Namouna (Lalo ballet)

Namouna is a ballet in two acts and three scenes, with music by Edouard Lalo, choreographed by Lucien Petipa and premiered in Paris in 1882.

[2] The basis of the ballet's scenario, by Charles Nuitter and Lucien Petipa are part of Casanova's Mémoires de Jacques Casanova[3] (the two-act opera by Bizet to a libretto by Louis Gallet, originally to be entitled Namouna begun in 1871 was based on the work of the same name by Musset, but which was changed to Djamileh.

[4]) By the time of the commission from the Opéra, Lalo had been labelled as a symphonist due to his experience as a chamber music viola player and the majority of works he had completed up to then.

Vaucorbeil, director of the Opéra, gave him a scenario for a ballet adapted by Blaze de Bury from the Mémoires of Casanova, leaving him little time for the composition.

[7] The ballet was first seen at the Théâtre de l'Opéra, Paris, on 6 March 1882 on a bill following a performance of Le Comte Ory.

[8] In 1886 the premiere production of Messager's Les Deux Pigeons re-used stage designs and sets from Namouna.

[9] A revival with new choreography by Léo Staats happened at the Opéra in 1908, and his version was revised by Albert Aveline for a production in 1935.

Ali, thinking of business, asks Ottavio to stay and refresh himself, and the Count follows the dealer as Namouna takes her veil away, revealing herself.

She then orders that gold and jewels be brought, and buys all the slaves; her former companions remove their veils and dance then, at her request, leave.

Ottavio realizes that Namouna brought him to the island out of affection and women return offering flowers to the happy pair.

Adriani realizes what has happened; he draws his pistol on Ottavio, but Andriquès stabs the chief with her dagger, and the pirates look on, horrified.

Musical highlights of the score include the shimmering orchestral texture of the Prélude, the "markedly Spanish" Sérénade with its hints of guitars and with loud outbursts, exotic Danses marocaines, and a slow mazurka.

Cooper found Namouna is rhythmically rather monotonous but praised its orchestration, which seemed to him to recall Bizet "in its lightness, its aptness and colouring".