Notre-Dame de Paris adaptations

Discussion of musicals other than Les Misérables.
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Roses for Ophelia
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Re: NDdP Musicals

Postby Roses for Ophelia » Sat Aug 14, 2010 9:03 pm

Ah, that explains it! I figured it was something like that. I wish i had the original French, but i can't FIND the french version. I guess i'll have to order it online. I don't like doing that, though. it feels like cheating. I like the thrill of the hunt too much to order many things online!
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Re: NDdP Musicals

Postby silverwhistle » Sat Aug 14, 2010 11:26 pm

Roses for Ophelia wrote:Ah, that explains it! I figured it was something like that. I wish i had the original French, but i can't FIND the french version. I guess i'll have to order it online. I don't like doing that, though. it feels like cheating. I like the thrill of the hunt too much to order many things online!

I got it on eBay. It comes with an illustrated book of the libretto.
- Entends-tu? je t'aime! cria-t-il encore.
- Quel amour! dit la malheureuse en frémissant.
Il reprit: - L'amour d'un damné.

Victor Hugo, Notre Dame de Paris

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Re: NDdP operas

Postby silverwhistle » Sun Aug 15, 2010 12:17 am

I've now got the Dargomyzhskii opera. According to the sleeve notes (which don't even give track titles!) it re-uses Victor's libretto from the Bertin opera.
- Entends-tu? je t'aime! cria-t-il encore.
- Quel amour! dit la malheureuse en frémissant.
Il reprit: - L'amour d'un damné.

Victor Hugo, Notre Dame de Paris

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9430
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Re: NDdP Musicals

Postby 9430 » Sun Aug 15, 2010 6:34 pm

Roses for Ophelia, it's quite hard to find still in print, but it is available online if you look.

Silverwhistle, are you familiar with the musical Quasimodo: Prince of Fools? I'm listening to it at the moment, and it is interesting.
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silverwhistle
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Re: NDdP Musicals

Postby silverwhistle » Sun Aug 15, 2010 6:58 pm

9430 wrote:Silverwhistle, are you familiar with the musical Quasimodo: Prince of Fools? I'm listening to it at the moment, and it is interesting.

I haven't heard of this one. Who are the composers?
I'm a bit worried by the title, because it suggests it's knocked the story off balance.
- Entends-tu? je t'aime! cria-t-il encore.
- Quel amour! dit la malheureuse en frémissant.
Il reprit: - L'amour d'un damné.

Victor Hugo, Notre Dame de Paris

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Re: NDdP Musicals

Postby 9430 » Mon Aug 16, 2010 12:13 am

The most information I can find about it is here: http://www.musicalheaven.com/Detailed/144.html. It's basically a concept album from 1996 and the story is condensed and slightly altered plotwise, with some songs added because it is a musical, but it includes the recluse. I'm having trouble working out who sings some of the songs, but I think that Frollo has the biggest role, followed by Pierre and Esmeralda, then Quasimodo. Doesn't include Fleur-de-Lys (I think), and Phoebus' role is quite small (I can't tell whether he actually appears after his 'murder', as I'm not quite sure what's going on after the guards confront the recluse and before the hanging; I think they might just enter her cell rather than Esme giving the game away.) There isn't really any confrontation between Frollo and Esme as far as I remember, but he does have an interesting moral dilemma song before the trial where he considers poisoning himself for what he has done. I think some stuff would have been without song, as there are a couple of gaps in the story, but I guess it never made it to a full musical.

It's hanging around on various upload sites, since it is also out of print.
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Re: NDdP Musicals

Postby silverwhistle » Mon Aug 16, 2010 1:57 pm

9430 wrote:The most information I can find about it is here: http://www.musicalheaven.com/Detailed/144.html. It's basically a concept album from 1996 and the story is condensed and slightly altered plotwise, with some songs added because it is a musical, but it includes the recluse. I'm having trouble working out who sings some of the songs, but I think that Frollo has the biggest role, followed by Pierre and Esmeralda, then Quasimodo. Doesn't include Fleur-de-Lys (I think), and Phoebus' role is quite small (I can't tell whether he actually appears after his 'murder', as I'm not quite sure what's going on after the guards confront the recluse and before the hanging; I think they might just enter her cell rather than Esme giving the game away.) There isn't really any confrontation between Frollo and Esme as far as I remember, but he does have an interesting moral dilemma song before the trial where he considers poisoning himself for what he has done. I think some stuff would have been without song, as there are a couple of gaps in the story, but I guess it never made it to a full musical.
It's hanging around on various upload sites, since it is also out of print.

That sounds more like it. I do worry when adaptations use a Quasimodo-centric title, because he is only a supporting character, and not a very interesting one, at that! I've found it orderable online from Mr Rapp's own site.

(Still can't get used to folk calling Claude by his surname, though! And when did people start calling Esméralda/Agnès 'Esme'?)

In the book, Claude tries to stab himself and just makes a nasty mess of his chest. A lot of his bouts of fever and delirium later on are very likely because of infection, as it's made clear he isn't looking after the injuries properly: they're in a bad state when he tears his cassock open to show them to Esméralda in prison. (A scene we never, ever get in any adaptation… Grrr!)
- Entends-tu? je t'aime! cria-t-il encore.
- Quel amour! dit la malheureuse en frémissant.
Il reprit: - L'amour d'un damné.

Victor Hugo, Notre Dame de Paris

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Schmidt's 'Notre Dame'

Postby silverwhistle » Mon Aug 16, 2010 2:48 pm

Schmidt's Notre Dame opera has recently been performed in Dresden. It appears to be a very weird, modernised production: Esméralda is a platinum blonde who ends up being sent to the electric chair in an orange jumpsuit, and Quasimodo is an old man. On the other hand, I rather like the look of Markus Butter as Claude
- Entends-tu? je t'aime! cria-t-il encore.
- Quel amour! dit la malheureuse en frémissant.
Il reprit: - L'amour d'un damné.

Victor Hugo, Notre Dame de Paris

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Re: NDdP Musicals

Postby 9430 » Mon Aug 16, 2010 4:38 pm

silverwhistle wrote:(Still can't get used to folk calling Claude by his surname, though! And when did people start calling Esméralda/Agnès 'Esme'?)


Frollo is easier to type than Claude! I'm a 6 fingered typist so am lazy as anythng when it comes to writing names. Hence I will often use nicknames if easier to type: 'Ferre, R, Esme, JVJ.
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Re: NDdP Musicals

Postby silverwhistle » Mon Aug 16, 2010 6:27 pm

9430 wrote:Frollo is easier to type than Claude! I'm a 6 fingered typist so am lazy as anythng when it comes to writing names. Hence I will often use nicknames if easier to type: 'Ferre, R, Esme, JVJ.

I've come across other people doing it, though: seems to be a trend. And I've encountered some people say it's because they can't think of Claude in a familiar way. (Whereas some of us think of him in an excessively familiar way… :wink: )

R is canon, of course! (And I love the pun!)
- Entends-tu? je t'aime! cria-t-il encore.
- Quel amour! dit la malheureuse en frémissant.
Il reprit: - L'amour d'un damné.

Victor Hugo, Notre Dame de Paris

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Re: NDdP operas

Postby MmeBahorel » Mon Aug 16, 2010 6:27 pm

I was going to say "well, it's opera, and I'm both surprised and not that Mariusz Trelinski's name is nowhere near this", but wow, Markus Butter is hot in precisely the right way for Claude.
What kind of literature and what kind of life is the same question. - Tom Stoppard

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Re: NDdP operas

Postby silverwhistle » Mon Aug 16, 2010 6:34 pm

MmeBahorel wrote:I was going to say "well, it's opera, and I'm both surprised and not that Mariusz Trelinski's name is nowhere near this", but wow, Markus Butter is hot in precisely the right way for Claude.

He is indeed, and curious minds want to know whether he does the entirely-textually-justified chest-baring cassock-ripping in this version… (I was deeply disappointed that Laurent Hilaire – absolutely gorgeous, about the right age, and with razor-blade cheekbones and deep, dark eyes – didn't in the ballet.) :twisted:

Here's a review of the production in English and a video clip from the opera company site (and here's the English-language narrated clip).

Edited to add: And yes! The Archdeacon does get his kit off!
- Entends-tu? je t'aime! cria-t-il encore.
- Quel amour! dit la malheureuse en frémissant.
Il reprit: - L'amour d'un damné.

Victor Hugo, Notre Dame de Paris

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Re: Notre-Dame de Paris adaptations

Postby silverwhistle » Tue Aug 17, 2010 10:12 pm

Thanks to our webmistress for rationalising the threads here! I didn't know how best to do it!
- Entends-tu? je t'aime! cria-t-il encore.
- Quel amour! dit la malheureuse en frémissant.
Il reprit: - L'amour d'un damné.

Victor Hugo, Notre Dame de Paris

Chanvrerie
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Re: Notre-Dame de Paris adaptations

Postby Chanvrerie » Wed Aug 18, 2010 5:15 am

Great works! Do Gringoire really stabs Phoebus?! Oh my... I don't know what to say. Poor Phoebus lol. (By any chance they are rivals in love?)

I have read a certain book about French musical some years ago. As I remember the book said cutting costs made the staging abstract in NDdP. Maybe this was... so a realistic reason or...

I have been a fan of NDdP Musical by Plamondon/Cocciante. But I don't like Vivre, either. I absolutely agree with your saying "It seems out of place.".

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Re: Notre-Dame de Paris adaptations

Postby silverwhistle » Wed Aug 18, 2010 10:01 am

Chanvrerie wrote:Great works! Do Gringoire really stabs Phoebus?! Oh my... I don't know what to say. Poor Phoebus lol. (By any chance they are rivals in love?)

Yes. According to the booklet in my CD copy, Schmidt and Wilk's libretto has Esméralda "half-heartedly" agree to a date with Phœbus, to get away from Claude's attentions, unaware that her husband Pierre is watching. Pierre follows her to La Falourdel's, and stabs Phœbus after the Esméralda/Phœbus love duet, and then throws himelf from the window into the river. Then Claude ("torn between his priestly duty and his love for her") visits Esméralda in prison, intending to help her escape. However, when he sees her regain her will to live and fall into his arms only when he tells her Phœbus is still alive, he can't deal with his emotions, and convinces himself she has bewitched him and must die. Then, there's the usual execution/rescue scene; Esméralda in sanctuary; Quasimodo plans to run away with her, but Claude says the king has revoked the right of sanctuary, and the crowd now cheers for her execution. Quasimodo confronts Claude about his feelings for Esméralda before killing him.

I have read a certain book about French musical some years ago. As I remember the book said cutting costs made the staging abstract in NDdP. Maybe this was... so a realistic reason or...

That would be plausible. The scale of the show is such that they may well not have been able to afford it.
I have been a fan of NDdP Musical by Plamondon/Cocciante. But I don't like Vivre, either. I absolutely agree with your saying "It seems out of place.".

Yup. It's just the wrong style of song for that point in the narrative.
- Entends-tu? je t'aime! cria-t-il encore.
- Quel amour! dit la malheureuse en frémissant.
Il reprit: - L'amour d'un damné.

Victor Hugo, Notre Dame de Paris


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