Hamlet (Thomas)

Hamlet is a grand opera in five acts of 1868 by the French composer Ambroise Thomas, with a libretto by Michel Carré and Jules Barbier based on a French adaptation by Alexandre Dumas, père, and Paul Meurice of William Shakespeare's play Hamlet.

The Parisian public's fascination with Ophelia, prototype of the femme fragile, began in the fall of 1827, when an English company directed by William Abbot came to Paris to give a season of Shakespeare in English at the Odéon. On 11 September 1827 the Irish actress Harriet Smithson played the part of Ophelia in Hamlet.

Her mad scene appeared to owe little to tradition and seemed almost like an improvisation, with several contemporary accounts remarking on her astonishing capacity for mime. Her performances produced an extraordinary reaction: men wept openly in the theater, and when they left were "convulsed by uncontrollable emotion." The twenty-five-year-old Alexandre Dumas, père, who was about to embark on a major career as a novelist and dramatist, was in the audience and found the performance revelatory, "far surpassing all my expectations". The French composer Hector Berlioz was also present at that opening night performance and later wrote: "The lightning flash of that sublime discovery opened before me at a stroke the whole heaven of art, illuminating it to its remotest depths. I recognized the meaning of dramatic grandeur, beauty, truth." Even the wife of the English ambassador, Lady Granville, felt compelled to report that the Parisians "roar over Miss Smithson's Ophelia, and strange to say so did I". (The actress's Irish accent and the lack of power in her voice had hindered her success in London.) It wasn't long before new clothing and hair styles, à la mode d'Ophélie and modeled on those of the actress, became all the rage in Paris.

Not everything about the performance or the play was considered convincing. The supporting players were conceded to be weak. The large number of corpses on the stage in the final scene was found by many to be laughable. But Hamlet's interaction with the ghost of his father, the play-within-the-play, Hamlet's conflict with his mother, Ophelia's mad scene, and the scene with the gravediggers were all found to be amazing and powerful. The moment in the Play Scene when Claudius rises up and interrupts the proceedings, then rushes from the stage, provoked a long and enthusiastic ovation. The journal Pandore wrote about "that English candour which allows everything to be expressed and everything to be depicted, and for which nothing in nature is unworthy of imitation by drama". Dumas felt the play and the performances provided him "what I was searching for, what I lacked, what I had to find – actors forgetting they were on stage [...] actual speech and gesture such as made actors creatures of God, with their own virtues, passions and weaknesses, not wooden, impossible heroes booming sonorous platitudes".

The composer Berlioz was soon totally infatuated with Miss Smithson. His love for her, initially unrequited, became an obsession and served as inspiration for his music. His Symphonie fantastique (Fantastic Symphony, 1830) portrays an opium-induced vision in which the musician's beloved appears as a recurrent musical motif, the idée fixe, which like any obsession "finds its way into every incredible situation [movement]". The Fantastic Symphony's sequel Lélio, ou Le retour à la vie (Lélio, or the Return to Life, 1831) contained a song Le pêcheur ("The Fisherman"), a setting of Goethe's ballad Der Fischer, the music of which included a quotation of the idée fixe that is associated with a siren who draws the hero to a watery grave. His Tristia, Op. 18, written in the 1830s although not published until 1852, included "La mort d'Ophélie" ("The death of Ophelia"), a setting of a ballade by Ernest Legouvé, the text of which is a free adaptation of Gertrude's monologue in act 4, scene 7. Berlioz married Smithson in 1833, although their relationship ultimately fell apart.

Although Harriet Smithson's stardom faded within a year and a half of her debut there, the Parisian fascination with the character of Ophelia continued unabated. Besides in music, it also manifested itself in art. Auguste Préault's relief Ophélie (1844) depicted a young woman wading into water with her hair let down and swirling in the current.

By the early 1840s Alexandre Dumas, who had become a personal friend of Berlioz and Smithson, had achieved international fame with his historical novels and dramas. With the heightened interest in Shakespeare, and in particular Hamlet, that had been aroused by Smithson's performances at the Odéon, he decided to prepare a new French translation of the play to be presented at his Théâtre Historique. An earlier verse translation of Hamlet into French by Jean-François Ducis, first performed in 1769, was still being given at the Comédie-Française, and Dumas knew the leading role by heart. The Ducis play bore very little resemblance to the Shakespeare original. There were far fewer characters: no ghost, no Rosencrantz and Guildenstern, no players, no gravediggers. There was no duel, and Hamlet did not die at the end. Modifications such as these were necessary to gain performances in the French theaters of his time. Ducis had told the English actor-impresario David Garrick that a ghost which speaks, itinerant players, and a fencing duel were "absolutely inadmissible" on the French stage. Dumas realized that Ducis' play was not the same as the original: Pierre Le Tourneur had published a relatively faithful prose translation, not intended for performance, in 1779. Nevertheless, moral propriety and politesse dictated that only such highly sanitized versions as that of Ducis could be performed on stage. The French referred to these performing editions as imitations, and most knew that they were highly modified versions of the original. All the same, Ducis was at first accused of polluting French theaters with Shakespeare; only much later was he indicted for mutilating the original.

Dumas could not speak or read English well. He needed help, so he selected a younger writer by the name of Paul Meurice from among his coterie of protégés and assistants. Meurice had earlier collaborated with Auguste Vacquerie on Falstaff, a combination of Parts I and II of Shakespeare's Henry IV, which had been presented at the Odéon in 1842. The Dumas-Meurice Hamlet was performed at Dumas' Théâtre Historique in 1847 and had an enormous success. (With some alterations the Comédie-Française took it into repertory in 1886, and it continued to be performed in France until the middle of the 20th century.)