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Autograph letter signed « Georges Bizet » to Philippe Gille
N.p.n.d. [Paris, late 1864], 3 pp. in-8° with envelope
« My orchestration of Ivan is nearly complete, and now it is time to finish La Prêtresse »
Autograph letter signed « Georges Bizet » to Philippe Gille
N.p.n.d. [Paris, late 1864], 3 pp. in-8° in brown ink on laid paper
Very light, scattered freckles; a word crossed out by Bizet
Autograph envelope included, stamped and postmarked
Confronted with financial difficulties, Bizet manages his various opera compositions
« Je vous demande pardon cher ami de l’ennui que je vous donne – malgré cela je vous supplie de ne pas abandonner la partie. Je suis fort embêté !…
Si au lieu de 3000 vous trouvez 1500, cela me permettra peut-être d’avancer Ivan [Ivan IV] c’est à dire mars.
Quant à Benazet [Paul-Antoine Bénazet, propriétaire du casino de Baden Baden] il faudrait savoir si nous sommes ses débiteurs ou ses créanciers.
Que faisons-nous de la Prêtresse – je voudrais causer avec vous.
Quel jour pourrons-nous vous tirer les pattes jusqu’à mon domicile – ou quand vous trouverai-je chez vous. –
Mon orchestration d’Ivan est presque terminée et voilà le moment de finir La Prêtresse.
A bientôt je l’espère
Écrivez moi un mot et envoyez moi un rendez vous
Georges Bizet »
*”The libretto of Ivan IV, originally offered to Charles Gounod in 1856, was never performed. Encouraged by Gounod, Bizet began working on the same libretto around 1862, with the ambition of staging it at the Théâtre Lyrique and later at the Paris Opera, but without success. The project was ultimately abandoned by Bizet in favor of La jolie fille de Perth. According to Winton Dean, the surviving manuscript may correspond to an earlier version intended for a Baden festival around 1862–1863, preceding Les Pêcheurs de perles, as several motifs from Ivan IV were later reused in that opera, reflecting a stage-writing style still in development.
An opera librettist and journalist for Le Figaro, Philippe Gille is known for having collaborated with the most prominent composers of the second half of the nineteenth century. La Prêtresse, a one-act operetta composed in the autumn of 1864 (and left unfinished), is the product of their first collaboration.
Provenance:
Bertrand Loevenbruck‘s estate
Unpublished letter