Cyrano de Bergerac by Edmond Rostand, Évelyne Amon

By Edmond Rostand, Évelyne Amon

Cyrano de Bergerac est un mousquetaire, capitaine de los angeles compagnie des Cadets de Gascogne, malheureusement affublé d'un trop lengthy nez. Il aime en mystery sa cousine Roxane. Mais celle-ci lui demande de protéger un autre mousquetaire des Cadets de Gascogne, le beau Christian, dont elle est amoureuse. Cyrano, par amour pour elle et par amitié pour lui, accepte de favoriser leur liaison. Il va vivre son amour par procuration en aidant Christian à épouser Roxane, sur fond d''une épopée de cape et d'épée, en pleine guerre d'Espagne.

Rostand a signé avec cette comédie héroïque un chef-d'oeuvre de los angeles littérature universelle.

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Treated to an impeccable meal, in sumptuous surroundings, McCaull agreed to produce the show, although not without asking for certain financial guarantees. As Mrs. de Koven recalls in her memoir: My husband had vainly sought for a manager, when one day Colonel McCaull visited Chicago and came to my father’s house at my husband’s invitation. His leading actress and singer, the very brilliant Austrian called Mathilde Cottrelly, told me that after my doubtless naïve and probably amusing plea to him “to please put on my husbands opera, even if we did not really need to have him do it,” he said: “I believe I will put on the opera.

S. Gilbert was openly acknowledged, the reviewer pointed out that The Begum was not a slavish imitation of the Englishman’s work, but simply reminiscent of his style, and predicted that Smith would have an “exceedingly promising” future. The Spirit of the Times (November 26, 1887), likewise noting the parallels to Gilbert and Sullivan, complained that the performances of the low comics, De Wolf Hopper, Digby Bell, Jefferson de Angelis (Jhust-Naut, the Court Jester), and Harry MacDonough (Asch-Kahrt, an Officer in the Royal Household), robbed the script of a crispness and clarity: On its merits, played as the author and composer intended, with its amusing little story and its jingling transcriptions of popular melodies, there would be a chance of success for The Begum.

De Koven recalls in her memoir: My husband had vainly sought for a manager, when one day Colonel McCaull visited Chicago and came to my father’s house at my husband’s invitation. His leading actress and singer, the very brilliant Austrian called Mathilde Cottrelly, told me that after my doubtless naïve and probably amusing plea to him “to please put on my husbands opera, even if we did not really need to have him do it,” he said: “I believe I will put on the opera. ” However this unusual plea might have evoked his fancy, he was not fanciful enough to forego a guaranty [sic] for part of the production, which fortunately we were able to furnish.

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