Claud Debussy - Le Martyre de Saint Sébastien

Le Martyre de saint Sébastien is a five-act musical mystery play on the subject of Saint Sebastian, with a text written in 1911 by the Italian author Gabriele D’Annunzio and incidental music by the French composer Claude Debussy The work was produced in collaboration between Gabriele D’Annunzio (at that time living in France to escape his creditors) and Claude Debussy, and designed as a vehicle for Ida Rubinstein. Debussy’s contribution was a large-scale score of incidental music for orchestra and chorus, with solo vocal parts (for a soprano and two altos). Debussy accepted the commission in February 1911. Some of the material was orchestrated by André Caplet. During auditions for the female semi-chorus, the chorus director Désiré-Émile Inghelbrecht suggested, on hearing Ninon Vallin, that she take over the role of the celestial voice. As Rose Féart (who had been engaged) was absent from the general rehearsal, Vallin sang the role and Debussy insisted on her singing it in the production. The premiere had sets and costumes designed by Léon Bakst, stage direction by Armand Bour and choreography by Michel Fokine. The orchestra was conducted by André Caplet, and Désiré-Émile Inghelbrecht directed the chorus. Alongside Rubinstein as Saint Sébastien, Adeline Dudlay sang La Mère douloureuse, Vera Sargine sang La Fille malade des fièvres, Ninon Vallin was the off-stage voice, Desjardins was the emperor, and Henry Krauss was the préfet. Though the first Gabriel Astruc production was attended by scandal (the Archbishop of Paris requested Catholics not attend because the dancer playing St. Sebastian was a woman and a Jew), the work was not successful and did not enter the repertoire; thanks to Debussy’s score, however, it has been recorded in abridged and adapted versions several times—notably by Pierre Monteux (in French), Leonard Bernstein (sung in French, acted in English), and Michael Tilson Thomas (in French). Though Debussy’s complete score still exists and can be performed in its original form (including linking narration taken from the original play, if the story is not staged), the work is very seldom heard in this way. More often performed is a four-movement orchestral suite made up of music extracted from the score and subtitled ’Fragments Symphoniques’ (Symphonic Fragments). In addition, there are also two short brass fanfares which are sometimes presented with the symphonic fragments.