World Library  
Flag as Inappropriate
Email this Article

The Maid of Orleans (opera)

Article Id: WHEBN0002015301
Reproduction Date:

Title: The Maid of Orleans (opera)  
Author: World Heritage Encyclopedia
Language: English
Subject: Joan of Arc, Friedrich Schiller, Baritone, List of operas by title, Mirella Freni, Jean de Dunois, Eduard Nápravník, The Saracen (opera), Cultural depictions of Joan of Arc, Fyodor Stravinsky
Publisher: World Heritage Encyclopedia

The Maid of Orleans (opera)

The Maid of Orleans (Russian: Орлеанская дева, Orleanskaja deva) is an opera in 4 acts, 6 scenes, by Pyotr Ilyich Tchaikovsky. It was composed during 1878–1879 to a Russian libretto by the composer, based on several sources: Friedrich Schiller’s The Maid of Orleans as translated by Vasily Zhukovsky; Jules Barbier’s Jeanne d’Arc (Joan of Arc); Auguste Mermet’s libretto for his own opera; and Henri Wallon’s biography of Joan of Arc. Dedicated to conductor Eduard Nápravník, this work represents the composer's closest approach to French grand opera, albeit in the Russian language, notably with its inclusion of a ballet in Act 2.

Performance history

The world premiere was given on 25 February (13 February O.S.), 1881, at the Mariinsky Theatre in Saint Petersburg, conducted by Eduard Nápravník. Notable subsequent performances were given on 28 July 1882 in Prague under Adolf Čech, the first production of any Tchaikovsky opera outside Russia; in 1899 in Moscow by the Private Opera Society, conducted by Mikhail Ippolitov-Ivanov; and in 1907 in Moscow by the Zimin Opera, conducted by Palitsīn.


Role Voice type Premiere cast
25 February (13 February O.S.), 1881
(Conductor: Eduard Nápravník)
King Charles VII tenor Mikhail Vasilyev
The Archbishop bass Vladimir Mayboroda
The Pope tenor
Dunois, a French knight baritone Fyodor Stravinsky
Lionel, a Burgundian knight baritone Ippolit Pryanishnikov
Thibaut d'Arc, Joan's father bass Mikhail Koryakin
Raymond, Joan's betrothed tenor Sokolov
Bertrand, a peasant bass
Soldier bass
Joan of Arc soprano or mezzo-soprano Mariya Kamenskaya
Agnès Sorel soprano Wilhelmina Raab
Angel, solo voice in the choir of angels soprano
Chorus, silent roles: Courtiers and ladies, French and English soldiers, knights, monks, Gypsies, pages, buffoons, dwarfs, minstrels, executioners, people



  • Strings: Violins I, Violins II, Violas, Cellos, Double Basses, Harp
  • Woodwinds: Piccolo, 3 Flutes, 2 Oboes, Cor Anglais, 2 Clarinets (B-flat, A, C), 2 Bassoons
  • Brass: 4 Horns (F, D, E-flat, E), 2 Cornets (B-flat, A), 2 Trumpets (E-flat, F, E, D, A), 3 Trombones, Tuba
  • Percussion: Timpani, Triangle, Tambourine, Side Drum, Bass Drum, Tam-tam, Bell
  • Other: Organ


Time: Beginning of the 15th century, in the midst of the Hundred Years' War with England
Place: France

Act 1

Chorus of Maidens (No. 1)
Scena & Terzetto (No. 2)
Scena (No. 3)
Chorus of Peasants & Scena (No. 4)
Scena (No. 5)
Hymn King of the heavenly host (No. 6)
Joan's Aria Farewell, you native hills and fields(No. 7)
Finale (No. 8)
Joan's Aria & Chorus of Angels (No. 8a)

In the square in front of the church village girls decorate an oak and sing songs. Peasant Thibault of Arc is annoyed by their levity at such a terrible time for the fatherland. He is concerned about the fate of his daughter, Joan who is seventeen, and wants to marry her to Raymond, to protect her from danger. But Joan feels another calling. An alarm sounds announcing the fall of Paris and the siege of Orleans. People in a panic are praying for salvation, Joan, inspired, predicts imminent victory. The girl says goodbye to her birthplace, she hears voices of angels, blessing her heroic endeavor.

Act 2

Entr'acte (No. 9)
Chorus of Minstrels (No. 10)
Gypsy Dance (No. 11a)
Dance of the Pages & Dwarves (No. 11b)
Dance of the Clowns & Tumblers (No. 11c)
Scena & Duet (No. 12)
Agnes's Arioso & Duettino (No. 13)
Scena & Archbishop's Narration (No. 14)
Joan's Narration (No. 15)
Finale (No. 16).

In Château de Chinon the king is being entertained forgetting his duty with his beloved Agnès Sorel. Minstrels, pages, gypsies, clowns follow each other. The king is paralyzed by inaction. Neither the appearance of Knight Lauret, mortally wounded in the battle, nor the resignation of courageous Knight Dunois, who leaves to fight with honor ("I'm sorry! Monarch we do not have, I am not your servant any more...") can shake the king's decision to flee. The archbishop suddenly appears, courtiers and people tell the king about the rout of the British, the French victory, the "glorious Maiden" who inspired the soldiers. Joan tells the astonished audience about the vision she had telling her to lead the fight. A vow of virginity was a condition of that victory. On the orders of king, Joan is put in commands of the army.

Act 3

Tableau 1 and Tableau 2

Scena & Duet (No. 17)
March (No. 18)
Scena & Duettino (No. 19)
Finale (No. 20)

Scene 1

Deep in the woods Joan fights Knight Lionel of Burgundy. He is struck, the helmet with a visor falls. Conquered by his beautiful young face, she cannot kill him. Lionel is moved by the generosity of Joan: "Rumor has it that you do not spare enemies, why mercy for me, alone?" She is shocked by her awakened feelings, remembering the vow. Lionel decides to side with the French and offers his sword to Dunois. In the heart of the recent enemy a love for Joan is sparked.

Scene 2

The nation celebrates the king and Joan - the victor. Her father, however, believes that all the acts of his daughter are the devils work and decides to save her soul, even sacrificing her life. At a time when the king declares her savior of the fatherland, and orders an altar to be erected, he accuses the daughter of dealing with the Satan and challenges her to publicly prove her innocence: "Do your believe yourself holy and pure?" Joan does not answer, tormented by a love for Lionel. Dunois attempts to protect the heroine, but the people, frightened by a clap of thunder, renounce her, considering it a judgment from heaven. Joan drives Lionel who tries to protect her away.

Act 4

Introduction & Scena (No. 21)
Duet & Scena (No. 22)
Final Scena (No. 23)

Scene 1

Joan of Arc, abandoned and damned alone in the remote woods. "To a mortal how dare I give the soul promised to the creator?" But she cannot resist love, and she eagerly responds to the confession of Lionel, who found her. The happy moment is cut short as English soldiers arrive and kill Lionel and take away Joan.

Scene 2

In the square of Rouen a pyre is set up. Joan is to be executed. The people that filled the square, are sympathetic towards the heroine, there are growing doubts about the justice of impending execution. But Joan is tied to a pole, a fire ignited. The girl holding a cross, cries out to God, humbly ready to die. She hears voices of angels bearing forgiveness.


Related works

César Cui's The Saracen, composed in 1896-1898, may be considered a historical sequel to this opera, at least in regard to the period and setting. It revives the characters Charles VII and Agnès Sorel, but unlike its predecessor does not include a ballet.


  • 1946, Boris Khaikin (conductor), Kirov Theatre Orchestra and Chorus, Sofia Preobrazhenskaya (Joan), V. Kilchevskyi (King Charles), N. Konstantinov (Archbishop), O. Kashevarova (Agnes Sorel), V. Runovsky (Dunois), L. Solomiak (Lionel), V. Ulianov (Raymond), I. Yashugin (Thibaut), I. Shashkov (Bertrand), S. Vodsinsky (Soldier), A. Marin (Lore), M. Merzhevskaya (Angel), N. Grishanov (Minstrel)
  • 1971, Gennady Rozhdestvensky (conductor), Moscow Radio Symphony Orchestra and Chorus, Irina Arkhipova (Joan), Vladimir Makhov (King Charles), Klavdiya Radchenko (Agnes Sorel), Vladimir Valaitis (Dunois), Sergey Yavkovchenko (Lionel), Lev Vernigora, (Archbishop), Andrey Sokolov (Raymond), Viktor Selivanov (Bertrand), Vartan Makelian (Soldier), Yevgeny Vladimirov (Thibaut) [HMV ASD 2879-82]
  • 1993, Alexander Lazarev (conductor), Bolshoy Theatre Orchestra and Chorus, Nina Rautio (Joan), Oleg Kulko (King Charles), Mariya Gavrilova (Agnes Sorel), Mikhail Krutikov (Dunois), Vladimir Redkin (Lionel), Gleb Nikolsky (Archbishop), Arkady Mishenkin (Raymond), Maksim Mikhaylov II (Bertrand), Anatoly Babikin (Soldier), Zoya Smolyanikova (Angel), Vyacheslav Pochapsky (Thibaut)


  • Bernandt, G.B. Словарь опер впервые поставленных или изданных в дореволюционной России и в СССР, 1736-1959 [Dictionary of Operas First Performed or Published in Pre-Revolutionary Russia and in the USSR, 1836-1959] (Москва: Советский композитор, 1962), p. 215.
  • 100 опер: история создания, сюжет, музыка. [100 Operas: History of Creation, Subject, Music.] Ленинград: Издательство "Музыка," 1968, pp. 390–396.

External links

This article was sourced from Creative Commons Attribution-ShareAlike License; additional terms may apply. World Heritage Encyclopedia content is assembled from numerous content providers, Open Access Publishing, and in compliance with The Fair Access to Science and Technology Research Act (FASTR), Wikimedia Foundation, Inc., Public Library of Science, The Encyclopedia of Life, Open Book Publishers (OBP), PubMed, U.S. National Library of Medicine, National Center for Biotechnology Information, U.S. National Library of Medicine, National Institutes of Health (NIH), U.S. Department of Health & Human Services, and, which sources content from all federal, state, local, tribal, and territorial government publication portals (.gov, .mil, .edu). Funding for and content contributors is made possible from the U.S. Congress, E-Government Act of 2002.
Crowd sourced content that is contributed to World Heritage Encyclopedia is peer reviewed and edited by our editorial staff to ensure quality scholarly research articles.
By using this site, you agree to the Terms of Use and Privacy Policy. World Heritage Encyclopedia™ is a registered trademark of the World Public Library Association, a non-profit organization.

Copyright © World Library Foundation. All rights reserved. eBooks from Project Gutenberg are sponsored by the World Library Foundation,
a 501c(4) Member's Support Non-Profit Organization, and is NOT affiliated with any governmental agency or department.