La Haine (drama)

Jacques Offenbach, director of the theatre, composed extensive incidental music for chorus and orchestra to accompany the play.

Offenbach had composed songs and incidental music for eleven classical and modern dramas for the Comédie Française in the early 1850s, gaining valuable experience in writing for the theatre.

[1] Sardou and Offenbach created their first joint work in 1872 with the opéra-bouffe-féerie Le Roi Carotte, which ran for 195 performances,[2] and this encouraged the two to renew their collaboration.

To follow a revival of Orphée aux Enfers on 7 February, he decided to mount Sardou's drame using the under-used theatrical troupe at the theatre.

[3] Orphée aux Enfers closed on the 18 November to allow the rehearsals for La Haine to start, directed by Sardou himself who did not spare his efforts.

Le Figaro reported that "Sardou is the most meticulous director in the world" and that he "places particular importance on the extras being actively involved as much as any of the actors.

[5] The premiere was announced for the 29 November, but was postponed on the day itself, due to the flu epidemic in the capital which indisposed two principal actors, Lafontaine et Clément Just.

First of all it was postponed until 30 November but only took place on Thursday 3 December,[6] but as the actors had not completely recovered, Sardou cut the final scene.

Francisque Sarcey noted "It is only right to recognize that, of the décors, several are masterpieces of exquisite taste; the cathedral dome is a marvel of lightness and grave; the inside of the church is superb.

:[9] "The war-cries of the soldiers, the moans of the terrified women, the clanking of armour, the booming of guns, the conquerors' entrance in the city, the sacking of the palace, all was of an exact and admirable motion.

"[8] For Auguste Vitu the play evoked painful memories of 1870 : "Streets full of bodies, palaces in flames, the homeland forsaken in the presence of the dumbfounded foreigner, and as if scandalized by so many distractions, such are the unforgettable sights which our consciousness is still soured, and of which our hearts still bleed.

"[11] While receipts came to around 8,000 francs per performance in mid-December,[12] they fell to around 5,000 francs during the second fortnight[13] On 28 December Le Figaro printed a letter from Sardou requesting that Offenbach recall his piece from the stage; Offenbach replied that as the public prefer lively art he would bring back Orphée.

A modern performance with reduced text but complete score took place on 19 July 2009 at the Festival de Radio France et Montpellier Languedoc Roussillon, with Fanny Ardant and Gérard Depardieu playing Cordelia and Orso.

Jean-Christophe Keck, responsible for the 2009 critical edition,[18] commented that "Offenbach composed a rich score of 30 numbers.

The first sketches were noted down while travelling in his barouche where he had set up a work-table - the manuscripts bear witness to the jumping pen as it rode over Parisian cobbles.

» Orso give orders for an assault, the gate rises and he enters the Saracini palace bent on vengeance.

Cordelia comes back, alive, but tells her brothers Ercole and Giugurta, as well as her nurse, that she has been raped by a man of whom all she can remember is the voice.

At the point of coming to blows, the Bishop Azzolino steps forward and upbraids them : « Siennois, is this what you call a truce for the Virgin ?

» They defer in the face of the threat; Orso only speaking a word but it is enough for Cordelia to recognize as she follows the men into the church.

A horrific explanation finally reveals the truth to Uberta, but Cordelia asks for mercy in the name of Andreino who would have condemned this bloody sacrifice.

After proud protests, Cordelia faints on the altar steps, and he takes advantage to make her swallow poison.