‘The subject of Mazeppa has inspired Mme Clemence de Grandval to write a truly remarkable score, the success of which will cause a stir in the musical world.’ It was with these flattering words that the press greeted the premiere of the five-act opera by one of the women composers most frequently performed in late nineteenth-century France. For her career was regularly marked by flattering reviews and lasting successes, spanning all genres, from chamber music to oratorio and opera. Yet Mazeppa, though regarded as her testamentary work, did not enjoy the honour of a premiere at the Paris Opera and had to fall back on Bordeaux to reap the rewards of glory. A model of concision, this powerful, dramatic opera relates in a little over two hours the apotheosis and fall of the Cossack general Ivan Mazeppa, a fugitive in war-torn Ukraine. It was predicted that the work would enjoy a long career, but the subsequent evolution of the musical language of the Bell