Mr Gilfil's Love Story - Revision history

Tony at 20:04, 22 February 2023

2023-02-22T20:04:31Z

← Older revision		Revision as of 22:04, 22 February 2023
Line 2:		Line 2:
	In 1893, Tchaikovsky considered writing operas based on two of the stories from the collection ''Scenes of Clerical Life'' (1857) by the English writer Mary Ann Evans (1819-1880), published under her literary pseudonym of "[[George Eliot]]". The second of these subjects was '''''Mr Gilfil's Love Story''''' (Любовь Мистера Гильфиля) ([[TH]] 245 ; [[ČW]] 464) <ref name="note1"/>.		In 1893, Tchaikovsky considered writing operas based on two of the stories from the collection ''Scenes of Clerical Life'' (1857) by the English writer Mary Ann Evans (1819-1880), published under her literary pseudonym of "[[George Eliot]]". The second of these subjects was '''''Mr Gilfil's Love Story''''' (Любовь Мистера Гильфиля) ([[TH]] 245 ; [[ČW]] 464) <ref name="note1"/>.

	[[Modest Tchaikovsky]] recalled that after first considering ''[[The Sad Fortunes of the Reverend Amos Barton]]'' (the first story in the trilogy) as an opera subject, the composer changed his mind in favour of ''Mr Gilfil's Love Story'' <ref name="note2"/>. [[Herman Laroche]] also remembered that "During the current summer [of 1893], amongst other things, he had read a French translation of the ''Scenes of Clerical Life'' by [[George Eliot]], for whose novels, beginning with ''The Mill on the Floss'', he had an extremely strong affection during the last years of his life. Among the stories which make up this book was ''Mr Gilfil's Love-Story'', the action of which takes place in the eighteenth century, and whose pathos particularly captivated him. He found that this subject 'should be well-suited for writing an opera'" <ref name="note3"/>.		[[Modest Tchaikovsky]] recalled that after first considering ''[[The Sad Fortunes of the Reverend Amos Barton]]'' (the first story in the trilogy) as an opera subject, the composer changed his mind in favour of ''Mr Gilfil's Love Story'' <ref name="note2"/>. [[Herman Laroche]] also remembered that "During the current summer [of 1893], amongst other things, he had read a French translation of the ''Scenes of Clerical Life'' by [[George Eliot]], for whose novels, beginning with ''The Mill on the Floss'', he had an extremely strong affection during the last years of his life. Among the stories which make up this book was ''Mr Gilfil's Love Story'', the action of which takes place in the eighteenth century, and whose pathos particularly captivated him. He found that this subject 'should be well-suited for writing an opera'" <ref name="note3"/>.

	After Tchaikovsky's death, a brief scenario for Acts II and III of an opera on ''Mr Gilfil's Love-Story'' was discovered amongst his papers <ref name="note4"/>:		After Tchaikovsky's death, a brief scenario for Acts II and III of an opera on ''Mr Gilfil's Love Story'' was discovered amongst his papers <ref name="note4"/>:
	{{quote\|''Act II, Scene 1'' — various scenes: 1) between the Captain and his fiancée; 2) between Tina and the Captain; 3) between Tina, the fiancée, the Captain and Gilfil, out of which is explained their relationships to each other, Tina's jealousy, the fiancée's jealousy, the truth of the captain's situation, everyone's worsening health, Tina's rudeness, the challenge of her explanation from the Lord, her decision to leave him for ''Gilfil'', Gilfil's suffering and jealousy, etc. All of this should take place in the park.}}		{{quote\|''Act II, Scene 1'' — various scenes: 1) between the Captain and his fiancée; 2) between Tina and the Captain; 3) between Tina, the fiancée, the Captain and Gilfil, out of which is explained their relationships to each other, Tina's jealousy, the fiancée's jealousy, the truth of the captain's situation, everyone's worsening health, Tina's rudeness, the challenge of her explanation from the Lord, her decision to leave him for ''Gilfil'', Gilfil's suffering and jealousy, etc. All of this should take place in the park.}}
	{{quote\|''Scene 2'' — Evening in the large hall of the castle. Tina is asked to sing. She sings the second aria from the first act, but so enchantingly that all are amazed (something similar to ''Adrienne Lecouvreur''), and the Captain is seized and unexpectedly picks up a dagger and leaps at her, but just in time she runs. The Captain lets out a cry, and dies. General terror and despair. Tina falls in a faint.}}		{{quote\|''Scene 2'' — Evening in the large hall of the castle. Tina is asked to sing. She sings the second aria from the first act, but so enchantingly that all are amazed (something similar to ''Adrienne Lecouvreur''), and the Captain is seized and unexpectedly picks up a dagger and leaps at her, but just in time she runs. The Captain lets out a cry, and dies. General terror and despair. Tina falls in a faint.}}

Tony: Text replacement - "Love-Story" to "Love Story" (for consistency) / Added "of" for clarity of meaning

2023-02-22T19:56:40Z

Text replacement - "Love-Story" to "Love Story" (for consistency) / Added "of" for clarity of meaning

← Older revision		Revision as of 21:56, 22 February 2023
Line 1:		Line 1:
	{{picture\|file=George_Eliot.jpg\|caption='''"George Eliot"''' (Mary Ann Evans, 1819-1880), painted aged 30 by Alexandre-Louis-François d'Albert-Durade (1804-1886)}}		{{picture\|file=George_Eliot.jpg\|caption='''"George Eliot"''' (Mary Ann Evans, 1819-1880), painted aged 30 by Alexandre-Louis-François d'Albert-Durade (1804-1886)}}
	In 1893 Tchaikovsky considered writing operas based on two of the stories from the collection ''Scenes of Clerical Life'' (1857) by the English writer Mary Ann Evans (1819-1880), published under her literary pseudonym of "[[George Eliot]]". The second of these subjects was '''''Mr Gilfil's Love-Story''''' (Любовь Мистера Гильфиля) ([[TH]] 245 ; [[ČW]] 464) <ref name="note1"/>.		In 1893, Tchaikovsky considered writing operas based on two of the stories from the collection ''Scenes of Clerical Life'' (1857) by the English writer Mary Ann Evans (1819-1880), published under her literary pseudonym of "[[George Eliot]]". The second of these subjects was '''''Mr Gilfil's Love Story''''' (Любовь Мистера Гильфиля) ([[TH]] 245 ; [[ČW]] 464) <ref name="note1"/>.

	[[Modest Tchaikovsky]] recalled that after first considering ''[[The Sad Fortunes of the Reverend Amos Barton]]'' (the first story in the trilogy) as an opera subject, the composer changed his mind in favour ''Mr Gilfil's Love-Story'' <ref name="note2"/>. [[Herman Laroche]] also remembered that "During the current summer [of 1893], amongst other things, he had read a French translation of the ''Scenes of Clerical Life'' by [[George Eliot]], for whose novels, beginning with ''The Mill on the Floss'', he had an extremely strong affection during the last years of his life. Among the stories which make up this book was ''Mr Gilfil's Love-Story'', the action of which takes place in the eighteenth century, and whose pathos particularly captivated him. He found that this subject 'should be well-suited for writing an opera'" <ref name="note3"/>.		[[Modest Tchaikovsky]] recalled that after first considering ''[[The Sad Fortunes of the Reverend Amos Barton]]'' (the first story in the trilogy) as an opera subject, the composer changed his mind in favour of ''Mr Gilfil's Love Story'' <ref name="note2"/>. [[Herman Laroche]] also remembered that "During the current summer [of 1893], amongst other things, he had read a French translation of the ''Scenes of Clerical Life'' by [[George Eliot]], for whose novels, beginning with ''The Mill on the Floss'', he had an extremely strong affection during the last years of his life. Among the stories which make up this book was ''Mr Gilfil's Love-Story'', the action of which takes place in the eighteenth century, and whose pathos particularly captivated him. He found that this subject 'should be well-suited for writing an opera'" <ref name="note3"/>.

	After Tchaikovsky's death, a brief scenario for Acts II and III of an opera on ''Mr Gilfil's Love-Story'' was discovered amongst his papers <ref name="note4"/>:		After Tchaikovsky's death, a brief scenario for Acts II and III of an opera on ''Mr Gilfil's Love-Story'' was discovered amongst his papers <ref name="note4"/>:

Brett: 1 revision imported

2022-07-12T11:19:50Z

1 revision imported

← Older revision	Revision as of 13:19, 12 July 2022
(No difference)

Brett: Text replacement - "Modest Tchaikovsky, {{bib|1902/25" to "{{bib|1902/25"

2019-02-17T20:25:36Z

Text replacement - "Modest Tchaikovsky, {{bib|1902/25" to "{{bib|1902/25"

New page

{{picture|file=George_Eliot.jpg|caption='''"George Eliot"''' (Mary Ann Evans, 1819-1880), painted aged 30 by Alexandre-Louis-François d'Albert-Durade (1804-1886)}}
In 1893 Tchaikovsky considered writing operas based on two of the stories from the collection ''Scenes of Clerical Life'' (1857) by the English writer Mary Ann Evans (1819-1880), published under her literary pseudonym of "[[George Eliot]]". The second of these subjects was '''''Mr Gilfil's Love-Story''''' (Любовь Мистера Гильфиля) ([[TH]] 245 ; [[ČW]] 464) <ref name="note1"/>.

[[Modest Tchaikovsky]] recalled that after first considering ''[[The Sad Fortunes of the Reverend Amos Barton]]'' (the first story in the trilogy) as an opera subject, the composer changed his mind in favour ''Mr Gilfil's Love-Story'' <ref name="note2"/>. [[Herman Laroche]] also remembered that "During the current summer [of 1893], amongst other things, he had read a French translation of the ''Scenes of Clerical Life'' by [[George Eliot]], for whose novels, beginning with ''The Mill on the Floss'', he had an extremely strong affection during the last years of his life. Among the stories which make up this book was ''Mr Gilfil's Love-Story'', the action of which takes place in the eighteenth century, and whose pathos particularly captivated him. He found that this subject 'should be well-suited for writing an opera'" <ref name="note3"/>.

After Tchaikovsky's death, a brief scenario for Acts II and III of an opera on ''Mr Gilfil's Love-Story'' was discovered amongst his papers <ref name="note4"/>:
{{quote|''Act II, Scene 1'' — various scenes: 1) between the Captain and his fiancée; 2) between Tina and the Captain; 3) between Tina, the fiancée, the Captain and Gilfil, out of which is explained their relationships to each other, Tina's jealousy, the fiancée's jealousy, the truth of the captain's situation, everyone's worsening health, Tina's rudeness, the challenge of her explanation from the Lord, her decision to leave him for ''Gilfil'', Gilfil's suffering and jealousy, etc. All of this should take place in the park.}}
{{quote|''Scene 2'' — Evening in the large hall of the castle. Tina is asked to sing. She sings the second aria from the first act, but so enchantingly that all are amazed (something similar to ''Adrienne Lecouvreur''), and the Captain is seized and unexpectedly picks up a dagger and leaps at her, but just in time she runs. The Captain lets out a cry, and dies. General terror and despair. Tina falls in a faint.}}
{{quote|''Act III'' — Tina is taking refuge at Dorcas's house, in a miserable state. Gilfil appears, happy to have found her, and commiserates with her situation. His attempts to talk with her are unsuccessful. Gilfil, after his earlier short scenes, explains how everything has come about, a tortured reminder of her ''first'' aria. She listens and begins to sing and then cries, taking hold of herself, and all ends almost happily, but with a hint of melancholy. She does not become engaged to Gilfil, but leaves him with the hope that she will love him. <ref name="note5"/>.}}

No other documents relating to the opera have come to light.

==External Links==
* [[wikipedia:Scenes_of_Clerical_Life#.22Mr._Gilfil.27s_Love_Story.22|Wikipedia]]
* [[wikisource:cenes_of_Clerical_Life|Wikisource]] (complete text)

==Notes and References==
<references>
<ref name="note1">As "Mr. Gilfil's Lovestory" in [[ČW]].</ref>
<ref name="note2">See {{bib|1902/25|Жизнь Петра Ильича Чайковского ; том 3}} (1902), p. 633.</ref>
<ref name="note3">[[Herman Laroche]], {{bib|1893/34|Несколько слов о Петре Ильиче Чайковском}} (1893).</ref>
<ref name="note4">[[Klin]] House-Museum Archive (a{{sup|2}}, No. 29.</ref>
<ref name="note5">Quoted from {{bib|2002/22|The Tchaikovsky Handbook, vol. 1}} (2002), p. 421.</ref>
</references>
[[Category:Projected Works]]
[[Category:Operas]]