Hamlet: Drinking Song (Chanson bacchique): O vin, dissipe le tristesse Cover Image

Hamlet: Drinking Song (Chanson bacchique): O vin, dissipe le tristesse: Serious Opera, Orchestra Accompaniment, Conductor Score & Parts

$60.00 USD

Hamlet: Drinking Song (Chanson bacchique): O vin, dissipe le tristesse: Serious Opera, Orchestra Accompaniment, Conductor Score & Parts

Name: Hamlet: Drinking Song (Chanson bacchique): O vin, dissipe le tristesse: Serious Opera, Orchestra Accompaniment, Conductor Score & Parts
Brand: Alfred Music
SKU: 36-A847890
Price: 60.00 USD
Availability: InStock

By Ambroise Thomas

Item: 36-A847890

$60.00

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Hamlet was written by French composer Ambroise Thomas (1811-1896) in 1868, two years after the completion of his other well-known opera, Mignon. Michel Carré and Jules Barbier based their libretto on the French adaptation of Shakespeare's play by Alexandre Dumas, père, and there are significant plot departures made from the original to satisfy the French dramatic sensibilities of the time, including having Hamlet survive and be crowned king at the end. That the adaptation happened at all was driven by an obsession in Paris for the character Ophelia that began in 1827, and as such, her character, called Ophélie in the French, features more heavily in the opera. The lively drinking song "Ô vin, dissipe la tristesse" occurs in Act I during a festive court celebration, where Hamlet, outwardly joining in the revelry, masks his inner turmoil following the revelation of his father's murder. The aria contrasts bright, energetic music with the darker undercurrents of the drama. "Ô vin, dissipe la tristesse" remains one of the most frequently performed excerpts from Hamlet. Instrumentation: 2.2.2.2: 4.2.3.0: Timp.Perc(2-3): Hp: Str (4.4.3.3.3 in set): Men's Chorus. Reprint edition.

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Series: Kalmus Opera Library

Publisher: EDWIN F KALMUS

UPC: 604634026605

SKU: 36-A847890

Instrumentation: 2.2.2.2: 4.2.3.0: Timp.Perc(2-3): Hp: Str (4.4.3.3.3 in set): Men's Chorus

More about this title

About the Composer: Ambroise Thomas

Ambroise Thomas (1811-1896) was a French composer whose gift for melodic invention and dramatic pacing made him one of the most performed opera writers of the nineteenth century. His two most celebrated works, Mignon and Hamlet, both premiered in the 1860s and established him as a master of lyric opera who understood how to balance vocal beauty with orchestral color. Thomas won the Prix de Rome early in his career and later became director of the Paris Conservatoire, positions that reflected his standing among French musical institutions.

Thomas excelled at writing music that served the drama while remaining immediately appealing to singers and audiences alike. His operas showcase clear melodic lines, sophisticated harmony, and orchestrations that never overwhelm the voice. For conductors and singers, his work remains valuable precisely because it demands both musicality and clarity without requiring the extreme vocal demands or harmonic complexity of some contemporaries.

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Why we love this

This drinking song captures a moment of theatrical brilliance that every opera company eventually needs: a solo that plays to the audience's expectations of festivity while the character's internal conflict simmers beneath. The music is immediately engaging enough to carry a full orchestral texture, yet the libretto's dramatic irony (revelry masking despair) gives singers real interpretive depth to explore. It's a staple of the opera repertoire precisely because it works: audiences enjoy it, orchestras can sink their teeth into the accompaniment, and singers get a moment of genuine theatrical presence.

What to expect

Buoyant, glittering, and performative. The music sparkles with the energy of a royal court in celebration, all bright orchestration and melodic flourish. Yet underneath runs a current of melancholy, a sense that the gaiety is performative and brittle. The tenor's voice floats above this tension, embodying Hamlet's outward charm while the harmony hints at the turmoil beneath.

Who it's for

Opera companies and regional opera programs working with experienced tenor soloists and full orchestras will find this excerpt manageable and rewarding. It suits singers who combine vocal security with dramatic instinct, and orchestras that have enough string depth and horns to handle the full voicing without strain.

How to get the most out of it

Balance the tenor's vocal line against the full orchestral texture by keeping the woodwind commentary transparent; the orchestra should frame rather than compete with the voice.
Establish a confident tempo in the opening measures that allows the men's chorus to lock solidly into the rhythmic drive; hesitation here undermines the festive character entirely.
Shape the harmonic darkening sections with subtle dynamic pulls rather than drastic drops, preserving the sense that Hamlet's mask remains in place throughout the number.
Ensure the harp part sits clearly in the orchestral mix; its shimmer provides essential color without overwhelming the strings.

How to use it

Program this as a centerpiece of an opera concert or gala featuring solo vocalists with orchestra, where its popularity and immediate appeal make it accessible to mixed audiences. It also works effectively as part of a sequence exploring French romantic opera, especially when paired with excerpts from Mignon or other works by Thomas that showcase his melodic gifts.