2013 Biblioth\u00e8que de l\u2019Op\u00e9ra, under shelfmark R\u00e9serve A-320 (A). The complete orchestral, soloist, and choral parts used by the musicians of the Acad\u00e9mie royale de musique for the 1787 premiere are also preserved there, under shelfmark MAT-274. These sources document the successive revisions made from 1790 onwards.<\/p>\n

    Autograph score (Vienna) :<\/span>
    \nThe Austrian National Library also holds a manuscript in Salieri\u2019s own hand of The Coronation of Tarare<\/em>, corresponding to the 1790 revival version (shelfmark Mus. Hs. 4516 I & II).<\/p>\n

    Engraved score, Paris, Imbault, 1787 :<\/span>
    \nCopies are held at the University of North Texas Library (USA) and at the Biblioth\u00e8que nationale de France \u2013 Biblioth\u00e8que de l\u2019Op\u00e9ra, under shelfmark R\u00e9serve A-320 (B). The second edition of the score is available online.<\/p>\n

    Vocal score (voice and piano), reconstructed and reduced by Gustave Lef\u00e8vre<\/span>
    with an introduction by Arthur Pougin, Paris, T. Michaelis, 1884. Copies are held at the Biblioth\u00e8que de la Ville de Paris (Conservatoires, shelfmark 3 SAL 35; M\u00e9diath\u00e8que musicale, shelfmark 4\/28), as well as at the Biblioth\u00e8que nationale de France (shelfmarks VM2 1203 and Vm2 1096). This vocal score is available online.<\/p>\n

    Modern edition, published by Henle (M\u00fcnich, 1978)<\/span><\/p>\n

    Score and orchestral parts, Nicolas Sceaux \/ Les Talens Lyriques :<\/span>
    In order to revive Tarare<\/em> by Salieri, it was necessary to produce a modern musical edition of the work, as no orchestral material was previously available. Nicolas Sceaux created a score (used by the conductor and singers) as well as separate instrumental parts (used by each orchestral musician) for Les Talens Lyriques. This edition, like the others, will be made freely available for download and public use on his personal website and on the IMSLP platform.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"featured_media":7385,"template":"","resource-type":[49],"class_list":["post-7384","resources","type-resources","status-publish","has-post-thumbnail","hentry","resource-type-tarare"],"acf":[],"yoast_head":"\nTarare | Resources | Les Talens Lyriques<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.lestalenslyriques.com\/en\/resources\/tarare-ressources\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tarare | Resources | Les Talens Lyriques\" \/>\n<meta property=\"og:description\" content=\"[vc_row css=”.vc_custom_1548745296443{margin-top: 40px !important;}”][vc_column width=”7\/12″][vc_column_text css=””] \u201cI am dazzled by the figure of Salieri. We had already performed some Salieri in Italian; Les Dana\u00efdes as well as Les Horaces totally astonished me with their compositional mechanisms. Unlike Mozart, Salieri is not a figure of expressiveness aimed at the heart. 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