Peter Ibbetson (opera)

Note: This article is about the opera. For the 1935 film of the same name, see Peter Ibbetson.

Peter Ibbetson is an opera in three acts by American composer Deems Taylor from a libretto by the composer and Constance Collier, based on the 1891 novel by George du Maurier. Taylor's music is attractive, often dramatically apposite, and vocally grateful. Certain passages in Peter Ibbetson are effective and moving.

Peter Ibbetson was first performed at the Metropolitan Opera in New York City on 7 February 1931 and it appeared in four seasons for a total of 22 performances (in the house and on tour) until 1935 and the retirement of the two singers who created the starring roles, Lucrezia Bori and Edward Johnson.

The opera opened the 1933-34 Met season and was broadcast twice, in 1932 (when the operas were still being broadcast only in part) and again in 1934.

On 29 June 1960 the Empire State Music Festival presented a performance of Peter Ibbetson which was broadcast. Licia Albanese was coached in the part of Mary by its creator, Lucrezia Bori.

In 1999 the opera was revived in concert form by the Seattle Symphony Orchestra with Lauren Flanigan as Mary.

A party at an English country house, 1855

The oily and vain Colonel Ibbetson is trying to flirt with Mrs. Deane, and in an aria insists on reciting an "original" poem. Peter joins the party late and brings in the poem, which is actually by Alfred de Musset, exposing his uncle as a fake. The Colonel curses Peter, and there is a tense moment, but the party resumes as Peter and Mrs. Deane become friends. As Peter recounts his melancholy circumstances, a longing theme,which will return many times in the course of the opera, accompanies the words "only you..." Peter tells Mrs. Deane of his childhood friend Mimsey, "toujours mal a la tete" and of her talent called "dreaming true", whereby one could go anywhere in place or time.

The Colonel enters as Peter leaves and tells Mrs. Deane that Peter is actually his son, as he boasts of his affair with Peter's mother. Mrs. Deane is horrified. Taylor used a leitmotiv-type technique, with backwards and forwards references that keep the characters in place. Strong emotions are captured by a rich lyric flow, and inventive orchestration.

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