Le premier jour de bonheur

{{short description|Opera by Daniel Auber}}

{{Infobox opera

| name = {{Lang|fr|Le premier jour de bonheur}}

| type = Opéra comique

| composer = Daniel Auber

| image = Daniel-François-Esprit Auber by Nadar.png

| image_upright =

| caption = The composer c. 1860

| librettist = {{plainlist|

• Adolphe d'Ennery
• Eugène Cormon

}}

| language = French

| based_on = Souque's Le chevalier de Canolle

| premiere_date = {{Start date|1868|02|15|df=y}}

| premiere_location = Salle Favart, Paris

}}

Le premier jour de bonheur is an opera or opéra comique in three acts by Daniel Auber. The French libretto by Adolphe d'Ennery and Eugène Cormon is based on Joseph François Souque's Le chevalier de Canolle. The work's premiere was staged by the Opéra-Comique at the Salle Favart theatre on 15 February 1868.{{Almanacco|dmy=15-02-1868|match=Auber}}

The opera is set in Madras at the end of the 18th century, with a mixture of sentimental elegance and precious sensibility amid a picturesque story bearing resemblances to Léo Delibes’s Lakmé: the Indian setting, a military officer – one French, the other English – and a priestess – Djelma, Lakmé.Soubies and Malherbe

The scenario was proposed to Auber around 1865 by Victorien Sardou, and was first announced for production in September 1866 under another title. The rôle of Hélène was intended as the debut of a brilliant student of Eugénie Garcia, but a court ruling in January 1868 following a case brought by her parents delayed her debut until the following year. In view of this cast change, the role of Hélène was modified. A highpoint of the work is the 'song of the Djinns' for Djelma which became immediately popular, although it was only inserted by the composer at the last minute (possibly a rejected number from Le cheval de bronze of thirty years previously).

It was hoped to premiere the piece on 27 January (to celebrate the composer’s birthday) but as there was some orchestration outstanding, it was delayed.

Le premier jour de bonheur was at first a good financial success for the Salle Favart, achieving 175 performances before dropping out of the repertoire by the end of the century.

Johann Strauss II wrote a quadrille on themes from the opera as his opus 327.