The Innocent (l’Ingénu)

Chamber opera in three acts
based on a story by Voltaire
themes: collision and integration of cultures and religions,
corruption, self‑sacrifice and of course love.

In this opera the instruments not only provide accompaniment, but have equal importance to the singers. An equal level of ensemble playing is required from instrumentalists and singers alike, as is common in chamber music. In the staging they are present on stage and, when necessary, take an active part in the drama.

The hurdy‑gurdy — an instrument throughout the ages both embraced and rejected by the church — has a symbolic function relating to the innocence of Argeloos. He too is drawn in and cast out by the church.

The cast is kept relatively small for reasons of cost reduction. No separate choir is needed: the singers on stage will form the choir when required. The musical setting aims to underline and enhance Voltaire’s story; integration into a new society and culture is one of the important elements in this work.

First Act

On the beach

A landscape with dunes; just visible are the towers of a monastery. In the foreground a beach; a path leads through the dunes to and from the cloister.

Introduction

Terzet: Meeting on the beach

Argeloos washes ashore on the beach and meets Mr. Kerkeboon and his sister.

Terzet II

After some confusion they invite him to join them.

Intermezzo – Octet of Questioners

Several people arrive who have no relevance to the action, but each has an opinion on Argeloos.

Intermezzo – Octet of Questions

Ms. Sintliefs, a well‑bred young girl, also appears. Everyone talks at once until Argeloos restores order.

Aria of Sintliefs

Ms. Sintliefs sings her admiration for the fair stranger.

Octet III

Argeloos sees the girl and is lost at first sight.

Terzet of the Fanatics

The others dispute Argeloos’ beliefs.

Octet IV – Intermezzo

Baptism scene

Argeloos is persuaded to be baptized, is no longer a “pagan” and thus loses the first bit of his innocence.

Terzet III

Argeloos remains on the beach. Two French soldiers arrive, followed by an Englishman and two English soldiers.

Quartet of the watching soldiers

On his own, Argeloos defeats the English, sung by the watching soldiers.

Terzet IV

The Kerkeboons reappear and recognize Argeloos as a descendant of a relative who went to America.

Little aria of joy

Argeloos sings an air of joy, expressing his love for Sintliefs.

The abduction of Sintliefs

The Bailiff declares that Sintliefs is already promised to his son. He abducts her violently. Argeloos decides to appeal to the King for justice and permission to marry her.

Second Act

At a hotel near Paris

On one side the entrance to the hotel is visible; further on a terrace in green shelter. On the other side a quiet country road leading to the main road.

Elegy of Argeloos

Argeloos sings about his fate.

Aria of the first and second Huguenot — Duet of the Huguenots

Two Huguenots sing about corruption at the court.

Duet of Argeloos and the Jesuit

A Jesuit hears everything and sheds his light on the matter.

Declaration of the Jesuit

He betrays Argeloos, who is captured and taken to the Bastille.

Little aria of Sintliefs

Sintliefs arrives, having escaped the Bailiff.

Aria of the secretary

She is waylaid by the Secretary of the Minister.

Duet of misunderstanding

Intermezzo of the Audients

Two audients perform a little play; a third shows Sintliefs that the only way to save Argeloos is by losing her honour.

Duet of Sintliefs and the secretary

Sintliefs laments her fate in an aria and eventually gives in.

Terzet of the pursuers

The Kerkeboons and the Bailiff arrive, also searching for Argeloos and Sintliefs. They have a drink on the terrace.

Third Act

In a cell in the Bastille

A rather luxurious room with books and study materials. A small staircase leads to another space. Gordijn sits at a table, reading while watching Argeloos.

Duet of Gordijn and Argeloos

Argeloos shares the cell with Gordijn, an older man who can listen and endure misery.

Praise of Gordijn’s solitude

Gordijn sings about his loneliness.

Duet II

Argeloos tries to explain what happened to him, but he does not know himself.

Aria of Argeloos’ doubt

Argeloos sings about his doubts regarding the civilization he has encountered.

Duet III

The governor arrives with an unexpected message.

The governor with the letter

Sintliefs has obtained a safe‑conduct for Argeloos through her sacrifice.

Love song of Argeloos

Argeloos does not understand what she has sacrificed and proposes that she also try to free Gordijn.

The governor with the letter II

Out of shame, Sintliefs dared not bring the good news herself.

Duet of the governor and the warden

Sintliefs hears this and faints.

Love song II

Argeloos sings a love song for her.

Duet of Sintliefs and Argeloos

A warden enters with the Kerkeboons to set Argeloos free.

Terzet with Gordijn’s request

Gordijn suddenly understands what Sintliefs has done and asks her not to sacrifice herself for him.

Little duet of the governor and Argeloos

Argeloos understands nothing and steps outside. The governor remains stubbornly ignorant.

Little duet of Sintliefs and Gordijn

Gordijn and Sintliefs sing a duet.

Quartet “The bravest of all women”

Sintliefs’ courage is praised, but not everyone understands what she has done.

Quartet

In the end all are gathered in the cell again.

Aria – The confession of Sintliefs

The disgrace of Sintliefs comes to light.

Quartet – I can only be happy with you

Now Argeloos understands and sings her praise.

The governor brings a new letter

Argeloos is set free.

The death of Sintliefs

While Sintliefs dies in shame, Argeloos acquires an officer’s post in the King’s army and becomes fully integrated into his new society.

Epilogue

Final

Cast

Several roles are double‑cast to keep the total number of singers down to nine.

1st act 2nd act 3rd act Voice type
Sintliefs maid‑servant / female audient Sintliefs soprano
Ms. Kerkeboon waitress Ms. Kerkeboon mezzo‑soprano
Argeloos secretary Argeloos lyrical baritone
Mr. Kerkeboon Jesuit Mr. Kerkeboon basso‑buffo
Englishman narrator / landlord Gordijn / narrator basso profundo
Bailiff English soldier I / Huguenot I governor character tenor
Bailiff’s son French soldier I / audient I assistant I buffo‑tenor
Bishop English soldier II / Huguenot II warden character baritone
Tax man French soldier II / audient II assistant II bass‑baritone

Instrumental requirements

The instrumental ensemble is deliberately kept small, both for artistic reasons and to reduce costs. The instruments play an equal role to the singers and are visibly present on stage, where they take an active part in the action when required.