You’d be forgiven for never having heard of Cinq-Mars – either Gounod’s 1877 opera or the historical character who gives the work its title. The 11th rarity to be revived by the Centre de la musique française at Palazzetto Bru Zane, and recorded with their support, it now follows Felicien David’s Herculaneum (staged at Wexford last year) in also receiving a first production since the 19th century. Oper Leipzig, whose Generalmusikdirektor and Intendant, Ulf Schirmer, conducted the recording, has done it proud.
And Cinq-Mars? He was a favourite of King Louis XIII in mid 17th-century France who here, in a libretto based on Alfred de Vigny’s historical novel of 1826, gets drawn into a treasonous conspiracy to overthrow the all-powerful Cardinal Richelieu, represented by the unscrupulous Père Joseph. Richelieu also happens to be standing in the way of Cinq-Mars and his beloved, Marie, who is to marry the King of Poland. The conspiracy is discovered though, Cinq-Mars is imprisoned, and then executed before he’s able to escape with Marie. His best friend, the baritone De Thou, stands by him throughout, offering just one of many apparent similarities with Verdi’s Don Carlos.
But Gounod’s opera is a very different beast. While the plot might be classic grand opéra, Cinq-Mars was composed (in haste) for Paris’ Opéra-Comique and was originally designed to include yards of dialogue, replaced with recitatives composed for its 1878 transfer to Milan. The score is, accordingly, somewhat sunny in disposition and a little short on character development: we spend as much time on an extended divertissement in Act 2, for example, as we do on the tragic final act. It is full of moments of real dramatic effectiveness, though, and irresistible easy-going lyricism, not least in Marie’s “Nuit resplendissante et silencieuse”, a modest hit in its own right.
I should admit that I had my doubts about the piece on disc, and some of those doubts remain. But Leipzig’s production so convincingly and compellingly brings Cinq-Mars (billed here as Der Rebell des Königs) to life in the theatre, that those concerns are relegated to mere footnote status. Three hours – including an interval, placed here half-way through the long second act – fly by.