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A quick overview of Tchaikovsky’s 1881 opera about Joan of Arc.

Premiered

1881

Music by

Pytor Ilyich Tchaikovsky

Libretto by

Pytor Ilyich Tchaikovsky

Language

Russian

Based on Schiller’s famous tragedy, Die Jungfrau von Orléans, Tchaikovsky’s The Maid of Orleans (also known as Orleanskaya Deva) was written in just six months in late 1878, after the completion of Eugene Onegin. Vying with Verdi, Meyerbeer, and Rubinstein over rights to Schiller’s play, Tchaikovsky deliberately selected the work because he foresaw that it would be “the one that will make my name popular.” The sixth of Tchaikovsky’s ten operas, The Maid of Orleans enjoyed a modest success in St. Petersburg and was the first of the composer’s operas to be performed abroad (Prague, 1882).

However, after the death of Tsar Alexander II cut short the 1881 season, the opera was not performed regularly again until the early 20th century. Nevertheless, The Maid of Orleans remains Tchaikovsky’s most ambitious opera, full of impressive orchestrations and haunting arias, such as Joan’s celebrated “Adieu, fôrets.”

Act I

In Domrémy, a group of girls is conversing gaily. Thibaud scolds them, objecting to their merriment during wartime, and exhorts his daughter Joan to marry young Raymond. She refuses, declaring that she has been given a mission by God, and her father accuses her of being possessed. A group of villagers appears with news of the imminent arrival of the English army. Joan reassures everyone by prophesizing the death of the English commander, Salisbury, which is confirmed soon afterwards by a French soldier’s announcement. The girl leads the people in a prayer for victory and peace. Saddened by the thought of having to renounce her earthly affections, she bids farewell to her homeland. Hailed by a chorus of angels, she embarks to save France.

Act II

A chorus of minstrels sings for King Charles VII. Discouraged by the defeats suffered by the French, he tries to find distraction in performances and jugglers. The irresponsible monarch is indifferent to the counsel of the knight Dunois, who urges him not to lose his head over his beloved Agnès Sorel and to lead the army in a counterattack. When the knight Lauret brings him news of yet another defeat, the terrified king decides to retreat beyond the Loire, provoking the disdain of Dunois. Agnès comforts the king and promises him her loyalty. Meanwhile, Joan has miraculously led the French to a great victory. Brought before the king, she gives proof of her ability to prophesy and narrates how the Virgin appeared to her, telling her that she was destined to liberate France and crown Charles at Reims. Believing her, Charles entrusts her with his army, and Joan receives the blessing of the cardinal.

Act III

Joan defeats Lionel, a Burgundian knight in the service of the English, in a duel on the battlefield. As she is about to kill him, she sees his face, and immediately falls in love with him, sparing his life. Lionel finds her equally enchanting. He surrenders to Dunois and asks to be allowed to fight for the French. In front of the Reims cathedral, a crowd awaits the procession for the coronation of Charles, in which Joan also will participate. Thibaud confides to Raymond his belief that Joan is an emissary of the devil, and denounces her in front of everyone. When the cardinal asks her to refute these accusations, Joan is silent, considering herself guilty because of her love for Lionel. Lionel urges her to flee with him, but Joan pushes him away, accusing him of causing her downfall.

Act IV

Torn between her love for Lionel and her divine mission, Joan meets the knight, but is tormented by angelic voices that reproach her, pronouncing her martyrdom and final redemption. The two of them are surprised by a squad of English soldiers. Lionel dies defending Joan, who is then captured by the enemies. At Rouen, Joan is led to the stake. The crowd, at first admonishing her as a witch, is moved to pity by her noble and serene bearing. While the flames rise, a chorus of angels call Joan to her resting place in paradise.

—Translation by Cheryl Mengle

Listen to the Story

Jean-Jacques Scherrer (1855–1916), Joan of Arc enters Orléans, 1887 [].

Presented by Washington National Opera, host Saul Lilienstein takes you through the musical world of Tchaikovsky’s 1881 opera about Joan of Arc, The Maid of Orleans.

Watch an Excerpt

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