Nina was Dalayrac's first collaboration with Marsollier des Vivetières, who would go on to write many more librettos for him, including Les deux petits savoyards. Revived by the Opéra-Comique at the Salle Feydeau in July 1802, Nina was a popular success, which it remained until receiving its last performance by the company in 1852.[1][2] It was also performed in translation in London and Hamburg in 1787 and in Italy in 1788.[3][4]
Its most famous aria,『Quand le bien-aimé reviendra』("When my sweetheart returns to me"), is mentioned by Hector Berlioz in his Memoirs as his "first musical experience" (he heard an adaptation of the melody sung during his First Communion).[5][6]
In 1813 Dalayrac's score for Nina was adapted as a ballet by Louis Milon and Louis-Luc Loiseau de Persuis with Émilie Bigottini in the title role. In the ballet version,『Quand le bien-aimé reviendra』is played as a solo for cor anglais. It was at one of the early performances of this ballet that Berlioz remembered the melody he had heard in his childhood.[5]
Giovanni Paisiello had also set the libretto in an Italian version adapted by Giambattista Lorenzi. Paisiello's Nina, which premiered in 1789 is still performed today, while Dalayrac's has fallen into obscurity.
Nina is in love with Germeuil but her father, Count Lindoro, favours another suitor. Germeuil and his rival fight a duel. Nina believes that Germeuil has been killed and goes mad, forgetting aspects of the traumatic incident in a manner consistent with a diagnosis of psychogenic amnesia.[11] She only regains her reason when Germeuil reappears unharmed and her father finally allows him to marry her.
Although there are no full-length recordings of Nina, its most famous aria, "Quand le bien-aimé reviendra", can be heard on Serate Musicali (Joan Sutherland (soprano), Richard Bonynge (piano), Decca, 2006)
The opera is referenced by name and synopsis in Episode 5, Season 4 of the science fiction series Stranger Things. Incongruously, this reference is accompanied by the playing of an aria, Il mio ben quando verrà (When my beloved comes), from Giovanni Paisiello's opera of parallel name, year, and subject.
^Bampton Classical Opera (1999). It was also performed in Russia in french in 1780s (on the scenes of the private theatres of S.-Petersbourg and Moscow) and in 1797 in translation on the scenes of the Gatchina and Petersbourg Imperial theatres.Programme Notes for Giovanni Paisiello: Nina
^Cast list from the original libretto, excepting the performer of the Count, whose name has been drawn from this subsequent libretto: Nina, Ou La Folle Par Amour : Comédie En Un Acte, En Prose, Mêlée D'Ariettes , Paris, Peytieux, 1789 (accessible for free online at Bayerischen StaatsBibliothek digital).
^ abAccording to David Charlton the roles of the Count and Germeuil are baritone parts. In fact, both are notated in the tenor clef in the original printed score.
^Sources will refer to this singer stating simply his surname 'Narbonne'. Campardon does not report any first name, either, in his work on the 'comédiens italiens' cited below (article: Narbonne, II, p. 29), whereas the name 'Pierre-Marie' is set forth in his later book on the Académie Royale de Musique, where Narbonne began his career (L'Académie Royale de Musique au XVIIIe siècle, Paris, Berger-Levrault, 1884, II, p. 193). The name 'Louis' is given instead by Georges de Froidcourt in his collection of Grétry's correspondence (La correspondance générale de Grétry, Bruxelles, Brepols, 1962, p. 145, footnote 8).
^There were another two sisters Renaud, Rose, called 'l'Ainée' (the elder), and Sophie, called 'la jeune' (the youngest), acting at the Comédie Italienne towards the end of the eighties (Campardon, article Renaud (Mlles), II, pp. 78-82).
^Goldsmith, R.E., Cheit, R.E., and Wood, M.E. (2009) Evidence of Dissociative Amnesia in Science and Literature: Culture-Bound Approaches to Trauma in Pope, Poliakoff, Parker, Boynes, and Hudson (2007). Journal of Trauma & Dissociation, Volume 10, Issue 3 July 2009, pp. 237 - 253, doi:10.1080/15299730902956572
Sources
Original libretto: Nina, ou la Folle par amour, Comédie en un acte, en prose, mêlée d'ariettes, Paris, Brunet, 1786 (accessible for free online as a Google ebook-gratis)
Original printed score: Nina, ou la Folle par amour, Comédie en un acte, en prose, Paris, Le Duc, s.d. (accessible for free on-line at Internet Archives)
The Viking Opera Guide ed. Holden (Viking, 1993)
Campardon, Émile (ed), Les Comédiens du roi de la troupe italienne pendant les deux derniers siècles: documents inédits recueillis aux Archives Nationales, Paris, Berger-Levrault, 1880 (accessible for free online at Internet Archive: Volume I (A-L); Volume II (M-Z))
