initial commit of ebook 38153HEADmain

49 files changed, 20092 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/38153-8.txt b/38153-8.txt
new file mode 100644
index 0000000..4a07dc7
--- /dev/null
+++ b/38153-8.txt
@@ -0,0 +1,6578 @@
+The Project Gutenberg EBook of Stars of the Opera, by Mabel Wagnalls
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Stars of the Opera
+
+Author: Mabel Wagnalls
+
+Release Date: November 27, 2011 [EBook #38153]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STARS OF THE OPERA ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This book was
+produced from scanned images of public domain material
+from the Google Print project.)
+
+
+
+
+
+
+
+
+
+STARS OF THE OPERA
+
+BY
+
+MABEL WAGNALLS
+
+[Illustration: Photographs Copyright by Aimé Dupont and Falk, New York.
+
+"STARS OF THE OPERA."]
+
+STARS OF THE OPERA
+
+A Description of Operas & a Series of Personal Interviews
+with Marcela Sembrich, Emma Eames, Emma Calve,
+Lillian Nordica, Lilli Lehmann, Geraldine Farrar
+&
+Nellie Melba
+
+BY
+MABEL WAGNALLS
+Author of "Miserere," "Selma, the Soprano," etc.
+
+REVISED AND ENLARGED EDITION
+
+FUNK & WAGNALLS COMPANY
+NEW YORK & LONDON
+1909
+
+Copyright, 1899, and 1907
+
+BY
+FUNK & WAGNALLS COMPANY
+
+Registered at Stationers' Hall, London
+[Printed in the United States]
+
+AUTHOR'S NOTE
+
+_All the interviews in this book have been
+proof-read by the singers_
+
+Published, September, 1907
+
+To those who love music but have
+no opportunity to familiarize themselves
+with grand opera this
+book is respectfully
+dedicated
+
+
+
+
+TABLE OF CONTENTS
+
+
+                                                                    PAGE
+
+AN INTERVIEW WITH MARCELLA SEMBRICH                                   13
+
+"SEMIRAMIDE"                                                          25
+
+A CALL ON EMMA EAMES                                                  43
+
+"FAUST"                                                               57
+
+"WERTHER"                                                             79
+
+CALVÉ AND "CARMEN"                                                   105
+
+"CARMEN"                                                             117
+
+"HAMLET"                                                             143
+
+A TALK WITH LILLIAN NORDICA                                          169
+
+"LOHENGRIN"                                                          185
+
+"AIDA"                                                               215
+
+"THE HUGUENOTS"                                                      239
+
+AN HOUR WITH LILLI LEHMANN                                           265
+
+"THE FLYING DUTCHMAN"                                                279
+
+MELBA, THE AUSTRALIAN NIGHTINGALE                                    303
+
+"LAKME"                                                              315
+
+"I PAGLIACCI"                                                        337
+
+"ORPHEUS AND EURYDICE"                                               357
+
+THE GENIUS OF GERALDINE FARRAR                                       369
+
+"MADAME BUTTERFLY"                                                   379
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+                                                                  FACING
+                                                                    PAGE
+
+Group of Miniature Portraits, "Stars of the Opera"         _Frontispiece_
+
+Marcella Sembrich                                                     15
+
+Sembrich as Rosina in "The Barber of Seville"                         22
+
+Emma Eames                                                            45
+
+Melba as Marguerite in "Faust"                                        64
+
+Emma Calvé                                                           107
+
+Calvé as Carmen                                                      128
+
+Calvé as Ophelia in "Hamlet"                                         164
+
+Lillian Nordica                                                      171
+
+Nordica as Brunhilde in "Siegfried"                                  182
+
+Eames as Elsa in "Lohengrin"                                         202
+
+Nordica as Aida                                                      220
+
+Lilli Lehmann                                                        267
+
+Lehmann as Isolde in "Tristan and Isolde"                            270
+
+Lehmann as Venus in "Tannhäuser"                                     276
+
+Nellie Melba                                                         305
+
+Melba as Elizabeth in "Tannhäuser"                                   312
+
+Geraldine Farrar                                                     371
+
+Miss Farrar as "Madame Butterfly"                                    384
+
+
+
+
+An Interview
+with
+
+Marcella Sembrich
+
+[Illustration: Copyright by Aimé Dupont, N. Y.
+
+MARCELLA SEMBRICH.]
+
+
+
+
+STARS OF THE OPERA
+
+
+
+
+AN INTERVIEW WITH MARCELLA SEMBRICH
+
+
+Early in the season of 1898-99 there was a performance of "Traviata" in
+the Metropolitan Opera-House which might be described as "an occasion of
+superlatives"--including the largest auditorium, the biggest audience,
+the finest singers.
+
+Grand opera in itself is a culmination and combination of the greatest
+efforts of the greatest minds. There is, in the first place, the plot of
+the libretto, which in the case of "Traviata" was the masterpiece of
+Dumas, France's greatest dramatist--a man who labored all his life as
+tho achievement required only work, and who yet possessed such mental
+power as no amount of work could achieve.
+
+After Dumas comes the librettist who transposed the story into suitable
+Italian verse to be set to music. And then we have the work, the inmost
+thoughts, of Giuseppe Verdi, Italy's greatest living composer. There was
+a day when each of these sparkling melodies that now delight the whole
+world was born in the soul of Verdi, and heard by him alone. But he
+patiently put upon paper every note that his years of study and his
+gifted soul impelled.
+
+The work of the composer, the dramatist, and the librettist belongs to
+the past, however, and that audience of five thousand people did not
+bestow much thought on them. Nor did they think very often of the
+orchestra, composed of fifty thorough musicians, who really worked more
+during the performance than any of the other participants.
+
+It may be mentioned here that in all grand operas the orchestra plays
+continually; it is the wall upon which the picture is hung. There may
+be pauses in the singing, but the conductor's baton never rests.
+
+People seldom appreciate the vast knowledge of music and the remarkable
+ability in sight-reading which these orchestra players possess. Not one
+of them but has worked at his art from childhood; most of them play
+several different instruments; and they all hold as a creed that a false
+note is a sin, and a variation in rhythm is a fall from grace. The
+director is their temporary deity who commands the orchestra beneath and
+the stage above--a little universe of music. He holds all together and
+dictates the tempo, the expression, and the phrasing. His commands are
+for the time being immutable as the laws of nature, for any serious
+disobedience would cause the whole structure to fall to pieces.
+
+The five thousand listeners gave some applause to the director after the
+playing of the introduction, and they gave a little more to the
+chorus--those earnest workers who serve grand opera as the stokers do a
+ship. Then the tenor received a good deal of applause--his reward for
+training his voice, studying music, memorizing operas, overcoming
+nervousness, and singing in public twenty years.
+
+But the great applause, the "bravos," the cheering, the excitement, were
+reserved for the star, the soprano--Marcella Sembrich! It is always
+impressive to witness such a success. It is inspiring to know that one
+woman can so stir the hearts of the people.
+
+Madame Sembrich's voice is as perfect a voice as the world has ever
+heard. Yet her greatness consists more in her art than in her voice. She
+has not been satisfied merely to use her gift as nature gave it, but she
+has acquired a mastery of tone-coloring so that every tone has a meaning
+of its own, and seems to express a distinct emotion. In the last act of
+"Traviata" the quality of her tones, always beautiful, but ever varying
+as her art dictates, conveys to the listener surely and truly the
+approach of death and the hope of heaven. This is great art indeed. No
+wonder the audience fairly gasps as the last sweet tone leaves the lips
+of the pale Violetta and soars away into infinite space.
+
+It was the day after "Traviata," when, in response to a knock at Madame
+Sembrich's door in the Hotel Savoy, a mellow voice said, "Come in."
+
+On my obeying this summons, the singer was "discovered"--as the
+librettos have it--standing near her grand piano, alone, and as
+unostentatious as your own sister.
+
+There was no effect of the impressive prima donna, all flowers and
+frills and _frou-frou_. She was quite alone, just as lesser mortals
+sometimes are; and she furthermore spared her visitor from any sense of
+interrupted work, or great haste, or the magnitude of the occasion.
+
+She was just a courteous, quiet lady who seated herself beside the
+visitor and talked earnestly about music and work.
+
+When asked how early she began to study the art seriously, she replied:
+"When I was six years old. My father taught me the piano until I was
+ten. He was a very gifted man. Then I also studied for a while with Dr.
+Stengel, who is now my husband, and with Epstein in Vienna."
+
+On learning that her visitor was acquainted with Vienna, Madame
+Sembrich's face lighted up (she has a radiant smile): "Ach! then you
+speak German?" And from this point she talked altogether in German,
+which is more akin to her native Polish.
+
+She is fluent, however, in all the continental languages. "We have to
+know them all, for we need them constantly," she explained. In reply to
+other questions, the singer told enthusiastically of her early work.
+
+"I can not say I was ever discouraged, for I so enjoyed my art that it
+was always of absorbing interest; but my whole life has been made up of
+hard work, always work. I also studied the violin and composition, and I
+used to rise early and go to bed late, for I worked six and seven hours
+a day."
+
+Madame Sembrich is one of the most thorough, all-round musicians on the
+lyric stage to-day, for she is not only a singer, but has played
+successfully in public on piano and violin. Her rare gift of voice was
+not discovered until she was seventeen. Then her great knowledge of
+music enabled her quickly to develop the voice, and it was not long
+before she appeared in opera and made her first great success in London.
+When asked if she was ever nervous, the answer came promptly:
+
+"Oh, yes, very nervous! _Now_ I am always nervous. But in the early days
+it was not so bad. When you are young and have a beautiful voice, you
+think it is all that is necessary, and are not nervous, because you do
+not realize the depth and extent of art. But as you grow older you
+appreciate the possibilities of art--you know what it implies, and how
+perfect you wish to make it; and then you are nervous. It is more
+nervous work, too, for such artists as Madame Patti, Madame Melba, or
+myself, who travel about and sing first in one place and then in
+another, because each time we have to win our audience and make a new
+conquest. In Europe, at the great opera-houses such as are in Vienna or
+Berlin, it is different, for there the singers are engaged permanently.
+The public knows how well they can do, and if sometimes they are not at
+their best, they know the public will excuse them. I find I am more
+nervous, too, as my reputation increases, for more is expected of me."
+
+Referring again to her studies, Madame Sembrich counted over
+thirty-seven full operas that she has learned. It is well to consider
+for a moment what this implies. Aside from the native gifts of voice,
+musical talent, and dramatic temperament, there must be years of
+practise in singing and acting; then the words of each opera must be
+memorized, sometimes in three languages. After studying, originating,
+and mastering the action, the music must be learned, and every word
+wedded to a certain tone, and every tone to a certain beat of time.
+Herein the actress has but a slight task compared to the opera singer,
+for in the drama it matters not if a word comes a moment sooner or
+later; but in grand opera a second's deviation might cause a discord.
+
+[Illustration: Copyright by Aimé Dupont, N. Y.
+
+Sembrich as Rosina in "The Barber of Seville."]
+
+Madame Sembrich delights in the opera "Traviata" because of its intense
+action.
+
+"But I like, too, the lighter operas. The merriment of 'Rosina' amuses
+me as I act it."
+
+One more question was asked as her visitor arose to go.
+
+"Is it true, Madame Sembrich, that you walk two hours every day?"
+
+"Yes," she answered good-humoredly. "I had just returned to-day when you
+came. I started at eleven and got home at one."
+
+Regular and rigorous in her daily life even yet! Upon meeting Madame
+Sembrich, one receives an impression of graciousness and greatness not
+to be forgotten.
+
+
+
+
+"Semiramide"
+
+
+
+
+"SEMIRAMIDE"
+
+
+All great prima donnas have in their repertoire the majority of famous
+operas, but through fitness of physique or temperament or quality of
+voice they become associated with certain rôles more than others.
+Sometimes it is merely a caprice of the public that holds them to a
+particular line of operas. At present Madame Sembrich is regarded as the
+great exponent of the old Italian school. Among her thirty-seven operas
+"Semiramide" is one in which New Yorkers have not yet heard her; but it
+is in some respects the most typical of its kind.
+
+"Semiramide" belongs to the old style of Italian operas. It is light in
+substance, but glistening with scales and cadenzas that are scattered
+over it like spangles upon tulle. Rossini's music is always beautiful
+but conveys little meaning, and it impresses the modern musical taste
+like a meal of bonbons. Although Semiramis lived hundreds of years
+before the Christian era, we listen in vain for any ancient atmosphere
+to the composition or for the "_melodrame tragico_," as designated by
+the libretto. This music would be as suitable to the "Barber of Seville"
+as to the "Queen of Babylon." In other words, the old operas were a
+series of separate songs adapted to a connected story, whereas we now
+expect the score so thoroughly to embody the text that the two are
+inseparable.
+
+"Semiramide," however, bears several claims to distinction that prevent
+the possibility of extinction. It is the opera _par excellence_ of
+duets. They are the delightful, old-fashioned kind, wherein the two
+voices are side by side, only separated by a perfect third; and when the
+conductor has whipped up a good tempo away they go like a span of
+horses, over hills and valleys of scales and arpeggios, bridged-over
+intervals, and clumps of trills. Differing from all other operas, this
+one gives as much prominence to the contralto as to the soprano. They
+must have equal facility of execution; and, indeed, none of the rôles
+are exempt from this demand. Tenor, contralto, baritone, and bass vie
+with each other in performing dangerous feats of vocal agility. There
+are passages where they all, one after another, run up a scale and land
+on a certain note, like athletes jumping from a spring-board. We smile
+at such display, and are inclined to regard the opera as one big
+solfeggio; but let it not be forgotten that this is the old Italian
+style, and interesting from this point of view.
+
+Another claim to lasting fame is its overture--one of the prettiest,
+happiest, showiest orchestral compositions extant. It is a stock program
+piece, being simple enough for any orchestra to perform and yet rousing
+enough always to elicit applause.
+
+The opening scene represents a temple wherein Oroe, the chief of the
+Magi, is discovered kneeling before an altar. He has received a
+celestial revelation of some dark crime that is awaiting vengeance, and
+his first short recitative refers to this secret. Arising from his
+knees, Oroe orders the gates of the temple to be opened. The Assyrian
+multitude enter bearing offerings and garlands, while they sing a light
+melody that would do for a modern topical song. Idrenus, an Indian
+prince, also comes in with his attendants, bearing incense and
+offerings. He is the tenor, but unimportant, because this opera has no
+love-scene, and consequently little use for a tenor. Assur, an Assyrian
+potentate, is another devout supplicant at the altar of Belus. We soon
+learn the occasion of these earnest efforts to propitiate the gods:
+Semiramis, the queen, will to-day select a successor to the late King
+Ninus.
+
+A very good example of what we consider the incongruities of the old
+school is found in these first two arias of Idrenus and Assur. The tenor
+comes in alone and delivers a flourishing solo, ornate as his costume.
+Then Assur, the basso, makes his entrance and sings in a lower key the
+same remarkable pyrotechnics. This antagonizes the fundamental rule of
+modern opera, which requires each character to maintain a musical
+individuality. There is some further conversation in the form of a
+terzetto between Idrenus, Assur, and Oroe, and the fact is disclosed
+that Assur expects the queen's choice to fall on him.
+
+Another light and bright chorus announces the entrance of Semiramis. She
+is represented as young and beautiful, altho she is a widow and the
+mother of a son who mysteriously disappeared years before the story
+opens. But radiant as is her appearance, Semiramis opens the ceremonies
+with uneasiness, for she has determined to make Arsaces the future king.
+He is a young army officer, and there is no just reason why he should be
+favored; but the queen has become enamored of him. Arsaces, however, is
+unconscious of her infatuation. She has summoned him to this ceremony;
+but he has not yet arrived, and for this reason she hesitates. In a
+quartet that is worked up like a rondo upon a very pleasing theme, the
+others urge her to begin. She reluctantly steps forward, but at her
+first mention of the dead king there is a flash of lightning and the
+sacred fires are extinguished. The people regard this as a dire omen.
+Oroe glances knowingly at both Semiramis and Assur as he again refers to
+a crime that has aroused the wrath of the gods. He orders the ceremonies
+to be postponed pending the arrival of a sacred oracle from Memphis. The
+queen and her attendants withdraw, and the temple is vacated.
+
+The orchestra plays through several pages of sixty-fourth and
+thirty-second notes, after which the interesting and important Arsaces
+enters with two slaves who bring a casket. Arsaces is always a very
+youthful and impossible-looking general, in spite of his glittering
+cuirass, for be it known this is the contralto rôle, and, musically
+speaking, a very great one.
+
+We learn from his first recitative that this casket contains precious
+documents and relics of the late king which have been guarded and
+concealed by Phradates, the supposed father of Arsaces. Phradates has
+recently died, and in compliance with his request Arsaces brings these
+treasures to the high priest. We also learn that the young general is
+puzzled over the queen's summons; and last, but not least, we learn that
+he is in love with the beautiful Princess Azema. The mere mention of her
+name starts him to singing a rapturous song, bubbling over with
+brilliant roulades. After presenting his casket to the high priest,
+Arsaces encounters Assur, who soon makes it known that he also loves the
+fair Azema. This so maddens Arsaces that he resolves at once to ask
+Semiramis for the hand of the princess. These rivals cordially hate each
+other, but Rossini inspires them to sing the same melodies, and their
+voices mingle in beautiful harmony of tone and rhythm.
+
+The second rising of the curtain reveals Semiramis reclining under a
+bower in her palace garden. She is surrounded by maidens and slaves who
+sing languid, luxuriant melodies for her diversion. Rossini's style is
+well suited to this scene. As the arias are presented one by one, it is
+like unfolding the contents of an Assyrian treasure-chest full of
+shimmering silks and glittering jewels. Among this collection there is
+one gem called the "Bel Raggio," a name as famous in its way as the
+Koh-i-noor. This musical brilliant belongs to Queen Semiramis, who
+displays its scintillating beauty with evident pride. The "Bel Raggio"
+is one of the four great corner-stones of the bravura singer's
+repertoire, of which the remaining three are: "Una voce poco fa," also
+by Rossini; the Dinorah "Shadow Song," and Eckert's "Echo Song." When
+listening to "Bel Raggio" one should never try to follow the words or
+even wonder what she is saying. Just listen to the music. Those radiant,
+ravishing, intoxicating warbles and runs tell one plainly enough that
+she is happy, and this is sufficient.
+
+Semiramis is awaiting Arsaces and the oracle from Memphis. The latter is
+received first, and bears the cheering words, "Thy peace shall be
+restored with the return of Arsaces." True to the nature of oracles,
+this one has a double meaning, and Semiramis construes it in the wrong
+way. When Arsaces enters there follows a bevy of famous duets. But the
+conversation is quite at cross purposes. Arsaces tells of a
+long-cherished love, which Semiramis thinks is for herself. She promises
+that all his hopes shall be realized, whereupon the two wander off side
+by side through a forest of cadences, roulades, and scales. They
+sometimes become separated, when the soprano pauses to run up the
+scale-ladder and pluck a brilliant high note, or the contralto lingers
+to pick up tones that are rich and full as fallen fruit; but they
+finally emerge together, trilling high and low like birds from a
+thicket.
+
+The third scene represents a magnificent hall in the palace. There are,
+of course, a throne and other "properties," but most conspicuous is the
+tomb or mausoleum of Ninus. For a second time the Assyrian noblemen and
+people gather to hear the appointment of a new king. As they sing a
+sweeping march, Semiramis enters more gorgeously arrayed than ever. She
+takes her place at the throne, and with an imperious gesture commands
+allegiance to the king of her choice. These regal phrases contain such a
+prodigality of dazzling colorature that we are reminded of the far-famed
+hanging gardens devised by this same extravagant queen. In the matter of
+lavish display the music of "Semiramide" is strikingly appropriate.
+Assur, Arsaces, Idrenus, and Oroe vow obedience, and their hymn-like
+ensemble is one of the grandest themes Rossini ever composed. Like the
+prayer from Weber's "Freischütz," this quintet has long held a place in
+church choir-books, and a more religious and inspiring melody could
+hardly be imagined. The soprano scatters delicious appoggiaturas and
+cadenzas above the steady and noble ensemble like flowers upon an altar.
+The "Semiramide Quintet" is another one of its claims to lasting fame.
+
+In a lighter vein is the queen's next proclamation, to the effect that
+the future king shall also be her husband. This arouses general
+surprise. But when she finally designates Arsaces, the amazement on all
+sides is loud. Assur demands justice from the queen, insinuating some
+secret compact that she dare not disregard. He is haughtily silenced by
+Semiramis, who at the same time bestows upon him the hand of fair Azema.
+
+Poor Arsaces is beside himself. He tries to explain, but the queen will
+listen to no remonstrances. An altar is brought forward, and the priests
+are about to pronounce the marriage bans when a hollow, subterranean
+sound and distant thunder cause consternation. The people are horrified
+to behold the tomb of Ninus slowly open and its occupant step forth.
+Turning to Arsaces, the ghost bids him avenge a terrible crime: "With
+courage into my tomb descend; there to my ashes a victim thou shalt
+offer. But first obey the counsel of the priest." The ghost disappears,
+and the act closes with a strong chorus of dismay. Semiramis leads the
+singing, and for once her music has only prim quarter-notes and
+half-notes: her colorature is all frightened away.
+
+The next act contains an interview between Assur and Semiramis, wherein
+we learn about the crime so often referred to. The late King Ninus was
+poisoned by Assur, who had been promised the throne. But the guilty
+queen has since preferred Arsaces, and this explains Assur's great
+anger. He threatens to kill the young favorite; but Semiramis has
+resumed her ostentatious manner and music, and will not heed his words.
+
+There follows a scene in the queen's apartment. She is still striving to
+win Arsaces, but her overtures repel him more than ever. He has just
+returned from an interview with the priest. The contents of the casket
+have been revealed to him, and he shows Semiramis a paper proving the
+startling fact that Arsaces himself is her long-lost son. He has also
+learned that Ninus, his father, was murdered. Remorse promptly overtakes
+the queen. She weeps and wails in chromatics and scales that quite touch
+Arsaces. They sing a glorious duet that is like a benediction, so noble
+and pure are its harmonies. It is called "Giorno d'orrore" (day of
+horror). Arsaces bids his mother adieu. He is going to the tomb to
+avenge his father's death, tho he knows not how nor whom he shall
+strike. It rests with the gods to guide him; he only obeys the command.
+There follows another smoothly flowing duet resembling all the others in
+its simple structure, unmistakable rhythm, and prominent melody.
+
+The finale of "Semiramide" has little to commend it, being absurd in
+action and presenting only one pleasing or noticeable theme. This is a
+dainty, quaint violin passage that delighted us in the overture, but
+which we never thought of connecting with a tragic climax. How different
+is this tomb music from that of Gounod's "Romeo and Juliet!" There the
+marvelous harmonies are like sweet dreams accompanying the sleep of
+death, but here we are only conscious of the "deep, damp vault, the
+darkness and the worm."
+
+The chief absurdity of this scene lies in the fact that it should be too
+dark for the characters to see each other and yet it must be light
+enough for the audience to see everything. Another incongruity is the
+assembling of all the principals and a good-sized chorus in this tomb
+where we expected Arsaces alone. But it is explained that Assur heard of
+the hero's coming and planned to follow with the intention of killing
+him; Oroe heard of Assur's plan and brings an armed guard to protect
+Arsaces; and, finally, Semiramis follows because she is anxious about
+everybody and everything.
+
+They enter at different times; grope around among tombs, and pretend not
+to see each other. Arsaces finally hears and recognizes the voice of
+Assur. He has no doubt that the gods have sent Assur to be the victim.
+The hero promptly stabs in the direction of the voice, but because it is
+so very dark he happens to kill Semiramis instead of Assur. But this
+mistake does not much affect either the music or the action. The final
+chorus of the opera is as light and bright as the first.
+
+
+
+
+A Call on Emma Eames
+
+[Illustration: Copyright by Falk, N. Y.
+
+EMMA EAMES.]
+
+
+
+
+A CALL ON EMMA EAMES
+
+
+A call at the Hotel Marie Antoinette is a veritable eighteenth-century
+dream. A powdered footman in satin knee-breeches and the full court
+costume of that period flings open the great glass doors as you enter,
+and another one escorts you around some columns, and through some
+curtains, and down some steps to the main reception-room, where you wait
+while your name is announced.
+
+The Hotel Marie Antoinette is very exclusive, so you happen to be alone
+in this great apartment, with its stained-glass dome and carved-oak
+walls; alone, excepting for the pretty soft-voiced maid who is arrayed
+as were the ladies-in-waiting of the Trianon. She assists you in
+removing your wraps, and at the same time talks enthusiastically about
+the great personage you have come to see.
+
+"We all here just love her, she is so gracious and appreciative of
+everything we do, and so kind to us. She gives us tickets to the opera,
+and she isn't at all proud or haughty. She often comes in here of an
+afternoon to have tea. There is her corner where she always sits"--and
+the maid points quite reverentially to a dainty recess curtained with
+tapestries and dreamily illumined by a huge pendant red globe. As your
+glance roams on, you find many objects that hold your attention. There
+are historic cabinets of rare value and workmanship, little tea-tables
+beside the various couches, bearing trays of antique china and tiny
+spoons of old silver, all sought and selected from the castles and
+treasure-rooms of Europe. There is one dainty solid gold clock that
+belonged to Marie Antoinette and was used in her boudoir. Another one
+which she also owned is jeweled with turquoise and garnets. Many
+valuable miniatures of the unfortunate queen and her family are on the
+desks and writing-tables. In one enticing alcove are two rows of
+sumptuous volumes bound in red and gold whose mere titles set one to
+dreaming of court intrigues and palace revels. "The Secret Memoirs of
+the Court" comprise one set of ten books; ten more are devoted to
+Napoleon, and "The Life and Times of Louis XV." also occupies much
+shelf-room; while on the center-table is a collection of engravings
+portraying the life of Marie Antoinette.
+
+You quite feel yourself a court lady by this time; and when the powdered
+dignitary again appears and calls out your name in stately tones, you
+follow him with a sense of importance quite pleasant and unusual. You
+are led past more columns and through more curtains, until finally he
+leaves you in a moderate-sized ante-room. Here you wait for some
+moments, expectantly watching the doorway by which you entered, when
+suddenly, on the opposite side of the room, some folding-doors which you
+had not noticed are flung wide open by unseen hands, and behold the
+queen--of grand opera, Madame Emma Eames!
+
+It was indeed a right royal vision I beheld: a beautiful woman, in every
+sense of the term, clad in a fawn-colored gown of rich design, and
+bejeweled with chains of pearls and a brooch of diamonds. She was seated
+on a pale satin divan, but came forward to greet her visitor, and shook
+hands cordially. Madame Eames is more than beautiful, for together with
+regular features and soft curves she has a strong face and a pose of the
+head that is all determination and force. She is tall and full-figured,
+her hair is dark, and her eyes are very blue.
+
+She displayed a charming smile as she motioned her visitor to a seat
+near by, and then followed a rapid sequence of questions and answers.
+Madame Eames showed a kindly response to her visitor's spirit of
+earnestness, and tried to tell as much as possible in every reply she
+made.
+
+First in order of interest is the fact that she was born, August 13,
+1867, in Shanghai, China. There's a beginning for you!--enough to crush
+an ordinary mortal. But Emma Eames took it otherwise; and all who know
+of her now must admit that to be born under the star of the East on the
+thirteenth day of the month is after all not bad. As soon as she was old
+enough to walk she left the land of her birth and came with her mother
+and father (who was a lawyer of the international courts) to their
+native home, the city of Bath, in Maine.
+
+Here she studied music with her mother, going later on to Boston and
+finally to Paris, where she worked with indomitable will studying
+operas, dramatic action, voice culture, and especially French. This last
+is very important for those aiming to sing publicly in Paris, for the
+people there will not tolerate any weakness of pronunciation.
+
+When asked if she ever had time for any social pleasures, Madame Eames
+answered very earnestly: "I have never done anything in my life but
+work. I cared for other pleasures just as any girl does, but have
+always foregone them."
+
+As a result of this ceaseless work she was fitted for the operatic stage
+in two years' time.
+
+"It was Gounod himself who selected me to sing in his opera 'Romeo and
+Juliet.' He taught me that music, and also 'Faust.' He was a most
+lovable old man, so modest, and above all sincere and truth-loving in
+his music. He often said to me, 'Never degrade music, the one divine
+language on earth, to express a lie.' When teaching a phrase, instead of
+dictating, as you would expect so great a man to do, he always asked,
+'How do you _feel_ when you hear that? Sing it as _you feel it_, not
+what I feel or tell you.' And he could sing so exquisitely! Yes, old as
+he was, and he had just the smallest possible voice, yet it was
+delightful to hear."
+
+Madame Eames's tones were tender and thoughtful as she recalled these
+reminiscences of her beloved master.
+
+The number thirteen looms up again in Madame Eames's history as the date
+of her great début. It was the evening of March 13, 1889, in the world's
+most beautiful opera-house, that the swaying pendants of its great
+chandelier vibrated to the sound of a new voice and the marble walls of
+its ornate halls reverberated to the sound of a new name--"Emma Eames,
+la jeune Américaine."
+
+No wonder she made a sensation; she is the ideal Juliet, youthful,
+beautiful, and with a voice of golden timbre.
+
+A more lovely scene and more tender tragedy has never been depicted in
+music than is the last act of this opera. The beholder sees in the
+somber setting of an iron-barred tomb the white-clad form of Juliet
+lying upon a bier that is raised like an altar above several steps.
+There are loose flowers still unwithered scattered near the silent
+sleeper, and one pale torch burns restlessly in a brazier at her head.
+No other movement; no change on the stage for many minutes.
+
+But the listeners, in this pause, are brought heart to heart with the
+gentle composer, who sleeps himself now in the Pantheon of Paris. Gounod
+has enwrapped this scene in ethereal harmonies that make one think of
+Death not as the King of Terrors, but as the Queen of Repose. The
+principal melody is a lulling, loving strain that floats and fades away
+like a final "hush" to rest.
+
+The classic purity of Madame Eames's beauty impresses itself in these
+moments perhaps more than any other, and the nobility of her voice
+reveals itself, in the succeeding dramatic climax of the opera, to the
+fullest.
+
+In speaking now of her début, the singer says that she was very nervous,
+"for, before the public has approved, you don't feel sure that you know
+anything. After this, there is some foundation for your nerves to rest
+on, altho you realize how much there is still to learn. But I am always
+nervous even yet, never knowing what trick my nerves may play on me. No,
+my memory gives me no anxiety, for I fortunately have a very reliable
+one. If by any chance I forget a word on the stage, I know my health is
+run down, and I then at once take a rest for several days."
+
+But Emma Eames does not take many such rests. Young as she is, she has
+already sung in twenty-one different operas with unvarying success, in
+England, France, and Italy as well as her own country. When studying a
+new rôle she makes every effort to be accurate in all details.
+
+"I always give great thought to my costumes, but when once I have
+studied thoroughly into the period represented and feel convinced that
+my designs are correct, I never change them. When one set is shabby I
+merely have it duplicated."
+
+Little wonder a prima donna has no time for social gayety when you
+consider all the accessories to her art. Aside from the study and actual
+performing, she must take proper exercise for her health, must attend
+rehearsals, give time to the costumer--and, also, to the many
+interviewers. Madame Eames smiled at this suggestion, and said:
+
+"I don't mind any of these, but I do dread having my photograph taken.
+We have to put on the entire costumes of different operas: wigs,
+stockings, gloves, slippers--everything as tho ready to go on with our
+lines, and all just to stand around in a studio and pose. It is
+terrible; it takes a whole day sometimes."
+
+A question about her method of study brought forth the fact that at one
+time she was quite misdirected in the use of her voice.
+
+"I was turned entirely in the wrong direction, and it is no exaggeration
+to say that I have fought the battle out step by step and note by note
+all alone--or, rather, in the very presence of the public. When I first
+appeared my voice-control was uncertain; I did not dare take any
+liberties with my tones. I was in constant anxiety, and miserable
+because I had not the power of voice-emission that I wanted. I assure
+you in those days I was sometimes so discouraged that I thought
+seriously of giving up my profession."
+
+An astounding assertion this will seem to the thousands of listeners
+enthralled by her voice to-day. But Madame Eames was very serious, and
+she added philosophically: "After all, I don't think one can attain
+anything worth having unless one has suffered deeply."
+
+Every summer Madame Eames takes a six-weeks' vacation in her Italian
+castle near Florence. I was shown a description of this edifice, which
+reads like a page of old history. The sullen gray stone walls are six
+feet thick, and the heavy doors with their great iron hinges are all
+carved by hand, as indeed is all the workmanship on the place. The main
+hall of the castle is sixty feet long and twenty-five feet wide. There
+are four massive fireplaces in this one apartment, and a wooden balcony
+reached by a broad stairway runs all around the second story of the
+hall. The ceiling is of carved oak, and a reproduction of a famous one
+in Florence. Everything is in accord with the traditions of the Middle
+Ages. Madame Eames takes great delight in this castle, and she has with
+her numerous photographs of it.
+
+There will probably be many guests in those halls; but even if the
+gifted owner lived there alone it would always seem peopled by a large
+assemblage, for Madame Eames studies much during these vacations, and
+the mystic characters of her repertoire may be said to hover ever near.
+The castle is to be furnished with rich hangings and historic trophies;
+but most priceless of all should be counted the music furnished by her
+own rare voice. This will soar out and reecho at all hours; sometimes a
+memory of Elsa, and again a thought of Sieglinde.
+
+It were indeed a pity to fling the stray tones of a great voice upon
+crude walls and cramped quarters; let them rather resound and
+reverberate, and perchance be preserved, by the listening atoms of
+carved wood and chiseled stone.
+
+If the earth is God's garden and we are the plants that grow, then
+Madame Eames must be likened to a rare orchid, radiant in the sunshine
+of great success, and showered with all possible blessings.
+
+
+
+
+"Faust"
+
+
+
+
+"FAUST"
+
+
+Faust is the opera in which Madame Eames has appeared most often in this
+country. No less than sixteen composers have used Goethe's poem as a
+libretto. Many of these works are excellent, and frequently we hear
+excerpts from them in our concerts. But Gounod has clad the words in
+musical raiment of such surpassing loveliness that he has almost robbed
+Goethe of his masterpiece. At this day, on hearing the name Faust we
+think of the opera simultaneously with, if not before, the poem. He has
+made of it a "grand opera" in every sense; and yet so abounding in
+melody that even an untrained ear is captured.
+
+There is no overture. It is a fact without a cause that some operas have
+overtures and some have not. "Faust" opens with a short orchestral
+prelude that is somber and subdued--quite suggestive of the doubt and
+darkness that characterize the scene upon which the curtain rises.
+
+Faust, the philosopher, the student, is seated in his cell, surrounded
+by books, parchments, chemicals, skulls, and hour-glasses. He has grown
+old in his delving after the mysteries, and even now he has devoted the
+whole night to study. The lamp burns low, and all about him is dark and
+gloomy. He closes his book sadly, and exclaims in tones that seem
+spontaneous, but are, nevertheless, in accurate rhythm with the
+orchestra, "In vain!" He does not find the knowledge he seeks; his
+investigations are without avail. It seems strange to hear these laments
+sounded by a tenor voice; but this trifling incongruity of high tones
+and old age does not last long. The character Faust is one of the
+greatest tenor rôles.
+
+His soliloquy is presently broken in upon by a chorus behind the scenes.
+It is the song of reapers going to their daily work. The morning light
+streams in at the window which Faust throws open as he listens. But
+sunshine itself is not brighter than that song. It is so joyous and
+light-hearted that the listener fairly inhales the dew-laden air of the
+fields. This first melody in the opera is as perfect a morceau for its
+size as was ever written. The solitaire in his cell is also affected by
+the radiant song, and he envies the reapers for their contentment and
+for their youth. Yes, _youth_ is what he longs for.
+
+Altho Faust has declared his study to be "in vain," he has,
+nevertheless, acquired the accomplishment of being able to call up
+Mephistopheles (this is the operatic name for the great demon), and in
+his present despair he resorts to this power. Mephisto appears without
+delay. Flaming colors and a bass voice are the essential attributes of
+this great character. It seems rather hard on our artists who sing to
+low G that a bass voice is so often chosen to represent iniquity; but
+such happens to be the case. Mephisto is invariably clad in red from
+head to toe; exaggerated eyebrows and a fantastic cap with unobtrusive
+horns complete his diabolical appearance.
+
+In a continuous flow of harmony, Faust informs his visitor of his wants,
+and Mephisto promptly states his conditions: for the price of his soul
+after death the philosopher shall now be granted his youth. Faust
+hesitates at this, whereupon the wily demon causes him to behold a
+vision. A bright light at the back of the stage suddenly reveals the
+lovely Marguerite at her spinning-wheel. While the picture lasts there
+is heard in the orchestra a suggestion of one of the themes that come
+afterward in the love-scene of the opera; this is accompanied by a soft
+tremolo on the violins. Forest scenes, moonlight, and dreams are very
+often represented in music by a violin tremolo. When the vision passes
+away, Faust is decided, and he drinks the potion Mephistopheles
+prescribes. Presto! The gray hair and beard disappear; the long robe
+falls off, and Faust is a young man--tall and handsome, as a tenor
+should be. He comes forward with an elastic step and sings of youth and
+its joys, which now are his. The music has undergone a metamorphosis
+like the singer. It throbs with a life and vigor which were lacking
+before; and this final song of the first act is one of the best tenor
+solos in the opera.
+
+The second act is chiefly remarkable for its choruses. It is called the
+Kyrmess, and represents a street thronged with villagers in festive
+array and mood. They dance and sing in honor of their soldiers, who
+start this day to war. The opening chorus is divided among the students,
+girls, soldiers, and citizens, the latter being represented by old men,
+who come forward and sing their delightful refrain in thin, piping
+voices. Every phrase of this first chorus is a surprise, and each one
+seems more fascinating than the preceding. It is all in a rapid,
+tripping tempo, and fairly bubbles over with good humor.
+
+In this act we are introduced to all the principal characters. Siebel,
+the village youth who loves Marguerite, is already on the scene, and
+very soon her soldier-brother, Valentine, appears. This is the baritone
+rôle, and, while not a long one, is still important, and requires a
+great artist, for he has a splendid death-scene in the fourth act. His
+first solo begins with the words "O santa medaglia!" ("O blessed
+medallion!"). He sings to the token which his sister has just given him
+at parting. He is depressed at the thought of leaving Marguerite alone,
+for she is an orphan; but Siebel consoles him with promises to protect
+and watch over her.
+
+Mephisto is the next one to come upon the scene, and, in spite of his
+satanic make-up, the villagers do not recognize his "name and station."
+He joins in their merry-making, and soon astounds them with his wizard
+tricks and actions. He sings a song about "Gold--the lord of the earth."
+It is one of the three important solos of this rôle, and is a most
+characteristic piece. One has not the least doubt that he learned it at
+home! Such eccentric, sardonic intervals and rhythm at once suggest an
+unholy origin.
+
+[Illustration: Copyright by Aimé Dupont, N. Y.
+
+Melba as Marguerite in "Faust."]
+
+The peasants soon become so convinced of this stranger's evil power that
+they unanimously hold up the hilts of their swords, which are formed
+like a cross, and before this emblem Mephisto trembles. A very strong
+and inspiring chorus accompanies this move on the part of the peasants.
+
+Faust, the handsome cavalier, now comes forward. After a short dialog
+between this master and servant--who we know are under compact to change
+places in the hereafter--the chorus again take possession of the stage.
+They sing first a charming waltz song, which of itself seems to start
+them all to dancing. And then comes the celebrated "Faust Waltz," during
+which the listener should pay most attention to the orchestra. There is
+some singing and much dancing on the stage, but the instruments have the
+most important part. Of this well-known composition it is unnecessary
+to say more than that it is a splendid waltz.
+
+Its brilliant rhythm is temporarily diverted by the entrance of
+Marguerite, who is on her way home from church. She carries a
+prayer-book in her hand, and is dressed in white, which betokens
+innocence. This costume of the heroine has been considered as imperative
+as the make-up of Mephisto; but Madame Eames carefully studied old
+Nuremburg pictures and resurrected the correct style of that period,
+which somewhat departs from operatic tradition.
+
+On seeing Marguerite, Faust addresses her as "My charming lady," and
+begs permission to walk home with her. To which Marguerite very properly
+replies that she is neither "charming" nor a "lady," and can go home
+"alone." The question and response last only a moment, but the two
+themes are most exquisitely adapted to the words, and should be noted,
+as they recur later on in the opera. Especially lovely are these first
+notes of the soprano; and after so much chorus and bass and orchestra,
+they soar out like strokes from a silver bell.
+
+Marguerite goes on her homeward way, and leaves Faust more in love than
+before. Mephisto rejoices, and the waltz is resumed. Thus ends Act II.
+
+And now for the Garden Scene--a veritable bouquet of melodies, flowers
+that never fade! The first aria is, indeed, called the "Flower Song,"
+but only because Siebel sings to the flowers he has brought for
+Marguerite. Siebel is the contralto rôle, and therefore always taken by
+a woman. It is a very short part, but as two of the sweetest songs in
+the opera belong to Siebel, great artists are glad to take the
+character. The short prelude by the orchestra before the "Flower Song"
+is as artistic as any other part. It seems to smooth the brow and quiet
+the mind, and coax the hearer into just the right mood "to be lulled by
+sounds of sweetest melody." Siebel's song is indeed "sweetest
+melody"--so much so that a poor singer can hardly spoil it. That gentle
+and caressing theme captures the heart every time.
+
+After Siebel has gone, there enter Faust and Mephistopheles (who gains
+admission everywhere). The latter is in high spirits, and Faust is in
+love. They look upon the garden with different emotions. Faust
+rhapsodizes and is lost in romance; but Mephisto's more practical vision
+perceives the flowers which Siebel has left at Marguerite's door. He
+goes off at once to procure a present that shall outshine these. During
+his absence Faust sings the "Salve Dimore." These are the first words of
+the song, which mean "Hail! dwelling pure and simple;" but this
+composition is always given its Italian name. It is interesting to note
+the names by which celebrated arias are known. Some are designated by
+the subject, as the "Jewel Song," "Flower Song." Then, again, some are
+known by the rhythm, as the "Waltz Song" from "Romeo and Juliet," or the
+"Polacca from 'Mignon.'" Then, there are others whose names only
+indicate the number of voices, as the "Sextet from 'Lucia,'" the
+"Quartet from 'Rigoletto';" while many are spoken of by their Italian
+names. The "Salve Dimore" belongs to this class, and, like the "Jewel
+Song," is so celebrated that many people who have not heard the music
+are still familiar with the name. The tenor who does not receive
+abundant applause after this aria may feel that he has lost his best
+chance in the opera.
+
+After the solo Mephisto reenters with a jewel-casket under his arm. He
+places this where Marguerite will surely find it, and then the two
+retire. Now is an expectant moment, for the soprano holds the stage
+alone for some time, and has in this scene her finest solos. She comes
+in through the garden gate and walks very slowly, for she is thinking
+about the handsome stranger who spoke to her in the street. She tries,
+however, to forget the occurrence, and resolutely sits down to her
+spinning. As she spins she sings a ballad called "The King of Thule."
+It is a sad little song, with strange minor intervals that make one feel
+"teary 'round the heart." Marguerite interrupts her ballad to
+soliloquize again, in pretty recitative tones, about that "fine
+stranger," but she soon recalls herself and resumes the song. At last
+she gives up trying to spin, and starts for the house; whereupon she
+sees Siebel's flowers, which are admired, but dropped in amazement when
+her eyes rest upon the jewel-box. After some misgivings she opens it and
+discovers jewels so beautiful that from sheer joy and delight she starts
+to trilling like a bird. This trill is the opening of the great aria,
+which seems to thus poise for a moment and then fly away in the
+ascending scale which commences the brilliant theme. The "Jewel Song" is
+as difficult as it is beautiful, and the artist who renders it well
+deserves unstinted praise.
+
+Before the song is ended, Martha, the matron in whose care Marguerite
+has been entrusted, comes into the garden, and soon is followed by
+Faust and Mephistopheles. Hers is a necessary but unimportant character,
+as she has no solo and is merely a foil for Mephistopheles. She is
+represented as a very susceptible widow, and he takes upon himself the
+uninviting task of making love to her in order that Faust and Marguerite
+may have a chance. The two couples walk back and forth in the garden,
+which is supposed to extend beyond the limits of the stage. The courting
+as done by Mephistopheles is highly absurd, and is, in fact, the only
+touch of humor in the opera.
+
+But very different are the scenes between Faust and Marguerite. Every
+phrase is full of charming sincerity. But it is after the quartet, after
+the second exit and reappearance, that we hear their great love duet.
+The evening shadows have lengthened, and "Tardi si fa" ("It groweth
+late") are the first words of this superb composition, which is indeed
+like pure gold. It stands alone in musical literature as the ideal love
+music. The only work that is ever compared to it is Wagner's duet in
+the "Walküre." Some writer has ventured the statement that in this
+"Faust" duo Gounod has "actually discovered the intervals of the scale
+which express the love passion." The idea is not a wild one nor a new
+one, for it is known that the Greeks held a similar belief, and even
+prohibited certain harmonies and intervals as being too sensuous. Be
+that as it may, there is a subtle charm about Gounod's music that eludes
+description. When we hear that final ecstatic leap from C sharp to high
+A, a mystic hush and spell steals over us.
+
+There is little more after the duo. Marguerite rushes into the house,
+and Faust is aroused by the unwelcome voice of Mephistopheles. The
+latter's jesting tone is most irritating to the lover. But this dialog
+is soon interrupted by one of the loveliest scenes in the opera.
+Marguerite throws open the blinds of her window and looks into the
+garden, which she believes is now vacant. The moonlight falls upon her,
+and she suddenly begins singing. It is a burst of melody as spontaneous
+and free as the song of a nightingale. The song is not long, and soon
+the curtain descends; but the picture leaves a lasting impression.
+
+Act IV. comprises three scenes. The first one is short, and depicts
+Marguerite's grief and remorse. Faust has forsaken her, and the faithful
+Siebel tries to comfort and console. This second solo of Siebel's is a
+melody of noble simplicity. The beautiful cadence given to the
+twice-repeated name, "Marguerita," reveals a heart full of unselfish
+love.
+
+The next scene represents a street in front of Marguerite's house. There
+is general excitement and anticipation among the villagers, for to-day
+the soldiers return from war. They presently enter, amid much rejoicing,
+and sing their great chorus, called the "Faust March." This march is so
+popular and well known that people who believe they have never heard a
+note of the opera will be surprised to find that they recognize this
+march. It is played by every military band in the country. After the
+chorus the soldiers disperse to their homes and friends. Valentine is
+greeted by Siebel, but the brother inquires about his sister, and
+hastens into the house.
+
+The stage now is darkened, for the hour is late. Presently Faust and
+Mephisto appear. The latter has brought his guitar, and he assumes the
+privilege of singing a serenade to Marguerite, while Faust stands to one
+side in melancholy meditation. Mephisto's song is more insulting than
+complimentary. As a musical expression of irony, sarcasm, and insolence,
+this composition is certainly a success. The last three notes of the
+first phrase are a veritable leer. This is the second important bass
+solo, and, when well given, is highly effective, as it admits of great
+variety of expression. But instead of bringing forth the object of the
+serenade, Marguerite's brother appears at the door, and with drawn
+sword. He seeks out Faust and challenges him to a duel. The challenge
+is accepted, and they are soon fighting; but the result is inevitable,
+for Mephisto uses his demoniac power to protect Faust, and so Valentine
+is wounded. The noise of the scuffle has aroused the villagers, who
+hurry in with lanterns and find Valentine dying. Marguerite rushes
+forward and falls on her knees beside him, but Valentine motions her
+away. He rises up in his death agony and curses her in tones that are
+like balls of fire. The villagers look on with awe, while poor
+Marguerite is stunned by these terrible words from her dying brother. It
+is the most tragic moment of the opera. When Valentine expires, every
+one kneels as they sing a solemn prayer, and the curtain falls.
+
+We have next the Church Scene, whose sublime music displays Gounod's
+special forte. He is perhaps greater as a composer of ecclesiastical
+music than anything else. His genius finds most congenial soil in
+religious themes, and therefore is this church scene with its mighty
+choruses and organ interludes truly grand. We hear the organ tones even
+before the curtain rises, and when it does Marguerite is discovered
+kneeling on a prayer-chair, apart from the other worshipers. She tries
+to pray and find comfort in her despair, but an awful voice mocks her
+endeavors, and that voice is Mephistopheles, who comes to her now in his
+true character. He is near her, but she can not see him, while he
+terrifies and tortures her with fearful prophecies. Vainly and
+desperately she strives to follow the familiar service, but she can hear
+only the demon's voice. It draws ever nearer, and its words increase her
+terror. At last with a cry of anguish Marguerite falls down unconscious.
+Mephistopheles stands over her, and his face beams with satanic glee.
+
+True to Goethe's story, Marguerite becomes insane from grief and kills
+her child. The last act finds her in prison. Once again she is clad in
+white. Her hair hangs loose upon her shoulders, and chains bind her
+wrists. She is sleeping on a straw pallet as the curtain rises, and
+Faust enters with his companion. They have come to release the prisoner.
+But when she is aroused and urged to flee she pays little heed to their
+request, for she does not recognize them. But the sound of Faust's voice
+recalls to her that first meeting so long ago, when he said, "My fair
+lady, may I walk with you?" She sings again the charming phrase as we
+heard it in the second act; but it is now rendered with a certain pathos
+and simplicity that bring tears to our eyes.
+
+She presently perceives Mephistopheles, and the sight fills her with
+terror. She falls on her knees and invokes the angels of heaven to
+pardon and receive her soul. The fervor of this prayer knows no bounds.
+A veritable religious ecstasy throbs through the music. The theme is
+broad and free, and seems to burst asunder every bond. It suggests a
+glory and splendor that are celestial. Ever higher and grander it grows.
+Marguerite is now standing with upraised arms; and altho Faust and
+Mephisto join in the singing, our attention is entirely riveted by that
+white-robed supplicant. The peerless theme is repeated three times, and
+always higher than before. Those soprano tones finally reach an
+atmosphere so clear and rare that they seem to carry the soul of
+Marguerite with them. The last high B soars up to heaven like a
+disembodied spirit.
+
+It matters not what occurs after this. We have a dim consciousness of
+Marguerite falling down, of some words of lament from Faust; but for us
+the opera was ended with that last supernal note.
+
+
+
+
+"Werther"
+
+
+
+
+"WERTHER"
+
+
+Madame Eames is the only prima donna whom America has heard in
+"Werther"--a work which in Paris ranks as Massenet's best. But she does
+not sing it often, because, as she says, "It all lies in such a low key;
+and to sing always in one place is hard on the voice." Then she adds,
+"But the love-music of Werther is beautiful."
+
+Goethe's love-stories find favor with French composers. Massenet has
+accomplished with "Werther" what his predecessors have done with
+"Mignon" and "Faust." His work is very recent and altogether unique. The
+story is not dramatic, and there are no regulation operatic
+characters,--no gods, no kings, no peasants, gypsies, fairies, demons,
+villains, slaves, soldiers, and not even a chorus. The scenery is also
+unconventional; not a palace, nor a mountain, nor a dungeon in the whole
+play.
+
+The _dramatis personæ_ of "Werther" are taken from "ye lower middle
+classes," and they are graced with such names as Schmidt, Johann,
+Sophia, and Katie. We find it agreeable and gratifying to see our own
+common selves and everyday emotions elevated to the regions of classic
+music.
+
+It is easy to understand why Massenet was attracted by the story, in
+spite of its dramatic weakness and lack of stage effects. It offers
+unbounded opportunities for love-music. Most opera composers must
+content themselves with one rousing duet and perhaps a solo or two; but
+in this story the hero sings of love from first to last.
+
+The prelude to this homely opera is like the blessing before a meal. It
+is peaceful and soothing, and might be called a pastorale.
+
+As the curtain rises we are greeted with the chatter and laughter of
+childish voices: two innovations at one stroke, for real children and
+real laughter have never before held a place in grand opera. This first
+scene of "Werther" forms a pleasing summer picture. We see the garden
+and terrace of a simple country house, whose owner, the town bailiff, is
+seated upon the veranda surrounded by his six children, to whom he is
+teaching a Christmas carol. He seems to be teaching them, but in point
+of fact he is teaching the audience this charming melody, which must be
+kept in mind, for it recurs at various intervals during the opera. So
+the children sing at first very loud and badly. The good-natured bailiff
+shakes his head and stops his ears. After a second attempt the song goes
+smoothly, and during this performance Schmidt and Johann enter the
+garden. These are some tavern friends of the bailiff, who lend variety
+to the music by giving occasion for the inevitable drinking-song. They
+compliment the children and inquire after Charlotte. "She is dressing
+for a ball," answers Sophia, the bailiff's second daughter.
+
+We might tire of this plain conversation and the buffoon manners of
+Schmidt and Johann, but the accompanying music is of absorbing
+interest. Massenet makes much use of counterpoint, which has been
+broadly defined as the art of combining melodies. A crude but familiar
+example is that wonder-inspiring piano performance of "Yankee Doodle" in
+one hand with "Fisher's Hornpipe" in the other. It is interesting to
+follow the various themes in Massenet's orchestra. Sometimes a bit of
+the Christmas carol combines with the gruff, reeling song of Bacchus,
+which, in turn, is blended with a broad and noble theme that always
+appears in connection with the name of Charlotte. Another theme, that
+might be characterized as severely intellectual, asserts itself whenever
+the conversation turns upon Albert, her absent fiancé.
+
+Schmidt and Johann go off arm in arm, lustily singing, "Vivat Bacchus."
+
+Sophia enters the house, while the bailiff retires with the children to
+an alcove on the veranda, where we see him patiently rehearsing that
+Christmas carol, word for word.
+
+The music now undergoes a transition, like a dreamer turning in his
+sleep. There are harp-chords, arpeggios, and trills written soft and
+"dim."
+
+A richly clad traveler enters the garden, looking about him with evident
+emotion. It is Werther, returned after years of absence to his native
+village.
+
+"I know not if I dream or wake," are his first words, while the
+instruments recall that pastoral motif of the prelude. Birds and trees
+and the limpid brook are all apostrophized in word and tone, until, with
+a sunburst of rising chords, there is introduced a new and radiant
+theme, eulogizing--
+
+"All nature, full of grace,
+ Queen over time and space;"
+
+while under the spell of his emotions--for Werther is a poet and a
+dreamer--there comes to him, like the song of angels, that blessed
+Christmas carol which the children are singing softly and with perfect
+rhythm.
+
+The already familiar Charlotte-theme announces the heroine's entrance.
+The girlish costumes of this bourgeoise character are unusually
+becoming to Madame Eames; they present her in quite a new light, and her
+first entrance gives a pleasing surprise to the audience.
+
+She is embraced by the children, who love Charlotte dearly, for she is
+to them both a sister and a mother. Regardless of her best gown, she now
+goes to a buffet on the veranda and distributes slices of bread and
+butter. This scene has prompted the epithet, "bread-and-butter opera."
+
+In the mean time Werther is welcomed by the bailiff and introduced to
+Charlotte. Sounds of gay music accompany the arrival of guests who will
+take Charlotte to the ball. This festive music is unique. The bass
+presents a defiant repetition of one chord that is stubbornly out of
+harmony with the bright melody above, like old age shaking his head at
+youthful gaiety.
+
+It is decided that Werther shall go along to the ball. The dance-theme
+is resumed, and the merry party go out. Sophia takes the children into
+the house, and the bailiff goes off to the tavern, humming on the way
+that comical drinking-song.
+
+The stage grows darker, the music softer, and we hear a fragment of the
+Albert-theme. It is like seeing the shadow before the person, for Albert
+soon enters. He has returned unexpectedly. Sophia rushes out to greet
+him, and she regrets that Charlotte is absent.
+
+Before going into the house Albert sings to the night winds of his love,
+and hopes that Charlotte on entering the garden will discover the
+thoughts that he leaves.
+
+The orchestra toys with this melody for a time, but then is diverted by
+memories of the ball music. Snatches of the bewitching strain flit by in
+different keys, like belated guests in vari-colored dominoes. They are
+faint as phantoms--a gentle swaying of the violins, a touch of the harp,
+and then they vanish. There is a pause. The moon has appeared, and the
+humble garden seems transformed into a fairy bower.
+
+Like the spirit of a dream is the melody now arising. Ethereal in its
+beauty but supreme in power, it rules over the entire opera. This is the
+love-theme. We are not surprised to see Werther and Charlotte enter arm
+in arm. It is a familiar situation: he is "seeing her home" from the
+ball. And arrived at their destination, they linger at the gate as
+couples have done before and since.
+
+Charlotte is of a serious nature, and their talk is never light. She
+tells of her mother and the terrible experience of losing one so dear.
+"I believe that she watches over me and knows when I do her bidding."
+Charlotte's tones are full of pathos, and she becomes abstracted in her
+memories, while Werther, enraptured by her goodness and beauty, gives
+utterance to the feelings that enthrall him. The music grows stronger
+and higher, until it breaks forth in a resounding reality of the
+love-theme. Over an accompaniment of throbbing chords this superb melody
+sweeps by like a meteor passing the earth; and during this luminous
+transition we hear the voice of Werther, "Charlotte, I love thee!" There
+follows a hush, and then a chilling, awful discord. Some one is calling
+from the house, "Albert has come home!" Charlotte staggers at this news.
+She explains that Albert is her betrothed--it was her mother's wish.
+"May she forgive me, that for one moment at your side I forgot my vow."
+Charlotte goes up the steps; she turns once, but then hastens inside.
+Werther buries his face in anguish at the thought of her wedding
+another.
+
+Several months have elapsed since the events of the first act. The
+elm-tree foliage is denser and the situations of the drama have changed,
+but love and music remain the same.
+
+Schmidt and Johann are discovered sitting before the tavern "of a Sunday
+afternoon." Their good-natured song of Bacchus greets us like an old
+friend. The church and parsonage are in plain view, and a solemn choral
+from within alternates with the drinking-song without. The village is
+to-day _en fête_ in honor of the pastor's golden wedding.
+
+The serious and thoughtful Albert-theme marks the entrance of Charlotte
+and Albert, who are married. They loiter on their way to church and sit
+down on a bench under the trees. Very calm and tender is the music of
+this little scene between husband and wife. The organ resounds the
+chords of a beautiful hymn, at which summons Charlotte and Albert join
+the other worshipers.
+
+Werther has been observing the pair from a distance. When they are gone
+he comes forward, exclaiming with grief and bitterness, "Wedded to
+another!" The tempestuous chords of the orchestra clash into the holy
+harmonies of the organ. Jagged fragments of Werther's first song of
+admiration depict his shattered joy. As one holds together the pieces of
+a broken vase, sadly recalling its lost loveliness, so does the
+orchestra again build up that old theme in all its beauty while Werther
+sings of what might have been. Rebellious at fate, he cries out: "It is
+I--I alone whom she could have loved!" The succeeding aria is reckless
+as a steed galloping to his death. It plunges from high tones to a sob,
+and the singer, flinging himself upon a bench, buries his face in his
+arms.
+
+Albert discovers Werther thus despondent, and, suspecting the cause, he
+questions him; but Werther desperately disclaims his love for Charlotte.
+This interview is musically serious and sad. But suddenly the orchestra
+gives us a new key, a new melody, a sprinkling of lithesome staccatos
+falling like a shower of apple-blossoms. With a smile on her lips and
+flowers in her hands, Sophia enters, unconscious of the surrounding
+turbulent emotions. She gaily announces that they intend to dance, and
+that Werther must join her in the minuet. Observing his somber
+expression, she bids him cheer up, for to-day--
+
+    "All the world is gay!
+     Joy is in the air!"
+
+This song is the most popular one of the opera. It is bright and light,
+and full of fluttering phrases--a veritable song of spring.
+
+When Albert and Sophia are gone, Werther cries out with explosive
+candor, "I told a falsehood!" He is wretched beyond compare. He can not
+cease loving, and he dare not cease lying.
+
+Charlotte comes from the church, and, greeting him kindly, asks if he,
+too, is going to the parsonage. They speak lightly but feel deeply, as
+is evidenced by the music. That wondrous love-theme softly surrounds
+them like the magic fire of the Walküre. The harmonies mount up from the
+instruments like flames from living embers. A spell is upon them.
+Charlotte stands mute, while Werther sings of that evening when he
+touched her hand and looked into her eyes for the first time. Softly and
+slowly the beautiful melody disappears, giving place to a different
+chord and motif: "Albert loves me--and I am his wife!" Charlotte has
+recovered herself. She entreats Werther to turn his heart elsewhere:
+"Why do you love me?" This hero seems to understand himself, for he
+answers: "Ask a madman why he has lost his reason!" Then Charlotte urges
+him to go away for a time, say until Christmas. "Yes, until
+Christmas--good-by, my friend!" She leaves before he has time to refuse.
+
+Now follows a musical adaptation of Goethe's very poetical and ingenious
+plea for suicide.
+
+     "Do we offend Heaven in ceasing to suffer? When a son returns from
+     his journey before the expected time, far from feeling resentment,
+     the father hastens to greet him; and can it be that our heavenly
+     Father is less clement?"
+
+During this soliloquy we encounter strange chords in the orchestra.
+Strains of a gay minuet play upon these tragic tones like rainbow colors
+on the angles of a glacier.
+
+The dance has begun, and Sophia, appearing at the parsonage door, tells
+Werther that she is waiting. He walks away.
+
+"You are leaving! But you will come back?" cries the disappointed
+Sophia.
+
+"No--never! Good-by!" and Werther turns down the road out of sight.
+Either for the lost dance or the lost partner, Sophia bursts into tears.
+Albert and Charlotte find her thus, and between sobs she tells them how
+Monsieur Werther has gone away forever. Charlotte stands rigid, while
+Albert exclaims to himself: "He loves my wife!" The gay assemblage
+within the parsonage has no knowledge of this brewing tragedy, so the
+minuet continues till the curtain descends.
+
+The prelude to Act III. is somber and depressing. It clings to the
+harmonies of that last scene between Charlotte and Werther--the exile
+motif.
+
+The curtain's rising reveals Charlotte sitting at her work-table, lost
+in thought while her needle plies.
+
+The soft light of the lamp illumines a _petit salon_; the hour hand of
+the clock points to the figure five, and the libretto tells us it is
+the 24th of December. The subject of her thoughts is Werther--always
+Werther! Why can she not banish him from her mind as she did from her
+presence? The question is not hard to answer, for we learn that he has
+been writing to her. As tho drawn by a magnet, Charlotte goes to the
+desk and reads again the letters she fain would forget. Moaning minors
+like a winter wind accompany the perusal of these sad and poetic
+epistles. Werther writes: "If I never return, blame me not, but weep
+instead, for I shall be dead."
+
+Terrifying tremolos accompany the tragic theme that is now let loose in
+the orchestra like a strange, wild animal in the arena. It preys upon
+the emotions, gnawing at the heart of every listener. Massenet delights
+in startling contrasts.
+
+While Charlotte is grieving over these missives, a happy voice greets
+her, "Good day, sweet sister!" It is Sophia, come with an armful of toys
+and a heart full of melody. She is accompanied by the gay staccatos of
+her "Spring Song." Charlotte hastily conceals the letters; but tears are
+not so easily disposed of. Perceiving the reddened eyes, Sophia tries to
+cheer her sister by singing of "Laughter, the light of the heart." The
+gaiety of this music, with its sparkling scales and tripping tempo, is
+infectious. But tears again gather in Charlotte's eyes when Sophia
+mentions the name of Werther. The little sister is very sorry; but
+Charlotte says never mind, weeping does one good. "The tears we do _not_
+shed fall back upon the heart, which, altho it is big, is very frail and
+can break with the weight of a tear."
+
+The music to this sentiment is a tone-poem well worthy of the text. It
+is written in a low key. Joy mounts upward on the scale, but grief
+weighs down.
+
+Sophia goes out, and all the bright music with her. Falling upon her
+knees, Charlotte prays for strength. This supplication is truly grand,
+with superb crescendos and plaintive diminuendos.
+
+The music now swells out with sudden impetus and the parlor door is
+brusquely opened. Charlotte turns around and exclaims--with startled
+tones, "Werther!"
+
+He is leaning against the door as tho wearied in mind and body. "I tried
+not to come--_mais me voici_!"
+
+With forced calm Charlotte bids him welcome. He looks with fond memory
+upon the old piano and familiar books. They talk of casual things, and
+incidentally Charlotte calls his attention to the poems he was
+translating when he left.
+
+The music of this scene has been unnaturally tranquil; the gentle
+Charlotte-theme and another phrase, graceful and simple as a nursery
+rhyme, are used with touching effect. But with the mention of these
+poems sudden emotion breaks through the constraint. Werther turns to the
+unfinished verse and reads aloud.
+
+The ensuing scene is dramatically not a new one. In "Francesca da
+Rimini" the heroine is wooed and won by the reading of a poem; but added
+to the charm of verse we here have the enthralling power of music. In
+both instances the reading ends with--a kiss.
+
+The succeeding aria is a song of soaring ecstasy about "_ce premier
+baiser_." Werther proclaims that "only love is real!" But Charlotte
+suddenly recoils at her weakness, and rushing to a side door, exclaims:
+"We must never meet again! Good-by--for the last time!" and disappears.
+
+The music has assumed a dolorous strain that vividly portrays the pathos
+of her last words. Werther calls for her to come back. He knocks at the
+door, but is only answered by the tragic chords of the orchestra. They
+are furious and fearful, but, strange to say, they adequately express an
+awful silence. "So be it!" at last exclaims the sorrowful Werther.
+Crashing chords whirl riot in the orchestra as the hero hastens away.
+
+The stage is vacated, but the music tells us whom next to expect. The
+Albert-theme, easily recognizable tho a trifle harsher than before,
+comes forward to preside over the finale of this act.
+
+Albert steps into the room, surprised and preoccupied. He has met the
+distracted Werther at the front door, and here finds Charlotte locked in
+her room. In answer to his authoritative call she comes forward looking
+pale and frightened. He questions her, but she answers evasively. At
+this moment a message is handed to Albert by a servant. It is from
+Werther: "I go on a long journey. Kindly lend me your pistols.
+Farewell." Charlotte knows the import of these words, but dare not
+speak. Perhaps Albert also knows. He coldly bids her hand the weapons to
+the servant. Mutely and slowly she goes to the case and delivers the
+contents as she was bid. That theme in the orchestra continues quietly
+to move back and forth like a person keeping the death-watch. When the
+servant has gone, Albert strides angrily out of the room. Charlotte
+stands for a moment immobile. The music also seems to stand still; then
+a sudden impetuous outburst of the instruments coincides with her
+decision. From highest B to lowest F octaves and chords are hurled
+together, as Charlotte, seizing a mantle, rushes to the door. "Pray
+Heaven I may not be too late!"
+
+We follow Charlotte in her flight. The scene changes to a view of the
+village. It is Christmas eve, nearing midnight. The snow is falling in
+wild gusts, but through a rift in the clouds the moon looks down upon
+the peaceful town. Roofs and trees are covered with snow, while from
+some of the windows household lights are gleaming. The church, too, is
+lighted, but the moonlight and the snow are most prominent. Even these
+however are not so important as the music. More chilling than hail or
+snow are those sudden blasts of chords and octaves falling one on top of
+the other, down, down until they join and melt into the steady tremolo
+of the bass. Finally, like Death seated on a tombstone, the terrifying
+tragic theme again looms up.
+
+During this introduction the winter scene on the stage remains the same.
+The snow continues to fall, and we hear it in the orchestra--a steady
+movement of double thirds over which play varying melodies like
+Christmas lights. The musicians turn their leaves once, twice, three
+times, but still that slowly palpitating accompaniment goes on. There is
+something appalling in this persistency. What was at first delightful
+becomes oppressive, for we are somehow reminded that falling snow can
+bury the living and hide the dead.
+
+A distant bell sounds the hour of twelve. Fierce winds arise, and we see
+the muffled figure of a woman struggling her way against the gale. The
+tempest is again heard in the orchestra. Breathlessly we watch the
+heroine's slow progress, and wonder if she will be too late.
+
+The scene changes to a little room strewn with books and papers. A lamp
+on the wooden table casts sickly rays upon the surroundings, but we can
+plainly see a figure reclining on a chair near the open window. It is
+Werther, pale and unconscious. Charlotte rushes in, and at sight of the
+dying man is beside herself with grief. She calls him by name, and the
+sound of her voice revives him. He asks her faintly to stay near him, to
+pardon him and love him. While he speaks there arises from the
+orchestra, like the dim visions of a dying man, that first love-theme so
+full of summer gladness. Charlotte sings to him the words he has longed
+to hear. This last love-song ends in a whisper. The instruments, too,
+seem hushed with that mysterious silence of Christmas night. We can see
+through the window the bright moonlight, for the storm has abated.
+
+Suddenly the dying man looks up as sweet music greets his ear--
+
+    "Noël! Noël! Noël!
+     Proclaim the wondrous birth!
+     Christ the Lord has come to earth!"
+
+It is the happy children's voices singing their Christmas song in the
+church. A merry carillon of the instruments accompanies the familiar
+tones of Sophia's high, bright voice in the distance--
+
+    "All the world is gay!
+     Joy is in the air!"
+
+This startling contrast of life and death has never been more
+beautifully portrayed.
+
+Werther sadly smiles, murmuring that it is his song of deliverance. He
+dies in Charlotte's arms. She cries out, despairing, inconsolable, "It
+is finished!" Death is in the orchestra, in the darkness, in the ensuing
+silence. But suddenly, like "the morning in the bright light," those
+far-away voices again sing--
+
+    "Noël! Noël! Noël!"
+
+
+
+
+Calvé and "Carmen"
+
+[Illustration: EMMA CALVÉ.]
+
+
+
+
+CALVÉ AND "CARMEN"
+
+
+"Hear Calvé in 'Carmen'--and die," is the motto which heralded this
+singer's first visit to America. Our curiosity was greatly aroused, for
+we thought we knew all about "Carmen." We clung to the traditions of our
+own Minnie Hauk who had created the rôle, and could imagine nothing
+better than a trim, dainty Carmen with high-heeled slippers, short
+skirts, and a Spanish mantilla.
+
+Great was our amazement on that memorable night in 1894 when we beheld
+for the first time a real cigarette girl of modern Spain. Here was a
+daring innovation that at once aroused attention and new interest in the
+opera. This Carmen wore high-heeled slippers, 'tis true, but somewhat
+worn down and scuffed, as they must be if she was in the habit of
+running over the cobblestones of Seville as she ran to the footlights
+on her first entrance. And her skirts, far from being well-setting and
+so short as to reveal shapely ankles and a suspicion of lace petticoats,
+were of that sloppy, half-short length, which even the street girls of
+London wear to-day. But most astounding of all departures was the
+absence of any sign of a mantilla! How could one be Spanish without a
+mantilla--any more than one could be Russian without fur! But this
+Carmen had an eye to color--she could hardly otherwise be a
+coquette--and in her hair at the nape of her neck was deftly tucked a
+large crimson flower. Her hair, however, was carelessly pinned, and even
+tumbled quite down later on--a stroke of realism which was added to by
+the way she coiled it up and jabbed it into place again. A strange
+performance to behold in a grand opera setting; and we might have
+resented such defiance of the code had we not been forced to admit that
+it was all absolutely correct, and this Carmen was more truly Spanish
+than any impersonation we had seen. Even her voice seemed tropical;
+such richness of tone, warmth, and color had never before been combined
+in the singing of Bizet's opera. Had Bizet only lived to this day he
+might have died happily, for Carmen, the child of his brain, found no
+favor with the public when first introduced.
+
+After the surprise of Madame Calvé's costume and then of her voice, New
+Yorkers awoke to the fact that Carmen had never before been acted. This
+performance was a revelation, a character study of a creature who
+recklessly holds that it is _right_ to get all the pleasure you can, and
+_wrong_ not to have what you want.
+
+It was the evening after one of these great Carmen performances when a
+knock at the prima-donna's door elicited the Parisian response--"Entrez."
+Mme. Calvé's salon was brilliantly lighted and richly furnished, but it
+seemed only a sombre setting to the singer's radiant self. Not that she
+was gaudily gowned; on the contrary, her dress was simple, but her
+personality, her smile, her animation, are a constant delight and
+surprise.
+
+Mme. Calvé is thoroughly French, and thoroughly handsome, and appears
+even younger off the stage than on. She is tall and of splendid figure;
+her complexion is fresh and clear, with an interesting tinge of olive,
+and her eyes are black as her hair, which was arranged very pompadour.
+
+Mme. Calvé seated herself with a half-serious, half-amused expression,
+as tho to recite a lesson, and announced that she was ready and willing
+to answer "toutes les questions que vous voulez." This seemed a golden
+opportunity to learn all there is to know about singing. It stands to
+reason that the most direct and easy method of acquiring this art is
+simply to ask one of the greatest singers of the day how she does it.
+Some one found out how to play the piano by asking Rubinstein, who
+said--"All you have to do is to select the right keys and strike them at
+the right time."
+
+So, with this idea in view, Mme. Calvé was asked first what she thinks
+of when she steps before the public--her voice, her acting, or the
+music?
+
+"I think of Carmen," she answered, "if that is the opera. I try to _be
+Carmen_--that is all."
+
+When asked if she practices her voice much during the day, Mme. Calvé
+shook her head.
+
+"No--not now. You see, I must have mercy on my poor voice and save it
+for the evenings when I sing. Formerly, of course, I practiced every
+day, but never more than an hour with full voice. Yes, an hour at one
+time, once a day, that is all. But I studied much besides. At first I
+wanted to be an actress, and for this purpose gave much time to dramatic
+art. My mother was a fine musician; she is the one who urged me to
+sing."
+
+"What did you practice when you first began with the voice?--single
+tones?"
+
+Mme. Calvé looked thoughtful--she could hardly recall, until a friend
+who was present suggested--"it was rather intervals and arpeggios, n'est
+ce pas?" then the great Carmen quickly nodded.
+
+"Yes--you are right; intervals at first, and not until later on,
+sustained tones. I do not consider single sustained tones good for the
+beginner."
+
+In reply to a question about breathing, she answered:
+
+"Oh, yes; all singers must practice special exercises for the breath.
+What else did I do? Well, I hardly remember. I never had any trouble
+with my throat or my tongue,--no, I never thought much of these."
+
+She was then asked, by way of suggestion:
+
+"Did you ever _hum_ in your practice?"
+
+Now her face lighted up.
+
+"Yes," she replied, all animation, "and, do you know, that is splendid!
+I do it a great deal even yet, especially for the high tones like
+this"----, and there and then, without moving a muscle, like a conjurer
+materializing a flock of birds, she showered upon us a bevy of
+humming-tones. They were soft, of course, but clear and perfect as tho
+made with full voice, and you wanted to wrap each one in cotton and take
+it home. But--they were gone!--and the singer went on speaking.
+
+"With Mme. Marchese I used to hum a great deal. Yes, it is an excellent
+practice, for it brings the tone forward right here," and she touched
+the bridge of her nose.
+
+Mme. Calvé is so genial and vivacious in conversation that you are led
+to forget her position and wonderful attainments. But now and then it
+flashes over you that this is the woman whose manifold art has
+astonished two continents; a singer who makes any rôle she undertakes so
+distinctly her own that other singers hardly dispute her right to
+monopolize it. Not only is her "Carmen" a creation; Ophelia, too, she
+has imbued with new interest, introducing many startling voice and
+breath effects. Throughout all the mad scene she calls into use an
+"eerie-tone" that is fearful in its pathos and terror.
+
+"I love that rôle!" she exclaimed, as the subject came up. "The mad
+scene! Ah, it is superb."
+
+Even in Faust, the very Ancient of Days among operas, Mme. Calvé has
+surprised us with original touches, altho it is a work that every
+musician of any description has performed in some way or other. The
+pianist flourishes with the waltz, or a general fantasia of the opera on
+every and all occasions. The organist delights in the church-scene
+music, while the violinist rhapsodizes with the love duo or a potpourri
+of all the arias. Concert sopranos never cease to exploit the
+Jewel-song, while the contralto's audience never tires of the famous
+Flower-song. "O Sancta Medaglia" is dear to the heart of the barytone,
+and the tenor has a choice of beautiful solos from the first act to the
+last. Bass singers can find nothing better as a medium for gaining
+public favor than Mephisto's song to the "God of Gold." Even flutist and
+clarinetist resort to "Faust," the Imperishable, when they want
+something sure to please. And last, but not least, the cornet:--ask any
+soloist on this instrument what piece he has played most often, and, I
+warrant you, he will answer, "My Faust fantaisie!" The opera singer who
+does not have in her scrap-book some account of her performance as
+Marguerite can hardly count herself a prima-donna. No other opera is so
+essentially a piece of common property as is this Gounod's "Faust."
+
+So much the more is Mme. Calvé's achievement to be wondered at. A very
+stroke of genius is the dropping of Marguerite's prayer-book in the
+excitement of her first meeting with Faust, so symbolical is it of his
+effect on her life. This is more than realism--it is poetry. Again, in
+the spinning-song, she creates an exquisite effect by disentangling a
+knot in the thread on her wheel and at the same time slowing up with her
+song and diminishing it until the wheel turns again and she resumes the
+tempo.
+
+When asked how she ever thinks of these innovations, especially the one
+of inserting ecstatic little laughs in the Jewel-song, she smiled
+prettily and shrugged her shoulders.
+
+"It just comes to me in the acting--I don't know how. But I never change
+the music."
+
+She wished it impressed that, whatever her innovations, she maintains a
+reverence for all of the composer's work.
+
+There is something about Mme. Calvé that makes you feel in her presence
+the subtle influence of a large heart and a grand soul. In her own land
+she is famed not only for her singing, but also for her great
+generosity.
+
+
+
+
+"Carmen"
+
+
+
+
+"CARMEN"
+
+
+Every one likes "Carmen." Its popularity has been ascribed to the fact
+that "the action explains itself to the eye." One might also add that
+the music explains itself to the ear, for the themes are all unfurled
+and displayed like so many banners. In choosing Mérimée's novel for a
+libretto, Bizet recognized the growing demand for dramatic plots with
+rapid action--a demand which has since evolved such one-hour tragedies
+as "Cavalleria Rusticana" and "I Pagliacci." Aside from the stirring
+romance and fascinating music, "Carmen" also presents very delightful
+stage-pictures. The suburbs of Seville form an interesting setting, and
+the characters all require brilliant costumes. A bull-fighter, two
+smugglers, three gypsies, cigarette girls, and soldiers--not a plain
+individual among them!
+
+Before meeting these unusual personages we are presented with a letter
+of introduction from Bizet, which, because it is written in musical
+notation, the orchestra kindly interprets to us. We herein learn that
+these people take their pleasures, loves, and hates at a breakneck pace.
+There is a feverish excitement about the whole prelude; but at the end
+we hear a tragic minor motif of passion and pain that sends a chill to
+the heart. It is the Carmen-theme--Carmen herself.
+
+A gay plaza in Seville is the first scene of action. At one side is the
+guard-house, near which are a number of soldiers who mingle and converse
+with the other strollers and promenaders. A gossiping, good-natured
+chorus about the square and the people is the opening number. This
+pleasing melody, in spite of its simplicity, has strange intervals and a
+restless tempo that are thoroughly Spanish. A young peasant girl soon
+enters, rather timidly. It is Michaela, the high soprano rôle, which
+because of its two fine arias is often taken by a great artist, altho
+the part is a subordinate one. It has frequently been sung by Madame
+Eames. Michaela inquires for a brigadier called Don José. An officer
+politely informs her that Don José belongs to the next guard, which will
+soon arrive. With a musical phrase of dainty and condescending gallantry
+he invites her to tarry with them. Michaela declines the invitation, and
+uses the same musical setting for her own words. With the announcement
+that she will return after a while she escapes from their entreaties.
+The chorus is resumed, and the walking and talking go on as before. Soon
+the fifes and drums of the relief guard are heard in the distance. The
+soldiers in front shoulder arms and stand in file as the approaching
+company appears, followed by a lot of street gamins who keep step and
+sing to the music. This is so lively and inspiriting that we would march
+and sing too if we dared. There is a satisfying quantity of this
+"ta-ta-ta-ra" music. After marching to the foreground the new guards
+change place with the old, who are then led away with the same
+contingent of music and street boys. The soldiers and people at last
+disperse, leaving Don José and a superior officer, Zuniga, conversing
+together. The latter points to a large building, which he says is the
+cigarette factory, where are employed many pretty girls. Don José
+professes to care little for these, and we soon learn that he loves
+Michaela.
+
+The factory bell now rings, and a crowd of young men and boys at once
+fill the square in eager anticipation of seeing the cigar girls. José
+sits down near the guard-house and busies himself with a little chain he
+is mending. The tenors sing a short pianissimo chorus about these
+dark-eyed girls, whom they always court and follow. It closes with a
+drooping, yearning ritardando that quite prepares us for the next
+languishing measures. The factory girls enter, with cigarettes in their
+mouths and a nonchalant manner that is delightful. Between puffs of
+smoke they sing a slumbrous refrain that suggests the effect of
+nicotine. The lingering legato melody seems to rise softly and rest in
+the air until it passes away in tones so faint that Bizet has marked
+them four times pianissimo.
+
+The young men now accost the girls, and soon inquire for Carmen. "Where
+is Carmen?" That tragic cry which ended the prelude is heard again in
+the orchestra, but so disguised by rapid tempo as to be scarcely
+recognizable, and with this theme Carmen rushes upon the scene.
+
+Black-eyed, pearly-teethed Carmen, with cheeks like the red acacia
+flowers at her throat, and her whole appearance like a splash of
+sunshine!
+
+The youths clamor about her and inquire collectively when she will love
+them. Carmen bestows regardlessly some of her dangerous laughing
+glances, and then sings her great song, the "Habenera," so called
+because of its rhythm, which is like a Spanish dance. But no mazy,
+undulating dance could be so fascinating as this song about "Love, the
+child of Bohemia." The compass of its ravishing melody is within a
+single octave. The notes cling lovingly together, for the intervals are
+mostly half-tones; and, indeed, as Carmen sings them each one seems like
+a kiss or a caress. The theme is first given in the minor, and then
+softly taken up by the chorus in the major--an effect as surprising and
+delightful as a sudden breeze on a sultry night. The accompaniment is
+like the soft picking of mandolins, and all things combine to represent
+the warm luxuriance of Spain.
+
+During the song Carmen has perceived Don José, who continues his work
+and gives her no attention whatever, which is a new experience for this
+spoiled and petted cigarette girl. She purposely becomes more personal
+in her song, and ends with the audacious words, "if you love me not and
+I love you--beware!" With a sudden dash of impertinent coquetry she
+flings a flower at Don José, and then rushes off the stage amid peals
+of laughter from the others, who follow. The young soldier, thus left
+alone, finds himself troubled with mingled feelings of resentment at the
+girl's impudence and admiration for her beauty. He puts the flower in
+his coat, but at once forgets the whole incident as he sees Michaela,
+whom he joyously welcomes.
+
+She has come to town for a day, and she brings a letter from his mother,
+also some money, and still something else, which she hesitates over, but
+finally delivers as it was given her--a kiss from his mother. There is
+nothing of the coquette about Michaela, and her songs are all
+straightforward, simple airs that win by their very artlessness. Her
+message is sung with harp accompaniment, and the harmonies are pure and
+clear. Then follows a duet about the mother and home in the village, and
+the tenderness of this music reveals that Don José is a loving and
+devoted son. When the duet is ended Michaela leaves José to read his
+letter. Music as peaceful as village church bells comes from the
+orchestra while the young soldier reads. He touches the letter to his
+lips and is prepared to obey his mother, especially in the matter of
+wedding the pretty Michaela.
+
+His thoughts are interrupted by a wild scream from the factory and
+sounds of disputing voices. A number of girls rush from the building,
+all talking at once, and they fairly besiege Zuniga with explanations of
+what has happened. There was a quarrel and Carmen struck another
+girl--some say she did, and some say she didn't. Don José, in the mean
+time, has gone into the factory and brings out the struggling Carmen. He
+tells his superior officer about the affair, which ended in one girl's
+being wounded by "this one." Carmen tosses her head, and when the
+officer asks what she has to say in defense she looks into his face and
+sings "la-la-la-la!" Her impertinence would be almost repellent were it
+not that her voice is "like the wooing wind," and even her "la-la-la" is
+bewitching. Further questioning only elicits the same response, and the
+officer angrily declares she may finish her song in prison. He orders
+Don José to fetter her hands and keep watch while he goes to make out
+the order of imprisonment. While all are gone a most interesting scene
+occurs between the prisoner and her keeper. The latter ties her hands,
+and says he must take her soon to prison, as his superior has ordered.
+Carmen, in her present attitude of charming helplessness, announces with
+sweetest tones that Don José will help her, in spite of the orders,
+because "I know you love me!" This is too much. When José recovers from
+his astonishment at her audacity he commands her to sit still and not
+speak to him--"not another word." Carmen nods her head in saucy
+obedience, and talks no more; she only sings! Sings of "an inn near the
+ramparts of Sevilla" where she will go to dance the Seguidilla. The song
+is in the rhythm of that dance, and its sinuous melody is handled by
+Carmen like a toy. She composes words to suit the occasion: "My heart
+is free and willing to love whoever loves me."
+
+Don José, who has been trying to ignore her, but without success, tells
+her again to stop. She looks up with a grieved expression and her
+prettiest smile, and says she is not talking, only singing to herself
+and thinking; he surely cannot forbid her thinking! So she goes on
+thinking aloud about a "certain officer, who is not captain, nor even
+lieutenant--he is only a brigadier; but still he is great enough to win
+the heart of Carmen." Such words, music, glances, and smiles are more
+than Don José can resist, and it is not long before he succumbs to her
+witchery. He unties her hands and asks desperately, "Carmen, Carmen, do
+you mean it?" And for answer she softly sings to him that rapturous song
+of the Seguidilla.
+
+[Illustration: Copyright by Aimé Dupont, N. Y.
+
+Calvé as Carmen.]
+
+The orchestra now starts up a lively repetition of the last chattering
+chorus, and with it the superior officer, Zuniga, reenters. He hands
+José the order and bids him lead the prisoner to her destination.
+Carmen holds her hands back, as tho still fettered, and she tells José
+in an undertone to let her push him as they march off, and during the
+commotion thus aroused she will escape. Then she turns to Zuniga, and
+with the greatest effrontery favors him with a fragment of the
+"Habenera" song, to which refrain she marches away with apparent
+docility. The whole group of cigarette girls and young men follow after.
+Just as they are turning to the bridge, Carmen escapes as she has
+planned. She throws back the rope from her hands and runs off laughing.
+It is fun for all but Don José, who for this neglect of duty is himself
+escorted to prison.
+
+Bizet has preceded every act with an orchestral introduction called the
+_entr'acte_, which presents some important theme or portrays the
+character of the scene. Thus before the curtain rises on the second act
+we become familiar with a new and happy melody, which we later on
+recognize and welcome. After the _entr'acte_ the stringed instruments,
+with a touch of the triangle and tambourine, hold the supremacy as they
+breathe forth faint, weird harmonies that flit about like moving
+shadows. The scene presents an interior view of the inn "near the
+ramparts of Sevilla."
+
+It is evening, and amid the glow of soft lights Carmen and her gypsy
+friends are entertaining some officers with their dancing. She further
+enlivens the scene by singing a Bohemian song, whose liquid phrases fall
+upon the air like the soft splashing of a fountain.
+
+After the song and dance it is time for the inn to close, but at this
+moment shouts and hurrahs are heard from without. It is a torchlight
+procession in honor of Escamillo, the bull-fighter, who presently enters
+amid general acclamations. He wears a gorgeous costume, and sings a
+rousing song about the exciting life of a toreador. This baritone aria
+is the most famous of the many popular numbers which comprise this
+opera. Its strongly accented rhythm and pulsating theme immediately
+suggest the blaze of lights and blare of trumpets which belong to the
+arena.
+
+Escamillo soon perceives Carmen, and as quickly falls in love. She
+dismisses him with a coquettish remark that might mean much or little,
+and then all depart excepting Carmen and her two gypsy friends,
+Frasquita and Mercedes. These are soon joined by their comrades, the two
+smugglers, who softly tell of a new enterprise which will require the
+"ladies' assistance." Frasquita and Mercedes consent to leave at once.
+Then follows an exquisite quintet, sung with tempo prestissimo and tones
+pianissimo. Carmen suddenly astounds them with the assertion that she
+can not go, and gives as her reason that she is awaiting Don José, who
+to-day is released after two months' imprisonment, and further adds that
+she loves him. They take this at first as a joke; but finding her
+determined, they suggest that she induce José to join them. She says
+she will try, and the rest hurry out as they hear the young soldier
+approaching.
+
+He is singing a gay barrack song, and thus comes to Carmen with his
+heart in his voice and soul in his eyes. She welcomes him impulsively,
+and ere long she sings and dances for his amusement. Her song is but an
+accompaniment to the dance--a low, crooning melody without words which
+resembles the contented purring of a magnificent feline as she glides
+and sways with a splendid grace around the infatuated José. A bugle-call
+is heard in the distance, a summons the soldier must obey, and he stops
+Carmen in the midst of her dance. She thinks he is joking and commences
+again; but when she actually realizes that he is going to leave her,
+that he finds it _possible_ to leave, a perfect whirlwind succeeds the
+sirocco. She throws him his cap and sword, and bids him go forever if
+such is his love. Poor Don José remonstrates, but she will not listen
+until at last he forces her to hear how real and true is his love for
+her. He draws from his coat the little flower she threw at him two
+months ago, and he tells how, during all his days in prison, it was his
+dearest treasure. This music is more like the song of a pilgrim at a
+sacred shrine than a song of love, it is so simple and sincere. Its
+tenderness seems to reach even the heart of Carmen, for she now turns
+and with entreating looks and wooing tones she coaxes him to go with her
+and lead the free life of a bandit.
+
+The accompaniment is like the distant prancing of wild horses and the
+melody like the forest wind, low as a whisper, but sweeping before it
+all the fluttering doubts of a weak conscience. It is desertion,
+disgrace, dishonor, that Carmen asks of him, and José recoils. He is
+just on the point of refusing when a knock at the door is heard and
+Zuniga enters. He is himself in love with Carmen, and has presumed thus
+to return after the others have gone, in hopes of finding her alone. On
+discovering the presence of Don José he is angry and orders him away;
+but José's jealousy is also aroused and he firmly refuses to obey. A
+duel would ensue did not Carmen quickly call her friends. They seize
+Zuniga, and to avoid being denounced must keep him prisoner until they
+have made sure their escape. Carmen turns to José and asks once more if
+he will be one of them. As there is now no alternative, he consents,
+whereupon Carmen with light steps and light heart rushes to his arms
+like a sunbeam, dispelling for the moment all clouds of memory and
+doubt. The free, fearless measures of her mountain song are heard again
+as all sing about the gypsies' life of liberty. They all go off as the
+curtain falls.
+
+The next _entr'acte_ is sometimes called the intermezzo, for it divides
+the opera--the comedy from the tragedy--and it contains the first
+premonition of sorrow. As the curtain rises we hear a stealthy,
+shivering theme that well characterizes the scene before us--a wild,
+picturesque ravine, which is the smugglers' retreat. Some gypsies are
+reclining on the rocks; others soon enter, and sing a quite enticing
+chorus about the dangers and pleasures of their profession. Two leaders
+of the band then go off to reconnoiter, while the others rest. Don José
+is seen standing on one of the rocks, and when Carmen rather moodily
+inquires his thoughts he tells her of his mother in the village, who
+still believes him to be an honest man. Carmen coldly advises him to go
+back to her. Quick as thought-suggestion the orchestra recalls the
+tragic motif which we had almost forgotten. It causes us to feel with
+José the sting of Carmen's words.
+
+Our attention is now directed to Frasquita and Mercedes, who are seated
+on a bale of goods and trying their fortunes. A light staccato
+accompaniment sustains their still lighter song. The dainty measures are
+flung up like bubbles, reflecting the gay colors of the cards, which
+chance to be all diamonds and hearts. Carmen also tries her luck, but
+only the dark cards fall to her--death, always death; and to the
+superstitious gyspy this is like a knell. Again that tragic, mournful
+theme, like the extended hand of fate, feels its way slowly but surely
+through the orchestra, and then Carmen sings a meditative, melancholy
+refrain about the cards whose "decrees are never false." The music is in
+a low key, as tho kept under and depressed by her despair, and it
+touches our sympathy to see the sunny, frivolous Carmen for once
+thoughtful.
+
+The two smugglers presently return and report that three coast-guards
+intercept the way. The girls promise to entertain and divert these while
+the men make off with the booty. To the strains of a rollicking chorus
+they all go out, after stationing Don José as watch on one of the
+highest rocks. At this moment Michaela, with a guide, comes timidly
+forward. She has dared to follow the smugglers to this retreat for the
+purpose of seeing José and begging him to return. She has tried to be
+brave, but her heart now trembles, and this fact she confesses in her
+beautiful and best aria, "Je dis que rien" ("I say that nothing shall
+terrify me"). As she begs Heaven to strengthen her courage, the soft
+arpeggios of the instruments seem to rise like incense and carry her
+sweet prayer with them. She presently perceives José in the distance and
+tries to attract his attention, but he is watching another intruder--on
+whom he now fires. Michaela hides herself in terror as Escamillo enters
+and philosophically studies the newly made bullet-hole in his cap. Don
+José also comes down to interrogate this visitor. The toreador
+good-naturedly informs him that he has fallen in love with a gypsy girl,
+Carmen, and comes to find her. He also adds, "It is known that a young
+soldier recently deserted his post for her, but she no longer loves
+him." Jealousy seems but a feeble word to describe the feelings of Don
+José on hearing this. He quickly reveals his identity and challenges the
+toreador. After a short duet, which contains chromatic crescendos of
+blind fury for the tenor and insolent intervals for the baritone, they
+fight. Carmen, for the second time, averts a duel by her timely
+entrance. She calls for help, and the whole troupe of gypsies rush in.
+They separate the rivals and order them to suspend their quarrel, as all
+is now arranged for the journey. Before bidding farewell Escamillo
+invites all to his next bull-fight in Seville. "Whoever loves me will
+come,"--this with a tender look to Carmen that maddens José.
+
+Escamillo goes off and the others also start, but they suddenly discover
+Michaela in her hiding-place and bring her forward. She is frightened
+and rushes to José for protection, begging him to go home with her.
+Carmen cruelly seconds this entreaty, and then José turns upon her:
+"Take care, Carmen!" The words are menacing, but not so the music. José
+suffers more than he hates, and, instead of the rising tones of anger,
+the harmonies which struggle upward are continually repulsed as they
+reach the top, like a wild bird that beats its wings against prison
+bars. When Michaela finally tells him that his mother is dying, Don José
+consents to go. He calls out to Carmen, "We shall meet again!" She pays
+little heed to his words, but a glad smile lights her features as she
+hears in the distance the song of the toreador. And with this melody the
+act ends.
+
+The final scene represents the gates of the arena where occurs the great
+bull-fight, and the preceding _entr'acte_ is like the flaming
+advertisement of a circus, exciting and enthusing from first to last.
+The opening chorus is sung by venders who throng the square and cry
+their wares. After this the arena music announces the entrance of the
+performers. They come in on horseback, and amid enthusiastic greetings
+from the crowd ride into the arena. Escamillo, the hero of the hour,
+enters with Carmen at his ride. The public cry, "Vive, Escamilla!" and
+burst into a vociferous singing of the "Toreador Song." Carmen is
+radiant as the dawn, and the bull-fighter wears colors and spangles
+that quite eclipse any soldier's uniform. Before he enters the ring they
+sing a love-duet that displays more depth of feeling than we should
+expect from a Zingara.
+
+When the toreador has gone and the arena gates are closed, Mercedes and
+Frasquita anxiously inform Carmen that Don José has been seen in the
+crowd, and they urge her to leave; but she declares she is not afraid of
+José or any one. They leave her alone, and presently the rejected lover
+appears before her. But not in anger or to avenge does Don José present
+himself. He is too utterly dejected and broken-hearted for that. He
+comes only to entreat and plead for her love. Before he speaks we are
+warned by the ever-terrible death-theme, which has hung over the whole
+opera like a suspended sword, that the end is near. But Don José does
+not know this. Neither does Carmen, else perhaps she would not so
+ruthlessly spurn him when he begs her to go with him and begin a new
+life. When he piteously asks if she no longer loves him, her answer is a
+decisive "Non; je ne t'aime plus." But words have lost their sting for
+poor José. In a minor melody, that seems to cry out for pity, he says he
+loves her still. He offers to remain a bandit--anything, all things! And
+then the pathetic minor melody breaks into the major as he desperately
+adds: "Only, Carmen, do not leave me!" At this moment a fanfare and
+applause are heard in the arena, which cause Carmen's face to glow with
+pleasure as she thinks of Escamillo. She tries to rush past Don José
+into the amphitheater, but he intercepts her and forces her to confess
+that she loves this man whom they applaud. Once again the gay fanfare is
+heard, and Carmen tries to pass.
+
+It is now that the tragic motif takes possession of the orchestra and
+dominates all else. Fearful and appalling sound those five notes which
+form the theme as they are repeated in various keys. In a frenzy of
+anguish Don José asks Carmen for the last time to go with him. She
+refuses, and then, as the toreador's song of triumph announces his
+success, José stabs the beautiful gypsy, who falls at his feet like a
+crushed butterfly. The gates of the arena are thrown open and its
+glittering pageant comes forth, while José, with insane grief, calls
+out, "I have killed her--Carmen--whom I adored!"
+
+There is no climax more thrilling on the lyric stage than this death of
+Carmen.
+
+
+
+
+"Hamlet"
+
+
+
+
+"HAMLET"
+
+
+Of all Shakespeare's plays, Hamlet is the most difficult to surround
+with music and adapt for the lyric stage. It is more scholastic than
+dramatic, and for this reason composers have passed it by with the
+single exception of Ambroise Thomas. His accomplishment certainly
+deserves more commendation than was bestowed by an irate critic who
+said: "There are four weary, dreary acts before you come to the music."
+This assertion is correct in one way, for the opera is indeed
+long--quite too long; but there is, nevertheless, much that is beautiful
+in those four acts preceding the mad scene. But even were this not the
+case, that last scene is so exquisite that it would atone for any amount
+of previous ennui.
+
+Thomas has given his principal rôle to the baritone, which seems an
+innovation. Whenever a lower voice has been honored with the leading
+rôle in a grand opera the reason is found in the character, as the
+jovial Barber of Seville, the deformed Rigoletto, the accursed Flying
+Dutchman; but the tenor has always held undisputed possession of the
+lover's part. It takes us some little time to become reconciled to this
+baritone-voiced young prince. But we finally realize that he is less a
+lover than a philosopher, which probably explains why Thomas turned from
+the tenor.
+
+The opera opens with a short and somber prelude that closely resembles
+the later introduction to the ghost-scene. It is therefore more
+descriptive of the melancholy Dane than of the first act, which is
+brilliant throughout. The curtain rises upon a state hall in the palace,
+where have been celebrated the wedding and coronation of Claudius and
+Gertrude, brother and widow of the late king. A sturdy march that is
+quite Danish in character accompanies the grand entrance of the king and
+queen. That music can express a nationality is clearly evinced by this
+march, which possesses a rugged, North-sea atmosphere that differs from
+all others. The first aria is given by the king, who eulogizes his
+new-made wife, "our sometime sister, now our queen." After this bass
+solo with its pleasing rhythm and satisfying cadences the queen inquires
+for her son Hamlet, who is not among the revelers. But her anxieties are
+drowned by the festive music that recommences and continues until the
+entire court have made their exit.
+
+The music now changes to a meditative, minor mood, which announces the
+entrance of Hamlet. He shares no joy on this occasion of his mother's
+wedding, and his first words are a short recitative about "frailty, thy
+name is woman."
+
+His soliloquy is followed by a phrase in the orchestra--a timid,
+questioning sort of introduction which before the opera is over we learn
+to associate with the gentle Ophelia. She enters and addresses Hamlet,
+her betrothed, with an anxious inquiry about his intended departure from
+Denmark. On learning from his own lips that the report is true, she asks
+why he leaves, and begins to doubt his love. There is a daintiness and a
+delicacy to all of Ophelia's music; and in this short melody, so
+admirably blended with the accompaniment, there is a wooing charm that
+diverts even Hamlet from his grief. He clasps her hands, and with
+thrilling fervor bids her--
+
+    "Doubt that the stars are fire.
+       Doubt that the sun doth move,
+     Doubt Truth to be a liar,
+       But never doubt I love."
+
+This is the great theme of the opera, the center-stone of the musical
+crown that the French composer has given to Shakespeare's Hamlet. Its
+love-laden melody would carry conviction to a less trusting heart than
+Ophelia's. She receives it like truth from heaven. Its memory lingers
+ever, and even in her after madness, when the words have no meaning, we
+hear them again "like sweet bells jangled out of tune." There follows a
+duet based upon Hamlet's vow. The soprano voice occasionally runs up in
+some happy little roulades which seem like the outburst of joy which can
+not confine itself to the prescribed theme. However long the whole
+opera, we certainly could not spare a note from the love-duet; it ends
+only too soon.
+
+Ophelia's brother, Laertes, comes in. He is a soldier, and has just
+received a commission which requires his speedy departure; so he sings a
+farewell to his sister and bids Hamlet be as a brother to her in case he
+never returns. This first and only cavatina of Laertes is well worth a
+good artist. It is melodious and pleasing, even when compared to the
+previous duet. As he finishes, gay music is heard from the inner hall.
+Ophelia asks Hamlet to join the festivities, but he declines and retires
+sorrowfully as some pages and young officers enter. They sing a unique
+and merry chorus without accompaniment, which is interrupted by the
+entrance of Horatio and Marcellus, who inquire for Hamlet. They declare
+they have seen the ghost of the late king, and seek to apprise Hamlet of
+the fact. The merry-makers laugh and call it a delusion; but the two
+friends continue their search for the young prince. The dance music is
+resumed, and so fascinating and emphatic is its rhythm that our pulses
+throb in tempo long after the curtain descends.
+
+The second act represents the esplanade outside of the castle. It is a
+chilly moonlight night--a sharp contrast to the beam of lights from
+within and the blare of dance music which ever and anon reaches our
+ears. But the prelude which opens the act is thoroughly descriptive of
+the scene before us. It has deep, rumbling tremolos and chilling
+chromatic crescendos, with here and there a moaning, wo-weighted theme
+that is piteous to hear. There is much singing without orchestra and
+much orchestra without singing in this scene of the esplanade, which
+accounts for the charge against it of being "rather thin ghost music."
+Horatio and Marcellus are the first to enter. They are soon joined by
+Hamlet, to whom they recount the strange visitation of the previous
+night. As they wait and watch for the specter to reappear, a gay fanfare
+from the palace jars upon the stillness. Strains of the wedding-march
+are heard, and there seems abundant reason for the dead king to rise
+from his grave! Hamlet utters expletives over the mockery of such gaiety
+within, while "here is the shadow of mourning." His words are
+accompanied by an oft-repeated minor phrase of four notes which is
+stealthy and fearful. This ghost-theme alternates with a single
+monotonous tone that represents the twelve strokes of a clock. Hamlet
+hushes his singing; there is a soft, eerie tremolo of the violins; the
+pale moonlight falls upon the castle's turreted towers. Marcellus and
+Horatio speak in whispers, when suddenly the orchestra gives a great
+crash of brass and cymbals that makes your blood freeze. The phantom
+has appeared. Now follows the incantation, so called because Hamlet
+conjures the spirit to speak to him. This music is based entirely upon
+the four-note ghost theme, which is elaborated and carried by the
+orchestra through many forms. At last the specter speaks, and in a deep
+monotone informs Hamlet how he was murdered by the present King. His own
+brother stole his life, his wife, and his throne. He bids Hamlet avenge
+this terrible crime, and then disappears. Hamlet cries out in a theme
+large and grand, "Farewell to fame, love, and happiness!" Revenge shall
+hereafter be the aim of his life.
+
+The peaceful love-music greets our ears as we look upon the next scene,
+which reveals the gardens of the palace. The superb theme of Hamlet's
+vow rings out in clear, untroubled octaves as the fair Ophelia comes
+forward with a book in her hand. She is trying to read, but thoughts of
+Hamlet constantly intrude themselves. "He has not touched my hand for
+quite two days, and seems to avoid my presence." She again turns to her
+book and reads aloud. Ophelia reads very beautifully. Thomas has with
+music conveyed the impression of enunciating words from a book. We would
+know she was reading even if the book were not visible nor the words
+audible, and yet it is not by means of a monotone that this idea is
+conveyed. It is a simple song melody, and the effect is probably due to
+the rhythm rather than the intervals. After reading one stanza, Hamlet's
+vow--that theme so deep and true--is again heard, and the hero himself
+comes thoughtfully upon the scene. He is in the background, but Ophelia
+has seen him, and she quickly makes a pretense of reading. She listens
+for every step as he draws nearer, and believes he will speak. He sees
+her and at first comes forward, but then remembers that he has foresworn
+love; and thinking she has not seen him, he quietly retires. Poor
+Ophelia throws down her book in wildest grief, and a song of despair
+springs from her heart. "Vows have wings and they fly with the dawn;
+the day which gives them birth also sees them die." Every note is like a
+tear, and the harmonies are plaintive and pitiful.
+
+The queen presently enters and is grieved to find Ophelia weeping. The
+latter explains that Hamlet no longer loves her, and she begs permission
+to leave the court; but the queen puts other ideas in her head. She says
+that Hamlet has also acted strangely toward her, and she believes his
+mind is affected. For this reason she asks Ophelia to remain, and hopes
+her presence may restore him. This first song of the queen, who must
+have a mezzo-soprano voice of dramatic quality, combines dignity and
+pathos. Its mood does not contrast, but harmonizes with the previous
+aria. Ophelia accepts the queen's advice, and then goes off as the king
+enters. He confers with his wife about Hamlet's alarming behavior, but
+their conversation is interrupted by the prince himself, who greets them
+moodily and assumes more vagaries than he feels. He is constantly
+seeking to entrap the king into some sign or remark which will verify
+the ghost's charge of murder. He has therefore planned to have a play
+enacted which shall depict the king's crime. His invitation to this
+theatrical entertainment is welcomed by the unsuspecting king and queen,
+who are delighted that he thus seeks diversion. As they go off, Hamlet
+exclaims tragically, "Patience, my father, patience!" and the orchestra
+reveals to us thoughts of revenge, for we hear again that ponderous and
+melancholy theme which ended the ghost scene.
+
+Hamlet is now joined by the actors whom he has engaged for the play.
+They sing a characteristic chorus about their several talents, and then
+Hamlet explains to them the plot they are to enact--how a king whom he
+calls Gonzago shall be poisoned by his brother, who afterward places the
+crown on his own head and marries the widow. After this preliminary,
+Hamlet calls for wine and bids the players make merry. He sings to them
+a drinking-song of dazzling exuberance.
+
+It is strange how universally successful operatic composers are in the
+matter of drinking-songs. You can name off-hand more popular _chansons
+Bacchic_ than any other one style of aria. There are various well-known
+serenades and prayers and spinning-songs, but of drinking-songs there
+are any number. "Lucrezia Borgia," "Rigoletto," "Traviata," "Huguenots,"
+"Cavalleria Rusticana,"--their drinking-songs are heard every day on the
+hand-organs in the street. And so in "Hamlet" its drinking-song is one
+of the most celebrated numbers of the opera. Its bubbling rhythm and
+hilarious melody are continued even after the song is ended and the
+curtain descends. It lingers like the effect of wine.
+
+Act III. is the play scene. There is a small stage erected at one side
+of the spacious palace hall, and opposite this is a throne for the king
+and queen. The orchestra carries everything before it with the rousing
+Danish march which accompanies the ceremonious entrance of the entire
+court. This composition ranks with the drinking-song in popularity. When
+all are assembled, Hamlet places himself in a position to watch the
+king, and as the mimic play proceeds he explains the action, which is
+all in pantomime. The orchestral descriptive music of this play within a
+play is beautiful and interesting. As in Ophelia's reading, the simple
+melody and hesitating rhythm again convey the impression of something
+inserted, something apart from the real action of the play. Hamlet
+becomes more and more excited as the play goes on, for he sees
+unmistakable signs of uneasiness in the king's expression; and when at
+last the mimic murderer pours poison into the ear of his sleeping
+victim, the king rises in anger and orders the players away. Hamlet in a
+delirium of vengeful joy cries out the king's guilt. He pushes his way
+through the surrounding courtiers, and with unbridled fury accuses the
+murderer. He is sustained by a perfect tidal wave of chords from the
+orchestra, which dash and beat and break, but only harm the good ship
+they bear instead of the rock they attack. The people regard Hamlet's
+charge as an outburst of madness, and he presently lends credence to
+this belief by singing with wild hilarity the drinking-song of the
+previous act. The following strong and seething chorus of dismay is
+again interrupted at the very end by Hamlet's mad song--
+
+    "Life is short and death is near;
+     We'll sing and drink while yet we may."
+
+With a wild mocking laugh he falls into Horatio's arms as the king and
+court withdraw.
+
+The great feature of the fourth act is the scene between Hamlet and his
+mother, but there is much besides. The scene represents the queen's
+apartment in the palace, and the first number is Hamlet's soliloquy. He
+blames himself and deems it cowardice that he did not strike the king
+dead when he had the opportunity. Then follows the musical arrangement
+of "To be or not to be," a speech so unsuited to music that Thomas has
+cut it down to a few lines. Hamlet presently sees the king approaching,
+and he conceals himself behind a curtain with the intention of attacking
+him. But the king thinks himself alone, and in agony of mind he kneels
+on the prie-dieu and prays. It is an impressive composition, this prayer
+with its cathedral harmonies and blending accompaniment. Hamlet glides
+softly toward the door, for he can not kill even his father's murderer
+at prayer. The king, who has heard the footsteps, cries out in terror,
+for he fancies it was the ghost of his brother. Polonius, the father of
+Ophelia, quickly enters and reassures the king. They walk out arm in
+arm, and from their few words it is gleaned that Polonius was an
+accomplice to the crime. Hamlet hears them, and is horrified to learn
+this fact about Ophelia's father. At this moment the queen and Ophelia
+enter, and the former announces to Hamlet that it is her wish as well
+as the king's that his marriage shall take place at once. The prince
+blankly refuses to obey in spite of the queen's urging; but his heart
+endures a struggle when the poor Ophelia sings of her grief and returns
+to him his ring. The sweet minor strain in her song implies a sad
+resignation that is more touching than intense lamentation. She goes out
+weeping. The queen then turns to Hamlet and upbraids him for his
+faithlessness. She presently recurs to the terrible scene at the play,
+and utters the famous words, "Thou hast thy father much offended."
+
+The scene which follows demands great dramatic ability of the queen, as
+well as vocal strength. After a sharp and active recitative dialog, in
+which Hamlet announces himself as her judge and no longer her son, she
+sings a fine entreaty that the tenderness of the son may mitigate the
+severity of the judge. It is a strong and powerful theme, but Hamlet is
+obdurate. He contrasts the late king with the present one in words and
+tones that make his mother cower. She again pleads for mercy and
+forgiveness, and finally falls in a swoon as the stage is darkened and
+the ghost appears. Hamlet trembles before this admonisher. The music of
+the incantation is again heard, and the phantom bids Hamlet spare his
+mother, but "fail not to avenge." As the ghost disappears the
+instruments are weighted with that great and gloomy theme of revenge
+which seems to descend and enwrap the whole scene like a dark, heavy
+mist. The queen awakens; but there is little more seen or heard before
+the curtain falls.
+
+Act V. is known as the Mad Scene, one of the most beautiful, most ideal,
+and most difficult creations ever put upon the lyric stage. It is seldom
+performed, merely because there are few artists who can adequately
+render its astonishing music. There are other mad scenes in existence.
+The one from "Lucia di Lammermoor" is very celebrated, but its music no
+more expresses the vagaries of madness than does any other florid aria.
+Of course, lavish colorature seems appropriate and is considered
+imperative; but Donizetti's florid fancies are mere plumes and flounces
+draped upon a melody, whereas with Thomas these form the texture of the
+theme. The French composer well knows the worth of his mad music, and he
+has taken pains to present it most advantageously. You are not ushered
+at once from the grim and gruesome harmonies of the last act to this
+wealth of inspiration, but are first entertained by a ballet of
+shepherds and shepherdesses. During this dance we become accustomed to
+the beautiful rural landscape, the gentle stream at the back and the
+drooping willows. We are also brought under the spell of a different
+kind of music; these pastoral ballet motifs are very charming. They are
+light and fantastic, but at the same time suggest a midsummer peace and
+tranquillity.
+
+At last the dainty dance is ended, and then the rustic group perceive a
+strange figure approaching--a beautiful maid, with her flowing hair
+adorned with bits of straw and wild flowers. Her white dress is torn,
+and her bare arms carry a straggling bunch of flowers which she plays
+with and caresses. That exquisite inquiring little introduction which we
+heard in the first act again announces the entrance of Ophelia. She
+glances a moment at the pretty peasants, and then, with intuitive
+politeness, asks permission to join in their sport. There is a subtle
+pathos about this first little phrase, which is sung without
+accompaniment, and is simple as a child's question. She goes on to tell
+them how she left the palace at dawn and no one has followed. "The tears
+of night were still on the ground and the lark poured forth its morning
+song." A perfect bird-throat warble of trills and fluttering staccatos
+follows this memory of the lark. But her thoughts are varied, and she
+suddenly turns and asks: "Why do you whisper to each other? Don't you
+know me? Hamlet is my betrothed, and I--I am Ophelia." Then she tells
+them, in tones that rest upon the accompaniment like lilies on a lake,
+how Hamlet vowed always to love her and that she has given him her heart
+in exchange. "If any one should tell you that he will leave and forget
+me, do not believe it. Believe nothing they tell you, for Hamlet is my
+betrothed, and I--I am Ophelia." But in spite of this assertion of
+Hamlet's faith, there is throughout all the music a ring of perpetual
+pain. She clasps her hand to her head with terror, and exclaims: "If he
+were false I think I should lose my reason!"
+
+[Illustration: Copyright by Aimé Dupont, N. Y.
+
+Calvé as Ophelia in "Hamlet."]
+
+The flowers again hold her attention, and she plays with them as the
+orchestra commences a ravishing waltz theme. She at first pays little
+heed to the music, but its gay melody at last drifts to her soul and
+finds immediate expression. The difficult phrases fall from her lips
+like petals from a flower. Gleeful chromatics and happy trills are also
+thrown in, and we would soon forget it was the sad Ophelia did she not
+suddenly tire of this extravagant virtuosity. She turns to the
+shepherds and bids them harken to the song she will sing. Then follows a
+ballad whose moaning, minor harmonies sound like a sighing breeze. It is
+about the sirens beneath the water who lure men to its glassy depths.
+The wearied, worried mind of the mad girl now revels in a wild, merry
+laugh, which is as quickly followed by passionate sobs; but she finally
+remembers to finish her song about the siren. This strange, sad melody
+possesses a weird charm that is irresistible. Again she breaks into
+hilarious laughter and uncontrolled weeping. Grief without hope and joy
+without memory alternate in rapid succession. The music of this portion
+defies description. It is a perfect conflagration of impossible
+staccatos and scales. With one last sweeping chromatic run, that rushes
+like the whistling wind from low D to high E, Ophelia kneels down with
+her flowers and thinks only of them. The peasants retire from the scene,
+and the orchestra take up fragments of the waltz.
+
+They play for some moments, while Ophelia contentedly rearranges her
+bouquet. But presently a wonderful change comes over the music. We hear
+only the string instruments and flute, and soon these, too, are hushed,
+while out of the air a magical song arises. It is the siren's ballad,
+faint as a vision but with full harmonies. Thomas has produced this
+effect of dream-music by having the chorus sing behind the scenes with
+closed mouth. This soft humming of a hidden chorus well resembles the
+buried voices of water-nymphs. Ophelia at once recognizes the song, and
+she is drawn by the music toward the stream, where she hopes to see the
+sirens. All unconscious, she pushes her way through the rushes and reeds
+on the bank. The chorus has ceased, and only the tender, liquid tones of
+the harp now fill the air. Ophelia steps too far and soon falls into the
+"weeping brook." Her dress bears her up for a time, and we hear her
+sweetly singing as she floats down the stream. It is no longer the
+ballad or the gay waltz, but quite another theme to which her memory now
+clings. It is Hamlet's glorious vow--
+
+    "Doubt that the sun doth move.
+       Doubt truth to be a liar,
+     But never doubt I love."
+
+Ophelia ends her song with a lingering high note of such silvery beauty
+that it seems like a far-away star in the dark night of death.
+
+
+
+
+A Talk with Lillian Nordica
+
+[Illustration: Copyright by Aimé Dupont, N. Y.
+
+LILLIAN NORDICA.]
+
+
+
+
+A TALK WITH LILLIAN NORDICA
+
+
+It was during one of Patti's farewell seasons at the old Academy of
+Music that a young American girl, by the name of Lillian Norton, first
+appeared as a prima donna. She made a success, but not a sensation, for
+she had not then the halo of a European glory, and people were in those
+days too intent on the passing star to note any rising one.
+
+But later on, when she Italianized her name, they applauded the same
+voice more loudly, tho their attention was still more directed to the
+foreign artists who appeared every year.
+
+The American girl all this time never relaxed her determination, but
+kept on working with a will, learning rôles there was no prospect of
+using, and studying all things in her line. At last she was engaged by
+the Metropolitan Opera Company; but her name was not printed at the top
+of the list, and she was not held out as the magnet to fill the house on
+the opening night. In the end, tho, she sang oftener than any of the
+other sopranos, for when they were indisposed she it was that always
+came forward. _There was never a rôle she could not sing, and never a
+time she was not ready._
+
+The dormant appreciation of her countrymen became at last thoroughly
+aroused. Since then her success has swept onward with unabating force.
+The following season in New York the enthusiasm she inspired was so
+great that one large club of opera-goers presented her with a diamond
+tiara, and the people that year had to stand in line when buying seats
+to hear Madame Lillian Nordica.
+
+The Waldorf-Astoria, where she lives when in New York, is quite a
+contrast to the humble New England home in Farmington, Me., where she
+was born. This hotel is a city in itself, and the visitor who inquires
+for some distinguished resident is conducted personally along the marble
+avenues and carpeted byways and through the beautiful "palm-garden." The
+door of Madame Nordica's apartment was opened by a white-capped maid,
+who seated the caller and then left the room. It was the day of a
+blizzard, and from this sixth-floor elevation the snow-storm without was
+of superb fury. It battered against the window as tho maddened by the
+sight within of the prima donna's cosy parlor, of the shaded electric
+lights, the wide-open grand piano, and the numerous long-stemmed roses,
+in various tall jars, fragrant and peaceful as a summer's day. Through
+the silken draperies of a doorway could be heard the sound of voices, of
+occasional laughter, and then--a scale, a trill, and a soft high note.
+It was an exquisite grand-opera effect with the whistling storm by way
+of orchestral accompaniment.
+
+Soon the curtains were parted and Madame Nordica entered--a woman of
+regal height and figure, but with manners thoroughly American and
+democratic.
+
+"Do you mean to say you came through all this storm to see me! You are
+certainly very brave." These were her first words; then she drew up a
+comfortable chair, and added: "Well, it's just the sort of day to talk
+and take things easy."
+
+Madame Nordica's tones convey even more than her words, for her voice is
+noticeably beautiful in conversation. It is fascinating in its variety,
+its softness, and its purity. Her face is also very expressive, as well
+as beautiful, with a complexion remarkably fine, teeth of absolute
+perfection, and thoughtful blue eyes set well apart.
+
+She wore a house-gown of pale, clinging blue silk, and, with the
+exception of her wedding ring, had on no jewelry.
+
+She told first of her birthplace and home.
+
+"I was the sixth girl, and I think my parents were rather tired out by
+the time I came. I wasn't even baptized!" Then she talked of her work.
+
+"I studied first in Boston, and sang there in church; but I made my
+concert début here in New York with Gilmore at the old Madison Square
+Garden. He took me with him afterward to Europe. When I returned to
+America I sang in all the Italian operas, especially Verdi's."
+
+Madame Nordica still holds to-day a supreme place as a singer of the
+Italian school, altho her greatest fame has been won in the Wagner
+rôles.
+
+When asked if she had ever met Verdi, the singer replied in the
+affirmative.
+
+"I met him in Italy, but only once. I was much better acquainted with
+Gounod, and also the modern composers, Leoncavallo, Mascagni, etc., but
+now I devote my chief time to Wagner."
+
+This led to inquiries about Madame Cosima Wagner.
+
+"Ah, I lived right with her for three months, and it was a great
+privilege for me. Her husband's music is to her like her very eyes. She
+taught me the German and helped me in every way. 'Lohengrin' had never
+been sung in Baireuth, and I was to create there the rôle of Elsa."
+
+A remarkable honor this was, indeed: to be the first Elsa in Wagner's
+own temple, under the guidance of his own wife, with the grave of the
+great composer fairly in sight, and memories of the "Mad King" on all
+sides--the king whose ears were deaf to the functions of state, but open
+to the art of heaven.
+
+"It was a great opportunity for me, but I sometimes thought I would have
+to give it up. Oh! I have been so discouraged! I have wept _barrels of
+tears_!"
+
+This is a kind message for the great singer to send to the many
+struggling aspirants who may to-day be working under discouragement.
+
+Madame Nordica insists that "work is everything. The voice is but the
+material; it is the stone from which the cathedral is built."
+
+After her great success in Baireuth, the American prima donna sang Elsa
+in New York.
+
+"But I had to sing again in Italian, for the rest of the company had not
+learned the German. It was through my efforts that they have since
+studied these rôles in the original, and we now sing all the Wagner
+operas in German."
+
+It was a great musical event when Jean de Reszke and Madame Nordica
+appeared as Tristan and Isolde. This love-tragedy done in music is
+perhaps the most profound of all operas. It is somber with sorrow
+throughout; even the great love-duet in the second act is too intense
+and grand in its motifs ever to be called happy. It is not the joyous
+emotion of youth, but the fervor of maturity, where life itself is
+staked for a mighty love. This second act is a wondrous musical scene.
+It is in the moonlit gardens of the Cornish castle where Tristan and
+Isolde meet clandestinely, while Bragaende, the faithful attendant,
+keeps watch in the tower above. She is not seen, but the calm sustained
+tones of her watch-tower song soar out in contrast to the intense
+love-music like a beacon-light on a turbulent sea.
+
+Another very popular rôle of Madame Nordica's, tho altogether different
+in style, is Valentine in "The Huguenots." Her sustained and crescendoed
+high C in the third act of this opera is worth a long journey to hear.
+Madame Fursch-Madi in years agone used to sing this rôle very grandly,
+but she was plain of feature; whereas with Madame Nordica her Valentine
+is so beautiful to behold that the audience is aroused to greatest
+sympathy with the hero's struggle between love and duty.
+
+"Our art is so very legitimate," Madame Nordica thoughtfully remarked.
+"The painter or the writer can take advice, can be assisted, and has
+time to consider his work; but we must face the music alone, at the
+point of the bayonet as it were, for every tone must come at the right
+moment and on the right pitch. The actress has neither of these
+requirements to meet. It is very trying, also, to sing one night in
+German and the next time in some other language. Indeed, every
+performance is a creation. No wonder we are so insistent on the
+applause. A painter or writer can say to himself, if his work is not at
+first well received, 'Just wait till I am dead!' But our fate and fame
+are decided on the spot."
+
+Madame Nordica grew enthusiastic as she talked, and her face was all
+animation.
+
+"It is easy to criticize us, but hard for an outsider to appreciate the
+difficulties of our art. No one is in a place he does not deserve--at
+least not for any length of time. And I believe, too, that no one lacks
+for opportunity. When people say, So-and-so has a beautiful voice, and
+ought to be on the Metropolitan stage, just inquire what that person can
+do. Very likely she only knows one language, and probably can not sing a
+single act of one opera straight through. Why should she be on the
+Metropolitan stage? A girl came to me not long ago who had been singing
+with some English opera company. She had a beautiful voice and said she
+could sing everything, which I found to be true. I asked why she did not
+go to Mr. Grau, and she replied, quite disheartened, that he would do
+nothing for her. Then I asked, 'Are you ready for _anything_? I feel
+quite sure he could use you now as the page in "Romeo and Juliet."' 'Oh,
+I wouldn't sing a secondary rôle!' she quickly exclaimed. Now that girl
+makes a great mistake. To sing well one beautiful aria on the same stage
+with such artists as the two De Reszkes and Madame Melba would do her
+more good than to sing the first rôles in a poor company."
+
+Madame Nordica spoke very earnestly as she related this story of a lost
+opportunity, which so plainly points its own moral. Another incident she
+told gives the reverse side of the same idea:
+
+"I remember one day some singers were discussing another member of their
+company, and claiming that he did not deserve his high position; but I
+protested, and said: 'Just consider what that man can do. He knows
+every language, has a fine stage presence, a good voice, and can sing
+every rôle in the repertoire. Now where will you get another to fill his
+place?'
+
+"Our art to-day is very different from what it used to be. People wonder
+who will replace Patti or some other retiring singer; but if one should
+appear who adequately filled the vacant place, we would at once hear
+people saying, 'She only sings coloratura rôles and nothing but
+Italian!' No, the great artist to-day is the one who has mastered all,
+who does the work of three in former years, and not one who shines forth
+temporarily in a few special rôles."
+
+Madame Nordica can certainly speak with authority on this point, for she
+is one whom we may truly say has "mastered all." Her repertoire is
+astonishing in its scope and variety; and when we consider that out of
+eighty-seven million people, which is our present population, including
+the colonies, she is the only one to-day who sings the three
+"Brünhildes" of Wagner and also his "Isolde," we can then better
+appreciate Madame Nordica's achievement. It needs a very great mind to
+grasp and portray these Wagnerian creations. Brünhilde, the war goddess,
+must be both tender and heroic--as it were, divinely human. No composer
+but Wagner could have imparted these qualities; but he was himself a
+sort of musical Jove, who wielded the scale like a thunderbolt. If any
+one doubt this, let him hear and behold the wonderful "Ride of the
+Walküre," those five war maidens, daughters of Wotan, who chase through
+the clouds on their armored steeds, and call one another in tones
+unearthly, to an accompaniment of whizzing strings, and clanging brass,
+and a torrent of intricate chords. The music depicts the fierce clash of
+the elements, the war gods in battle, the clamor of shields, and the
+furious dash of wild horses. Above it all there rings out on the air the
+weird, far-reaching cry of Brünhilde, the leader of the Walküre
+maidens, and her call is repeated from the East, from the West, from the
+uttermost mountain-peaks, by her sister spirits, who are sometimes
+hidden and sometimes revealed by the fast-rushing clouds, through which
+their steeds gallop and plunge.
+
+[Illustration: Copyright by Aimé Dupont, N. Y.
+
+Nordica as Brünhilde in "Siegfried."]
+
+Whoever can hear this wonder-work and not bow to Wagner's greatness is
+surely a musical degenerate.
+
+"My progress has not been by leaps and bounds," Madame Nordica presently
+announced; "it has been more tortoise-like; and I have sometimes seen
+others sweep past me with apparently little effort. But in the end
+justice comes around to all. What is it Mrs. Carter says in 'Zaza' about
+success? 'It comes from much misery.' Yes, there is very much of that.
+'And much work,'--ah, a _great deal_ of that. 'And a little luck,'--yes,
+a _very_ little of that; it is not good to have much luck."
+
+As I arose to go, Madame Nordica added with a smile: "You see I could
+talk on this subject all day. The sum of it is, success comes from
+steady daily work. You must work well in the morning, and then work some
+more in the afternoon--and it is well to practise between times too!"
+
+
+
+
+"Lohengrin"
+
+
+
+
+"LOHENGRIN"
+
+
+There seems a very magic about the name of Lohengrin--a mythical
+strength and beauty that at once characterize the whole opera. The fault
+is occasionally found that Wagner's operas are long and at times
+tedious; but this term is never applied to "Lohengrin." One is disarmed
+of this suspicion in the very first prelude. Ah, what a prelude is that!
+It is like the gradual drawing together from empty space all the music
+of the spheres. The two first measures are so pianissimo that we
+scarcely hear them, but the vague and far-away voices come slowly
+nearer. They mingle with each other and weave in and out, until there is
+a crescendo mighty and overpowering. We are now prepared for the
+legendary character of the opera; such music could not represent things
+earthly.
+
+The curtain rises upon a scene of medieval coloring. It is a woodland
+upon the banks of the Scheldt in the province of Brabant. A throne is
+erected on one side, and here the king of Germany is holding court. He
+is visiting this province of his realm to solicit aid in a coming war.
+After this fact is announced by the herald, the king arises and in
+stately phrases greets the people and explains more fully the object of
+his visit. He closes with the observation that it grieves him to find
+this province in a state of discord, and he requests Frederick of
+Telramund, an esteemed nobleman of Brabant, to recount the situation.
+
+Frederick, which is the baritone rôle, tells a strange and interesting
+story. The province is at present without any ducal ruler, owing to the
+recent mysterious disappearance of the young heir. He was last seen in
+company with his sister Elsa. The two were walking in the forest, but
+she returned alone and declared she had lost her brother. Frederick now
+charges Elsa with murder, and furthermore lays claim to the ducal
+throne in the name of himself and also his wife Ortrud, who bears some
+kinship to the late duke.
+
+On hearing this charge the king summons Elsa, who presently comes
+forward with bowed head and sorrowful mien. This must have been a
+thrilling moment at that first performance in Baireuth when Lillian
+Nordica stepped before the audience. It was not only Elsa challenging
+her accusers, but an American girl challenging German critics under the
+dome of their most hallowed shrine, with their own music and in their
+own language. But whatever a singer's emotions may be, she must give no
+evidence of them. It is wonderful how smoothly these great performances
+always run. Come what may, the play goes on.
+
+Elsa can say no more in her behalf than has already been given; but when
+urged by the king to speak freely all that is on her heart, she tells of
+a wonderful vision which came in her hour of distress. An armored
+knight, more grand than any she had seen, appeared to her and promised
+to be her deliverer and champion. This dream-song of Elsa's is like a
+musical apparition, so ethereal and spirituelle; but one must not seek
+for these wonderful beauties in the voice-part alone. With Wagner the
+orchestra is never a mere accompaniment, but more often the principal
+part. A theme is sometimes begun in the orchestra and finished by the
+voice, or it may be altogether with the instruments. Wagner handles the
+voice like a noble metal which can be fashioned into useful vessels to
+carry and convey the emotions, in contrast to the Italian composers, who
+look upon the voice as a jewel to be displayed and admired for its own
+sake.
+
+To return to Elsa's song. It should be understood from the first that
+each theme in the opera expresses some emotion or idea which is
+consistently adhered to throughout. For instance, when Elsa describes
+the knight in her dream, there is heard in the orchestra a few bars of
+the Lohengrin--or swan-song, a theme which is constantly revealing
+itself in this great kaleidoscope of sound whenever the hero appears or
+is mentioned. Again, when she speaks of his glittering armor, the
+splendid warlike motif which asserts itself is the same one that is
+worked up in the crescendo preceding Lohengrin's arrival.
+
+After this strange recital of Elsa's, Frederick still maintains his
+charge against her, and states as her motive for the crime that she
+hoped to gain the throne. The king decides to settle the question by
+single combat. Frederick must defend himself against whomever may come
+forward as Elsa's champion. This custom is according to the ancient
+belief that "might is right," and that Heaven itself is the awarder of
+victory and defeat. The herald of the king announces, with a
+trumpet-call, the impending combat, and bids "him who will fight for
+Elsa of Brabant to come forth at once." The call dies away, but no one
+presents himself as her defender, and it appears as tho Heaven already
+indicates which side is right. Elsa piteously begs them to call again.
+Her wish is granted, and once more the cry rings forth. She falls on her
+knees, and in tones that vibrate with intense despair prays Heaven to
+send her the hero of her dream. "Elsa's prayer" and "Elsa's dream" are
+two of the most beautiful soprano solos in the opera. The prayer is
+short, but it accomplishes a thrilling crescendo. The final climax is
+such a passionate outcry that we are not surprised to see an immediate
+answer granted.
+
+Wagner is a master of crescendos, and he now commences one for the
+chorus which is truly wonderful in effect. Instead of starting all the
+voices pianissimo, or even part of the chorus, he starts with a single
+voice. One man has perceived a knight floating down the river in a boat
+drawn by a swan. He whispers it to his neighbor, who in turn says,
+"Look!" and then another and another in quick succession join in
+exclamations, until all are singing of the strange sight. They rush to
+the bank, and still the wonder grows. The knight of the swan draws
+nearer, the orchestra crashes out its stupendous theme, the sopranos
+ring out above everything, and the whole chorus seems to have doubled
+its capacity. It is a greeting worthy of the subject, who is Lohengrin
+himself.
+
+No wonder the people subside and look at him with awe as he steps upon
+the bank. He is clad in shining silver, with a helmet, shield, and
+sword. His face is fair and his hair is blonde. Before noticing the
+people, he turns to the swan and sings it a farewell. This song is only
+two lines long, and for the most part without accompaniment. It is
+apparently simple, and differs little from the form of a recitative, and
+yet so rare and strange is this melody that it portrays the legendary
+character of the opera more than any other phrase. It seems as tho
+Lohengrin is still singing in the mystical language and music of that
+other world from which he has come. Every one knows this song by its
+German name, "Mein lieber Schwan," and it is so much admired and so
+famous that it is actually paraphrased. A man must be great indeed to be
+caricatured; how much more is this true of classical music!
+
+Lohengrin soon comes forward and bows before the king, after which he
+announces that he has been sent as champion "for a noble maid who is
+falsely accused." But before entering the combat he speaks to Elsa, who
+has previously offered to bestow her hand and heart upon whomever would
+fight for her. She now reiterates this vow most gladly, and also makes
+another promise which the strange knight requests--she must never ask
+from whence he came, nor what his name. Lest there be any
+misunderstanding, he repeats the impressive phrase in a higher key, and
+Elsa again promises. This short theme is most important. It might be
+described as the dark motif. It is the one most often heard when Ortrud
+and Frederick do their evil plotting, for it is by means of this
+interdiction of Lohengrin's that they eventually succeed in
+accomplishing Elsa's unhappiness.
+
+When the two combatants face each other and all is ready, the herald
+again comes forward and solemnly proclaims the rules governing such
+contests. They are interesting to note: "No one shall interfere with the
+fight under penalty of losing his head or his hand;" and furthermore, no
+sorcery or witchcraft shall be exerted, for Heaven alone must decide who
+is right. After this preliminary the king arises and prays for the just
+judgment of Heaven to show clearly which side is true and which is
+false. Wagner always favored the bass voice when possible, and so he has
+given to the king this splendid and impressive composition, with its
+rich, full chords and stirring rhythm. The chorus takes up the prayer
+and finishes it with inspiring breadth and grandeur. The king strikes
+upon his shield three times and the battle begins. It does not last
+long, for Frederick is soon disarmed and thrown down by Lohengrin, who,
+however, spares his life.
+
+The victory has proven Elsa's innocence and Frederick's falsehood. The
+latter is disgraced utterly, while Lohengrin is regarded as Heaven's
+favorite. Elsa sings forth her joy and gratitude in melodic phrases
+which would need no words. The music of Elsa and Lohengrin is like the
+music of day--it is so clear, so lucid and full of melody in contrast to
+the rugged, weird, and gloomy themes of Ortrud and Frederick.
+
+The great chorus of victory is the last number of this act. It brings in
+with Wagner's inimitable modulations the martial theme of the previous
+chorus and also Elsa's song of praise. All excepting Ortrud and
+Frederick look happy and join in the singing right heartily as the
+curtain descends.
+
+The second act comprises Ortrud's great scene. This rôle may be sung by
+a contralto, but is better adapted to a mezzo-soprano. Ortrud is often
+called the operatic Lady Macbeth. She is not only as wicked and
+ambitious as Shakespeare's heroine, but is also a sorceress of no mean
+ability, for it is she who made away with Elsa's brother; but this fact
+is not revealed until the last act. She also exerted her power upon
+Frederick with such effect that he believed her to be a prophetess. He
+was sincere in his accusation against Elsa, for Ortrud told him she had
+witnessed the crime herself. But he is now awakened to her wickedness,
+and the scene opens with his maledictions against her and his abject
+wretchedness over his own disgrace. The two are seated upon the church
+steps facing the palace, where jubilant preparations are going on for
+the wedding of Elsa and Lohengrin, which will take place at dawn. It is
+yet night, and the music is deep and ominous. The dark motif and a new
+one which seems to represent Ortrud are the musical heart and soul of
+this scene. They stalk about the orchestra like restless phantoms, and
+are heard in all sorts of keys and instruments. After Frederick's great
+harangue against his wife and fate and everything, she calmly inquires
+the cause of his anger. She declares that she never deceived him, and
+that the recent combat was unfairly influenced by Lohengrin's sorcery.
+Such is her power over Frederick that he again believes and listens to
+her plans. She explains how Lohengrin may yet be robbed of his power and
+Frederick's honor vindicated. Elsa must be induced to ask the hero his
+name, or he must be wounded, be it ever so slightly. Either of these
+methods will annihilate his power. This remarkable scene closes with a
+duet about revenge, which the two voices sing in unison--a point
+indicative of their renewed unity of purpose.
+
+The music now changes to harmonies that charm and soothe, and Elsa
+appears upon the balcony of her palace. The moonlight falls upon her as
+she clasps her hands in rapture and sings to the gentle zephyrs of her
+love. It is a song as peaceful as the night; and in contrast to the
+recent somber and spectral themes, it beams forth like a diamond against
+black velvet. This solo of Elsa's is one of the most difficult to sing
+because of its many sustained pianissimo tones. After the last sweet
+note has died away like a sigh, Ortrud, who is still seated on the steps
+beneath, calls to Elsa in a pleading voice. She appeals to the latter's
+sympathy by announcing herself as "that most unhappy woman, Ortrud,"
+wife to the disgraced Frederick. "We are cursed by God and man, and
+welcomed nowhere." Thus speaks the sorceress; and Elsa, in the goodness
+of her heart, takes pity and impulsively offers to receive the outcast.
+She retires from the balcony and presently opens the door below to
+welcome Ortrud, who in this short interim has sung some splendid phrases
+of gloating animosity. But she kneels like a humble slave before the
+unsuspecting Elsa, who invites her to the wedding and also promises to
+induce Lohengrin to pardon Frederick.
+
+As an expression of gratitude, Ortrud now offers to exert the power of
+prophecy for Elsa's benefit. Prophecy and sorcery are regarded in
+different lights: the latter is wicked and implies collusion with the
+evil one, while the "prophetic eye" is a gift to be coveted. Ortrud
+pretends to possess this power. She forewarns Elsa against too great
+confidence in her hero, and mysteriously hints that he may leave as
+suddenly as he came. These words are accompanied by the threatening dark
+motif, which hovers ever near like a lowering cloud. Elsa recoils at the
+thought--this first seed of suspicion,--but she soon smiles assuredly
+and sings to Ortrud a lovely song about "the faith and trust that knows
+no doubt." Wagner's words are as beautiful as his music, and in this
+composition they seem to mount upward on the "wings of song" like the
+spontaneous utterance of a pure heart. Elsa puts her arms gently about
+Ortrud and leads her into the palace. Frederick, who has kept in the
+background, watches them disappear, and the scene closes with his final
+descant on revenge.
+
+After his exit the orchestra has a solo, so to speak, while the stage is
+occupied in representing the dawn of day. Villagers stroll in one by
+one, garlands are hung in honor of the wedding, and the scene becomes
+constantly brighter and more active. The herald appears above the gates
+of the palace and makes three announcements in the name of the king:
+First, that Frederick of Telramund is banned and shall be befriended by
+no one; second, that the Heaven-favored stranger shall hereafter be
+called the guardian of Brabant; and, third, that this hero shall lead
+them soon to "victorious war." Then follows a chorus about the
+Heaven-sent guardian of Brabant, after which there is a momentary
+commotion caused by Frederick, who, in spite of the ban against him,
+comes forward and asserts that he will defy their much-lauded hero and
+will open their eyes to his duplicity.
+
+But this incident is forgotten in the gorgeous scene which now
+commences. The wedding-guests come slowly from the palace, and wend
+their way in stately procession toward the church. Their course is
+accompanied by a march of pontifical solemnity, which attains its
+grandest beauty when Elsa comes down the great stairway clad in robes of
+regal splendor. All voices join in praise for "Elsa of Brabant."
+
+[Illustration: Copyright by Aimé Dupont, N. Y.
+
+Eames as Elsa in "Lohengrin."]
+
+The procession proceeds to the church; the music increases in strength,
+when suddenly there is a discord. Elsa is confronted at the church
+entrance by Ortrud, who fiercely declares she will no longer follow like
+an attendant; that she is the one to whom people should bow instead of
+Elsa, whose future lord comes of a land and family which he dare not
+tell! Elsa is dumbfounded by this sudden onslaught from the woman she
+has befriended. But Ortrud maintains her position, and actually defies
+Elsa to ask the hero his name. This attack is diverted by the
+ceremonious entrance of the king and Lohengrin, to whom Elsa hastens
+with her grievance. Ortrud is promptly ordered aside, and the
+procession resumes its march. But again the solemn cathedral music
+crashes into a discord. Frederick, the despised one, dares to rush
+before the king and bar the way as he begs them to harken to his words.
+There is great indignation over the interruption, but Frederick so
+intensely cries for justice that at last even the king listens as he
+charges Lohengrin with sorcery. He sustains the charge by demanding
+Lohengrin to tell his name, if he be an honest man; if he can not do
+this there must be some dark secret to hide. All turn to the hero
+expectantly, but he only defends himself by saying that he has proven
+his worth in mortal combat, according to ancient usage, and that he will
+not answer Frederick nor even the king--only Elsa shall be answered this
+question. He turns to her and finds her trembling with agitation. The
+orchestra tells us her thoughts, for we hear the Ortrud-theme and dark
+motif writhing in and out like venomous serpents. A murmuring sort of
+chorus about the strange secret which the hero so zealously guards is
+gradually resolved into a song of allegiance and belief. The king
+declares Frederick unworthy of consideration. But during the jubilant
+chorus which follows, that Miserable steals up to Elsa and casts his
+final poison-shaft. He tells her that if Lohengrin were once wounded,
+"merely pricked in the finger," he would then bestow upon her full
+confidence and never leave. Frederick further says he will "linger near
+the coming night," and when she calls will enter and commit the deed
+without harm to Lohengrin. Elsa spurns the tempter away, and Lohengrin,
+who perceives him at her side, bids him forever begone. But finding Elsa
+even more agitated than before, he asks in the presence of all if she
+wishes to be told his name. She remembers her vow, and in tones of
+exultation declares that love is greater than doubt. The magnificent
+march music is again resumed, and they enter the minster without further
+incident, excepting the defiant gaze of Ortrud as Elsa passes; and
+while the curtain descends we hear again, half hidden in the orchestra,
+the terrible dark motif.
+
+There is a brilliant orchestral introduction to the third act, which
+represents the marriage fête. Its tempo and rhythm are positively gay,
+tho this is an adjective seldom appropriate to Wagner. But the hilarity
+has subsided by the time the curtain rises: the trumpets and cymbals are
+hushed, and the gentlest of music greets our ears as we look upon the
+bridal chamber. The voices are at first distant, but gradually approach,
+and the effect of their song steals over us like a potent charm. It is
+the wedding-march--the "Lohengrin Wedding-March"! We all know the power
+of that music. There are some compositions which become absorbed, as it
+were, by the world like important inventions or discoveries. People
+require certain musical forms of expression as they do artificial light,
+and we pity those who did without this "Wedding-March," or Chopin's
+"Funeral March," or the Schubert "Serenade," as we pity our ancestors
+who made shift with tallow candles instead of incandescent lamps. The
+charm of the "Wedding-March" is not diminished because we know it so
+well. With Wagner as with Beethoven, every hearing reveals new beauties.
+When the chorus at last leaves Elsa and Lohengrin alone, we echo his
+first words: "The sweet song now is ended."
+
+But our regrets are quickly appeased by the delicious love-duet which
+follows. It is a scene of rapt delight--of happiness too great to last.
+Not in vain did we have the dark motif jangled in our ears when the
+curtain last descended; it meant trouble in the coming act, as we soon
+perceive. Elsa wishes she knew his name--just to speak it lovingly as he
+does hers. Then Lohengrin points to the open window through which the
+moonlight streams upon them, and he sings of the perfumed air which they
+enjoy without questioning its cause or source; thus, he says, should
+they love. The exquisite melody of this song seems to exhale from his
+heart like fragrance from a flower. It is redolent of tenderest love.
+
+The nobility and beauty of Lohengrin's character so impress themselves,
+that Elsa feels oppressed with her own unworthiness. She wishes she
+might do something heroic to prove her love. For instance, if he would
+confide to her his secret, she would guard it so faithfully that death
+itself could not wrest it from her! Very sweetly and beautifully does
+she coax for this token of trust on his part. Lohengrin replies most
+gently that he has trusted her already by believing that she would keep
+her vow. Then he says she little knows how much she is to him; that no
+earthly honor--not the king's kingdom--could replace what he has left.
+Only Elsa, his bride, can recompense the sacrifice; for not from night
+and grief does he come, but from a home of joy and pride.
+
+Like a flash does this remind Elsa of Ortrud's prophecy that he may
+leave her. The Ortrud-theme swoops down upon the orchestra and settles
+there like an ill-omened bird. The director's baton may send it away for
+a moment, but down it comes again, and the dark motif with it. Poor Elsa
+becomes almost frenzied. She believes Lohengrin will long for his
+beautiful home, which even now he can not forget. She sees in her mind's
+eye the swan-boat approaching to take him away. Lohengrin speaks
+reassuringly; but the spell is upon her, and nothing--nothing can give
+her peace but to know the truth. With mounting tones, the last one of
+which is like an outcry, she asks the fatal question. Lohengrin gives an
+exclamation of grief.
+
+At this moment the door is burst open by Frederick, who with drawn sword
+has come to wound the hero, or, more probably, to kill him. Elsa at once
+recognizes his intention, and frantically bids Lohengrin defend himself.
+With a single thrust he kills his would-be assassin.
+
+This intense and tragic climax is followed by a lull. Elsa has fallen
+half-swooning on the couch, and Lohengrin stands sorrowfully to one
+side. He at last exclaims slowly and sadly: "Now is our sweet joy fled;"
+and then we hear in the orchestra, faint and beautiful as a memory, that
+first love-duet. It is only a fragment, a fleeting thought, but so
+touching and pathetic that we could weep with Lohengrin for the harmony
+that is gone.
+
+The last act is short and almost entirely taken up by Lohengrin's story
+and farewell. The scenery is the same as in the first act, and the
+entire chorus of noblemen and soldiers again assemble before the king.
+They have not yet heard of the tragic event which ended the last act,
+and are therefore surprised when a bier is carried in and placed
+solemnly before them. It bears the body of Frederick. They are still
+more surprised when Elsa enters, pale and dejected, and then their hero,
+who appears equally sad. But surprise reaches its climax when they hear
+him announce that he can not be their leader.
+
+Lohengrin wastes no words. After the first assertion he informs them of
+Frederick's death; whereupon all voices declare his fate to be most
+just, and the body is removed. Lohengrin then announces that Elsa, his
+wife, has broken the vow which they all heard her make, and he has come
+before them to answer her question and dispel the mad suspicion which a
+wily tempter implanted in her heart. They shall all learn his name and
+heritage, and may then judge whether he was worthy of their trust. The
+people wonder with awe-hushed voices what revelation is in store, and
+then there floats in the orchestra the soft tremolo of the swan-music,
+as Lohengrin tells them of a distant land called Montsalvat, where is a
+radiant temple. And in this temple is guarded a sacred vessel which
+possesses wonder-powers. A dove descends from heaven once every year to
+renew its marvelous strength. This treasure-blessing is called the
+"Grail," and to its chosen votaries a matchless power is given. These
+knights of the Grail are sent abroad as champions of innocence and
+truth, and they may tarry so long as their name is unknown. But the
+Grail's blessing is too pure and holy to be regarded by common eyes, and
+if disclosed its champion must leave at once. Lohengrin adds that this
+penalty now falls on him, for he is a knight of the Grail: his father,
+great Parsifal, wears its crown, and "I am Lohengrin."
+
+As in the first prelude and swan-song, the harmonies of this last great
+recital seem not of earth but from another sphere; they linger and abide
+with us like a beautiful blessing. This silver-clad knight of the Grail
+has been singing of a hallowed mystery whose purity and spirituality are
+revealed more in the music than by the words. After bidding farewell to
+the hapless Elsa, from whom he must part in spite of her piteous
+appeals, there comes gliding upon the river the swan-boat. He sings a
+sad welcome to the swan, and then announces to Elsa that could he have
+remained one year, through the mercy of the Grail her brother would have
+returned. He hands her his sword and horn and ring to give this brother
+if ever he comes back. The sword and horn will impart strength and
+victory, and the ring shall remind him of "Lohengrin who loved Elsa and
+was her champion."
+
+A jarring interruption is now created by Ortrud, who cries out with
+reckless triumph that the swan who serves Lohengrin is the bewitched
+brother, and that Elsa has herself to thank for causing the hero's
+departure, which forever prevents the young Duke's return. On hearing
+this mocking invection from the sorceress, Lohengrin clasps his hands in
+a fervent prayer, which is at once answered. A dove descends from heaven
+and touches the swan, which is immediately changed into the young heir.
+He rushes forward to embrace his sister, while Lohengrin steps into the
+boat, which is drawn away by the dove. It floats silently down the
+beautiful river, and the hero stands sorrowfully leaning upon his silver
+shield. This is our last glimpse of Lohengrin, the Knight of the
+Grail.
+
+
+
+
+"Aida"
+
+
+
+
+"AIDA"
+
+
+Madame Nordica's "Aida" is an unsurpassed performance and always draws
+crowded houses, for the strange pathos of the music displays her
+wonderful voice to its fullest beauty.
+
+As in "Carmen" every measure scintillates with the sunshine of Spain, so
+in "Aida" every phrase seems shadowed by the mysteries of Egypt. A
+comparative study of these two operas will forcibly impress one with the
+power of music to express nationality. "Aida" carries one to a distant
+land and centuries back; but this power of breathing the musical life of
+ancient Egypt into the still form of a libretto is the culmination of
+modern art. Giuseppe Verdi, the greatest modern Italian composer, had
+written twenty-six operas before he wrote "Aida."
+
+A tender, wistful strain high up in the violins forms the opening of the
+prelude. With this first faint phrase the composer seems to awaken from
+her long sleep the muse of Egyptian music. Like the hero of fairy lore,
+Verdi, the prince of melody, has penetrated a realm of slumbering
+harmonies. They are at first subdued, dazed, and bewildered with themes
+mingled and woven together like exquisite cobwebs. The conductor's wand
+gently disperses these clinging meshes of sound, the curtain is lifted,
+and we are ushered into the musical life of an ancient civilization.
+
+We see a hall in the palace at Memphis, and Ramphis, the high priest,
+converses with Rhadames, a distinguished soldier. They talk of the
+impending war against Ethiopia, and it is intimated that Rhadames may be
+chosen to lead the Egyptians. But the words and song are of little
+interest compared to the orchestral accompaniment. This is somber and
+subdued; the notes are of equal length, and the intervals seem of
+geometric exactitude like the diagram of an astrologer.
+
+Ramphis goes out leaving Rhadames joyous over the prospect of becoming a
+general. He thinks of his beloved Aida, to whom he will return laden
+with laurels. "Celeste Aida!" is the title of this great romanza. Like
+all love-songs it is legato, andante, and pianissimo, but at the same
+time noticeably original and characteristic. The harmonies are
+constructed with rigid grandeur, but softened and beautified by a tender
+melody that rests upon them like moonlight on the pyramids. While he is
+lost in thoughts of Aida, the Princess Amneris enters. She inquires the
+cause of his radiant expression, and insinuatingly wonders if it is some
+dream of love. Rhadames only replies that he has hopes of martial
+honors, and is therefore happy. The Princess secretly loves Rhadames,
+and her questions are based on jealousy, which is revealed in the
+nervous, agitated theme that accompanies this duet. Her suspicions are
+further aroused by the entrance of Aida. As the heroine approaches we
+hear again the pensive theme that opened the prelude. It takes on a new
+and greater meaning, for Aida is a captive slave, an exile, and the
+music reminds us of some great longing that vainly strives to express
+itself. This effect is due to the fact that the musical cadence is left
+unresolved.
+
+Aida must have the dark complexion of the Ethiopian, and very few prima
+donnas look well under coffee-colored cosmetic; but Madame Nordica's
+appearance does not suffer from the application. This Aida is beautiful,
+and Rhadames can scarce conceal the joy of her presence. The captive
+also looks down to hide her emotion. But Amneris has detected every
+glance, and again that jealous theme sweeps like a flame over the
+orchestra.
+
+[Illustration: Copyright by Aimé Dupont, N. Y.
+
+Nordica as Aida.]
+
+The princess addresses her slave by sisterly names, and asks the cause
+of her downcast looks. Aida says she grieves because of the war against
+her native land. There follows a trio wherein Amneris fosters her
+jealousy, while Aida and Rhadames tremble lest their secret be
+discovered.
+
+Sounds of martial music prelude the entrance of the king and his suite.
+When they are assembled a messenger comes forward to announce that the
+Ethiopians are marching toward Egypt's capital under the leadership of
+their king, Amonasro. Upon hearing this name Aida exclaims to herself,
+"My father!" and we thereby learn that she is a princess, but has
+concealed the fact from her captors. The Egyptians impulsively shout "To
+war!" and Rhadames is proclaimed their leader. They sing a war-hymn
+which is so inspiring that even Aida joins in this prayer for victory to
+Rhadames. After a grand climax all go out excepting the heroine.
+
+"Return victorious!" She repeats this last sweeping phrase, and shudders
+at the words, for success to Rhadames implies defeat to her father. This
+distressing thought agitates the music like the passing of a great ship
+over tranquil waters. The ensuing melody rises and falls like waves in
+the wake of a vessel. Aida realizes that she can not pray for either
+lover or father. "Was there ever a heart so oppressed!" Her song is like
+a wail, and the accompaniment introduces a pagan use of the monotone
+that gives startling effects. "Pieta, pieta!" are the final words of
+Aida's great solo.
+
+She goes off, and the scene changes to an interior view of the temple of
+Vulcan. It is a brilliant setting, with solid columns and golden
+statues, mysterious colored lights and fuming incense, priests and
+priestesses in glittering costumes; but the music of this
+consecration-scene reveals more barbaric splendor than the surroundings.
+The first sounds are the full, pulsating chords of a harp, and from an
+inner sanctum the grand priestess sings with rich soprano tones a weird
+refrain that is weighted with mystery. The priests in front answer in
+subdued, awe-hushed voices. Three times the wondrous song and answer
+are repeated, after which the priestesses perform a sacred dance around
+the altar. The music of this dreamy dance has the most astonishing
+progressions, but at the same time maintains an imposing solemnity.
+During the dance Rhadames is led to the altar, where a silver veil is
+placed over his head. Ramphis, the high priest, charges him with the
+welfare of the Egyptian army; and then follows a splendid prayer that
+Ramphis starts like a sacred fire. It reaches Rhadames, who sings in a
+higher key, and then it spreads and fills the great temple; bassos,
+tenors, soloists, and chorus take it up in turn and form one mighty
+rondo. Like a response from heaven comes the chant of the grand
+priestess from within. Her inspired refrain with its harp accompaniment
+alternates with the exalted prayer in front. This consecration-scene has
+little to do with the plot of the story, but it contains some of Verdi's
+finest music.
+
+Several months are supposed to elapse before the second act, which
+opens with a scene in the apartment of Amneris. Maids are robing the
+princess for a festive occasion, and we learn by their chorus that
+Rhadames will to-day return from victorious war. This scene is
+monopolized by the stringed instruments and female voices. A tropical
+indolence characterizes the choruses, with their abundant harp
+accompaniment. Amneris ever and anon breaks forth with an expansive
+theme expressing her unconquered love for Rhadames. To divert their
+mistress a group of Moorish slaves perform a lively, grotesque dance,
+for which Verdi has written music of intoxicating witchery. It is crisp
+as the snapping of fingers and uncivilized as the beating of bamboo
+reeds--a veritable savage revel that is nevertheless graceful and
+delicate. The chorus resume their dreamy praise of the hero, and Amneris
+continues her moody thoughts of love.
+
+Like an electric flash from a sultry sky does the entrance of Aida
+affect the musical atmosphere. At sight of the beautiful captive,
+Amneris again rages with jealousy, as is plainly indicated by the
+conflicting themes in the orchestra. With subtle devices the princess
+seeks to entrap her rival. She pretends a deep sympathy for Aida's grief
+over the vanquished Ethiopians, and adds that "Egypt also has cause to
+mourn, for our brave leader Rhadames is among the slain." This
+treacherous falsehood is foisted so suddenly that Aida loses caution and
+reveals her emotion. Amneris cries out in fury: "Tremble, slave! thy
+secret is discovered!" She informs Aida that Rhadames lives, and that
+she, Pharaoh's daughter, loves the hero and "will not brook the rivalry
+of a slave!" Amneris threatens death as the punishment for such
+audacious love. The proud captive stands for a moment in defiance; but
+realizing the futility of such action, she humbly pleads for pardon. In
+this song the composer admirably simulates a savage dearth of compass
+and harmony--an effect of crude simplicity that is charming and
+touching. The scene is interrupted by a song of victory from the
+streets, a signal for the festivities to begin. After commanding the
+Ethiopian to follow as a menial in the celebration, Amneris goes out.
+Aida closes the scene with the same prayer to Heaven "Pieta!" that ended
+the first act.
+
+A noisy march introduces the next scene, which represents a grand avenue
+in Egypt's capital. At the back of the stage is a triumphal arch and at
+one side a throne. The greater part of this act is spectacular, and
+after an opening chorus the orchestra has for some time entire charge of
+the music. The March from "Aida" is almost as popular as the Faust
+March. Its harmonies never swerve from the Egyptian type, being always
+stately and substantial as their architecture.
+
+While the brass instruments are playing with full force, we witness the
+ceremonial entrance of the court, with innumerable priests and soldiers,
+trumpeters, fan-bearers, standard-bearers, train-bearers, white slaves,
+black slaves, flower girls, and dancing girls. There follows an
+elaborate ballet divertissement, clothed in music of gay pattern and
+gaudy design, but light in substance. Five lines of continuous
+staccatos, like so many strings of beads, form the opening of this dance
+music. The salient points that impart an unmistakable Egyptian
+atmosphere to this composition are as follows: A savage repetition of
+every musical phrase, a wild predilection for the monotone, a limited
+variety of keys, and a preponderant accenting of the rhythm.
+
+After the dance more soldiers enter, some more slaves, more banners,
+chariots, and sacred images. A chorus of welcome to the conquering hero
+is struck up, and it increases in strength and grandeur with the
+pageantry on the stage. It is not merely the crescendo, but the glorious
+swing and rhythm of the melody that so inspires enthusiasm. When at last
+Rhadames is borne in on a golden palanquin, the climax is stupendous.
+With a final "Gloria!" shouted by every voice the hero comes forward to
+be embraced by the king. A group of Ethiopian prisoners are led forward,
+and Aida with a cry of joy recognizes her father. He has disguised
+himself as a common soldier, and does not wish it known that he is the
+defeated king Amonasro. Every one is interested in this reunion of Aida
+with her father, and the princess secretly rejoices to have them both in
+her power. Amonasro makes a noble plea for mercy, and his words are set
+to music that "droppeth as the gentle rain from heaven." It is like a
+tone-translation of Shakespeare's ode to the quality of mercy. Aida and
+the other captives lend their voices to the entreaty. Rhadames, who has
+been observing Aida but dare not address her, is moved by his love to
+ask for the prisoner's release. The king feels bound to grant the hero's
+request, but finally decides to retain Aida and her father as hostages
+of peace. As a final honor the king presents his daughter to Rhadames,
+and adds that by her side he shall some day reign over Egypt. The act
+closes with another grand ensemble. Amneris gloats over her rival's
+subjection, Rhadames longs for Aida but dare not oppose the king, and
+the heroine bemoans her fate. The priests, people, soldiers, and
+prisoners praise the king, the trumpets blare forth the Aida March, and
+the curtain descends.
+
+Act III. is the most beautiful both scenically and dramatically. It
+pictures the banks of the Nile at night. An illuminated temple is at one
+side, and we see the silvery river winding its way amid palms and rushes
+far into the distance. Not only is the landscape bathed in "softened
+light," but also the music imparts an unmistakable effect of moonlight.
+A faint violin pizzicato that vibrates but never changes position is
+maintained throughout the introduction, while the other instruments call
+up weird sounds of the night--the palm-trees rustling together and the
+plaintive cry of some river-bird--then all is still: only that
+fluttering moonbeam holds the senses.
+
+The silence is broken by a solemn chant from within the temple, and one
+soprano voice soars out alone in an incantation, mysterious and imposing
+as an oracle. A royal barge glides to the river's bank, and Amneris with
+her maids and the high priest Ramphis betake themselves to the temple,
+where the princess offers prayers for her coming marriage. The
+sphinx-like song of the grand priestess is again heard, and then every
+sound is hushed excepting the dreamy pizzicato movement in the violins
+that so resembles the flitting of moonbeams.
+
+Ere long the solitary tones of the Aida-theme arise from the stillness
+like a spirit of night. Never before have we realized the full beauty of
+this melody, for amid the blare and brightness of other harmonies it has
+been obscured like a sensitive flower. But here in the solitude and
+darkness it unfolds itself like some glorious night bloom. With cautious
+steps the heroine enters. Rhadames has told her to meet him, and Aida
+wonders what greeting he will have for her. If it is but to say
+farewell, then "Nilus, the mighty river, shall quiet forever the exile's
+grief." For the present she plunges into a flood of memory about her
+native land, a stream of words that gently flows through a forest of
+beautiful harmonies. It is a song of homesickness that soothes tho it
+saddens.
+
+While still under the spell of this music Aida is startled by the
+entrance of her father. He also sings of their distant home, but with an
+underlying purpose. He says they may yet return; that it is in her power
+to save Ethiopia, to regain her throne, her love, and to vanquish her
+rival Amneris. The father has been quick to detect the love between Aida
+and Rhadames. Amonasro announces that his people are prepared to renew
+their attack and that success is assured if they can learn by what path
+the Egyptians will march. He wishes his daughter to win, by fair means
+or false, this secret from Rhadames. Aida at first refuses to act this
+part of treachery, whereupon Amonasro chills her with his curse. He says
+she is no longer his daughter, "No longer princess of Ethiopia, but a
+slave of the Pharaohs!" The proud blood of the captive is aroused by
+this epithet. She entreats her father to recall his words, for "'Patria
+mia' ('my country') is more to me than my love. I will obey." The
+accompaniment presents an unvaried monotone in the treble, while beneath
+it there is a pathetic melody half hidden by the upper octaves like
+romance suppressed by duty. Amonasro conceals himself behind palm-trees
+as Rhadames approaches.
+
+Never has the joy of meeting been more admirably expressed in music than
+in Rhadames's greeting of Aida. It is a flight of song as spontaneous
+and free as the flight of a released bird. He tells her that he will not
+marry the princess, but must start at once on a second war; and if this
+time victorious he will tell the king of his love and will claim Aida
+as the reward of his valor. It is a brave plan, but she quickly
+discovers the weak point. The nervous, inflammatory theme of jealousy
+that accompanied Amneris in the first act again arises like a hot breath
+from the orchestra. Aida well knows that the princess would wreak
+vengeance "like the lightning of heaven." There is only one course that
+will unite the lovers, and this is to fly--"Fugire!"--to fair Ethiopia,
+Aida's native land. She coaxes and entreats in phrases of delirious,
+dream-like beauty descriptive of that wondrous land--"There where the
+virgin forests rise 'mid fragrance softly stealing." A halcyon peace
+pervades the music, and its harmonies are strange and rare like the
+perfume of some exotic flower. Rhadames demurs, but the power of her
+song is irresistible, and he soon consents to leave Egypt for her sake.
+There is nothing half way about his decision when once made. The
+orchestra music rises in emphatic, resolute crescendos that are
+gloriously inspiring, and the singer's voice is carried forward like a
+rider on his steed. The music recurs to the first impulsive theme of
+greeting. It is given in full chords, and the soprano joins with the
+tenor. Every note is accented and the crescendos are augmented. Both
+voices and orchestra mount upward and soar away on one final, sustained
+note.
+
+As the lovers start to go, Aida asks, "By what route do the Egyptians
+march? We must avoid them in our flight." Rhadames names the path,
+whereupon Amonasro steps forward announcing that "the king of Ethiopia"
+has overheard this important secret. He promises royal honors to
+Rhadames; but the hero is overwhelmed with the realization that he has
+betrayed his country. Vengeance falls upon him at once, for Amneris and
+the high priest have also overheard. They come from the temple and
+denounce Rhadames as a traitor. He is seized, but Amonasro and Aida
+escape.
+
+The first scene of the fourth act reveals a hall in the palace. At the
+back is a large portal leading to the subterranean court of justice.
+Amneris holds the stage alone during the greater part of this scene. The
+orchestra preludes it with the familiar theme of jealousy that indicates
+the ensuing action as clearly as the title to a chapter. Rhadames is
+to-day awaiting judgment, and the princess, as a last resort, offers to
+secure his pardon if he will promise to forget Aida. The hero firmly
+refuses the proffered love of Amneris. He believes Aida is dead and
+prefers to die also. Very grandly does the music depict Amneris's
+outraged feelings. She flings a fusilade of wrathful tones, every one
+bearing the sting of sharp accent. But when he is gone her pride and
+jealousy wilt under the warmth of genuine love. She sees him led to his
+doom in the underground courts and hears the priests and judges chanting
+his name as traitor. This scene resembles the "Miserere" in "Il
+Trovatore." Three times the unseen chorus is followed by the soprano in
+front, who sings an anguished phrase that starts with a high note and
+ends with a palpitating, gasping decrescendo that is almost identical
+with the music of Leonore. The priests condemn Rhadames to be buried
+alive. As they again pass through the hall, Amneris pleads and implores
+for mercy, but it is now too late. No power can save the hero.
+
+The last scene of the opera is very short, but it is the most important.
+It represents two floors, the upper one being a splendid and brilliant
+temple interior, while beneath it is the crypt--gloomy and terrible.
+This is the tomb of Rhadames, who has just been immured. The priests
+above are placing the final stone as the curtain rises and the hero is
+seen below reclining on the steps. He is thinking of Aida while
+resignedly awaiting his slow and awful death. Suddenly a voice calls
+him, and Aida herself appears to his wondering gaze. She had heard of
+his fate, and to prove her love has secretly returned and hidden in this
+tomb to die with him. The following song of the lovers has been
+humorously referred to as the "starvation duet." The fact of this
+appellation only reveals how celebrated is the composition. It is more
+generally known as "the duet from 'Aida.'" There are other duets in the
+opera, but when another is meant it is designated; this is the _great_
+one. Its pathetic harmonies are mingled with the solemn chant of the
+grand priestess in the temple above and the music of a sacred dance.
+Aida becomes delirious, and sees in her dreams the gates of heaven
+opening. Indeed, the music is exquisite enough to make any one dream of
+heaven. When Madame Nordica sings it, the whole scene seems real and so
+sadly beautiful that your own heart too almost stops its beating. With
+soft, sweet tones and bated breath Aida sings till she dies.
+
+Instead of closing with a crescendo, as do most operas, the final of
+"Aida" becomes ever softer and fainter, like a departing spirit. The
+brass and wood instruments have long since retired, only the violins and
+harp keep up a gentle vibrating accompaniment like the flutter of
+cherubs' wings. The curtain descends very slowly, and the last notes of
+the violin are written doubly pianissimo. The muse of Egyptian music
+glides away as silently as she came.
+
+
+
+
+"The Huguenots"
+
+
+
+
+"THE HUGUENOTS"
+
+
+It is not surprising that the massacre of St. Bartholomew should have
+attracted such a composer as Giacomo Meyerbeer. The terrible scene
+immediately suggests a blaze of orchestral chords, seething strings, and
+shrieking brass, a style in which Meyerbeer delighted. He secured the
+collaboration of the celebrated French dramatist Eugene Scribe, who
+apparently went to work at this libretto by writing the fourth act first
+and then forcing the preceding situations to fit together as best they
+would. The result is not wholly satisfactory; but where the plot is
+vague the music is clear and strong enough to carry our emotions over
+chasms of inconsistencies.
+
+The great theme of the opera is the Huguenot hymn, a thrilling song of
+faith, with firm, bold harmonies that express unswerving belief. This
+hymn is used in the overture with grand effect. It is sustained and
+upheld clear and strong amid the murmurings and attacks of surrounding
+variations until it finally bursts forth in untrammeled splendor like
+the supremacy of religious faith.
+
+The curtain rises upon a banquet-hall in the mansion of Count de Nevers,
+who is a gay young nobleman of Touraine, the province of France in which
+the first two acts occur. Nevers is giving a supper to his comrades, and
+the first chorus is the celebrated drinking-song, a refrain so abounding
+in good cheer that it predisposes one in favor of the whole opera. The
+revelers are all Romanists, with the exception of Raoul de Nangis, a
+young Huguenot, who because of recent promotion in the army has been
+included among the guests. Nevers proposes a toast to "our sweethearts,"
+and gaily adds that he must soon forego such frivolities as he is to be
+married. Some one suggests that they all recount their love affairs,
+and Raoul is requested to begin. He relates an adventure wherein he
+rescued a beautiful lady from the rude insults of some boisterous
+students. He has not seen her since and knows not her name, but she
+dwells--in his heart. His glowing description of the heroine is a verbal
+portrait framed in music of golden beauty. It is the best tenor solo of
+the opera.
+
+After this love-story some surprise is caused by the entrance of Marcel,
+a Huguenot soldier, who is Raoul's faithful attendant and has followed
+his young master to this banquet merely to be near and watch over him.
+Marcel much disapproves of this "feasting in the camp of the
+Philistines," as he terms it, and by way of atonement he renders in a
+loud voice that fervid hymn which the Huguenots always sing when in
+danger. Raoul begs his friends to excuse the rough soldier, and they
+promptly attest their good will by inviting Marcel to drink. He declines
+the wine, but consents to sing for them. His song has a wild refrain
+like the firing of musketry, "Piff-paff-piff," and it is a celebrated
+bass aria.
+
+When this whizzing composition is ended a servant informs the host that
+a strange visitor would like to speak with him privately. Nevers at
+first refuses to see any one; but on learning that it is a veiled lady
+he changes his mind and goes out, after laughingly announcing that he is
+thus constantly sought by handsome women. During his absence the others
+joke about the incognita and handle her reputation lightly. They look
+through a window and see her conversing with Nevers in his private
+apartment. At sight of her face Raoul recoils, for this clandestine
+visitor is none other than the heroine of his romance--the beauty to
+whom he had lost his heart. His ideal is shattered by the discovery.
+When Nevers returns the audience learns from an aside remark that the
+lady was his prospective bride, Valentine de St. Bris, and that she came
+to beg release from her promise. He has reluctantly complied, but does
+not inform his guests of the matter. At this moment a richly attired
+young page presents himself. It is Urban, the contralto rôle, who after
+bowing gracefully on all sides sings a charming and celebrated aria,
+"Nobil donna,"--"a noble lady sends by me a missive to one of these
+gentlemen." Such is the substance of this exquisite song with its
+chivalrous melody, surrounded by rococo embellishments that seem as
+appropriate to the pretty page as are his Louis Quinze slippers and
+point-lace ruffs. The note is addressed to Raoul, a fact that occasions
+some surprise. The young Huguenot reads aloud what sounds like a
+practical joke, for the paper tells that a court carriage is in waiting
+to convey him blindfolded to an unnamed destination. His companions urge
+him to go, for they have recognized the seal as belonging to Queen
+Margaret of Touraine; but Raoul does not know this. He, however, accepts
+their advice, and allows himself to be blindfolded in spite of protests
+from Marcel. They sing a bewitching ensemble that is finally resolved
+into the familiar drinking-song. With these rollicking measures Raoul is
+led away by the page and the curtain descends.
+
+The opening of the second act is like a musical mirage--tone-phantasies
+suspended in the air. We see before us the luxuriant palace gardens
+where Margaret, queen of Touraine, is surrounded by her maids of honor.
+Terraces and fountains, jeweled hands and feathered fans, vibrant harps
+and caroling flute combine to form an effect of elegant repose. Margaret
+is the rôle for colorature soprano, in contradistinction to the heroine,
+Valentine, which is for dramatic soprano. The music of the queen is very
+beautiful and so difficult that it requires a great artist, altho there
+is but the one important scene. It is considered by some to be Madame
+Melba's best rôle.
+
+Her first aria is about "this fair land," and we incidentally learn that
+she deplores the existing dissension between Catholics and Huguenots,
+the one blot upon the perfect peace of Touraine. Her court ladies
+presently sing an idyllic refrain, and Margaret joins in their song; but
+while the others abide by the simple melody she decks it out with
+colorature spangles quite befitting a queen. After another florid solo
+the favorite maid of honor, Valentine de St. Bris, enters. She wears a
+riding costume and has just returned from her venturesome interview with
+De Nevers, who, as she joyfully announces, has released all claim to her
+hand. We soon learn that Valentine loves Raoul and has confided in the
+queen, who is planning the marriage of these two, which she much desires
+because it will unite the leading families of Catholics and Huguenots.
+The queen rather delights in playing the good fairy, and for this reason
+has summoned Raoul in the mysterious fashion witnessed in the first act.
+Before he arrives there is another chorus, called the "song of the
+bathers." A harp accompaniment like rustling leaves plays around the
+melody, which is of eolian sweetness, until suddenly, like a fitful
+breeze, there comes an elfish measure all in the treble. After a brief
+disporting of this air-sprite we hear again the soft eolian harmonies,
+which rise and fall until lulled into silence. The page Urban announces
+that a stranger is approaching, and the maids of honor gather around as
+he tells of this young cavalier who comes with blindfolded eyes and
+knows not his destination. Urban's song is brimming over with
+mischievous coquetry. Its opening words are simply, "No, no, no, no, no,
+no, you never heard so strange a tale." The court ladies are all in a
+flutter of curiosity when Raoul is led in, and they would like to see
+the outcome of this adventure; but the queen orders them away.
+
+Now follows a scene that is full of quaint themes and ingenious duets, a
+musical branch with many blossoms. Raoul is permitted to remove the
+bandage from his eyes. He looks with wonder upon the beautiful scene,
+and then addresses elegant phrases of adoration to the fair lady before
+him. She is not devoid of coquetry--this queen of Touraine--and for some
+moments there is a graceful game between the two in which the
+shuttlecock of love is tossed upon the battledores of music. But it is
+only a game, and the toy is presently dropped. Urban enters to announce
+that some noblemen of Touraine have come to attend the queen. Raoul is
+amazed to learn the lady's identity, and Margaret hastens to inform him
+that in order to unite the Huguenots and Catholics of her province she
+has arranged a marriage between him and the daughter of St. Bris. Raoul
+bows obedience to her wish.
+
+The Catholics and Protestants enter in stately procession and group
+themselves on either side of the stage, Raoul and Marcel heading the
+Huguenots, while St. Bris and Nevers represent the opposite side.
+Margaret welcomes them in musical phrases that are right royal. She
+informs St. Bris and Nevers that the king of France requests their
+immediate presence in Paris, and she then makes her own request, which
+is that Huguenots and Catholics shall lay aside all enmity and sanction
+the marriage that she has arranged. They sing a splendid refrain calling
+upon heaven to witness their vow of future fellowship. This scene
+contains some fine climaxes, and several brilliant cadenzas for the
+queen. Margaret sends for Valentine, and expects Raoul to be thrilled
+with delight when he recognizes the heroine of his romance. But as
+Valentine comes forward, Raoul gives an exclamation of indignant
+surprise, for he thinks some great insult is implied in asking him to
+marry this woman who secretly visits De Nevers and who has been the
+subject of jests. Without explanation he firmly refuses to accept her
+for his bride. The consternation hereby aroused is admirably expressed
+in the music. The first measures are hushed, as tho the chorus were
+dumbfounded; but they soon gain their voices and denounce Raoul in
+ringing tones. Valentine exclaims, "What have I done to earn such
+disgrace?" and the theme is taken up in grand form by the others. Every
+now and then we catch the firm tones of Marcel who amid all this
+dissension is singing his Huguenot hymn. St. Bris draws his sword, but
+the queen forbids a duel in her presence, and reminds him that he must
+go at once to Paris. Raoul declares he will follow and is ready to fight
+St. Bris at any time. The action and music increase in strength until
+the curtain falls.
+
+Act III. pictures an open square in Paris, the Pré-aux-Clercs, which
+extends back to the river. There are two taverns and a church in the
+foreground, and the stage is filled with a mingled crowd. After an
+opening chorus of promenaders some Huguenot soldiers come forward and
+sing a march that is equally stirring and much resembles our own "Rally
+'round the flag." It is, however, more elaborate, and has a surprising
+effect in which the upper voices sing a steady accompaniment of
+"derum-de-dum-dum," while words and melody are in the bass. There
+follows a sharp contrast in the song of some Catholic maidens on their
+way to church. Purity and simplicity are expressed by the slender
+accompaniment of flute and clarionet. The people kneel as they hear this
+"Ave Maria," but Marcel, who has just entered, refuses to do so. The
+Catholics are angered, while the Huguenots side with Marcel. There is a
+vigorous ensemble in which the "Ave Maria" and soldiers' chorus are
+admirably combined, and through it all are heard the disputing cries of
+the two factions. A general scuffle would ensue were it not for a sudden
+diversion in the form of some brightly clad gypsies who enter and
+solicit trade in fortune-telling. Their song is as gay as their costume,
+and they wind up with a fantastic dance. The orchestra music is here
+more deserving of attention than the stage picture. The principal melody
+has the quaint conceit of reiterating one note through five beats, and
+then with a quick turn reeling on to the next, like a dancer poising on
+one foot until forced to whirl upon the other.
+
+After this divertissement, St. Bris, his friend Maurevert, and de Nevers
+come out of the church where they have left Valentine, who, we now
+learn, is after all to marry Nevers and this is their wedding-day. The
+bridegroom goes to bring his retinue to escort the bride home, and St.
+Bris felicitates himself for bringing about this union which wipes out
+the disgrace of Raoul's refusal. His remarks are interrupted by Marcel,
+who delivers a letter from his master which designates the
+Pré-aux-Clercs as meeting-place and an "hour after sundown" the time for
+their deferred duel. Maurevert suggests to St. Bris that the Huguenot
+deserves more punishment than can be meted out in honorable combat, and
+the two friends retire in consultation.
+
+The stage is darkened and we hear the curfew bell, while a watchman goes
+through the street chanting a drowsy refrain that tells all good people
+to close their doors and retire. Maurevert and St. Bris again cross the
+stage, and we glean from their few words that a plot is brewing for
+Raoul's destruction. But Valentine has been standing at the church door
+and overheard their talk. She is much alarmed, and wishes to warn Raoul,
+but knows of no way until suddenly she hears and recognizes the voice of
+Marcel. She calls to him, and he asks: "Who calls in the night? Explain
+at once or I will fire!" Valentine quickly thinks to speak the potent
+name "Raoul." Meyerbeer has very aptly used for this call the interval
+of the perfect fifth, which is known as the cry of nature, because it is
+the most natural interval to fall upon when calling in the open air. The
+milkmaid calling her cows or the huckster vending his wares will most
+often be found singing the perfect fifth.
+
+On hearing the name of his master Marcel is satisfied and comes forward
+to investigate, but Valentine's face is concealed by her bridal veil.
+She tells him that his master should be well armed and have strong
+friends near in the coming duel, else he will fall the victim of a plot.
+Valentine starts to go, but Marcel detains her with the question, "Who
+art thou?" She hesitates and then answers, "A woman who loves Raoul." In
+a highly dramatic aria whose phrases are like storm-tossed billows on a
+restless deep-sea accompaniment she confesses that in saving the one she
+loves she has "betrayed her own father." The two voices finally work
+together as is the fashion of duets, and end up with a flourishing
+climax. At this point occurs the famous high C which Madame Nordica so
+brilliantly sustains and crescendos throughout four measures. It is a
+_tour de force_ which always brings down the house. Valentine now
+reenters the church as the principals and seconds of the duel approach.
+Marcel tries to warn his master, but Raoul will not listen to
+suspicions, for he believes his opponent to be honorable. There follows
+a splendid septet, in which Raoul sings the leading refrain buoyant with
+youthful courage. The ensemble is occasionally interspersed with the
+religious tones of Marcel, who prays Heaven to interfere. A grand,
+swinging theme in which all the voices move together like a great
+pendulum is the final of this septet.
+
+The duel begins, but Marcel, who is on the alert, hears approaching
+footsteps and draws his sword. Maurevert enters and cries out as
+prearranged: "A duel with unfair numbers! More Huguenots than Catholics!
+Help!" whereupon his followers rush in and surround Raoul. But at this
+moment the Huguenot soldiers who are merry-making in the tavern commence
+singing their jolly "derum-de-dum-dum," whereupon Marcel rushes to the
+door and sings in thundering tones the Protestant hymn, which the
+soldiers within at once recognize as a signal of danger. They hurry out,
+and then follows a lively commotion on all sides. But there are more
+words than blows, and the excitement is presently quelled by the
+ceremonious entrance of Queen Margaret who has just arrived in Paris.
+She is much displeased to come upon party dissension. St. Bris blames
+Raoul, while the Huguenot charges St. Bris with treachery. At this
+moment Valentine comes from the church, and Marcel relates how she
+warned him of a plot. There is general amazement on hearing this. Raoul
+now thinks to make some inquiries about this lady he had so
+unhesitatingly condemned, and learns how terrible was his mistake. St.
+Bris enjoys telling him that she is the bride of De Nevers, and we hear
+the approaching music of the nuptial barge. An illuminated flotilla
+appears at the back of the stage, and Nevers steps upon the bank. He
+addresses to Valentine some gallant phrases of welcome, and escorts her
+to the boat as his splendid retinue sing a joyous wedding-march. The
+curtain falls upon a whirl of gay music.
+
+Scribe is on terra firma in the fourth act, which is really the nucleus
+of the plot, and is perhaps the most dramatic love-scene of any grand
+opera. The curtain rises upon an apartment in the house of Nevers, and
+Valentine is alone. The opening orchestral measures seem oppressed with
+a tuneful despair that is soon explained by her song, wherein she
+bewails this forced marriage, for her heart still cherishes Raoul. The
+hero suddenly appears at her door, and Valentine thinks she is dreaming
+until Raoul announces that he has come "like a criminal in the night,
+risking all" for the sake of seeing her and craving forgiveness. They
+hear approaching footsteps, and Valentine prevails upon him to enter a
+side room just as her father and husband come in at the main door with a
+company of Catholic noblemen. They are too interested in themselves to
+note Valentine's agitation, and she, being a Catholic, is allowed to
+remain while her father unfolds the awful plan sanctioned by Catherine
+de Medicis to "wipe the Huguenots from the face of the earth." The great
+theme of this conjuration-scene, "blessed is revenge, obey the good
+cause," is softly sung by St. Bris and then taken up by the others in
+broad harmonies that swell out and sweep forward like a mighty torrent.
+When the tone-waves are again tranquil St. Bris bids his friends swear
+allegiance to the royal decree, and all comply with the exception of De
+Nevers, who declares he can not join in such murder. There is graceful
+nobility in his music and fervor in his words.
+
+The details of the plot are sung by St. Bris in hushed, hurried tones:
+how "to-night when strikes the bell of St. Germaine" the Catholics shall
+rush upon the unsuspecting Huguenots. He then admits into the room a
+group of monks, who tie white scarfs upon the conspirators and bless
+their uplifted swords. The music of this scene is grandly sustained by
+the orchestra, but the ensemble is difficult and requires much
+rehearsing, for it abounds in surprising fortes and pianissimos.
+
+When the conspirators are gone, Raoul starts from his hiding-place
+toward the door, but Valentine intercepts the way. He wishes to fight
+for his friends or die with them, but she begs him to stay. There
+follows a thrilling duet in which the voices pursue each other with
+growing intensity. The tempo is rapid, and the phrases short and
+breathless. The first minor melody is soft, but throbbing with
+suppressed emotion like the strange light and peculiar hush preceding a
+tempest. Then the music rushes into the major, where it reels and sways
+like an anchored ship that must soon break its moorings. The soprano
+voice rises upon G, A, B flat, B natural, and finally C, where all bonds
+seem loosed and the music rebounds in a rapid descending chromatic run.
+Then comes a furious passage in which the orchestra conductor uses his
+baton like a Roman charioteer lashing his steeds. Valentine places
+herself before the door, and in a desperate moment she declares, "Thou
+must not go, for, Raoul--I love thee!" This confession is followed by a
+transporting duet that brings oblivion to other memories. Its
+mellifluous melody is written pianissimo, dolce, legato, amoroso, and
+the orchestra carries it one measure behind the voice, thus keeping the
+theme constantly in the air like a sweet incense.
+
+A bell in the distance suddenly scatters all lingering harmonies. It is
+the bell of St. Germaine, and Raoul is aroused to reality. He sings a
+dramatic refrain about duty and honor, but Valentine still entreats him
+to stay. Her song is simple as a lullaby but powerful in effect, and he
+is distracted between her pleadings and the cries from the street.
+Flinging open the window, he shows her the terrible scene of massacre. A
+lurid light falls upon them, and there is murder in the orchestral
+music. Valentine swoons. Raoul looks with anguish upon her prostrate
+form and we hear the struggle he endures. The melody of Valentine's last
+sweet song predominates for a moment in the orchestra, but then the
+noise of the massacre is resumed. Raoul hesitates no longer. One
+farewell glance, and he rushes with drawn sword through the open window
+to the street.
+
+Unlike many operas in which the fourth act is the greatest, the finale
+of "The Huguenots" is of sustained intensity and not an anti-climax.
+This fifth act is often omitted, however, as it makes the opera very
+long. The scene represents a street at night--men, women, and children
+cross the stage and take refuge in a church. Raoul and Marcel chance to
+meet, and they are soon surprised by the entrance of Valentine, who has
+recklessly followed the hero. She wears the white scarf which betokens
+Catholicism and has brought one for Raoul, but he refuses this mode of
+escape. Valentine then flings her own emblem away and declares she will
+join his faith. The music of this entire act is most thrilling. We hear
+the women in the church singing as a last prayer that grand Huguenot
+hymn and in the distance a chorus of murderers as they make their awful
+progress through the streets. This massacre music is blood-curdling; its
+steady, muffled tread sounds like marching over a paving of dead
+bodies. The waiting figures in the foreground again hold our attention.
+Marcel relates how he witnessed the death of De Nevers, and on learning
+that Valentine is free these lovers kneel before the Huguenot soldier,
+who blesses their union. The choral in the church is again heard, and
+those outside join in its splendid harmonies. Valentine sings with the
+fervor of her new-found faith, "Hosanna, from on high the clarion
+sounds!" This last trio resembles the finale of "Faust" in that the
+theme rises higher and higher, like a flaming fire, to be quenched at
+last by Death. The murder-chorus is heard approaching, and soon a group
+of massacrers enter. "Who is there?" they ask.
+
+"Huguenot!" replies the hero, and in ringing tones a woman's voice cries
+out, "Huguenot!" "Fire!" orders St. Bris, who thereby kills his own
+daughter.
+
+
+
+
+An Hour
+with
+Lilli Lehmann
+
+[Illustration: LILLI LEHMANN.]
+
+
+
+
+AN HOUR WITH LILLI LEHMANN
+
+
+In Berlin, fourteen years ago, the foreigner was at once impressed with
+two faces, new to him, but conspicuous in every show-window. One picture
+represented an imposing, middle-aged man, which you were told was "unser
+Kronprinz," and the other, a handsome, fine-figured woman, was "unsere
+Lilli Lehmann." And you were looked at in surprise for not knowing "our
+Lilli Lehmann."
+
+The Berliners have always spoken in a possessive sense of this
+lady--their star of the opera--especially in that year when she broke
+her contract with the Kaiser to accept an engagement in America. It made
+a great talk there at the time, but the Berliners thought none the less
+of her, and the morning after her début in New York the first words that
+greeted you in the Vaterland were:
+
+"Have you heard the news? The Lilli Lehmann has had a great success in
+America."
+
+Fourteen years later this same Lilli Lehmann is still having "a great
+success in America." Her art is enduring as it is great. She is equally
+successful in colorature and dramatic rôles; but her physique and voice
+are particularly fitted to the mythical Wagnerian characters. Lilli
+Lehmann imparts to these legends of the Norseland all the attributes our
+fancy calls for. Her Scandinavian goddess is a creature of mighty
+emotions, heroic build, and a voice at times like the fierce north wind.
+Her cry of the Walküre is a revelation in the art of tone-production.
+
+I was to call upon Madame Lehmann at 9:30 A.M., and this after a great
+and long performance the evening before. I had visions of the prima
+donna still in bed, receiving her caller quite in negligee, and sipping
+her coffee, served by a French maid, while a parrot and pet dog and
+flowers and the morning mail and newspapers combined to form an effect
+of artistic confusion.
+
+This makes a pleasing picture, but it is not Lilli Lehmann. There is no
+sense of "artistic confusion" about her from her gray-tinged hair to her
+grand, true voice.
+
+In answer to the visitor's knock at her room in the Hotel Netherlands,
+she opened the door herself, and shook hands with true German
+cordiality.
+
+The bed in the adjoining room was already made, and there was no sign of
+a late breakfast; all this at an hour when it is safe to say half her
+hearers of the evening before were not yet up.
+
+And Lilli Lehmann, who in the eyes of the public is majestically arrayed
+in flowing robes and breastplates and silver shields, wore on this
+occasion, over her plain serge dress, the typical little fancy apron--so
+dear to the German _Hausfrau_.
+
+The Berliners may well call her "Our Lilli Lehmann," for she is as
+unassuming to this day as the least of them.
+
+But altho she impresses you as unpretentious, you also feel at once her
+great force and energy. It shows in her every word and movement, and
+also in her business-like method of being interviewed.
+
+"Yes, I am quite tired," was her first remark as she seated herself at a
+little writing-desk and her visitor near by. "The opera lasted so late;
+I did not get to bed until two o'clock. But I was waiting for you this
+morning, and had just prepared to write down some items you might wish
+to know."
+
+Then she took a pencil and paper,--and what do you suppose she wrote
+first? These are the exact words, and she read them aloud as she wrote:
+
+"Born--Würzburg, November 24, 1848."
+
+I could not conceal some surprise, and was obliged to explain: "The
+American ladies so seldom give their age that your frankness is a
+revelation."
+
+"The Lilli Lehmann" smiled and said: "Why not? One is thereby no
+younger."
+
+[Illustration: Copyright by Aimé Dupont, N. Y.
+
+Lehmann as Isolde in "Tristan and Isolde."]
+
+She turned again to the desk, and went on with the "interview," using
+her pencil with great firmness and rapidity as she wrote in German, and
+with all possible abbreviations:
+
+"I was brought up in Prague, where I made my début when eighteen years
+of age. My mother was my first teacher and constant companion. She was
+herself a dramatic soprano, well known as Maria Löw, and my father, too,
+was a singer."
+
+"In what opera did you first appear?"
+
+"It was the 'Magic Flute,' and I appeared in one of the lighter rôles;
+but two weeks later, during the performance, the dramatic soprano was
+taken ill, and I then and there went on with her rôle, trusting to my
+memory after hearing it so often. My mother, who was in the audience and
+knew I had never studied the part, nearly fainted when she saw me come
+on the stage as Pamina."
+
+Madame Lehmann's feats of memory have more than once created a
+sensation. We remember the astonishment aroused in New York music
+circles five years ago when she mastered the Italian text of "Lucrezia
+Borgia" in three days.
+
+Recurring to her life in Prague, Madame Lehmann further said:
+
+"I appeared not only in many operas, but also as an actress in many
+plays. In those days opera singers were expected to be as proficient in
+the dramatic side of their art as the musical, and we were called upon
+to perform in all the great tragedies. But nowadays this would be
+impossible, since the operatic repertoire has become so tremendous."
+
+People seldom consider how much larger is the present list of famous
+operas than formerly. All the Wagnerian works, many of Verdi's, and most
+of the French have taken their places in comparatively recent years, and
+yet there is still a demand for all the old operas too. The singer who
+attains Wagner must at the same time keep up her Mozart, Beethoven,
+Glück, Rossini, Meyerbeer, and Bellini.
+
+As the visitor mentioned Bellini, Madame Lehmann assented. "Yes, we are
+to give 'Norma' here next month." "Norma," abounding in melody and
+florid fancies, is as different from Wagner as a cloudless sky from a
+thunder-storm.
+
+The divine art, like nature, has its various moods, and Wagner and
+Bellini represent two extremes.
+
+Among Wagner's works, "Isolde" is one character to which Madame
+Lehmann's temperament and physique are strikingly fitted. Throughout the
+long first act, wherein she is almost constantly singing, she imparts a
+glorious impression of one who _thinks in music_. The fearless,
+impassioned Isolde thinks bitter, rancorous thoughts of Tristan, whom
+she abhors, until with fierce resolve she hands him the fatal drink
+which, unknown to herself, is a love-potion. The previous dearth of
+action has created a ready mood for us to thrill and respond at the
+love-frenzy, the delirium which now animates the scene as these
+unwitting lovers suddenly find all hatred and other memories gone from
+their hearts.
+
+It may be mentioned here that Wagner firmly believed in the power of
+contrast, and he purposely preceded his greatest climaxes by what many
+would deem an unwonted length of inaction.
+
+In 1870 Lilli Lehmann was engaged for the Berlin Opera-House.
+
+Americans can hardly appreciate the significance of this fact; but it
+means much. The opera in Berlin is supported by the government and
+directly under the supervision of the emperor. The singers are not
+engaged for a season, but for life, being entitled to an annuity after
+they retire from the stage. Lilli Lehmann's contract was signed by the
+kaiser during the Franco-Prussian war.
+
+When asked if the old Emperor Wilhelm was musical, Madame Lehmann
+smiled, and there was a gleam of humor in her eyes:
+
+"No, I can not truthfully say that he was at all musical, tho he was
+wonderfully kind and good to all artists."
+
+For fifteen years Lilli Lehmann sang in Berlin with an occasional flight
+to Baireuth under the kaiser's permission, where she sang for Wagner
+himself.
+
+"I was one of the Rhine daughters, and also the first Forest Bird in
+'Siegfried.'"
+
+Wagner's own Forest Bird! It is a thrilling and poetic statement that
+would be hard to equal. Of all this great master's characters, including
+gods and demi-gods, knights and shepherds, dwarfs and giants, his most
+original, and perhaps for this reason his best-loved children of the
+brain, were, we believe, his Rhine daughters and his Forest Bird. The
+former sing under the water laughing strains of mystical import and
+unearthly sweetness, while the Forest Bird sings in the air--always
+unseen, but more impressive than the greatest presence.
+
+This bird-music is not very long, but it is of unsurpassed beauty, and
+the most memorable theme in the opera. The scene too is exceptional and
+powerful in its simplicity--only one person on the stage. Siegfried, the
+inspired youth, who knows the speech of bird and beast, is alone in the
+forest when he hears a bird sing. He pauses to listen, as you in the
+audience do too, for the song is not a meaningless mocking-bird array of
+trills and cadences, but a tender strain that bespeaks the bird as a
+prophet. Siegfried tries to catch the message, tries to see the bird,
+and tries, too, to imitate its tones. He cuts him a reed from the
+water-banks, and shapes it and tests it until he can play upon it the
+music he hears. Ah, we should like to have been in that audience at
+Baireuth when this Forest Bird took its first flight into the world!
+
+It is a great thing to create a rôle, to set the standard by which all
+later performances shall be modeled. If the new opera proves to be a
+great and lasting work, the singers who created the important rôles are
+always credited therewith and mentioned. They usually have been selected
+by the composer, and their performance is the result of his best
+instruction as well as their own inspiration. Madame Lehmann has
+"created" many rôles, but the most poetic, we deem, is the Forest Bird.
+
+[Illustration: Copyright by Aimé Dupont, N. Y.
+
+Lehmann as Venus in "Tannhäuser."]
+
+After writing with characteristic abbreviation the foregoing
+fact--"'75-'76, Baireuth, Rhine daughter, I Forest Bird"--Madame Lehmann
+handed over the paper and asked "Is there anything more I can tell you?"
+
+Her bright eyes, clear complexion, and magnificent figure prompted a
+personal question:
+
+"How do you keep your splendid health, and the strength to work so
+much?"
+
+For this she had a ready answer:
+
+"I have been a vegetarian for the past five years."
+
+In reply to one more parting question, Lilli Lehmann spoke words of
+wisdom that are worthy of reflection:
+
+"Yes, I still practise and study more than ever. At the end one is just
+beginning."
+
+
+
+
+"The Flying Dutchman"
+
+
+
+
+"THE FLYING DUTCHMAN"
+
+
+"The Flying Dutchman" is one of the most melodious of Wagner's operas,
+and also one of the most popular in Germany. Its soprano rôle is well
+beloved by all Wagnerian singers, but for some reason the work is seldom
+given in this country. Americans have never had an opportunity to hear
+Madame Lehmann in this opera, but it is one in which she is well known
+abroad.
+
+"Der Fliegende Holländer" is an early offspring of Wagner's genius, and
+was composed at a time when Fate frowned upon him, and poverty and
+despair were his close companions. After six weeks of feverish labor,
+alone in hostile Paris, Wagner presented his beloved score to the
+orchestra of the "Conservatoire." They promptly condemned it, which
+affords a notable example of the change in musical taste. Portions of
+the "Flying Dutchman" now hold a permanent place on French programs.
+
+The plot, as well as the music, is as usual Wagner's own. "A daring
+captain, after frequent vain attempts to double the Cape of Storms,
+swears a mighty oath to persevere throughout eternity. The devil takes
+him at his word, and the hapless mariner is doomed to roam the seas
+forever." Such is the legend of the Flying Dutchman, to which Wagner has
+added one redeeming clause: once in seven years the wanderer may land in
+search of a faithful wife. If she be true unto death the curse shall be
+lifted.
+
+Wagner's music is so powerful and absolutely appropriate that it seems
+to suggest the text, instead of conforming to it. No ordinary tunes or
+conventional harmonies could adequately depict the roaming, restless,
+Satan-chased sailor. The overture opens with the curse-theme, which
+seems like the phantom ship itself as we follow its course throughout
+the introduction. It rides over and under and around hurricanes of
+chromatics and tremolos. Chords sweep like a deluge over the luckless
+theme. But as neither rocks nor tempest can annihilate the accursed
+vessel, so this theme mounts ever uppermost. On and on, "_Ohne Rast,
+ohne Ruh_," must sail the Flying Dutchman. But the wanderer in his dark
+existence finds hope in the salvation-theme, a peaceful, religious
+phrase that is poised like a single star amid the tumultuous elements.
+Like all of Wagner's overtures, this one has become a favorite program
+piece.
+
+With the ascending curtain there arises from the orchestra a storm of
+restless tremolos and shrieking scales. The wind and waves thus rendered
+in the music are also depicted on the stage. An expanse of ocean
+occupies most of the scene, only in front the turbulent waves beat
+against a bleak Norwegian coast. Driven thither by the elements, a ship
+casts anchor at the shore. Daland, the captain, steps on land, while his
+crew noisily pull up sails and cast out cables. As they work they shout
+in unison a rude refrain that lends rhythm to their movements,
+"Ho-lo-jo! Ho-he!" This is accompanied by surging waves of sound from
+the orchestra. Owing to the sudden storm, this ship has been carried
+seven miles away from the home port, to which it was returning after a
+long voyage. There is nothing to do but wait for a south wind to carry
+them back. Daland goes on board again and orders the sailors to rest. He
+also retires, after entrusting the watch to his boatswain.
+
+Altho this boatswain has no name, he is no insignificant character, for
+to him falls one of the loveliest songs of the opera. He has a tenor
+voice, and is in love with a "blue-eyed mädel." He makes a tour of the
+deck, and then seats himself by the rudder. The storm has abated, but we
+occasionally hear a gust of chromatics and a splash of chords. To ward
+off sleep, the boatswain sings of his sweetheart, and calls upon the
+south wind to blow their good ship home. This music is delightful and
+refreshing as a salt sea breeze. The sailor does not trouble himself
+with any fixed standard of tempo. He sings like the fitful wind, one
+moment "accelerando," and the next "una poco moderato." He sustains the
+climaxes and indulges in sentimental "rubatos," all of which is a touch
+of naturalness skilfully introduced by the composer. The boatswain makes
+another tour of the deck and then renews his song; but there is this
+time more languor in his tones. The phrases are separated by frequent
+"rests," the "moderatos" have developed into "largos;" the "rubatos" are
+exaggerated, and finally this sweet-voiced boatswain falls asleep.
+
+Soon the clouds become black and lowering, the waves are white and
+towering, and the orchestra is like a seething cauldron of sound. The
+conductor stirs it up more and more, until he brings to the top that
+awful curse-theme of the Flying Dutchman. We lift our eyes to the stage,
+and lo! over the dark waters comes another ship, strange and uncanny in
+appearance, for its sails are blood-red and they hang upon masts that
+are black as night. With a mighty crash this wanderer of the seas sinks
+anchor alongside the Norwegian vessel. The dreaming boatswain is aroused
+for a moment. He hums a snatch of his love-song, and then once again
+nods his head in slumber. A terrifying silence falls upon the music as
+we watch the ghostly crew of the phantom vessel noiselessly furl those
+crimson sails.
+
+There is a pause, and then, soft but impressive, that remarkable
+curse-motif announces the approach of the Holländer himself. He steps
+upon shore after another seven years of wandering. His stalwart figure
+is draped in a black mantle, he wears a full beard, and has a baritone
+voice.
+
+The first solo of the Holländer is most interesting; but those who
+expect a pleasing tune with a one-two-three accompaniment will be
+disappointed. One is apt to think that music must be always beautiful
+to be admired, but Wagner has taught that this idea is erroneous. Music
+should represent what the maker feels, just as painting does what he
+sees; and in proportion to the correctness of his representation is the
+work to be admired. As a prominent example of this fact in painting,
+mention may be made of Munkacsy's picture of Judas, which all admire but
+none call beautiful. And so this solo of the accursed mariner is not
+beautiful, as that term goes. How could it be? The weary, dreary,
+condemned Dutchman communing with himself does not think of graceful
+melodies that delight the senses. His phrases, instead, are all angular,
+bitter, heavy, and despairing. He tells of his longing for rest, and he
+mocks at the hope of finding true love. Too often has he been deceived:
+"I wait and watch for the Judgment Day. Then only shall I rest!"
+
+The Holländer leans mournfully against a rock, and the music subsides,
+until a light-hearted melody directs our attention to the Norwegian
+ship. Daland has come upon deck, and is surprised to find another ship
+alongside. He calls the boatswain, who, half awake, commences to hum his
+love-song; but another call from the captain brings him to his feet.
+They hasten to signal the strange ship, but receive no answer; whereupon
+Daland, seeing the Holländer, steps upon shore to accost him.
+
+Politely but unconcernedly the hero makes answer to all questions, and
+learns, in turn, that Daland's home is but seven miles' sail from here.
+The Holländer asks for a night's lodging, and offers to pay liberally.
+He brings forth a casket of jewels, which he declares is but a sample of
+the cargo he carries. With bitter tones he adds: "What joy are such
+riches to me? I have no home, no wife, no child; all my wealth should be
+yours if you could give me these." He astonishes Daland with the sudden
+question, "Have you a daughter?" and on being answered in the
+affirmative the Holländer proposes to wed her. Very nobly does this
+strange suitor plead his cause, his longing for love and rest. The music
+is here truly beautiful, for the hero is striving to win and please.
+
+Captured by the prospect of wealth and also by the strange fascination
+of the Holländer, Daland consents to the proposition. Once again the sad
+seaman is tempted to hope. The music has become decisive and, because of
+rapid tempo, sounds quite joyous. On top of this pleasing climax there
+comes a happy cry from the Norwegian ship: "A south wind! south wind!"
+The sailors sing their "Ho-lo-jo" chorus as they let down sails and pull
+up anchor. Daland goes on board, and the Holländer promises to follow.
+With a breezy accompaniment of wind instruments the two ships sail away
+and the curtain descends.
+
+The prelude to the second act carries us from the storm-beaten coast of
+Norway to the domestic peace of Daland's home. The composition is like a
+brisk sail over smooth harmonies. It opens with the boatswain's song of
+the south wind, and after a succession of undulating passages finally
+lands upon the celebrated spinning-chorus.
+
+A capacious room in the captain's home is filled with a merry company of
+maidens, who, with their spinning-wheels, are working together under the
+watchful eyes of Frau Mary. The wheels whir and whiz, like a drone of
+bees, the orchestra keeps up a continuous revolving accompaniment, and
+even the melody, with its ingenious rhythm, simulates a whirling wheel.
+The picture is as pleasing as the music; both are unique and delightful.
+The girls spin industriously where the song goes fast, but unconsciously
+hold up with the ritardandos, and Frau Mary has frequent occasion to
+remonstrate.
+
+Only Senta, the captain's daughter, does not join in the song. She is
+sitting in a big arm-chair and dreamily regards a large picture that is
+hanging over the hearth. It is an ideal portrait of the Flying
+Dutchman, such as many seafaring folk possess. Senta is an imaginative
+girl, and has always been fascinated by the "pale man" on the wall and
+his story. She begs Frau Mary to sing the ballad of the Flying Dutchman.
+This request being refused, Senta sings it herself. Truly wonderful is
+this ballad, with its blustering accompaniment and shivering climaxes.
+The final verse relates how every seven years the weary seaman lands in
+search of a faithful wife, but never yet has he found one. "False love!
+false faith! Forever and ever must he ride the seas!"
+
+Senta has become so wrought up by the song that she now sinks back in
+her chair from exhaustion, while the other girls sing with bated breath
+that beautiful melody of the salvation-theme. "And will he never find
+her?" they ask with childlike credulity. Senta suddenly springs from her
+chair and sings out with exultant tones: "I am the one who could save
+him! I would be true till death! May heaven's angels send him to me!"
+This music is of boundless intensity; the strongly accented
+accompaniment sweeps forward and recedes like angry breakers, while the
+voice part soars above like a fearless sea-bird. "Senta! Senta! Heaven
+help us, she has lost her reason!" exclaim the astonished maidens, and
+Frau Mary utters maledictions upon that "miserable picture," threatening
+to throw it out of the house.
+
+At this moment Erik, the young hunter who loves Senta, hastily enters,
+announcing that her father's ship is landing. The dreamy heroine
+promptly revives at this news, and becomes as elated and excited as any
+of the girls. They all want to rush out and see the ship, but Frau Mary
+orders them back, directing them, instead, to the kitchen, where there
+is work to be done on account of this sudden home-coming. With much
+chattering and commotion the girls and Frau Mary go out, leaving Senta
+and Erik alone.
+
+He detains her to listen to his vows and fears. Very tender and earnest
+is this song of love and doubt. Wagner knew well how to use the simple
+melody, which he considered essential to some emotions but out of place
+with others. Like the artist's fine brush, it will not do for painting
+storm-clouds, but in scenes of delicate delineation it is used with good
+effect. Erik is troubled about a dream he had the night before. To the
+usual accompaniment of violin tremolos, he relates how he saw Senta's
+father bring with him a stranger who looked like that picture on the
+wall. Already we hear far away beneath the tremolos, soft but distinct,
+the curse-theme of the Flying Dutchman. As the dream-song goes on this
+ominous phrase comes nearer, step by step, always in a higher key,
+always louder and more impressive. It represents, in fact, the actual
+approach of the Holländer. Senta listens as though entranced, while Erik
+tells how he saw her come forward and kneel at the stranger's feet. But
+the "pale man" lifted her in his arms and carried her away over the sea.
+To Erik's horror, Senta turns toward the picture and cries out: "He is
+seeking me! I would save him!" The young hunter sadly goes away,
+believing that she is out of her mind.
+
+Senta continues gazing at the picture. The music has become soft and
+slow, and the curse-theme pervades the air like a ghostly presence. But
+the heroine sings to herself that beautiful salvation-motif. The phrase
+is finished with a startled shriek, for the door has opened, and there
+before the astonished girl stands her hero--"der Fliegende Holländer!"
+Daland, her father, is also there, but Senta has neither sight nor
+thought of him. She stands immobile and amazed, her eyes never turning
+from the Holländer. When Daland comes nearer, she grasps his hand,
+whispering, "Who is that stranger?"
+
+The father has carefully prepared his answer, and it is the finest bass
+solo of the opera. After telling Senta that the stranger has come to be
+her bridegroom, he turns to the Holländer, asking, "Did I exaggerate
+her loveliness? Is she not an ornament to her sex?" In this phrase the
+listener is surprised with a genuine _ad libitum_ colorature passage, a
+style of musical decoration in which Wagner seldom indulges. But in the
+original text this bit of fioritura falls upon the word _zieret_
+("ornament"), and thus is a striking example of Wagner's theory that
+music must fit the words. Daland sings on for some time, until he
+notices that neither Senta nor the Holländer accord him any attention.
+They are still gazing at each other, and the father very wisely goes
+out.
+
+The leading theme of his aria slowly departs from the orchestra, and
+then, softly and hesitatingly, the curse-theme and salvation-motif enter
+side by side. They move around a little, as tho to make themselves at
+home, and then begins the great duet between soprano and baritone.
+
+The Holländer recognizes in Senta the angel of his dreams, and she finds
+his voice greeting her like familiar music. A beautiful melody is borne
+upon the orchestra like a boat on the breast of a stream. As the
+graceful structure floats past, the soprano and then the baritone enter
+upon it. They glide on together, over smooth places, upon tremulous
+undercurrents, but finally touch upon the salvation-theme, which,
+throughout the opera, is typical of the seaman's haven. It often arises
+above stormy passages like a mirage of the longed-for harbor.
+
+After this vocal excursion the Holländer asks Senta if she is willing to
+abide by her father's choice and to vow eternal faith. Her consent is
+glad and free. There is another ensemble introducing a new and stirring
+joy-theme. The highest note always occurs upon the word faith, thus
+fulfilling the substance of the text, which is, "Faith above all!"
+
+Daland reenters and is delighted to find such unity of voice and
+purpose. He wishes the engagement announced at the evening fête which
+his sailors will have to celebrate their home-coming. Senta repeats her
+vow to be faithful unto death, and the act closes with an exhilarating
+trio.
+
+Wagner makes his orchestral preludes conform to a distinct purpose--that
+of connecting the acts. So with the next introduction we hear the joyous
+theme of the recent duet gradually modulated into a whispering memory of
+the boatswain's song. This, in turn, develops into a new and noisy
+nautical refrain, that is continued till the curtain rises, and then is
+sung by the Norwegian sailors who are on the deck of their ship. They
+are merry-making. The ship is illuminated with gay lanterns, as are also
+the tavern and houses in the foreground. But not so the stranger's
+vessel that lies alongside at the back of the stage. It is engulfed in
+gloom and silence like the grave. The gay Norwegian chorus has a
+peculiar rhythm that suggests the flapping of sail-cloth in a brisk
+wind; it has sharp, rugged accents and a spirited tempo. The song is
+ended with a regular hornpipe dance on deck. This bewitching
+dance-melody seems thrown in to show what Wagner could do in that line
+if he wanted to.
+
+Some maidens come from the tavern with a basketful of provisions. While
+the sailors continue dancing to the gay orchestral accompaniment, the
+girls sing among themselves in quite another strain. As their
+conversation should be most prominent, the dance-melody is promptly
+changed from major to minor, which always gives a subduing and receding
+effect like "scumbling over" in painting.
+
+The girls go toward the Holländer's ship, intending their provisions for
+the strangers, who seem to be sleeping profoundly. The girls call to
+them, but only a ghostly silence rewards their efforts. They sing a
+winning waltz phrase inviting the strangers to join their fête; they
+offer every inducement to arouse the silent crew, and finally resort to
+a great outcry: "Seamen! Seamen! wake up!" But again only prolonged
+stillness is the answer.
+
+The well-meaning maidens are thoroughly frightened, and they hasten
+away after handing their basket to the Norwegian sailors. These proceed
+to enjoy the contents. They fill their wine-glasses and repeat the merry
+opening chorus.
+
+In the mean time the sea surrounding the Holländer's ship becomes
+suddenly turbulent, a weird blue light illumines the vessel, and its
+crew, which were before invisible, are seen to move about.
+
+The Norwegians cease singing, while their ghostly neighbors begin to
+chant in hollow tones that terrible curse-theme. Tremolos and chromatics
+descend upon the orchestra like a storm of hail and rain that almost
+drown the singers' voices. To a demoniacal refrain full of startling
+crescendos and pauses they sing of their gloomy captain
+
+    "Who has gone upon land to win a maiden's hand."
+
+Then they laugh an unearthly "Ha! ha!"
+
+The Norwegian sailors have listened at first with wonder and then with
+horror. Like children afraid in the dark, they decide to sing as loud
+as they can. So their gay sailors' chorus rings out above the steady
+curse-theme of the Holländer's crew. The Norwegians urge each other to
+sing louder. Three times they start their song in a higher key, but that
+fearful refrain from the phantom ship overcomes every other sound. The
+Norwegians are too terrified to continue. They cross themselves and
+hurry below deck. The sign of the cross arouses another mocking laugh
+from the crew of the _Flying Dutchman_. Then sudden silence falls upon
+them. The blue flame disappears and darkness hangs over all, while in
+the orchestra there is a long-sustained note, and then one soft minor
+chord like the shutting of a door upon the recent musical scene.
+
+The succeeding harmonies are of another character, as distinct as a new
+stage-setting. A phrase that well simulates hurried footsteps
+accompanies the hasty entrance of Senta and Erik, who is much agitated.
+He has just heard of her engagement to the stranger, and can scarce
+believe it. He upbraids and pleads in one breath, while Senta begs him
+to desist. But the despairing Erik kneels before her and sings with
+grief-stricken tones of their past love. Like all of Erik's music, this
+cavatine is simple and sincere, as one would expect from a peasant lad.
+
+While he is kneeling before her the Holländer comes upon the scene
+unobserved. With tones as furious as the orchestra accompaniment he
+cries out: "Lost! My happiness is lost! Senta, farewell!" He summons his
+crew to haul up anchor and let down sails. "False love! false faith! I
+must wander the seas forever!"
+
+A tempestuous trio follows the Holländer's outcry. Senta reiterates her
+vow, and with intense fervor declares he must not leave her. Maidens and
+sailors rush to the scene, but all stand back in amazement as they hear
+the stranger announce: "You know me not, else had you ne'er received me.
+My ship is the terror of all good people. I am called Der Fliegende
+Holländer!" With this word he springs upon board; the crimson sails
+expand upon the black masts, and the ship leaves shore; while the
+ghostly crew chant their blood-curdling "Jo-ho-ho!"
+
+But this is our last hearing of the curse-theme. Senta has rushed upon a
+high rock projecting into the sea. With full voice and soaring tones she
+calls to the receding ship: "My vow was true! I am faithful unto
+death!"--whereupon she throws herself into the waves.
+
+No sooner has she done so than the phantom vessel sinks from sight. The
+music also tumbles down a tremendous chromatic; then it mounts again,
+changing from minor to major, which gives an effect of sudden peace. The
+Holländer has found true love. He rescues Senta, and we see him clasping
+her in his arms, while the chords of the salvation-theme rise above the
+other harmonies like the spires of a beautiful city. The haven has been
+reached at last.
+
+
+
+
+Melba
+the Australian
+Nightingale
+
+[Illustration: NELLIE MELBA.]
+
+
+
+
+MELBA, THE AUSTRALIAN NIGHTINGALE
+
+
+A memorable performance of "Aida" was given in London, at Covent Garden,
+a number of years ago. The Ethiopian slave-girl, dark-tinted and slight
+of figure, attracted no particular attention with her first unimportant
+recitative notes. The audience was diverted by the fine tenor singing,
+the excellent contralto, and the well-drilled work of the chorus. There
+followed more of this ensemble, more good orchestral playing, and then
+an effect of melody, or rhythm, or something--that gradually caused
+every pulse to quicken, and stirred every soul in a strange,
+unaccountable way, until suddenly we realized that it was not the
+rhythm, or the harmony, or the tenor, or the orchestra, but _one soprano
+voice_, whose tones seemed to penetrate all space and soar to all
+heights and thrill all hearts in a manner that was overpowering!
+
+The slave-girl was singing! A new star from the Southern Hemisphere was
+just beginning to appear in the North! A "_new name_" had been added,
+and was soon to be heard by "all who had an ear to hear"--Melba, the
+Australian Nightingale.
+
+All critics agree that the quality of her voice has never, in the annals
+of music, been surpassed.
+
+In furnishing Melba her name, which is a diminutive of Melbourne, the
+far continent has sprung into a musical prominence it never before
+attained. From a land at the outer edge of the world, a sovereign of
+song has arisen.
+
+It would, of course, be artistic and effective to picture Melba's early
+life as one of struggle and privation. But, search as one will, not a
+crust or a tatter turns up in her history! She never shivered on a
+doorstep, or sang for pennies in the street! Let the dismal truth be
+told,--her father was wealthy, and his gifted daughter never lacked for
+anything.
+
+Nellie Mitchell, as she was known in those days, was gifted not only
+with a voice, but with a splendid determination to work. She practiced
+diligently all the time in the line of her ambition, and learned to play
+admirably on the piano, violin, and pipe-organ. All this in spite of
+the diversions and enticements of young companions and monied pastimes.
+Wealth, as well as poverty, may serve to hinder progress, and it is much
+to Melba's credit that she had the perseverance to work unceasingly.
+
+Even at school, during recess hours, she was always humming and
+trilling. This latter trick was a source of puzzling delight to her
+comrades, who never tired of hearing "that funny noise she made in her
+throat." The marvelous Melba trill, you see, was a gift of the gracious
+fates at her birth--just back of the silver spoon in her mouth was
+tucked a golden trill.
+
+The story of her childhood is best told in her own words:
+
+"My mother was an accomplished amateur musician, and it was her playing
+that first gave me an idea of the charms of music. I was forever humming
+everything I heard, and she was always telling me to stop, for my noise
+was unceasing! My favorite song was 'Coming Thro' the Rye.' I also liked
+'Nellie Ely,' because my own name was Nellie!"
+
+Incidentally, it was learned that dolls were tabooed by this
+prima-donna in pinafores.
+
+"I hated dolls. My favorite toys were horses--wooden horses. One given
+to me by my father's secretary was almost an idol to me for years."
+
+Recurring to the subject of music, Mme. Melba continued:
+
+"I didn't _sing_ much when a child; I only _hummed_. And by the way, a
+child's voice should be carefully guarded. I consider the ensemble
+singing in schools as ruinous to good voices. Each one tries to outdo
+the other, and the tender vocal cords are strained and tired. I,
+personally, did not seriously study singing until after my marriage at
+seventeen years of age."
+
+The preparation required for Mme. Melba's career was neither very long
+nor arduous. She studied nine months with Marchese, then was ready to
+make her début in Brussels as a star.
+
+All things came easy to her, because her voice never had to be
+"_placed_"; her tones were jewels already set.
+
+"The first opera I ever heard was Rigoletto.' That was in Paris, when I
+was studying. What did I think of it? Well, I dare say my inexperience
+made me very bumptious, but I remember thinking I could do it better
+myself! In Australia I had no chance to hear operas. 'Lucia' I have
+never yet heard, tho that is perhaps the rôle most associated with my
+name."
+
+"Lucia" has, indeed, become a Melba possession. The mad-scene alone, on
+a program with her name, would invariably crowd the house. It is a
+veritable frolic to hear her in this aria. She is pace-maker, as it
+were, to the flute, which repeats every phrase that she sings. It is the
+prettiest race ever run, and when at the finish the time-keeper brings
+down his baton, the audience cheers itself hoarse for the winner.
+
+When asked her opinion of the new gramaphones and the wonderful records
+of her voice, Madame Melba spoke with enthusiasm.
+
+"They are, indeed, a remarkable achievement. I am looking, however, for
+still greater improvements, and am keenly interested in every new
+development."
+
+A matter of "keen interest" it must, indeed, be to every prima-donna of
+to-day--this amazing, magic trumpet that can record the subtle
+individual quality of a singer's voice, and give it gloriously forth
+again when desired. By means of this weird invention, the present
+vintage of fine voices can be bottled up like rare wine, and poured out
+in future years. More wonderful still: like the "widow's cruse," this
+trumpet never grows empty; from its uptilted mouth the flow of song will
+stream on continuously, if so desired and directed. It is enough to make
+poor Jenny Lind and other long-silent singers turn restlessly in their
+graves: they died too soon to profit by the powers of this recording
+trumpet,--which surely has no rival save the one that Gabriel blows.
+
+Some further random questions about the experiences of a prima-donna
+elicited the following item. Mme. Melba smiled as she told it:
+
+"Yes, I have some queer things said to me. Just recently a young girl of
+eighteen, who wished me to hear her sing, assured me that there were
+only two fine voices in the world to-day--hers and mine!
+
+"But I must tell you," she added brightly, "the most graceful
+compliment ever paid me. It was by an Irish woman, who, in commenting on
+the lack of song in the native birds of Australia, pointed out that they
+had treasured up all their melody through the ages and then had given it
+to me."
+
+Some one has said, "The ease of Melba's singing is positively
+audacious!" She certainly makes light of the most time-honored
+difficulties. She will start a high note without any preparation, with
+apparently no breath and no change of the lips. Faint at first as the
+"fabric of a dream," it is followed by the gradual grandeur of a
+glorious tone, straight and true as a beam of light, until finally it
+attains the full zenith of a crescendo.
+
+In a bewildering variety of ways writers have attempted to describe the
+wonder of her voice.
+
+"It seems to develop in the listener a new sense; he feels that each
+tone _always has been_ and _always will be_. She literally lays them out
+on the air."
+
+"Her _tone-production_ is as much a gift as the voice itself."
+
+After all, "she is Melba, the incomparable, whose beauty of voice is
+only equaled by the perfection of her art."
+
+"In future years the present time will be referred to, musically, as 'in
+the days of Melba.'"
+
+Like all great prima-donnas, Madame Melba has a beautiful home of her
+own, and a country place to which she hies in the summer. Her town house
+is near Hyde Park, London.
+
+We imagine these song-birds during the hot months resting luxuriantly in
+their various retreats--Melba in her river residence, Calvé in her
+French chateau, Jean de Reszke on his Polish estate, Eames in her
+Italian castle, and Patti at "Craig y Nos." But it is hardly an accurate
+picture, for _rest_ to the artist still means _work_. They study all
+summer, every one of them, and entertain other artists, who work with
+them, or, at any rate, contribute to the perpetual whirl of music in
+which they live.
+
+A very good idea of the home life of these song-queens was given to me
+by a young lady who visited one of them for several months.
+
+"Do you know," she said, "it was positively depressing to be near so
+much talent and genius.
+
+[Illustration: Photograph by Davis & Sanford.
+
+Mme. Melba as Elizabeth in "Tannhäuser."]
+
+"Why, in the drawing-room they would be talking seven or eight
+languages; and some one would improvise at the piano, while another
+would take a violin and join in with the most wonderful cadenzas, and
+then, perhaps, the piano-player would step aside and some one else would
+slide into his place and continue the improvisation the first one had
+begun; and so on all the time, until really I began to feel just about
+as small and worthless as a little pinch of dust."
+
+
+
+
+"Lakme"
+
+
+
+
+"LAKME"
+
+
+Lakme was one of Patti's most successful rôles, and very few other
+singers have ventured to attempt it. But Madame Melba includes it in her
+repertoire, and a great treat is in store for New Yorkers when the
+managerial difficulties in the way of its production are sufficiently
+overcome for her to present it.
+
+"Lakme" is composed by Delibes. This name at once recalls that exquisite
+"pizzicato" from the ballet "Sylvia," a musical fragment that has
+floated around the world and stuck to the programs of every land. The
+same delicate fancy and witchery that characterize the ballet are also
+prominent in the opera. His style is perhaps the furthest removed from
+Wagner of any modern composer. "Lakme" has no crescendo worth
+mentioning, and the themes are, for the most part, left to take care of
+themselves; but every phrase is fascinating, and there is never a
+tedious passage.
+
+The prelude opens in the minor key with a group of octaves erect and
+solemn as pine trees. The next phrase starts up like a blue flame
+darting from obscurity--a fantastic measure with wild harmonies that
+plainly suggest India as Lakme's home. A pathetic wail from the flute
+offsets this elfish interlude; the gloom of the minor still hangs over
+all, and the persistent tremolo of the violins becomes oppressive as the
+perfume of magnolias. It is like a forest at midnight. Suddenly the
+gloom and stillness are dispersed by the love-theme of the opera, which
+is in the major key, and consequently has a purifying effect. Major and
+minor are the oxygen and nitrogen of the musical atmosphere.
+
+A peculiar, rhythmical beating of the triangle accompanies the rising of
+the curtain, which reveals a luxuriant garden enclosed by a bamboo
+fence. At the back is a little river, and a modest dwelling stands on
+the bank; but a pretentious idol at one side characterizes the place as
+a sanctuary. Day is breaking, and as the light increases those soft,
+metallic tones of the triangle penetrate the air like sunbeams.
+Nilikanthe, a Brahmin priest and owner of the dwelling, comes forward
+with two slaves, who open the bamboo gates, admitting a group of Hindu
+devotees, who prostrate themselves before the idol. Beneath the radiance
+of those unceasing triangle tones arises a languid prayer, soft as the
+gray morning mist, after which Nilikanthe addresses the worshipers. He
+refers to their recent English conquerors, who have "displaced our gods
+and devastated our temples." His tones mount higher and ring out with
+religious ecstasy until he causes a sudden hush. The music of invisible
+harps fills the air, and as the Hindus again kneel a woman's voice, like
+a clarion call, renders an incantation that is rare and wondrous. It
+sounds like the song of an angel, but it is only Lakme, the Brahmin's
+daughter. She comes forward and mingles her prayer with those of the
+people. Weird and strange, like the tones of a wild bird, her voice
+soars above the chorus, filling the air with reckless trills and soft
+staccatos. The worshipers arise and go out, leaving Lakme and her father
+alone. She is a "child of the gods," and her life is dedicated to
+Brahma. Nilikanthe declares it is her pure influence that protects their
+sacred abode from the enemy. He leaves her for a time in charge of
+Mallika, a trusty slave.
+
+When he is gone the music assumes a lighter mood, while mistress and
+maid look about for diversion. After removing her jewels and placing
+them upon a stone table, Lakme proposes a row on the river. The music of
+this scene is fraught with a tropical heat and midday languor--dreamy,
+drowsy violin tremolos that suggest the drone of bees. The two maidens
+render a duet whose words--
+
+    "Ah, we'll glide,
+     With the tide--"
+
+are set to music that seems to sing itself. It is a fountain of melody
+with flowing rhythm and rippling runs, staccatos like drops of water,
+and trills that are light as bubbles. The singers step into the boat,
+and we hear their song far down the stream, soft as a shadow and lovely
+as a dream.
+
+After a moment's silence a new element comes forward--a party of English
+sight-seers. Their appearance in grand opera seems to us as much an
+invasion as their presence in India does to the Hindu. After the costume
+of Lakme, which is all spangles and bangles and gauze and fringe, we are
+astonished to see the modern English waistcoats, fashionable bonnets,
+and long-trained skirts. But it is all compatible with facts and
+history. Gerald is an officer in the army; Ellen, his fiancée, is a
+daughter of the governor; the other couple are their friends, and Mrs.
+Benson is the chaperone.
+
+To enter this enclosure, the party have had to force an opening in the
+bamboo. It is evident trespassing, but they are too unconcerned to
+care. Their first rollicking ensemble is an interesting evidence of the
+composer's ability to change from the Hindu to the English type. Instead
+of weird, uncivilized cadenzas, these are plain, Christianlike
+harmonies, such as we have been brought up to and can anticipate.
+Indeed, this song recalls Arthur Sullivan in his best mood.
+
+After inspecting the idol and various points of interest, the party
+discover Lakme's jewels. Ellen admires their workmanship, and Gerald
+proposes to sketch them; but Mrs. Benson urges the party away. They all
+go excepting Gerald, who insists on copying the jewels. He prepares his
+sketching materials and is apparently in haste; but true to the precepts
+of grand opera, he first sings to us a long and beautiful aria about
+"taking the design of a jewel."
+
+By the time he has sustained the last high tone through five measures,
+Lakme and Mallika have finished their row upon the river. Gerald
+conceals himself behind a shrub as they enter. The undulating melody of
+their boat-song is rendered by the orchestra, first softly, then with
+increasing strength, until it ends with a sforzando chord as the boat
+touches shore.
+
+Lakme brings forward an armful of flowers as an offering to the idol,
+and she sings a tender little song whose pathetic melody belies the
+text, which constantly asserts, "I am happy." The accompaniment is a
+simple violin arpeggio, swaying back and forth upon the melody like a
+butterfly on a flower. Between the verses it flutters up in a fanciful
+cadenza, but soon returns, and, alighting on the melody, it continues to
+sway as before.
+
+Great is Lakme's indignation on perceiving Gerald, the intruder. As she
+goes toward him, her every step is emphasized by a resolute chord in the
+orchestra.
+
+"Leave at once!" she commands. "This ground is sacred, and I am a child
+of the gods!"
+
+But Gerald has fallen hopelessly in love with the pretty priestess, and
+he loses no time in telling her. No one has ever dared thus to address
+Lakme, and she is incensed at his boldness. She warns him that death
+will be the penalty of his rash trespassing unless he goes at once. But
+Gerald only repeats his sweeping song of infatuation.
+
+At last, moved to admiration by his courage, Lakme ventures to ask by
+what god is he inspired. Like ripples of sunlight are the next measures,
+wherein he tells her that the God of Love makes him fearless.
+
+Interested in this new deity, the Hindu maiden repeats after him the
+sparkling words and music. She sings timidly and a tone too low, but
+Gerald leads his ready pupil into the right key, and they sing together
+with full voice this most fascinating melody. The final rapturous tone
+has scarcely subsided when Lakme hears her father approach.
+
+Complying with her entreaties, Gerald departs just in time for
+Nilikanthe to perceive the broken fence. He vows vengeance upon the
+profane foe who has dared to enter here. His followers second the cry,
+while Lakme stands aside in fear and trembling.
+
+Tambourines and fifes predominate in the next orchestral prelude. It is
+a miniature _marche militaire_, and unmistakably English. The second act
+discloses a public square filled with Indian shops and bazars. It is the
+occasion of a great festival at the pagoda. Merchants and promenaders
+occupy the stage, and their opening chorus is all bickering and
+bargaining. The music is very ingenious. A free use of harmonic
+discords, dazzling scales that seem to clash with their bass, and
+chromatics that run into each other gives an effect of Oriental
+extravagance--gay colors upon crumbling walls, jewels over rags.
+
+The chorus continues until a bell announces the beginning of the
+festival and time for the venders to disperse. They slowly depart and
+give place to the ballet, without which Delibes would hardly be
+himself.
+
+It is interesting to note the specialties that different composers
+unconsciously assume. Liszt seemed to revel in rhapsodies; while the
+alliteration, "Schubert's Songs," comes uppermost in spite of our
+knowledge that he wrote some eleven hundred other compositions. Bach
+invented more fugues than any one else; while Handel made his most
+lasting impression with oratorios. Symphonies and sonatas were the
+life-work of Beethoven; while Chopin had a particular fancy for
+nocturnes. And Mendelssohn! With all deference to his greater works, it
+must be conceded that "Songs Without Words" are inseparably linked with
+his name. Verdi with his tremendous range of operas has had little time
+for anything else. The list could be extended to almost any length; but
+we will only add that Czerny is known for his scale exercises and Kullak
+for his octaves; while Weber, in the language of a recent critic, "is
+famous because he invited all the world to waltz!"
+
+But to return to Delibes and his ballets. The present one is divided
+into several movements--the first being slow but of throbbing rhythm,
+while in the second one the melody whirls and spins around like a top.
+It is constantly whipped up by the conductor's baton, and the dizzy pace
+continues until this merry melody bumps against a substantial chord.
+
+After the ballet Lakme and her father come forward. They are disguised
+as pilgrim mendicants, the better to enable Nilikanthe to seek out his
+foe. It must be understood that this Hindu thirst for vengeance is a
+matter of religious belief, and the music plainly impresses this fact. A
+weird theme that was prominent in the overture recurs as Nilikanthe
+explains that the wrath of heaven must be appeased with the blood of a
+victim. He has cleverly surmised that Lakme was the attraction inducing
+the stranger to trespass on sacred ground. Confident that every one will
+attend this great festival, the Brahmin has brought his daughter as a
+decoy. She plays the rôle of a street ballad-singer, and is at the
+merciless command of her father. He bids her look gay and sing with full
+voice so as to attract a crowd. The orchestra gives her the keynote, and
+then, like a necromancer performing wonders with a coin, she executes a
+cadenza that bewilders and dazzles the senses. Her tones soar away like
+carrier-birds, and they bring the people from far and near to hear the
+wondrous singing. When a crowd has collected, Nilikanthe announces that
+she will sing to them the "Legend of the Pariah's Daughter." Lakme sings
+as easily as she talks. The first phrase is a simple little narrative
+about a maiden wandering at eve in the forest, fearless of beast and
+sprite, for she carries in her hand a little bell that wards off evil
+with its merry tinkling. Then follows one of the most difficult staccato
+fantasias in existence, for the voice imitates the tinkle of that silver
+bell. The tones fall fast as rain-drops in a shower, round as beads and
+clear as crystal. The composer shows no respect or reverence for high
+notes. Upper B is given a "shake" and any amount of staccato raps, while
+even high E, that slumbering "spirit of the summit," is also aroused to
+action. In fact, this aria is one of the few that can not be poorly
+rendered. To do it at all argues doing it well. Its difficulties protect
+it like a barricade from the attack of mediocre singers. The second
+verse relates how the maiden meets a stranger, who is saved from the
+surrounding wolves by the tinkle of her magic bell. This stranger was
+"great Vishnu, Brahma's son;" and since then--
+
+    "In that dark wood
+       The traveler hears
+     Where Vishnu stood
+       The sound of a little bell ringing."
+
+Soft and clear as a wood-nymph laughing those marvelous staccatos again
+peal forth.
+
+During his daughter's performance Nilikanthe has been scanning the faces
+around him, but none reveals any emotion other than the pleasure of
+listening. Furious that his plan has not succeeded, he bids Lakme to
+sing it again--"Louder!" But she has suddenly perceived Gerald
+approaching; and, knowing that if he recognizes her he will betray
+himself, she does not wish to sing. She pleads and entreats, but her
+father is obdurate. So she begins with pouting lips and trembling voice.
+"Sing out!" admonishes Nilikanthe. As Gerald draws nearer, Lakme becomes
+more and more disturbed. The pretty staccatos are all out of place, like
+blossoms falling to pieces. They are flat where they should be sharp,
+and minor instead of major; but her tones, like perfect petals, are none
+the less lovely because detached. Once, twice, three times she
+recommences, always in a higher key. Suddenly she utters a musical
+scream as Gerald comes up to her, and Nilikanthe exclaims: "'Tis he!"
+
+In the mean time, Gerald hears the fifes and tambourines of his regiment
+and goes to answer the roll-call.
+
+Nilikanthe summons his Hindu followers and informs them that he has
+discovered the foe. This solo with chorus of the conspirators is minor,
+_mysterioso_, and _agitato_; it is the most interesting bass solo of the
+opera. The conspirators go off, leaving Lakme alarmed and disconsolate.
+Like a faithful hound, Hadji, the slave, draws near to her and whispers
+that he has seen her tears and heard her sighs: "If you have a friend to
+save, confide in me." His words are _parlando_, but the orchestra
+illumines them with music clear as a calcium light. Lakme grasps his
+hand in gratitude, but motions him aside as she perceives Gerald
+thoughtfully returning.
+
+The hero has left his comrades at the first opportunity and retraced his
+steps to the place he left Lakme. His joy on finding her is portrayed in
+a musical greeting of such unbounded rapture that one key will hardly
+hold it. The ensuing love-duet deserves to rank with the best. But Lakme
+is more sad than glad, for she knows of impending danger. She urges him
+to flee, and tells him of "a little cabin hidden in the forest, quite
+near by," where he can hide secure from his enemies. This Cabin Song is
+an idyllic refrain, with gentle harmonies that picture more than the
+words. She urges him to follow her; but, in spite of his infatuation,
+Gerald realizes his duty as a soldier. He dare not go.
+
+Like dust before a tempest is the succeeding instrumental passage
+announcing the approach of the great procession. The notes, like atoms,
+are carried forward faster and higher, until they come so thick that you
+can not distinguish them. This cloud of music melts away before the
+mighty chant of the Brahmins as they march to the pagoda. Their weird
+incantation fills the air like a trumpet-blast. The greater part of this
+processional music greets our ears familiarly, because it was given in
+the overture. Upon this somber background of Hindu harmonies the
+composer delights in casting gleams of Sullivanesque music in the form
+of passing remarks from the English onlookers. The contrast is startling
+as magic-lantern pictures thrown upon the pyramids.
+
+As the procession marches on, we see Nilikanthe point out Gerald to the
+other conspirators. They cautiously surround him, and at the bidden
+moment he is stabbed by Nilikanthe, who then disappears in the crowd. On
+hearing the victim's cry, Lakme rushes forward. The stage is darkened,
+for it is evening, and the lights of the procession are gone. The Hindu
+maiden finds Gerald but slightly wounded. She calls Hadji, the slave,
+and then, without further explanation on her part, the instruments
+whisper to us her intention. We hear the soothing harmonies of that
+lovely song about "a little cabin hidden in the forest quite near by."
+
+The second _entr'acte_ is performed after the rising of the curtain. We
+see an Indian forest, dense of foliage and brilliant with flowers. At
+one side is a hut, half concealed by the shrubbery, and near it are
+Lakme and Gerald, the latter reclining upon a bank, while she watches
+over him as he slumbers. No sound or movement mars the effect of a
+perfect picture, and beneath it all, like gold letters spelling out the
+subject, come the tones of that sweet melody of the Cabin Song. The
+conductor at his desk reminds us of an artist at his easel who, with a
+magic brush, traces in tone-colors this beautiful inscription.
+
+After the _entr'acte_ Lakme softly sings a slumber-song, simple as a
+child's prayer and as beautiful. There are only two phrases in it, but
+they come and go like wandering thoughts. When Gerald awakes he recalls
+how he was brought here, while Lakme relates how with wild herbs and the
+juice of flowers he has been restored. Their rapturous conversation is
+interrupted by a chorus from without, the voices of young men and
+maidens on their way to a fountain in the forest from whence, it is
+said, if two lovers drink they will always be united. Lakme solemnly
+explains this beautiful belief and at once proposes to bring a cup of
+the water. "Wait for me," she admonishes as she runs out, and we hear
+her voice mingle with the far-away chorus of the other lovers.
+
+During her absence a comrade of Gerald's discovers his retreat. The
+newcomer announces that their regiment has orders to move on, and that
+if Gerald does not join them he will be dishonored. This visit passes
+over like a modern railroad through an Arcadian temple. Poor Lakme soon
+discovers the devastation. With charming faith she extends her cup of
+water to Gerald, but at this moment he hears the fifes and drums of his
+regiment. Lakme still offers the cup. "Drink and vow to be mine!" But
+Gerald does not heed her words, for he is distracted with thoughts of
+duty and honor. She also hears this English music.
+
+"His love is faltering!" she piteously cries; and then with a decision
+as impulsive as her nature she plucks a flower of the deadly Datura and
+eats it without being observed by Gerald.
+
+She turns to him tenderly and sings of their love,--a melody so gentle
+and pathetic that he can no longer resist. He picks up the fallen
+goblet, and touching it to his lips vows to love forever. They sing
+together a song of exaltation.
+
+Suddenly Nilikanthe breaks in upon them. He brings his followers and
+would kill Gerald at once, did not Lakme rush between them: "If a victim
+to the gods must be offered, let them claim one in me!" In tones of
+ecstasy she repeats the final phrase of her love-song; but her voice
+soon fails, and with a sudden gasp she falls at the Brahmin's
+feet--dead.
+
+Like hot flames reaching up at him from the orchestra come the tones of
+his terrible vow-theme. The victim has been offered, but instead of
+glory, only ashes fall upon him.
+
+
+
+
+"I Pagliacci"
+
+
+
+
+"I PAGLIACCI"
+
+
+Pagliacci is the Italian word for clowns, a decidedly unique subject for
+grand opera. Novelty is one of the characteristics of this work. It has
+already achieved fame, altho but a child in age and size, being only a
+few years old and two acts long. Leoncavallo, the composer and
+librettist, has since written another opera, "I Medici," which has found
+favor in Europe, but is still unheard in America.
+
+Pagliacci is startling and intense from the entrance of the Prologue to
+the clown's last word, "_finita_." The music abounds in surprises, and
+altho Leoncavallo has been charged with some plagiarism, his work but
+reflects the influence of such recent composers as Wagner and Mascagni.
+
+The opening orchestral measures are of peculiar rhythm, and suggest the
+spasmodic movement of puppets on a string; but this implies no lack of
+dignity to the composition. There are passages that recall the "Flying
+Dutchman," and Leoncavallo adopts the Wagnerian method of handling his
+themes; in other words, each one has a meaning that is adhered to
+throughout the opera. In this introduction we hear the warm and sunny
+love-music, followed by the somber theme of revenge like a shadow after
+light. Then the puppet-music is hastily resumed, to remind us that a
+clown must laugh and dance, however bitter his feelings.
+
+During the overture a painted and grotesque personage steps before the
+curtain and announces himself as the Prologue. This innovation has
+prompted some wag to remark that "the opera commences before it begins!"
+Mascagni, in his "Cavalleria Rusticana," was the first to present an
+unconventional opening, by having a serenade behind the curtain, but
+Leoncavallo has outdone his rival by having a prologue in front of the
+curtain. He tells us that the play is taken from life, and that in spite
+of their motley and tinsel the actors have human hearts. This satisfying
+song, with its appealing melody and large, resounding accompaniment, has
+never yet failed to arouse an encore. With a final signal for the play
+to begin, the Prologue skips out as the curtain goes up.
+
+The scene represents an Italian village gaily decorated for the "Feast
+of the Assumption," an annual fête that lasts a week. We see at one side
+a rough mimic theater, with stage and curtain, a temporary structure
+erected for a troupe of players who are just entering the town. There
+are shouting and laughter behind the scenes, sounds of a discordant
+trumpet and a terrible drum, and soon the villagers enter, vociferously
+greeting and surrounding a donkey-cart in which are the players. It is a
+meager troupe, consisting of Canio, the master, Nedda, his wife, Beppo,
+the harlequin, and Tonio, the fool. They wear fantastic costumes. Canio
+beats his big drum, while Nedda scatters play-bills, and the villagers
+think the troupe quite wonderful. They are welcomed with an impulsive
+sweeping chorus that seems to disregard all precedent in the matter of
+keys. These peasants apparently sing in an ungoverned, unrestrained way
+of their own; but as an Italian's tattered costume is always
+picturesque, so is this artless music most graceful and charming. Canio
+bows grotesquely on all sides, and again thumps his drum to make the
+people listen as he tells them that at seven o'clock the play will
+begin:
+
+         "You all are invited,
+          And will be delighted
+    As you witness the woes of poor Punchinello,
+    Who revenges himself on a rascally fellow."
+
+Canio's professional music, such as the foregoing speech, is made
+admirably artificial, thin and cheap as tissue paper, with uncertain
+accompaniment and flimsy melodies.
+
+When the excitement has subsided, Tonio, the fool, offers to lift Nedda
+from the cart, but Canio boxes his ears and helps his own wife down.
+The people laugh at Tonio's discomfort, and he goes off grumbling. This
+pantomime action and the succeeding bit of dialog are accompanied by a
+rollicking, hurdy-gurdy sort of motif in the orchestra. A villager
+invites the players to a drink in the tavern. Canio and Beppo accept,
+and they call Tonio to come along, but he replies from behind the mimic
+theater, "I am cleaning the donkey, and can't come." The villager
+laughingly suggests that Tonio is only waiting for a chance to court
+Nedda. Canio takes this joke rather seriously, and sings an earnest
+cantabile to the effect that such a game would be dangerous: "On the
+stage, when I find her with a lover I make a funny speech and every one
+applauds; but in life--believe me, it would end differently." This last
+phrase is adapted to the dismal, menacing theme of revenge that was
+started like a germ in the overture. It is still deeply buried among the
+instruments, but its growth is steady from the beginning of the opera
+to the end. Canio closes his song by assuring all that there is no
+ground for suspicion. He embraces Nedda, and declares that he loves and
+respects her. The hurdy-gurdy music is resumed, and distant bagpipes are
+heard,--noises peculiar to a village fête. The chorus sing with much
+good humor, and are accompanied by a charming violin obligato. Then
+comes the Bell Chorus, so named because the church bell calls them to
+vespers. "Prayers first, and then the play!" exclaim the young people as
+they go out. The delightful turns and curves of this bell-song are
+continued until quite in the distance.
+
+Nedda is left alone, and the orchestra, like a merciless conscience,
+repeats to her Canio's threatening theme. She has a secret that causes
+her to tremble as she recalls her husband's dark looks and words; but
+her fears are momentary, for the day is bright and so is her heart. She
+sings to the sunshine and the birds in the sky. A gay tremolo of the
+stringed instruments seems to fill the air with feathered songsters,
+and they remind Nedda of a little ballad her mother used to croon. This
+popular ballatella is generally referred to as the Bird Song. There is a
+busy, buzzing string accompaniment, and the melody is a gentle, legato
+waltz movement. The last notes are descriptive of a bird's flight "away,
+away!" so high that the tone seems to soar out of sound as a bird out of
+sight.
+
+Nedda turns around, and is surprised to find Tonio listening with rapt
+adoration. He is only a jester, and quite ridiculous to look upon; but
+he nevertheless loves Nedda, and tells her so. In this aria, Tonio
+reveals a depth of feeling that is in touching contrast to his painted
+face and comical clothes. Nedda laughs uproariously at his confession,
+and with heartless sarcasm she quotes the scherzando music of the
+prospective play-scene, and says he must save his fine love-making for
+the stage. In vain Tonio pleads and falls on his knees. She threatens to
+call her husband, and finally snatching up a whip, gives Tonio a smart
+blow on the face. His love is turned to hatred, and he vows vengeance
+for this insult. He is very much in earnest, and indeed the composer has
+given him quite a fine vengeance-theme, all his own. It is heard
+groveling and growling among the bass instruments, like some disturbed
+animal. Tonio goes off with frowns and threats, but Nedda forgets these
+in the joy of seeing Silvio. As he cautiously enters, the orchestra
+announces in the plainest musical phrases that this newcomer is the
+lover. That theme amoroso is unmistakable even had we not been
+introduced to it in the prologue. Throughout this love-scene it is the
+leading spirit, sporting around from treble to bass, now in the
+orchestra, then in the voice; sometimes veiled in a minor key or
+suppressed by top-heavy chords; again, it will start to materialize but
+at once disappear, or when most unexpected will push itself forward with
+impish delight.
+
+The witchery of this music undermines fear and caution. The lovers do
+not notice Tonio's leering face as he overhears their vows and then goes
+off to bring Canio; nor do they hear the stealthy approach of Tonio's
+revenge in the orchestra. Nedda agrees to elope with Silvio, "to forget
+the past and love forever!" He has climbed the wall and sings these
+farewell words with Nedda, just in time for Canio to hear them. The
+husband rushes forward with a cry of rage, but he fails to recognize the
+lover. Nedda has warned Silvio to flee, and Canio scales the wall in
+pursuit. She is left for a moment with Tonio, who gloats over his
+revenge. With bitter irony Nedda cries "Bravo!" to his success. She
+calls him a coward and other terrible names, but the despised jester
+only shrugs his shoulders.
+
+When Canio returns from his futile chase, he grasps Nedda, tortures her
+and threatens her, but she will not tell her lover's name. He declares
+she shall die, and with these words that bitter revenge-theme for the
+first time blossoms out in the voice part. It is sung and shouted by
+the maddened Canio, while the director's baton swings over the orchestra
+like a reaper's sickle, gathering in this full-grown theme. Canio draws
+his dagger, but is forcibly restrained by Beppo, who tries to reason
+with his master. "It is time for the play to begin. The people pay their
+money and must be entertained." Nedda is told to go and dress for her
+part, while Canio is advised to restrain his anger until after the play.
+He allows himself to be persuaded. The others go off to make ready, and
+he too must soon don the paint and powder. He looks sadly at the little
+theater, and sings a magnificent aria that attains the uttermost heights
+of pathos. He must amuse the people while his heart is breaking. He dare
+not weep as other men, for "I am only a clown." Canio goes off sobbing
+as the curtain descends.
+
+An intermezzo of much beauty and deep feeling is performed by the
+orchestra between the acts. Its opening measures recall the funeral
+march of the "Götterdämmerung"--dolorous, heart-weary passages that
+presently break away with a nervous energy into the cantabile theme of
+the prologue. This intermezzo is not long, and we are again enlivened by
+the scene on the stage.
+
+It is evening, "at seven o'clock," and the mimic theater is illuminated
+by gay lanterns. The people are flocking to the performance, and they
+drag forward benches and chairs to sit upon. Tonio stands at one side of
+the little stage beating a drum, while Beppo blows the trumpet which is
+still out of tune, and therefore the opening bars of this act are
+exactly like the first. These good people make a great rush and fuss in
+getting their seats, and they sing a simple, hearty refrain about the
+great event of seeing a play. The original and refreshing chorus that
+delighted us in the first act is repeated, and we become as excited and
+eager as the villagers to witness the performance about to take place on
+that little wooden stage with its cheap red curtain. Silvio is among
+the crowd, and he finds a chance to speak with Nedda as she passes the
+money-box. He arranges to meet her after the play, and she admonishes
+him to be careful. After she has collected the money the players go back
+of the scenes. A little bell is rung, and the wonderful red curtain goes
+up.
+
+The comedy is called "Columbine and Punchinello," and Nedda, who plays
+the part of Columbine, is discovered sitting by a table. The room is
+roughly painted and Nedda wears some cheap finery, but the people
+applaud and think it beautiful. The play-music is all angular and
+grotesque, glaring effects thrown on in splashes like an impressionist
+painting. It is admirably appropriate, and perhaps the most unique
+stroke in the opera.
+
+To return to the action of the mimic play. Columbine soliloquizes for a
+moment about her husband Punchinello, whom she does not expect home
+until morning. She looks toward the window and evidently expects some
+one else. The pizzicato tuning of a violin is heard through the window.
+The player gets his instrument to the right pitch and then sings a
+serenade to the "fair Columbine." She would fain receive her adorer, but
+at this moment the servant (Tonio) enters. He looks at Columbine, and
+with exaggerated music and ridiculous sighs informs the hearers that he
+loves her, and now that the husband is away he finds courage to get
+abruptly on his knees. Columbine pays no attention to his love-making,
+but she accepts the property chicken that he takes from his basket. The
+village spectators laugh and applaud. The scene on the mimic stage is
+next enlivened by the lover (Beppo), who climbs in through the window,
+and on seeing the servant promptly takes hold of his ear and shows him
+out of the room. The spectators, of course, laugh at this and think the
+whole play very funny. Columbine entertains her lover by giving him a
+good supper. Their harmonious conversation includes a charming and
+graceful gavotte melody that is decidedly the gem of this play-music.
+Its dainty elegance and classic simplicity are worthy of Bach himself.
+
+The servant rushes in upon the supper-scene, and with mock agitation
+announces that Punchinello is coming. The lover hurries out of the
+window as the husband enters. It is Canio, the real husband, who acts
+this part, and as he sees Nedda at the window he is struck with the
+similarity of the play to the reality. For a moment the play-music is
+dropped and we hear the serious love-theme of the opera closely pursued
+by that bitter wail of revenge that clings and creeps around it like a
+poison-vine. Canio chokes down his grief and bravely tries to go through
+his burlesque part. A new, jerky little melody accompanies the remarks
+of Punchinello, and it would be very gay were it not written in the
+minor, which gives it a touching effect of faint-heartedness.
+Punchinello asks Columbine who has been with her, and she replies, "Only
+the servant." But Punchinello again asks who was the man--"tell me his
+name." The last words are real, and Canio no longer acts a part. Nedda
+tries to keep up the farce, and the serious themes and play-music
+alternate as the scene goes on. With curses, threats, and entreaties
+Canio tries to learn the name of Nedda's lover, and Silvio in the
+audience becomes uneasy; but the other villagers only think it is fine
+acting. When Canio at last buries his face in sobs as he recalls how
+much he loved his wife, the people shout "Bravo!"
+
+Nedda again tries to resume the play. She forces herself to smile and
+sing the gay gavotte; but this only maddens Canio the more. With tones
+of fury he declares that she shall either die or tell her lover's name.
+Nedda defies him, and her words are sustained by a distorted arrangement
+of the love-theme, which effect is like seeking concealment behind a
+skeleton. The music has become as breathless as the situation. Nedda
+tries to escape toward the spectators, but Canio holds her, and there
+follows a piercing shriek. Nedda has been stabbed. She falls, and with
+her dying breath calls "Silvio!" Canio turns upon her lover and
+completes vengeance with a single stroke. The orchestra now trumpets
+forth, like the expounding of a moral, that poignant theme whose growth
+and supremacy we have watched. The village spectators are still puzzled,
+and can hardly believe that the tragedy is real. Tonio comes forward and
+announces in parlando voice that "the comedy is finished!"
+
+       *       *       *       *       *
+
+"Pagliacci" only occupies half an evening, and even with the "Australian
+Nightingale" and a great tenor in the cast the public still expect "some
+more." New Yorkers have become spoiled by the great performances lately
+given at the opera-house. We take it as a matter of course that "Don
+Giovanni" should be given with Lehmann, Sembrich, Nordica, Edouard de
+Reszke and Maurel, and quite expect "The Huguenots" to have in its cast
+two great sopranos and the two de Reszkes. We have an idea that a large
+city like New York should expect nothing less, and are not sure but the
+European capitals do better. In point of fact, however, when Madame
+Sembrich sings in Berlin the royal opera-house is crowded by the
+attraction of her name alone; and the same may be said of Madame Melba
+in Paris, or Calvé, or any of them. There are never more than six or
+seven great prima donnas in the world at one time, and when one of these
+sings in Europe the rest of the company is often mediocre. But not so in
+New York. After "Pagliacci" with Melba, "Cavalleria" with Calvé is the
+usual program--a rather unfortunate combination of operas, for they are
+both so feverishly intense. After the "beautiful horror" of
+"Pagliacci's" finale, a contrast might be welcome. Glück's "Orpheus and
+Eurydice" is a short opera that alongside of Leoncavallo's work would
+delight the musical epicure. Such an opportunity to study the new and
+the old would surely be beneficial.
+
+
+
+
+"Orpheus and Eurydice"
+
+
+
+
+"ORPHEUS AND EURYDICE"
+
+
+Classic myth and classic music are in this opera happily united. The
+beautiful legend belongs to the past, but Glück the composer, like
+Orpheus the musician, has brought the departed to life. With gentle
+harmonies he pacified those surrounding Furies, the critics, and his
+creation has attained a lasting place in the musical world. Simplicity
+and sincerity stamp the entire composition. The musical thoughts are put
+down in the plainest, straightest way, in strong contrast to the old
+Italian style, whose profuse embellishments remind one of ornate
+penmanship. Glück lived more than a century ago, but his ideas
+anticipated many of our modern formulas. He succeeded in imparting a
+musical individuality to all his characters.
+
+To properly enjoy Glück's masterpiece the listener should present
+himself with a spirit as gentle as the composer. The opera is more
+idyllic than overpowering. Enjoy it as you would a perfect day in some
+peaceful valley.
+
+The overture to "Orpheus and Eurydice" is not remarkable. It bears no
+theme-feature in common with the opera, and its kinship is only
+discernible in name and nature, both opera and overture being devoid of
+ostentation.
+
+The curtain rises upon a Grecian landscape that is beautiful but sad,
+for amid drooping willows and solemn pines stands the tomb of Eurydice.
+Orpheus, the disconsolate husband, is leaning upon the shrine. Not even
+his lute can solace him in this hour of grief. A dirge of unrivaled
+beauty arises from the orchestra like a flower from the earth. It is
+taken up by the chorus and given as an offering to the departed. There
+is something mythical about the music as well as the scene. All nature
+seems to join in this lament over Eurydice. Ever and anon Orpheus
+proclaims her name in tones so pitiful that--
+
+    "The rocks and rills and surrounding hills
+     Feel pity, and are touched."
+
+He asks the chorus to scatter flowers upon her grave and then leave him
+alone, for their song but adds to his grief. Accompanied by an
+orchestral ritornelle of Arcadian simplicity, they strew their garlands
+and then retire.
+
+The wood-wind and viol follow Orpheus in his solitary plaint that again
+reminds us of the voice of nature. It is a feminine voice, too, a fact
+worth mentioning, for Orpheus is now considered the contralto _rôle de
+résistance_. After vainly beseeching high heaven and all the gods to
+restore his lost Eurydice, Orpheus decides to brave the realms of Pluto.
+He will himself wrest her from death's power. The gods help those that
+help themselves, and now Amor, the god of love, comes to his assistance.
+Amor says he shall descend in safety to the lower world, and will find
+his Eurydice among the peaceful shades. He must take his lute, and
+perchance by the power of music he can induce Pluto to release her. Was
+there ever a more charming story for an opera! Amor further dictates
+that while leading Eurydice to the upper world he must not look upon
+her, else all endeavor will have been in vain, and death will at once
+claim his own. After promising to obey, Orpheus sings a song full of
+gratitude, with here and there a gleam of gladness like flecks of
+sunlight after rain. His final aria is the very noontide of joy,
+dignified always but none the less radiant. Glück here finds use for
+colorature--plain, classical scales and broken thirds without any
+appoggiaturas or even staccatos; but his even-tempoed sixteenth notes
+seem as gay as Rossini's breathless sixty-fourths.
+
+The second act is the most interesting. It pictures the nether world of
+Hades. There are vistas of receding caverns full of smoke and flames.
+Furies and Demons occupy the stage. According to Glück, the brass
+instruments furnish the music of Hades, in opposition to the harps,
+which belong to heaven. The first tones are hurled up by the trumpets
+like a blast of molten rocks. Then like a balm to all the senses, nectar
+after poison, incense after sulfur, day after night, come the next
+celestial harmonies. It is Orpheus with his lute, whose harp-tones reach
+us from afar, as this musician of the gods plays his way through the
+gates of Hades. For a moment the Furies cease their revel, as they
+wonder what mortal dares to enter here. When they resume their dance the
+orchestra renders a reeling, demoniacal medley of scales and staccatos.
+Again the Furies stop as they see Orpheus approaching, and they sing a
+malediction upon this mortal so audacious. They try to frighten him with
+howls from the watch-dog Cerberus, an effect admirably represented by
+the instruments. The music is all fearful and threatening, with creeping
+chromatics shrouded in a minor key.
+
+Orpheus is undaunted; and with enduring faith in the power of his music
+he takes up his harp and sings to them of his love for Eurydice.
+Entreating their pity, he begs them to let him pass; but Cerberus still
+howls and the Furies shout "No!" They threaten him with eternal torture,
+but the inspired youth sings on. No punishment they can devise could
+exceed the grief he already suffers--such is the burden of his song.
+Even the Demons and Furies can not long resist such tender strains. With
+bated breath they wonder what strange feeling steals o'er them, for pity
+is a new sensation: "The cheeks of the Furies were wet with tears; all
+Hades held its breath." Three times the wondrous song and accompaniment
+still the shrieks of Pluto's realm. Orpheus is finally allowed to pass.
+The Furies and Demons hasten to drown their recent emotion in a mad
+revel that surpasses the first one. This demon-dance is admirably
+characterized by the music. It has a rapid tempo and a perpetual motion
+that suggest dancing on hot iron. Tremolos rise and fall like puffs of
+smoke, while scales like coiling snakes and staccatos like skipping imps
+add to the effect of pandemonium.
+
+Act III. pictures the Elysian fields, the abode of the blest where "calm
+and eternal rest" pervade even the music. The orchestral introduction is
+saintly, with its religious harmonies and classic purity. It is simple,
+but yet so interesting that we can imagine the immortal spirits hearing
+forever and never weary, for classical music is always new and always
+beautiful. The flute and stringed instruments perform the great part of
+this Elysian music. White-robed spirits glide about, and one soprano
+voice starts up a happy, flowing melody that inspires a chorus of
+others. It is Eurydice who leads this singing of the blest.
+
+There is dancing as well as singing, and during this divertisement the
+instruments weave out a new musical fabric. The steady accompaniment and
+firm legato theme are the woof and warp through which, around which,
+and over which a little five-note appoggiatura sports like a weaver's
+shuttle. It appears four times in every measure, but never twice in the
+same place.
+
+With wonder and admiration comes Orpheus upon the scene. The orchestra
+continues its blithe harmonies while Orpheus sings of the beauteous
+sight. But not even such surroundings can quell his longing for
+Eurydice. Unlike the Furies, who only granted his prayer because
+compelled by his wondrous music, the spirits of the blest can not see
+any one suffer. With one voice and immediately they tell him to take
+Eurydice. To the strains of softest music Orpheus approaches the various
+spirits. He harkens to their heart-beats, and finally recognizes his
+loved one without seeing her.
+
+The scene changes to another part of the nether world, a forest through
+which Orpheus is leading Eurydice back to earth. A nervous, anxious
+instrumental passage precedes the opening recitative dialogue. Eurydice
+at first rejoices over her new-found life, but then forgets all else in
+surprise and grief because Orpheus will not look at her. She questions
+him, entreats him, fears she is no longer beautiful, or that his heart
+has changed. Orpheus explains that he dare not look at her, but Eurydice
+is not satisfied. She refuses to go farther, for if he can not look at
+her she does not wish to live. The ensuing duet is intense and full of
+climacteric effects. The voices chase each other like clouds before a
+storm, low down and hovering near that sea of sound, the orchestra, over
+which the conductor rules with his wand like Neptune with his trident.
+
+Orpheus firmly resists the pleadings of Eurydice until she declares that
+his coldness will break her heart,--she will die of grief if he does not
+look at her. Little wonder that he flings prudence to the winds and
+impulsively turns to embrace her.
+
+But no sooner has he looked upon Eurydice than she droops and sinks from
+his arms like a blighted flower. Death has again come between them.
+Orpheus cries aloud his grief, and there springs from his heart a song
+of lamentation surpassing any other as a geyser does a fountain. "Ach,
+ich habe sie verloren!" is the German and "Che in faro" the Italian name
+of this great song that is the standard classical contralto program
+piece. It is full of sobbing cadenzas and sighing intervals that express
+more than words or deeds.
+
+Grief at last gives place to desperation: He is on the point of killing
+himself when Amor reappears. The gods are again moved to pity by his
+enduring love, and Amor with a touch of her wand revives Eurydice.
+
+The opera closes with a trio between Amor and the reunited pair, an ode
+to the power of love. It is a sort of musical apotheosis. The orchestral
+accompaniment has a steady, revolving movement that might suggest the
+wheel of time tuned and turned in harmony with the voice of love.
+
+
+
+
+The Genius
+of
+Geraldine Farrar
+
+[Illustration: Copyright by Aimé Dupont.
+
+Geraldine Farrar.]
+
+
+
+
+THE GENIUS OF GERALDINE FARRAR
+
+
+Some half-dozen years ago rumors, vague as perfume from an unfolding
+flower, began to reach America about a new prima-donna; a Boston girl,
+very young and very beautiful; singing at the Berlin Royal Opera-house.
+No American before had ever held such a position--life-member of the
+opera company which Kaiser Wilhelm supervises, and the Great Frederick
+founded.
+
+Years went by and still the name of Geraldine Farrar was wafted across
+the waters--and still she was spoken of as "very young."
+
+American critics grew somewhat incredulous; Germany, of course, is
+musical and deep-rooted in the science of the art, but New York holds a
+record of her own in matters operatic, and is not disposed to accept
+unchallenged a verdict from the land of beer and thorough-bass.
+
+At last the hour came when Geraldine Farrar appeared as a star in her
+native land. It was a momentous occasion--the opening of the season; a
+brilliant audience, diamond-glinting and decollete; an audience familiar
+with the value of Tiffany tiaras, but inclined to be dubious about
+Berlin laurels.
+
+The curtain arose upon the first act of Romeo and Juliet; a blaze of
+color and a whirl of gay music. Soon the dancers dispersed, and a
+slender figure in saphire satin sauntered down the Capulet stairs, came
+forward with quiet confidence, and commenced the famous Waltz
+Song--slowly--dreamily.
+
+With these very first notes Geraldine Farrar revealed originality; she
+sang them as tho thinking aloud; the words fell from her lips like a
+tender caress--
+
+    "I would linger in this dream that enthralls me."
+
+She closed the aria with brilliant tones, a high note--and a smile.
+Geraldine Farrar's smile is something to drive a poet to sonnets--and a
+prince to sighs!
+
+One paper the next morning declared: "From that moment she could have
+wrapped the whole audience around her little finger."
+
+There followed a "Farrar furor," tho cautious critics were careful to
+point out that her performance as yet evinced nothing more than "a
+lovely voice, a peculiarly gifted dramatic temperament, youth, beauty,
+and considerable experience!" That's all!
+
+"She is not yet a finished artist," these critics say, but at
+four-and-twenty what would you? Her voice is "golden," and no one denies
+that her histrionic gifts are phenomenal.
+
+It is strange--this quality of native _greatness_. In the case of these
+famous singers, one almost feels that the _greatness_ makes the voice.
+The _mind_ is what counts, after all. Geraldine Farrar impresses one
+forcibly with this fact. Her mind is alert, keen, observant, thoughtful,
+quick at reaching conclusions, widely interested, eager to learn, but at
+the same time self-contained and firmly poised.
+
+When talking about music her face lights up. She has much to say; she
+has thought and studied deeply; she is intense, enthusiastic, full of
+her subject, aglow with earnestness and vitality.
+
+From early childhood she was always singing, always acting, and always
+_intending to be a prima-donna_.
+
+"I began voice-study when I was twelve, but before that had sung all of
+Faust in Italian, and acted it according to my own imagination."
+
+When asked if she had not run some risk of harming the vocal cords by
+beginning so young, she explained that her voice at this age was
+remarkably mature and full. She was possessed, besides, with an
+irresistible desire to sing, so it seemed both prudent and wise to
+commence serious study thus early.
+
+"A born singer is _instinctive_, and selects, almost instinctively, her
+individual means of expression, avoiding, in the main, what is
+distinctly harmful. But practice and study are continuously and always
+necessary. I work faithfully every day with scales and trills and
+intervals. Before a performance I go over my part, mentally, from
+beginning to end."
+
+In reply to a question about her ambition, she answered promptly and
+impressively:
+
+"Yes, I have one very decided ambition: I wish to develop my powers to
+the fullest extent and most complete beauty, and then--I wish to have
+the _courage_, when physical strength no longer responds to the creative
+demands, to _abdicate in favor of Youth_! Youth must be recognized,
+enjoyed, encouraged! We should have more of this God-given fragrance in
+our mimic world, and less of hard-earned, middle-aged experience."
+
+Miss Farrar's favorite recreation is "_sleep_--and much of it!"
+
+As for books, she likes "everything."
+
+"I read a great deal," she commented. "When I was studying 'Madame
+Butterfly,' I read everything I could find about the Japanese. I tried
+to imbue myself with their spirit. I bought up old prints, and pictures,
+and costumes; I learned how they eat, and sleep, and walk, and talk, and
+think, and feel. I read books on the subject in French and German, as
+well as in English."
+
+Incidentally it came out that she memorized this most difficult of
+operas in fifteen days.
+
+"No, I am never afraid of forgetting my lines." Then, tapping her
+forehead lightly, she added: "When a thing is once learned, it seems to
+stick in a certain corner of your brain and stay there."
+
+There was youth and girlishness in her off-hand manner of making this
+remark. In fact, the artist and girl are constantly alternating in the
+play of her features, and it is fascinating to watch this hide-and-seek
+of youth and maturity.
+
+The girl-spirit was uppermost now, as she sank back comfortably in her
+big arm-chair, drew her Frenchy peignoire more snugly about her, and
+related some of the droll _contretemps_ that occur on the opera-house
+stage.
+
+"The audience never seems to see them, but the most ridiculous things
+happen, and then it is terrible when you want to laugh, but dare not."
+
+A mention of Lilli Lehmann suddenly sobered the conversation. Lilli
+Lehmann is Geraldine Farrar's teacher--"and a very severe one"--her
+pupil asserts.
+
+"But she--and all Germans--appreciate _personality_. That is why I have
+been allowed to develop my own ideas--to be individual. That is, to me,
+the most interesting part of the art. I am keenly interested in
+observing life--the expression of people's faces, their way of saying
+and doing things. Wherever I am, whatever I see, I am always finding
+something to use in my art.
+
+"I once saw a death--it sounds unfeeling to say it, but I now use the
+very expression I saw then in the finale of 'Boheme.'"
+
+Geraldine Farrar's realism is a well-known phase of her art. A striking
+instance is her performance in the last act of Romeo and Juliet: she
+sings almost the entire scene _lying down_! An amazing innovation.
+
+"Perhaps it is unusual," she commented, "but the simple repose seems to
+me more fully to accentuate the sublime and lyric climax of the
+tragedy."
+
+This is a little rift into the prima-donna's viewpoint. She believes
+that "vocal intensity and dramatic value should so merge one into the
+other that they produce equalized sincerity of expression and constant
+changing of color, movement, and sentiment."
+
+"Give your best always; take _Sincerity_ for your guide, and _Work_,
+never-ending, for your master."
+
+This is Geraldine Farrar's creed.
+
+
+
+
+"Madame Butterfly"
+
+
+
+
+MADAME BUTTERFLY
+
+
+Beauty of plot and great music are to an opera what fair features and a
+noble soul are to woman. "Madame Butterfly" possesses these attributes,
+and has consequently won that instant success which only true beauty, in
+either art or nature, calls forth.
+
+Very seldom is the story of an opera so intensely thrilling that the
+original author is borne in mind; but it may be stated as a fact that no
+one applauds Giacomo Puccini's splendid music without also thinking "All
+Hail!" to John Luther Long, who wrote this strangely tender tragedy.
+
+Distinctly unique as a grand opera setting is the Land of
+Cherry-blossoms. Never before have the higher harmonies been blended in
+with embroidered kimonas and chrysanthemum screens. The innovation is
+delightful, however; refreshing, uplifting, enlarging. By means of great
+music we are enabled to understand great emotion in the Little Land.
+
+In this opera the hero is the villain, if one may so express it. He is
+also an American; a lieutenant in the U. S. Navy, and from first to last
+he seems blandly unconscious of his villainy. This is distressing
+morally, but musically one could wish it no different. As the
+rainbow-mist rises out of the whirlpool, so the beautiful in art is most
+often evolved from a maelstrom of sin and tragedy.
+
+A flowered veranda to a tiny house, a lilac-garden that overlooks a far,
+fair view of Nagasaki, the bright blue bay and azure sky--this is the
+opening scene of Puccini's opera.
+
+The brief orchestral prelude is a pretty piece of fugue work,
+four-voiced and accurately constructed. A fugue is unusual in grand
+opera, but Puccini has a purpose in everything, and his music is
+essentially descriptive. The opening conversation in this opera concerns
+the construction of the tiny villa, and as a fugue is the one music-form
+suggestive of rules and measurements--a secure foundation and precise
+superstructure--it is clear that this bit of musical masonry, with its
+themes overlapping but carefully joined, is intended to represent the
+house.
+
+On the stage the dainty dwelling is glowingly described by Goro, a
+Japanese marriage-broker; very obsequious in manners, but characterized
+in the orchestra by a most energetic, business-like theme that follows
+him around like a shadow.
+
+A wedding of his arranging is soon to take place, and this house has
+been rented for the honeymoon. The bridegroom, Lieutenant Pinkerton, of
+the U. S. Navy, is viewing the abode for the first time. He wears a
+handsome uniform, and serves the opera as tenor, hero, lover,
+villain--all in one.
+
+Goro makes him acquainted also with the house-servant, Susuki, a
+solemn-faced, saffron-colored maiden, whose name means
+"Gentle-breeze-of-the-morning." Pinkerton prefers to call her
+"Scare-crow."
+
+The first invited guest to arrive is the U. S. Consul. A sympathetic and
+genuinely tender theme announces this character's approach. Always
+listen to the orchestra if you would know the real nature of these
+people of the play. In grand opera, as in real life, _words_ very often
+conceal thought; but by the power of music the listener is endowed with
+a temporary sense of omniscience; he can read the hearts and motives of
+the creatures he observes.
+
+It being still early, Pinkerton and the Consul seat themselves while the
+hero explains this marriage he is entering upon. But first he orders a
+"whisky and soda."
+
+There is apparently no translation for this barroom barbarism, so the
+English words are used, and their effect is noticeably jarring. No
+critic has failed to remark this surprising debut of fire-water on the
+lyric stage! There is charm and poetry in the Italian wine-glass, and we
+have grown accustomed to see that mingled with melody--but the American
+whisky-bottle stands remote from music as a pig from Paradise. Puccini
+seems to realize this, for he accompanies the obnoxious word with a
+discord!
+
+There is nothing discordant, however, in Pinkerton's description of his
+bride--the lovely lady Butterfly--"dainty in stature--quaint little
+figure--seems to have stepped down, straight from a screen."
+
+The music here is delicate and frail, like an exquisite tracery of gold
+lacquer.
+
+[Illustration: Copyright by Aimé Dupont.
+
+Miss Farrar as "Madame Butterfly"]
+
+He intends to marry this Japanese bride in Japanese fashion, thereby
+making the tie unbinding in America--a slip-knot adjustment that she,
+poor thing, is unaware of.
+
+The Consul remonstrates with Pinkerton over his "easy-going gospel" of
+free love, but this light-hearted villain will not listen. He holds up
+his glass instead, and to a buried accompaniment of the "Star-spangled
+Banner," he proposes a toast to America--and also to the day on which he
+shall wed in _real_ marriage a _real_ wife of his own nationality.
+
+With this atrocious toast scarcely uttered, poor little trusting
+Butterfly is heard in the distance with her bridesmaids, singing as they
+approach. A delirium of joy breathes through this song, which is a weird
+succession of Oriental intervals, strange as an opium dream. As the
+harmonies grow firmer, Butterfly's voice rings out above the others,
+while in the orchestra the conductor with his baton slowly unearths,
+like a buried diamond, the great love-theme of the opera. It beams forth
+in sultry splendor, a cluster of chords with imprisoned tones that flash
+forth unlooked-for harmonies.
+
+At last she enters--this Japanese heroine, her brilliant draperies as
+bright as her name. Her maidens all carry huge paper parasols and
+fluttering fans--a merry group of girls, filled with varied emotions of
+timidity, envy, curiosity, and fun. They courtesy, and smile, and sing,
+and sigh, and lower their eyes with knowing charm.
+
+Throughout this scene it is interesting to note the different themes and
+their consistent use. A phrase of the opening fugue invariably appears
+whenever the _house_ is mentioned; still another architectural motif
+protrudes into prominence every time the town Nagasaki is referred to.
+Susuki has a theme of her own; so has the Consul. When the relations of
+the bride troop in, we recognize the fact that they, too, have a theme;
+we learned it when Goro, some time back, was enumerating the expected
+guests.
+
+This theme now asserts itself in the orchestra as the grotesque company
+assembles. There is nothing great about this melody: it is a mincing,
+thin-bodied affair, but disports itself with much confidence during its
+little hour of importance; it shoves out every other theme from the
+orchestra and demands undivided attention. But at last the director's
+stick chases it out of the enclosure.
+
+The guests in the meantime have been gossiping among themselves,
+disparaging the bride, criticizing the groom--and partaking of his
+refreshments.
+
+All flats and sharps and accidentals are suddenly dropt from the score
+when the official registrar reads in monotone voice, and plain C major,
+the simple marriage form.
+
+The ceremony is soon over, but the guests linger on. Pinkerton plies
+them with wine, but makes little headway in hurrying the festivities to
+an end. He has grown heartily tired of these new relations, and longs to
+see them go, but, instead of any one leaving, another one suddenly
+arrives, an absent uncle, who plunges amongst them in a frenzy of wrath
+and excitement. He has learned at the American Mission that Butterfly,
+without telling her family, has changed her religion and cast off the
+faith of her fathers.
+
+Cries of horror, moans, and execrations follow this announcement.
+Butterfly is denounced by her family--abjured and disowned. She cowers
+before them, distressed, but not utterly crushed, for love remains to
+console her.
+
+The tragic theme of the opera; a gruesome sequence of minor thirds,
+takes this opportunity to stalk into the orchestra and reconnoiter, like
+an undertaker looking over the premises before he is really needed. This
+theme has active work to do later on, but as yet does not seem very
+terrifying.
+
+When the relations and guests are gone, Butterfly is soon persuaded to
+forget the "stupid tribe."
+
+Evening has come; there is a twilight tinge to the music; it is
+"_dolce_," "_expressione_," and "_rallentando_."
+
+Puccini is a master of modulations. He employs large, full harmonies,
+soul-asserting, all-engulfing chords, that feel their way from one key
+to another, and burst forth in new glory with every transition. This
+persistent progress through varying keys has an effect of leading the
+listener through different rooms in some palatial edifice. In the hands
+of a great composer, each key of the scale unlocks a new vista in the
+enchanted palace of music.
+
+Behind a screen on the veranda, Butterfly changes her chromatic kimona
+to one of white silk. She emerges with garments all soft and fluttering,
+like the trembling white wings of a night-moth.
+
+Pinkerton leads her into the garden, and there, under the spell of the
+silent stars, they sing of love and of the glorious mystic night, with
+its gentle breeze that passes like a benediction over the bending
+lilacs. Fire-flies (cleverly imitated) hover in the air and flicker
+faintly, like candles in a distant chancel. The conductor waving his
+wand, like a priest the swinging censor, evokes a wreathing mist of
+music that enwraps the lovers in a drapery of dreams.
+
+Melodies and harmonies rise into being and pass away like phantoms
+floating by, until at last the great love-theme of the opera once again
+is flashed upon us. The _diamond_, scarce revealed before, is now in its
+proper setting. It is displayed in solemn glory by the dignitary at the
+desk, who, with upraised, swaying hands, holds aloft this precious
+theme, as a priest does the sacred emblem.
+
+Act II. pictures the interior of Butterfly's house.
+
+There is desolation in the home; the orchestra tells us this, for the
+tragic theme possesses the instruments, creeping around among them,
+serpent-like, and enfolding them in its coils.
+
+The rising curtain reveals Susuki kneeling before a shrine; she is
+praying that Pinkerton may return.
+
+Three times have the dragon-kites swelled in the breeze and the peach
+trees flushed into bloom since the day he sailed away.
+
+Her prayer abounds in strange and uncouth harmonies that wail themselves
+into silence. When the incantation is finished, an orchestral phrase of
+keen despair and tortured hope accompanies Butterfly as she asks: "How
+soon shall we be starving?"
+
+Susuki counts over the few remaining yen, and expresses doubt about
+Pinkerton's return. Again that same theme of anguish pierces the air
+like a knife as Butterfly shrieks out: "Silence!" She will not listen to
+doubt. She insists that he will return, and she fondly adds, "he will
+call me again his tiny child-wife, his little Butterfly!"
+
+With this memory there is a momentary return of the great Love-theme in
+the orchestra; tender and fleeting, like a smile on the face of the
+dying.
+
+Butterfly sings of the radiant hour, some day, when they shall see "in
+the distance a little thread of smoke," and then "a trim, white vessel,"
+flying the American flag!
+
+The music of this aria has a confident ring and a forward swing, like a
+great ship nearing shore. Large and splendid is the final climax:
+
+"He will return--I know!"
+
+A familiar theme in the orchestra heralds the approach of the U. S.
+Consul. He brings a letter from Pinkerton which he wishes Butterfly to
+hear, but Japanese politeness interferes for some time. He must first
+accept tea and wine, a pipe to smoke, and a cushion to sit on. He is
+questioned about his health and the health of his honorable ancestors.
+His own "Augustness" is profusely welcomed.
+
+Scarcely have these formalities been accomplished when another visitor
+arrives--a pompous personage, accompanied by servants who bring presents
+and flowers. He comes to persuade Madame Butterfly that her husband's
+absence amounts to a divorce, and that he, Prince Yamadori, should be
+accepted as Pinkerton's successor.
+
+This energetic wooer, lemon-faced and almond-eyed, imparts to the music
+a spicy flavor, grotesque and Japanese. His brief, breezy phrases have a
+turn and tang that belongs entirely to the Land of Nippon; staccato
+suggestions of chop-sticks and Oolong.
+
+The hostess politely declines to listen to her elaborate suitor.
+
+She busies herself pouring tea, while in the orchestra a delightfully
+tender, untroubled waltz-theme reflects her tranquil spirit, which is
+like some quiet mountain pool in the path of a coming avalanche.
+
+Impending disaster is near. Pinkerton's letter contains news that will
+bring devastation to the little Japanese home. He is coming back--but
+not to see Butterfly; a new wife comes with him.
+
+The Consul waits until Yamadori has gone, then bravely tries to read the
+letter, but his eager listener is too excited to hear to the end.
+
+"He is coming!" That is enough! Her joy is unbounded. She speeds from
+the room and in a moment returns with a sunny-haired child on her
+shoulders--her "baby-boy!"--her "noble little American!"--to whom she
+tells the glad news that his father soon will return.
+
+The distressed Consul has not the heart to enlighten her further. He
+leaves rather abruptly.
+
+A moment later a signal gun is heard in the distance.
+
+Susuki plunges in, breathless;--"The harbor cannon!" Both women rush to
+the window. They can see the ship! A man-of-war! The Stars and Stripes!
+
+Oh, the pain of this joy! The audience, knowing all, is torn and racked
+with emotion as the orchestra reiterates Butterfly's recent song of
+confidence about "his sure return."
+
+Now is her "hour of triumph!" She proclaims it to high heaven--to
+Susuki--and to all "the eight hundred thousand gods and goddesses of
+Japan."
+
+All the world had told her he would forget and never return--but she
+knew!--she knew! Now, at last, her faith triumphs--he is here!
+
+Superb is the crescendo now sweeping upward on the crest of America's
+martial theme. The Star-Spangled Banner is bugled by the instruments,
+while Butterfly's voice, in high and jubilant accord, sings again the
+glad words: "He is here!--he loves me!"
+
+In the orchestra the love-theme--the great theme--arises slowly and
+passes by like a spirit of the past, a soul long dead, a memory faded.
+
+Now follows a poetic scene unsurpassed for picturesque charm and grace.
+
+In accordance with Japanese custom, the two women sprinkle the room with
+flowers, in honor of his home-coming.
+
+Great baskets full of blossoms are brought in by Susuki, while
+Butterfly, always singing, showers the room with petals. She sways with
+the rhythm of joy and music, flinging the flowers in reckless profusion,
+her voice seeming to follow their flight--up in the air--and down
+again.
+
+Susuki, too, scatters rainbow-clouds of jasmine, peach-blooms, and
+violets; her contralto voice at the same time giving depth of color to
+the music. In the orchestra dainty, fluttering phrases are lightly
+tossed about, as tho shaken from the instruments by a passing breeze.
+
+Full of strange involutions and harmonies, the music of this
+"flower-duet" possesses the essential quality of all that is lasting and
+classic--hidden beauty beneath the obvious. With the choicest "mixing"
+of harmony, orchestra and voice, Puccini has brewed a "blend" most rare,
+and sugared it with melody.
+
+When the baskets are emptied and the last flower fallen, a few final
+notes of the refrain still left in the orchestra are hurriedly brushed
+out by the conductor's baton.
+
+On the stage, as the daylight melts into dusk, Butterfly, all in a
+flurry, is decking herself in her wedding gown, while the orchestra
+calls up memories of the lilac-garden and the fire-flies.
+
+When all is ready, Butterfly, Susuki, and the little one take positions
+at the window.
+
+Long and patiently they watch and wait.
+
+The orchestra plays a soft, unchanging staccato accompaniment. The
+moonlight finds its way into the room.
+
+At last the maid and the child fall asleep. Not so with Butterfly; rigid
+and still she stands at the window, her eyes on the distant
+harbor-lights.
+
+A sound of far-away voices softly humming a sad, weird refrain, fills
+the scene with mystery, suggesting the moan of guardian spirits. All
+this while the gentle staccato harmonies in the orchestra continue to
+flit back and forth, like the changing lights of swinging lanterns.
+
+Butterfly does not move. The curtain slowly descends.
+
+The prelude to the last act opens with a theme that crashes and tears
+its way into prominence: a pitiless, gruesome group of notes, that
+sounds vaguely familiar, tho it has never been emphasized like the
+tragic-theme and others gone before. In the first act this dire phrase
+was heard for a moment, buried softly among the harmonies that
+accompanied Butterfly's first entrance song. She was happy then, but,
+nevertheless, this germ of agony was lurking near, as tho to suggest
+that we, each one, carry within our own temperament the weakness or
+fault that will eventually lead us to grief.
+
+The orchestra is kept very active during this prelude or intermission.
+The past is presented in flashes of old themes, and the coming day is
+presaged by new phrases of potent meaning. Sounds of the harbor life
+beginning to stir, distant voices of sailors chanting, are heard even
+before the curtain rises. When this is lifted, behold poor Butterfly
+still at her post! All night she has watched and waited, never moving,
+never doubting.
+
+Now the dawn, cruel, cold-eyed and leering, begins to peer through the
+window. The pale, frail figure in her wedding gown still does not move;
+she still hopes on, counting the stars as they disappear; measuring each
+moment by her heart's wild beating.
+
+The dawn grows rosy, the music in the orchestra tells of the world's
+awakening. The sun's glad welcome is proclaimed in a resounding pean of
+harmonies, pierced with sharp, bright strokes from the triangle.
+
+But all this brilliant daybreak music fails to modify the tragedy of the
+dawn.
+
+Susuki awakens to despair, but poor little Butterfly still asserts,
+"He'll come! he'll come!"
+
+When urged by the maid to rest, she takes the little one up in her arms,
+soothing him gently with a quiet song as she mounts the stairs to her
+sleeping-room.
+
+Scarcely has she gone, when Susuki is startled by a knock at the door.
+Pinkerton has come--and the Consul with him, but they tell the maid not
+to summon her mistress--not yet.
+
+The music of the flower-duet fills the air like a faint perfume as
+Pinkerton observes the withered blossoms, and Susuki explains the
+decorations and tells of Butterfly's weary vigil. A moment later she
+sees through the window a lady waiting in the garden.
+
+It is Pinkerton's wife.
+
+"Hallowed souls of our fathers! The world is plunged in gloom!"
+
+Susuki falls prostrate on her knees.
+
+The ensuing trio is a magnificent musical unfoldment of sympathy from
+the Consul, remorse from Pinkerton, and consternation from Susuki. It is
+a splendid mingling of emotion and melody.
+
+The two men are left alone as the maid goes out to speak with the new
+wife. Pinkerton acts properly distressed over the situation, and his
+friend, being only human, cannot refrain from saying, "I told you so,"
+whereupon the music of his warning remonstrance in the first act is
+plainly marked in the orchestra, like an underscoring to written words.
+
+Pinkerton sighs over the room and its associations, sheds a few tears,
+and then decides the strain is too great for him. As he leaves the
+house, his wife and Susuki walk into view at the window.
+
+At this moment Butterfly comes rushing down the stairs; she has heard
+voices--"he is here!"
+
+Susuki tries to ward off the evil moment, but the _hour has struck_. The
+tragic theme rises up supreme--revealing itself in unclothed
+hideousness: all the other themes have fallen away; they were as mere
+empty masks over the face of truth--behind life is always death--back of
+the smile is a skeleton.
+
+Through the open window Butterfly sees the "other woman."
+
+"Who are you?" Mechanically her lips frame the words, as she stands
+there, paralyzed--stunned. But the question was perfunctory; the
+explanations that follow only confirm what she knew at first sight.
+
+Very gently the American wife proposes to Butterfly to adopt her child
+and bring him up as her own.
+
+The Japanese mother listens dumbly--then slowly realizes that unless she
+consents to this plan her boy will have no name.
+
+Butterfly says very little--but she accedes. She asks, however, that Mr.
+Pinkerton himself shall come for the child. "Come in half an hour--in
+half an hour."
+
+Agreed to this, the Consul and the American lady go away.
+
+Susuki is now quietly ordered to leave the room. She protests, but her
+mistress is firm; she wishes to be alone.
+
+When the weeping maid has gone, Butterfly lights a lamp at the little
+shrine and bows before it. Then she takes from the wall a dagger, but
+drops this as the baby suddenly enters, shoved in by Susuki--faithful
+slave! who, forbidden to enter herself, thus blindly tries to frustrate
+Butterfly's ominous wish to be alone.
+
+The child rushes to its mother's arms, and Butterfly clasps it wildly,
+calling it all the extravagant love-names Japanese fancy can devise.
+
+"'Tis for you, my love, that I am dying!"
+
+She holds him at arm's-length and bids him look long and well upon her
+face. The baby tosses his head and laughs; he little recks what she is
+saying:
+
+"_Take one last look on your mother's face, that the memory may
+linger._"
+
+The tragic theme attains a grandeur now that makes it seem the
+apotheosis of human heartache. Through the alembic of the composer's art
+this gruesome theme emerges ablaze with a terrible glory. It sweeps
+apast like a fiery chariot, bearing poor little Butterfly's soul to
+heaven.
+
+There is little more to record; the moment of death seems already gone
+through in bidding the child good-bye. What follows is done very
+quietly; every movement is lifeless and spiritless. She ties a bandage
+about the little one's eyes, and she puts in his hand an American flag;
+the Japanese mother's token of surrender.
+
+Then Butterfly picks up the dagger. The deed is soon done; she totters
+to the floor, and with her last breath tries to reach for her baby's
+hand.
+
+       *       *       *       *       *
+
+Advertisements
+
+The Palace of Danger
+
+A Story of La Pompadour
+
+By MABEL WAGNALLS
+
+A story possessing the five essential qualities that constitute
+greatness in a novel:--a plot "keenly dramatic" (_Review of Reviews_);
+"a wealth of charm of style," (_N. Y. Press_); such sustained interest
+that it has "not a dull line from beginning to end." (_Pioneer Press_,
+St. Paul); a pervading spirituality which makes it "clean and sweet"
+(_Unity_, Chicago); and an irrefutable accuracy of historic information
+whereby "the book has value" (_Republican_, Denver).
+
+     "It is many a long day since such an engaging little French heroine
+     of fiction has been presented to the public as the reader finds in
+     Destine, ... an innocent convent-bred girl who attends Pompadour as
+     one of her ladies-in-waiting."--_Sun_, Baltimore.
+
+     "A splendid picture of that magnificent court.... It is made very
+     real by the author."--_Globe-Democrat_, St. Louis.
+
+     "Rapid action, ... truthful and interesting pictures of the
+     times."--_Times_, N. Y.
+
+     "It is not often in these piping times of publishing that the tired
+     reader comes to such a delightful stopping-place on the
+     book-littered path of fiction as 'The Palace of
+     Danger.'"--_Bulletin_, San Francisco.
+
+_12mo, 311 pages. Four splendid illustrations by John Ward Dunsmore._
+
+_Price, $1.50._
+
+FUNK & WAGNALLS COMPANY, Pubs., New York
+
+       *       *       *       *       *
+
+_JUST RE-PUBLISHED_
+
+MISERERE
+
+By MABEL WAGNALLS
+
+_Author of "Stars of the Opera," &c._
+
+A brief, but beautiful romance in which the discovery of a rich and
+powerful voice leads ultimately to a climax as thrilling as the death
+scene in "Romeo and Juliet." The story is told with simple grace and
+directness, and is singularly pathetic and forceful.
+
+     "It is perfectly delightful. The theme is new and
+     interesting."--_Ella Wheeler Wilcox._
+
+     "It is a story of tender and pathetic interest--the story of a
+     woman with a wonderfully beautiful voice. A dainty and fascinating
+     romance which will appeal to music lovers."--_Chicago News._
+
+     "It vibrates with musical sentiment. There is a good deal of
+     artistic skill displayed in its description."--_Boston Watchman._
+
+     "A story unique in theme, delightfully told with many delicate
+     touches."--_The Arena_, Boston.
+
+_Small 12mo, Cloth. Illustrated. 40 Cents, net_
+
+FUNK & WAGNALLS COMPANY, Pubs., New York
+
+       *       *       *       *       *
+
+Selma, the Soprano
+
+By MABEL WAGNALLS
+
+
+Forms one of the chapters in the book entitled "One of Those
+Coincidences." It is the tragical story of a journalist and his talented
+sweetheart and wife, who are at first separated, and then reunited by
+strange fortunes. The story is filled with music and feeling, and holds
+the reader's intense interest to the very end.
+
+OTHER ENTERTAINING STORIES BOUND IN THE SAME VOLUME
+
+    ONE OF THOSE COINCIDENCES
+        By Julian Hawthorne
+    THE TAPER
+        By Count Leo Tolstoi
+    HOW VIARDEAU OBEYED THE BLACK ABBE
+        By Charles G. D. Roberts
+    JOHN MERRIL'S EXPERIMENTS IN PALMISTRY
+        By Florence M. Kingsley
+    FRANCISCO
+        By Walcott Le Clear Beard
+    JACOB CITY
+        By A. Stewart Clarke
+    AT THE END OF HIS ROPE
+        By Florence M. Kingsley
+    THE STRANGE CASE OF ESTHER ATKINS
+        By Mrs. L. E. L. Hardenbrook
+    THE EASTER OF LA MERCEDES
+        By Mary C. Francis
+    THE ROMANCE OF A TIN ROOF AND A FIRE ESCAPE
+        By Myra L. Avery
+
+ONE OF THOSE COINCIDENCES
+
+_12mo, Cloth. Profusely Illustrated. Price, $1.00_
+
+FUNK & WAGNALLS COMPANY, Pubs., New York
+
+
+
+
+
+End of the Project Gutenberg EBook of Stars of the Opera, by Mabel Wagnalls
+
+*** END OF THIS PROJECT GUTENBERG EBOOK STARS OF THE OPERA ***
+
+***** This file should be named 38153-8.txt or 38153-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/8/1/5/38153/
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This book was
+produced from scanned images of public domain material
+from the Google Print project.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/38153-8.zip b/38153-8.zip
new file mode 100644
index 0000000..17bb70f
--- /dev/null
+++ b/38153-8.zip
diff --git a/38153-h.zip b/38153-h.zip
new file mode 100644
index 0000000..1744e33
--- /dev/null
+++ b/38153-h.zip
diff --git a/38153-h/38153-h.htm b/38153-h/38153-h.htm
new file mode 100644
index 0000000..30afcf9
--- /dev/null
+++ b/38153-h/38153-h.htm
@@ -0,0 +1,6920 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en">
+  <head>
+<meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+<title>
+  The Project Gutenberg eBook of Opera Singers, by Mabel Wagnalls.
+</title>
+<style type="text/css">
+ p {margin-top:.2em;text-align:justify;margin-bottom:.2em;text-indent:2%;}
+
+.c {text-align:center;text-indent:0%;}
+
+.cb {text-align:center;text-indent:0%;font-weight:bold;}
+
+.cs {text-align:center;text-indent:0%;font-size: 70%;}
+
+.nind {text-indent:0%;}
+
+small {font-size: 70%;}
+
+ h1 {text-align:center;clear:both;}
+
+ h2 {margin:8% auto 2% auto;text-align:center;clear:both;
+font-size:110%;font-family:courier, serif;}
+
+ hr {width:90%;margin:2em auto 2em auto;clear:both;color:black;}
+
+ hr.full {width: 50%;margin:5% auto 5% auto;border:4px double gray;}
+
+ table {margin-left:auto;margin-right:auto;border:none;text-align:left;}
+
+ body{margin-left:2%;margin-right:2%;background:#fdfdfd;color:black;font-family:"Times New Roman", serif;font-size:medium;}
+
+a:link {background-color:#ffffff;color:blue;text-decoration:none;}
+
+  link {background-color:#ffffff;color:blue;text-decoration:none;}
+
+a:visited {background-color:#ffffff;color:purple;text-decoration:none;}
+
+a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;}
+
+.smcap  {font-variant:small-caps;font-size:95%;}
+
+ img {border:none;}
+
+.blockquot {margin:3% auto 3% auto;}
+
+.bbox     {border:solid 1px black;padding:3%;}
+
+.bboxx {border:4px double black;padding:2%;max-width:25em;margin:auto;}
+
+.caption  {font-weight:bold;font-size:85%;}
+
+.figcenter   {margin:5% auto 5% auto;text-align:center;text-indent:0%;}
+
+div.rt {margin:8% auto 5% 70%;font-weight:bold;}
+</style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Stars of the Opera, by Mabel Wagnalls
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Stars of the Opera
+
+Author: Mabel Wagnalls
+
+Release Date: November 27, 2011 [EBook #38153]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STARS OF THE OPERA ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This book was
+produced from scanned images of public domain material
+from the Google Print project.)
+
+
+
+
+
+
+</pre>
+
+<hr class="full" />
+
+<div class="rt">
+<p class="nind">STARS OF THE OPERA<br />
+B<small>Y</small><br />
+MABEL WAGNALLS</p>
+</div>
+
+<p class="figcenter">
+<a href="images/ill_cover_lg.jpg">
+<img src="images/cover.jpg" width="345" height="550" alt="image of the book&#39;s cover" title="image of the book&#39;s cover" /></a>
+</p>
+
+<p><a name="page_001" id="page_001"></a></p>
+
+<p><a name="page_002" id="page_002"></a><a name="frontispiece" id="frontispiece"></a></p>
+
+<p class="figcenter">
+<a href="images/frontispiece_lg.jpg">
+<img src="images/frontispiece_sml.jpg" width="344" height="550" alt="Photographs Copyright by Aimé Dupont and Falk, New York.
+&quot;STARS OF THE OPERA.&quot;" title="STARS OF THE OPERA" /></a>
+<br />
+<span class="caption">Photographs Copyright by Aimé Dupont and Falk, New York.<br />
+&quot;STARS OF THE OPERA.&quot;</span>
+</p>
+
+<p><a name="page_003" id="page_003"></a></p>
+
+<div class="bboxx">
+
+<div class="bbox">
+<h1>STARS <small>OF THE</small> OPERA</h1>
+</div>
+
+<p><br /></p>
+
+<div class="bbox">
+<p class="cb"><small>A Description of Operas &amp; a Series of Personal Interviews<br />
+with Marcela Sembrich, Emma Eames, Emma Calve,<br />
+Lillian Nordica, Lilli Lehmann, Geraldine Farrar<br />
+&amp;<br />
+Nellie Melba</small><br />
+<br />
+<br />
+<br />
+BY<br />
+MABEL WAGNALLS<br />
+<small>Author of "Miserere," "Selma, the Soprano," etc.</small><br />
+<br /><br />
+REVISED AND ENLARGED EDITION</p>
+</div>
+
+<p><br /></p>
+
+<div class="bbox">
+<p class="cb">FUNK &amp; WAGNALLS COMPANY<br />
+NEW YORK &amp; LONDON<br />
+1909</p>
+</div>
+</div>
+
+<p><a name="page_004" id="page_004"></a></p>
+
+<p class="cs"><br /><br /><br />
+Copyright, 1899, and 1907<br />
+<br />
+BY<br />
+<span class="smcap">FUNK &amp; WAGNALLS COMPANY</span><br />
+<br />
+Registered at Stationers' Hall, London<br />
+[Printed in the United States]<br />
+<br />
+AUTHOR'S NOTE<br />
+<br />
+<i>All the interviews in this book have been<br />
+proof-read by the singers</i><br />
+<br />
+Published, September, 1907<br /><br /><br />
+</p>
+
+<p><a name="page_005" id="page_005"></a></p>
+
+<p class="cb"><br /><br /><br />
+To those who love music but have<br />
+no opportunity to familiarize themselves<br />
+with grand opera this<br />
+book is respectfully<br />
+dedicated<br /><br /><br />
+</p>
+
+<p><a name="page_006" id="page_006"></a></p>
+
+<p><a name="page_007" id="page_007"></a></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="TABLE_OF_CONTENTS"
+style="margin:5% auto 5% auto;">
+
+<tr><th colspan="2" align="center"><a name="TABLE_OF_CONTENTS" id="TABLE_OF_CONTENTS"></a><big>TABLE OF CONTENTS</big></th></tr>
+
+<tr><td colspan="2" align="right"><small>PAGE</small></td></tr>
+
+<tr><td><span class="smcap">An Interview With Marcella Sembrich</span></td><td align="right"><a href="#page_013">13</a></td></tr>
+
+<tr><td><span class="smcap">"Semiramide"</span></td><td align="right"><a href="#page_025">25</a></td></tr>
+
+<tr><td><span class="smcap">A Call on Emma Eames</span></td><td align="right"><a href="#page_043">43</a></td></tr>
+
+<tr><td><span class="smcap">"Faust"</span></td><td align="right"><a href="#page_057">57</a></td></tr>
+
+<tr><td><span class="smcap">"Werther"</span></td><td align="right"><a href="#page_079">79</a></td></tr>
+
+<tr><td><span class="smcap">Calvé and "Carmen"</span></td><td align="right"><a href="#page_105">105</a></td></tr>
+
+<tr><td><span class="smcap">"Carmen"</span></td><td align="right"><a href="#page_117">117</a></td></tr>
+
+<tr><td><span class="smcap">"Hamlet"</span></td><td align="right"><a href="#page_143">143</a></td></tr>
+
+<tr><td><span class="smcap">A Talk with Lillian Nordica</span></td><td align="right"><a href="#page_169">169</a></td></tr>
+
+<tr><td><span class="smcap">"Lohengrin"</span></td><td align="right"><a href="#page_185">185</a></td></tr>
+
+<tr><td><span class="smcap">"Aida"</span></td><td align="right"><a href="#page_215">215</a></td></tr>
+
+<tr><td><span class="smcap">"The Huguenots"</span></td><td align="right"><a href="#page_239">239</a></td></tr>
+
+<tr><td><span class="smcap">An Hour with Lilli Lehmann</span></td><td align="right"><a href="#page_265">265</a></td></tr>
+
+<tr><td><span class="smcap">"The Flying Dutchman"</span></td><td align="right"><a href="#page_279">279</a></td></tr>
+
+<tr><td><span class="smcap">Melba, the Australian Nightingale</span></td><td align="right"><a href="#page_303">303</a></td></tr>
+
+<tr><td><span class="smcap">"Lakme"</span></td><td align="right"><a href="#page_315">315</a></td></tr>
+
+<tr><td><span class="smcap">"I Pagliacci"</span></td><td align="right"><a href="#page_337">337</a></td></tr>
+
+<tr><td><span class="smcap">"Orpheus and Eurydice"</span></td><td align="right"><a href="#page_357">357</a></td></tr>
+
+<tr><td><span class="smcap">The Genius of Geraldine Farrar</span></td><td align="right"><a href="#page_369">369</a></td></tr>
+
+<tr><td><span class="smcap">"Madame Butterfly"</span></td><td align="right"><a href="#page_379">379</a></td></tr>
+</table>
+
+<p><a name="page_008" id="page_008"></a></p>
+
+<p><a name="page_009" id="page_009"></a></p>
+
+<table border="0" cellpadding="2" cellspacing="0" summary="LIST_OF_ILLUSTRATIONS">
+
+<tr><th colspan="2" align="center"><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a><big>LIST OF ILLUSTRATIONS</big></th></tr>
+
+<tr><td colspan="2" align="right"><small>FACING<br />
+PAGE</small></td></tr>
+
+<tr><td>Group of Miniature Portraits, "Stars of the Opera"&nbsp; &nbsp; </td><td align="right"><a href="#frontispiece"><i>Frontispiece</i></a></td></tr>
+
+<tr><td>Marcella Sembrich</td><td align="right"><a href="#page_015">15</a></td></tr>
+
+<tr><td>Sembrich as Rosina in "The Barber of Seville"</td><td align="right"><a href="#page_022">22</a></td></tr>
+
+<tr><td>Emma Eames</td><td align="right"><a href="#page_045">45</a></td></tr>
+
+<tr><td>Melba as Marguerite in "Faust"</td><td align="right"><a href="#page_064">64</a></td></tr>
+
+<tr><td>Emma Calvé</td><td align="right"><a href="#page_107">107</a></td></tr>
+
+<tr><td>Calvé as Carmen</td><td align="right"><a href="#page_128">128</a></td></tr>
+
+<tr><td>Calvé as Ophelia in "Hamlet"</td><td align="right"><a href="#page_164">164</a></td></tr>
+
+<tr><td>Lillian Nordica</td><td align="right"><a href="#page_171">171</a></td></tr>
+
+<tr><td>Nordica as Brunhilde in "Siegfried"</td><td align="right"><a href="#page_182">182</a></td></tr>
+
+<tr><td>Eames as Elsa in "Lohengrin"</td><td align="right"><a href="#page_202">202</a></td></tr>
+
+<tr><td>Nordica as Aida</td><td align="right"><a href="#page_220">220</a></td></tr>
+
+<tr><td>Lilli Lehmann</td><td align="right"><a href="#page_267">267</a></td></tr>
+
+<tr><td>Lehmann as Isolde in "Tristan and Isolde"</td><td align="right"><a href="#page_270">270</a></td></tr>
+
+<tr><td>Lehmann as Venus in "Tannhäuser"</td><td align="right"><a href="#page_276">276</a></td></tr>
+
+<tr><td>Nellie Melba</td><td align="right"><a href="#page_305">305</a></td></tr>
+
+<tr><td>Melba as Elizabeth in "Tannhäuser"</td><td align="right"><a href="#page_312">312</a></td></tr>
+
+<tr><td>Geraldine Farrar</td><td align="right"><a href="#page_371">371</a></td></tr>
+
+<tr><td>Miss Farrar as "Madame Butterfly"</td><td align="right"><a href="#page_384">384</a></td></tr>
+
+</table>
+
+<p><a name="page_010" id="page_010"></a></p>
+
+<p><a name="page_011" id="page_011"></a></p>
+
+<p>
+<br />
+<br />
+</p>
+
+<div class="rt">
+<p class="nind">
+An Interview<br />
+with<br />
+Marcella Sembrich<br />
+</p>
+</div>
+
+<p><a name="page_012" id="page_012"></a></p>
+
+<p><a name="page_013" id="page_013"></a></p>
+
+<p><a name="page_014" id="page_014"></a></p>
+
+<p><a name="page_015" id="page_015"></a></p>
+
+<p class="figcenter">
+<a href="images/ill_015_lg.jpg">
+<img src="images/ill_015_sml.jpg" width="426" height="550" alt="Copyright by Aimé Dupont, N. Y.
+
+MARCELLA SEMBRICH." title="" /></a>
+<br />
+<span class="caption">Copyright by Aimé Dupont, N. Y.<br />
+MARCELLA SEMBRICH.</span>
+</p>
+
+<h1>STARS OF THE OPERA</h1>
+
+<h2><a name="AN_INTERVIEW_WITH_MARCELLA_SEMBRICH" id="AN_INTERVIEW_WITH_MARCELLA_SEMBRICH"></a>AN INTERVIEW WITH MARCELLA SEMBRICH</h2>
+
+<p>Early in the season of 1898-99 there was a performance of "Traviata" in
+the Metropolitan Opera-House which might be described as "an occasion of
+superlatives"&mdash;including the largest auditorium, the biggest audience,
+the finest singers.</p>
+
+<p>Grand opera in itself is a culmination and combination of the greatest
+efforts of the greatest minds. There is, in the first place, the plot of
+the libretto, which in the case of "Traviata" was the masterpiece of
+Dumas, France's greatest dramatist&mdash;a man who labored all his life as
+tho achievement required only work, and who yet possessed<a name="page_016" id="page_016"></a> such mental
+power as no amount of work could achieve.</p>
+
+<p>After Dumas comes the librettist who transposed the story into suitable
+Italian verse to be set to music. And then we have the work, the inmost
+thoughts, of Giuseppe Verdi, Italy's greatest living composer. There was
+a day when each of these sparkling melodies that now delight the whole
+world was born in the soul of Verdi, and heard by him alone. But he
+patiently put upon paper every note that his years of study and his
+gifted soul impelled.</p>
+
+<p>The work of the composer, the dramatist, and the librettist belongs to
+the past, however, and that audience of five thousand people did not
+bestow much thought on them. Nor did they think very often of the
+orchestra, composed of fifty thorough musicians, who really worked more
+during the performance than any of the other participants.</p>
+
+<p>It may be mentioned here that in all grand operas the orchestra plays
+continually; it is the wall upon which the picture is<a name="page_017" id="page_017"></a> hung. There may
+be pauses in the singing, but the conductor's baton never rests.</p>
+
+<p>People seldom appreciate the vast knowledge of music and the remarkable
+ability in sight-reading which these orchestra players possess. Not one
+of them but has worked at his art from childhood; most of them play
+several different instruments; and they all hold as a creed that a false
+note is a sin, and a variation in rhythm is a fall from grace. The
+director is their temporary deity who commands the orchestra beneath and
+the stage above&mdash;a little universe of music. He holds all together and
+dictates the tempo, the expression, and the phrasing. His commands are
+for the time being immutable as the laws of nature, for any serious
+disobedience would cause the whole structure to fall to pieces.</p>
+
+<p>The five thousand listeners gave some applause to the director after the
+playing of the introduction, and they gave a little more to the
+chorus&mdash;those earnest workers who serve grand opera as the stokers do a
+ship.<a name="page_018" id="page_018"></a> Then the tenor received a good deal of applause&mdash;his reward for
+training his voice, studying music, memorizing operas, overcoming
+nervousness, and singing in public twenty years.</p>
+
+<p>But the great applause, the "bravos," the cheering, the excitement, were
+reserved for the star, the soprano&mdash;Marcella Sembrich! It is always
+impressive to witness such a success. It is inspiring to know that one
+woman can so stir the hearts of the people.</p>
+
+<p>Madame Sembrich's voice is as perfect a voice as the world has ever
+heard. Yet her greatness consists more in her art than in her voice. She
+has not been satisfied merely to use her gift as nature gave it, but she
+has acquired a mastery of tone-coloring so that every tone has a meaning
+of its own, and seems to express a distinct emotion. In the last act of
+"Traviata" the quality of her tones, always beautiful, but ever varying
+as her art dictates, conveys to the listener surely and truly the
+approach of death and the hope of heaven. This is great art<a name="page_019" id="page_019"></a> indeed. No
+wonder the audience fairly gasps as the last sweet tone leaves the lips
+of the pale Violetta and soars away into infinite space.</p>
+
+<p>It was the day after "Traviata," when, in response to a knock at Madame
+Sembrich's door in the Hotel Savoy, a mellow voice said, "Come in."</p>
+
+<p>On my obeying this summons, the singer was "discovered"&mdash;as the
+librettos have it&mdash;standing near her grand piano, alone, and as
+unostentatious as your own sister.</p>
+
+<p>There was no effect of the impressive prima donna, all flowers and
+frills and <i>frou-frou</i>. She was quite alone, just as lesser mortals
+sometimes are; and she furthermore spared her visitor from any sense of
+interrupted work, or great haste, or the magnitude of the occasion.</p>
+
+<p>She was just a courteous, quiet lady who seated herself beside the
+visitor and talked earnestly about music and work.</p>
+
+<p>When asked how early she began to study the art seriously, she replied:
+"When I<a name="page_020" id="page_020"></a> was six years old. My father taught me the piano until I was
+ten. He was a very gifted man. Then I also studied for a while with Dr.
+Stengel, who is now my husband, and with Epstein in Vienna."</p>
+
+<p>On learning that her visitor was acquainted with Vienna, Madame
+Sembrich's face lighted up (she has a radiant smile): "Ach! then you
+speak German?" And from this point she talked altogether in German,
+which is more akin to her native Polish.</p>
+
+<p>She is fluent, however, in all the continental languages. "We have to
+know them all, for we need them constantly," she explained. In reply to
+other questions, the singer told enthusiastically of her early work.</p>
+
+<p>"I can not say I was ever discouraged, for I so enjoyed my art that it
+was always of absorbing interest; but my whole life has been made up of
+hard work, always work. I also studied the violin and composition, and I
+used to rise early and go to bed late, for I worked six and seven hours
+a day."<a name="page_021" id="page_021"></a></p>
+
+<p>Madame Sembrich is one of the most thorough, all-round musicians on the
+lyric stage to-day, for she is not only a singer, but has played
+successfully in public on piano and violin. Her rare gift of voice was
+not discovered until she was seventeen. Then her great knowledge of
+music enabled her quickly to develop the voice, and it was not long
+before she appeared in opera and made her first great success in London.
+When asked if she was ever nervous, the answer came promptly:</p>
+
+<p>"Oh, yes, very nervous! <i>Now</i> I am always nervous. But in the early days
+it was not so bad. When you are young and have a beautiful voice, you
+think it is all that is necessary, and are not nervous, because you do
+not realize the depth and extent of art. But as you grow older you
+appreciate the possibilities of art&mdash;you know what it implies, and how
+perfect you wish to make it; and then you are nervous. It is more
+nervous work, too, for such artists as Madame Patti, Madame Melba, or
+myself, who travel<a name="page_022" id="page_022"></a> about and sing first in one place and then in
+another, because each time we have to win our audience and make a new
+conquest. In Europe, at the great opera-houses such as are in Vienna or
+Berlin, it is different, for there the singers are engaged permanently.
+The public knows how well they can do, and if sometimes they are not at
+their best, they know the public will excuse them. I find I am more
+nervous, too, as my reputation increases, for more is expected of me."</p>
+
+<p>Referring again to her studies, Madame Sembrich counted over
+thirty-seven full operas that she has learned. It is well to consider
+for a moment what this implies. Aside from the native gifts of voice,
+musical talent, and dramatic temperament, there must be years of
+practise in singing and acting; then the words of each opera must be
+memorized, sometimes in three languages. After studying, originating,
+and mastering the action, the music must be learned, and every word
+wedded to a certain tone, and every tone to a certain beat of time.
+Herein the actress has but a slight task compared to the opera singer,
+for in the drama it matters not if a word comes a moment sooner or
+later; but in grand opera a second's deviation might cause a discord.</p>
+
+<p class="figcenter">
+<a href="images/ill_022_lg.jpg">
+<img src="images/ill_022_sml.jpg" width="426" height="550" alt="Copyright by Aimé Dupont, N. Y.
+
+Sembrich as Rosina in &quot;The Barber of Seville.&quot;" title="" /></a>
+<br />
+<span class="caption">Copyright by Aimé Dupont, N. Y.<br />
+
+Sembrich as Rosina in &quot;The Barber of Seville.&quot;</span>
+</p>
+
+<p>Madame Sembrich delights in the opera "Traviata" because of its intense
+action.</p>
+
+<p>"But I like, too, the lighter operas. The merriment of 'Rosina' amuses
+me as I act it."</p>
+
+<p>One more question was asked as her visitor arose to go.</p>
+
+<p>"Is it true, Madame Sembrich, that you walk two hours every day?"</p>
+
+<p>"Yes," she answered good-humoredly. "I had just returned to-day when you
+came. I started at eleven and got home at one."</p>
+
+<p>Regular and rigorous in her daily life even yet! Upon meeting Madame
+Sembrich, one receives an impression of graciousness and greatness not
+to be forgotten.</p>
+
+<p><a name="page_024" id="page_024"></a></p>
+<div class="rt">
+<p class="nind">
+"SEMIRAMIDE"
+</p>
+</div>
+
+<p><a name="page_025" id="page_025"></a></p>
+
+<h2><a name="Semiramide" id="Semiramide"></a>"Semiramide"</h2>
+
+<p><a name="page_026" id="page_026"></a></p>
+
+<p><a name="page_027" id="page_027"></a></p>
+
+<p>All great prima donnas have in their repertoire the majority of famous
+operas, but through fitness of physique or temperament or quality of
+voice they become associated with certain rôles more than others.
+Sometimes it is merely a caprice of the public that holds them to a
+particular line of operas. At present Madame Sembrich is regarded as the
+great exponent of the old Italian school. Among her thirty-seven operas
+"Semiramide" is one in which New Yorkers have not yet heard her; but it
+is in some respects the most typical of its kind.</p>
+
+<p>"Semiramide" belongs to the old style of Italian operas. It is light in
+substance, but glistening with scales and cadenzas that are scattered
+over it like spangles upon tulle. Rossini's music is always beautiful
+but conveys little meaning, and it impresses the<a name="page_028" id="page_028"></a> modern musical taste
+like a meal of bonbons. Although Semiramis lived hundreds of years
+before the Christian era, we listen in vain for any ancient atmosphere
+to the composition or for the "<i>melodrame tragico</i>," as designated by
+the libretto. This music would be as suitable to the "Barber of Seville"
+as to the "Queen of Babylon." In other words, the old operas were a
+series of separate songs adapted to a connected story, whereas we now
+expect the score so thoroughly to embody the text that the two are
+inseparable.</p>
+
+<p>"Semiramide," however, bears several claims to distinction that prevent
+the possibility of extinction. It is the opera <i>par excellence</i> of
+duets. They are the delightful, old-fashioned kind, wherein the two
+voices are side by side, only separated by a perfect third; and when the
+conductor has whipped up a good tempo away they go like a span of
+horses, over hills and valleys of scales and arpeggios, bridged-over
+intervals, and clumps of trills. Differing from all other<a name="page_029" id="page_029"></a> operas, this
+one gives as much prominence to the contralto as to the soprano. They
+must have equal facility of execution; and, indeed, none of the rôles
+are exempt from this demand. Tenor, contralto, baritone, and bass vie
+with each other in performing dangerous feats of vocal agility. There
+are passages where they all, one after another, run up a scale and land
+on a certain note, like athletes jumping from a spring-board. We smile
+at such display, and are inclined to regard the opera as one big
+solfeggio; but let it not be forgotten that this is the old Italian
+style, and interesting from this point of view.</p>
+
+<p>Another claim to lasting fame is its overture&mdash;one of the prettiest,
+happiest, showiest orchestral compositions extant. It is a stock program
+piece, being simple enough for any orchestra to perform and yet rousing
+enough always to elicit applause.</p>
+
+<p>The opening scene represents a temple wherein Oroe, the chief of the
+Magi, is discovered kneeling before an altar. He has<a name="page_030" id="page_030"></a> received a
+celestial revelation of some dark crime that is awaiting vengeance, and
+his first short recitative refers to this secret. Arising from his
+knees, Oroe orders the gates of the temple to be opened. The Assyrian
+multitude enter bearing offerings and garlands, while they sing a light
+melody that would do for a modern topical song. Idrenus, an Indian
+prince, also comes in with his attendants, bearing incense and
+offerings. He is the tenor, but unimportant, because this opera has no
+love-scene, and consequently little use for a tenor. Assur, an Assyrian
+potentate, is another devout supplicant at the altar of Belus. We soon
+learn the occasion of these earnest efforts to propitiate the gods:
+Semiramis, the queen, will to-day select a successor to the late King
+Ninus.</p>
+
+<p>A very good example of what we consider the incongruities of the old
+school is found in these first two arias of Idrenus and Assur. The tenor
+comes in alone and delivers a flourishing solo, ornate as his costume.<a name="page_031" id="page_031"></a>
+Then Assur, the basso, makes his entrance and sings in a lower key the
+same remarkable pyrotechnics. This antagonizes the fundamental rule of
+modern opera, which requires each character to maintain a musical
+individuality. There is some further conversation in the form of a
+terzetto between Idrenus, Assur, and Oroe, and the fact is disclosed
+that Assur expects the queen's choice to fall on him.</p>
+
+<p>Another light and bright chorus announces the entrance of Semiramis. She
+is represented as young and beautiful, altho she is a widow and the
+mother of a son who mysteriously disappeared years before the story
+opens. But radiant as is her appearance, Semiramis opens the ceremonies
+with uneasiness, for she has determined to make Arsaces the future king.
+He is a young army officer, and there is no just reason why he should be
+favored; but the queen has become enamored of him. Arsaces, however, is
+unconscious of her infatuation. She has summoned him to this<a name="page_032" id="page_032"></a> ceremony;
+but he has not yet arrived, and for this reason she hesitates. In a
+quartet that is worked up like a rondo upon a very pleasing theme, the
+others urge her to begin. She reluctantly steps forward, but at her
+first mention of the dead king there is a flash of lightning and the
+sacred fires are extinguished. The people regard this as a dire omen.
+Oroe glances knowingly at both Semiramis and Assur as he again refers to
+a crime that has aroused the wrath of the gods. He orders the ceremonies
+to be postponed pending the arrival of a sacred oracle from Memphis. The
+queen and her attendants withdraw, and the temple is vacated.</p>
+
+<p>The orchestra plays through several pages of sixty-fourth and
+thirty-second notes, after which the interesting and important Arsaces
+enters with two slaves who bring a casket. Arsaces is always a very
+youthful and impossible-looking general, in spite of his glittering
+cuirass, for be it known this is the contralto rôle, and, musically
+speaking, a very great one.<a name="page_033" id="page_033"></a></p>
+
+<p>We learn from his first recitative that this casket contains precious
+documents and relics of the late king which have been guarded and
+concealed by Phradates, the supposed father of Arsaces. Phradates has
+recently died, and in compliance with his request Arsaces brings these
+treasures to the high priest. We also learn that the young general is
+puzzled over the queen's summons; and last, but not least, we learn that
+he is in love with the beautiful Princess Azema. The mere mention of her
+name starts him to singing a rapturous song, bubbling over with
+brilliant roulades. After presenting his casket to the high priest,
+Arsaces encounters Assur, who soon makes it known that he also loves the
+fair Azema. This so maddens Arsaces that he resolves at once to ask
+Semiramis for the hand of the princess. These rivals cordially hate each
+other, but Rossini inspires them to sing the same melodies, and their
+voices mingle in beautiful harmony of tone and rhythm.<a name="page_034" id="page_034"></a></p>
+
+<p>The second rising of the curtain reveals Semiramis reclining under a
+bower in her palace garden. She is surrounded by maidens and slaves who
+sing languid, luxuriant melodies for her diversion. Rossini's style is
+well suited to this scene. As the arias are presented one by one, it is
+like unfolding the contents of an Assyrian treasure-chest full of
+shimmering silks and glittering jewels. Among this collection there is
+one gem called the "Bel Raggio," a name as famous in its way as the
+Koh-i-noor. This musical brilliant belongs to Queen Semiramis, who
+displays its scintillating beauty with evident pride. The "Bel Raggio"
+is one of the four great corner-stones of the bravura singer's
+repertoire, of which the remaining three are: "Una voce poco fa," also
+by Rossini; the Dinorah "Shadow Song," and Eckert's "Echo Song." When
+listening to "Bel Raggio" one should never try to follow the words or
+even wonder what she is saying. Just listen to the music. Those radiant,
+ravishing, intoxicating warbles<a name="page_035" id="page_035"></a> and runs tell one plainly enough that
+she is happy, and this is sufficient.</p>
+
+<p>Semiramis is awaiting Arsaces and the oracle from Memphis. The latter is
+received first, and bears the cheering words, "Thy peace shall be
+restored with the return of Arsaces." True to the nature of oracles,
+this one has a double meaning, and Semiramis construes it in the wrong
+way. When Arsaces enters there follows a bevy of famous duets. But the
+conversation is quite at cross purposes. Arsaces tells of a
+long-cherished love, which Semiramis thinks is for herself. She promises
+that all his hopes shall be realized, whereupon the two wander off side
+by side through a forest of cadences, roulades, and scales. They
+sometimes become separated, when the soprano pauses to run up the
+scale-ladder and pluck a brilliant high note, or the contralto lingers
+to pick up tones that are rich and full as fallen fruit; but they
+finally emerge together, trilling high and low like birds from a
+thicket.<a name="page_036" id="page_036"></a></p>
+
+<p>The third scene represents a magnificent hall in the palace. There are,
+of course, a throne and other "properties," but most conspicuous is the
+tomb or mausoleum of Ninus. For a second time the Assyrian noblemen and
+people gather to hear the appointment of a new king. As they sing a
+sweeping march, Semiramis enters more gorgeously arrayed than ever. She
+takes her place at the throne, and with an imperious gesture commands
+allegiance to the king of her choice. These regal phrases contain such a
+prodigality of dazzling colorature that we are reminded of the far-famed
+hanging gardens devised by this same extravagant queen. In the matter of
+lavish display the music of "Semiramide" is strikingly appropriate.
+Assur, Arsaces, Idrenus, and Oroe vow obedience, and their hymn-like
+ensemble is one of the grandest themes Rossini ever composed. Like the
+prayer from Weber's "Freischütz," this quintet has long held a place in
+church choir-books, and a more religious and inspiring melody<a name="page_037" id="page_037"></a> could
+hardly be imagined. The soprano scatters delicious appoggiaturas and
+cadenzas above the steady and noble ensemble like flowers upon an altar.
+The "Semiramide Quintet" is another one of its claims to lasting fame.</p>
+
+<p>In a lighter vein is the queen's next proclamation, to the effect that
+the future king shall also be her husband. This arouses general
+surprise. But when she finally designates Arsaces, the amazement on all
+sides is loud. Assur demands justice from the queen, insinuating some
+secret compact that she dare not disregard. He is haughtily silenced by
+Semiramis, who at the same time bestows upon him the hand of fair Azema.</p>
+
+<p>Poor Arsaces is beside himself. He tries to explain, but the queen will
+listen to no remonstrances. An altar is brought forward, and the priests
+are about to pronounce the marriage bans when a hollow, subterranean
+sound and distant thunder cause consternation. The people are horrified
+to<a name="page_038" id="page_038"></a> behold the tomb of Ninus slowly open and its occupant step forth.
+Turning to Arsaces, the ghost bids him avenge a terrible crime: "With
+courage into my tomb descend; there to my ashes a victim thou shalt
+offer. But first obey the counsel of the priest." The ghost disappears,
+and the act closes with a strong chorus of dismay. Semiramis leads the
+singing, and for once her music has only prim quarter-notes and
+half-notes: her colorature is all frightened away.</p>
+
+<p>The next act contains an interview between Assur and Semiramis, wherein
+we learn about the crime so often referred to. The late King Ninus was
+poisoned by Assur, who had been promised the throne. But the guilty
+queen has since preferred Arsaces, and this explains Assur's great
+anger. He threatens to kill the young favorite; but Semiramis has
+resumed her ostentatious manner and music, and will not heed his words.</p>
+
+<p>There follows a scene in the queen's apartment. She is still striving to
+win<a name="page_039" id="page_039"></a> Arsaces, but her overtures repel him more than ever. He has just
+returned from an interview with the priest. The contents of the casket
+have been revealed to him, and he shows Semiramis a paper proving the
+startling fact that Arsaces himself is her long-lost son. He has also
+learned that Ninus, his father, was murdered. Remorse promptly overtakes
+the queen. She weeps and wails in chromatics and scales that quite touch
+Arsaces. They sing a glorious duet that is like a benediction, so noble
+and pure are its harmonies. It is called "Giorno d'orrore" (day of
+horror). Arsaces bids his mother adieu. He is going to the tomb to
+avenge his father's death, tho he knows not how nor whom he shall
+strike. It rests with the gods to guide him; he only obeys the command.
+There follows another smoothly flowing duet resembling all the others in
+its simple structure, unmistakable rhythm, and prominent melody.</p>
+
+<p>The finale of "Semiramide" has little to commend it, being absurd in
+action and<a name="page_040" id="page_040"></a> presenting only one pleasing or noticeable theme. This is a
+dainty, quaint violin passage that delighted us in the overture, but
+which we never thought of connecting with a tragic climax. How different
+is this tomb music from that of Gounod's "Romeo and Juliet!" There the
+marvelous harmonies are like sweet dreams accompanying the sleep of
+death, but here we are only conscious of the "deep, damp vault, the
+darkness and the worm."</p>
+
+<p>The chief absurdity of this scene lies in the fact that it should be too
+dark for the characters to see each other and yet it must be light
+enough for the audience to see everything. Another incongruity is the
+assembling of all the principals and a good-sized chorus in this tomb
+where we expected Arsaces alone. But it is explained that Assur heard of
+the hero's coming and planned to follow with the intention of killing
+him; Oroe heard of Assur's plan and brings an armed guard to protect
+Arsaces; and, finally, Semiramis follows because<a name="page_041" id="page_041"></a> she is anxious about
+everybody and everything.</p>
+
+<p>They enter at different times; grope around among tombs, and pretend not
+to see each other. Arsaces finally hears and recognizes the voice of
+Assur. He has no doubt that the gods have sent Assur to be the victim.
+The hero promptly stabs in the direction of the voice, but because it is
+so very dark he happens to kill Semiramis instead of Assur. But this
+mistake does not much affect either the music or the action. The final
+chorus of the opera is as light and bright as the first.</p>
+
+<p><a name="page_042" id="page_042"></a></p>
+
+<p><a name="page_043" id="page_043"></a></p>
+
+<div class="rt">
+<p class="nind">A Call<br />
+on<br />
+Emma Eames
+</p>
+</div>
+
+<p><a name="page_044" id="page_044"></a></p>
+
+<p><a name="page_045" id="page_045"></a></p>
+
+<p class="figcenter">
+<a href="images/ill_045_lg.jpg">
+<img src="images/ill_045_sml.jpg" width="422" height="550" alt="Copyright by Falk, N. Y.
+
+EMMA EAMES." title="" /></a>
+<br />
+<span class="caption">Copyright by Falk, N. Y.<br />
+
+EMMA EAMES.</span>
+</p>
+
+<h2><a name="A_CALL_ON_EMMA_EAMES" id="A_CALL_ON_EMMA_EAMES"></a>A CALL ON EMMA EAMES</h2>
+
+<p>A call at the Hotel Marie Antoinette is a veritable eighteenth-century
+dream. A powdered footman in satin knee-breeches and the full court
+costume of that period flings open the great glass doors as you enter,
+and another one escorts you around some columns, and through some
+curtains, and down some steps to the main reception-room, where you wait
+while your name is announced.</p>
+
+<p>The Hotel Marie Antoinette is very exclusive, so you happen to be alone
+in this great apartment, with its stained-glass dome and carved-oak
+walls; alone, excepting for the pretty soft-voiced maid who is arrayed
+as were the ladies-in-waiting of the Trianon. She assists you in
+removing your wraps, and at the same time talks enthusiastically about
+the great personage you have come to see.<a name="page_046" id="page_046"></a></p>
+
+<p>"We all here just love her, she is so gracious and appreciative of
+everything we do, and so kind to us. She gives us tickets to the opera,
+and she isn't at all proud or haughty. She often comes in here of an
+afternoon to have tea. There is her corner where she always sits"&mdash;and
+the maid points quite reverentially to a dainty recess curtained with
+tapestries and dreamily illumined by a huge pendant red globe. As your
+glance roams on, you find many objects that hold your attention. There
+are historic cabinets of rare value and workmanship, little tea-tables
+beside the various couches, bearing trays of antique china and tiny
+spoons of old silver, all sought and selected from the castles and
+treasure-rooms of Europe. There is one dainty solid gold clock that
+belonged to Marie Antoinette and was used in her boudoir. Another one
+which she also owned is jeweled with turquoise and garnets. Many
+valuable miniatures of the unfortunate queen and her family are on the
+desks and writing-tables. In<a name="page_047" id="page_047"></a> one enticing alcove are two rows of
+sumptuous volumes bound in red and gold whose mere titles set one to
+dreaming of court intrigues and palace revels. "The Secret Memoirs of
+the Court" comprise one set of ten books; ten more are devoted to
+Napoleon, and "The Life and Times of Louis XV." also occupies much
+shelf-room; while on the center-table is a collection of engravings
+portraying the life of Marie Antoinette.</p>
+
+<p>You quite feel yourself a court lady by this time; and when the powdered
+dignitary again appears and calls out your name in stately tones, you
+follow him with a sense of importance quite pleasant and unusual. You
+are led past more columns and through more curtains, until finally he
+leaves you in a moderate-sized ante-room. Here you wait for some
+moments, expectantly watching the doorway by which you entered, when
+suddenly, on the opposite side of the room, some folding-doors which you
+had not noticed are flung wide open by unseen<a name="page_048" id="page_048"></a> hands, and behold the
+queen&mdash;of grand opera, Madame Emma Eames!</p>
+
+<p>It was indeed a right royal vision I beheld: a beautiful woman, in every
+sense of the term, clad in a fawn-colored gown of rich design, and
+bejeweled with chains of pearls and a brooch of diamonds. She was seated
+on a pale satin divan, but came forward to greet her visitor, and shook
+hands cordially. Madame Eames is more than beautiful, for together with
+regular features and soft curves she has a strong face and a pose of the
+head that is all determination and force. She is tall and full-figured,
+her hair is dark, and her eyes are very blue.</p>
+
+<p>She displayed a charming smile as she motioned her visitor to a seat
+near by, and then followed a rapid sequence of questions and answers.
+Madame Eames showed a kindly response to her visitor's spirit of
+earnestness, and tried to tell as much as possible in every reply she
+made.</p>
+
+<p>First in order of interest is the fact that she was born, August 13,
+1867, in Shanghai,<a name="page_049" id="page_049"></a> China. There's a beginning for you!&mdash;enough to crush
+an ordinary mortal. But Emma Eames took it otherwise; and all who know
+of her now must admit that to be born under the star of the East on the
+thirteenth day of the month is after all not bad. As soon as she was old
+enough to walk she left the land of her birth and came with her mother
+and father (who was a lawyer of the international courts) to their
+native home, the city of Bath, in Maine.</p>
+
+<p>Here she studied music with her mother, going later on to Boston and
+finally to Paris, where she worked with indomitable will studying
+operas, dramatic action, voice culture, and especially French. This last
+is very important for those aiming to sing publicly in Paris, for the
+people there will not tolerate any weakness of pronunciation.</p>
+
+<p>When asked if she ever had time for any social pleasures, Madame Eames
+answered very earnestly: "I have never done anything in my life but
+work. I cared for<a name="page_050" id="page_050"></a> other pleasures just as any girl does, but have
+always foregone them."</p>
+
+<p>As a result of this ceaseless work she was fitted for the operatic stage
+in two years' time.</p>
+
+<p>"It was Gounod himself who selected me to sing in his opera 'Romeo and
+Juliet.' He taught me that music, and also 'Faust.' He was a most
+lovable old man, so modest, and above all sincere and truth-loving in
+his music. He often said to me, 'Never degrade music, the one divine
+language on earth, to express a lie.' When teaching a phrase, instead of
+dictating, as you would expect so great a man to do, he always asked,
+'How do you <i>feel</i> when you hear that? Sing it as <i>you feel it</i>, not
+what I feel or tell you.' And he could sing so exquisitely! Yes, old as
+he was, and he had just the smallest possible voice, yet it was
+delightful to hear."</p>
+
+<p>Madame Eames's tones were tender and thoughtful as she recalled these
+reminiscences of her beloved master.<a name="page_051" id="page_051"></a></p>
+
+<p>The number thirteen looms up again in Madame Eames's history as the date
+of her great début. It was the evening of March 13, 1889, in the world's
+most beautiful opera-house, that the swaying pendants of its great
+chandelier vibrated to the sound of a new voice and the marble walls of
+its ornate halls reverberated to the sound of a new name&mdash;"Emma Eames,
+la jeune Américaine."</p>
+
+<p>No wonder she made a sensation; she is the ideal Juliet, youthful,
+beautiful, and with a voice of golden timbre.</p>
+
+<p>A more lovely scene and more tender tragedy has never been depicted in
+music than is the last act of this opera. The beholder sees in the
+somber setting of an iron-barred tomb the white-clad form of Juliet
+lying upon a bier that is raised like an altar above several steps.
+There are loose flowers still unwithered scattered near the silent
+sleeper, and one pale torch burns restlessly in a brazier at her head.
+No other movement; no change on the stage for many minutes.<a name="page_052" id="page_052"></a></p>
+
+<p>But the listeners, in this pause, are brought heart to heart with the
+gentle composer, who sleeps himself now in the Pantheon of Paris. Gounod
+has enwrapped this scene in ethereal harmonies that make one think of
+Death not as the King of Terrors, but as the Queen of Repose. The
+principal melody is a lulling, loving strain that floats and fades away
+like a final "hush" to rest.</p>
+
+<p>The classic purity of Madame Eames's beauty impresses itself in these
+moments perhaps more than any other, and the nobility of her voice
+reveals itself, in the succeeding dramatic climax of the opera, to the
+fullest.</p>
+
+<p>In speaking now of her début, the singer says that she was very nervous,
+"for, before the public has approved, you don't feel sure that you know
+anything. After this, there is some foundation for your nerves to rest
+on, altho you realize how much there is still to learn. But I am always
+nervous even yet, never knowing what trick my nerves may play on me. No,
+my memory gives me<a name="page_053" id="page_053"></a> no anxiety, for I fortunately have a very reliable
+one. If by any chance I forget a word on the stage, I know my health is
+run down, and I then at once take a rest for several days."</p>
+
+<p>But Emma Eames does not take many such rests. Young as she is, she has
+already sung in twenty-one different operas with unvarying success, in
+England, France, and Italy as well as her own country. When studying a
+new rôle she makes every effort to be accurate in all details.</p>
+
+<p>"I always give great thought to my costumes, but when once I have
+studied thoroughly into the period represented and feel convinced that
+my designs are correct, I never change them. When one set is shabby I
+merely have it duplicated."</p>
+
+<p>Little wonder a prima donna has no time for social gayety when you
+consider all the accessories to her art. Aside from the study and actual
+performing, she must take proper exercise for her health, must attend
+rehearsals, give time to the costumer&mdash;and,<a name="page_054" id="page_054"></a> also, to the many
+interviewers. Madame Eames smiled at this suggestion, and said:</p>
+
+<p>"I don't mind any of these, but I do dread having my photograph taken.
+We have to put on the entire costumes of different operas: wigs,
+stockings, gloves, slippers&mdash;everything as tho ready to go on with our
+lines, and all just to stand around in a studio and pose. It is
+terrible; it takes a whole day sometimes."</p>
+
+<p>A question about her method of study brought forth the fact that at one
+time she was quite misdirected in the use of her voice.</p>
+
+<p>"I was turned entirely in the wrong direction, and it is no exaggeration
+to say that I have fought the battle out step by step and note by note
+all alone&mdash;or, rather, in the very presence of the public. When I first
+appeared my voice-control was uncertain; I did not dare take any
+liberties with my tones. I was in constant anxiety, and miserable
+because I had not the power of voice-emission that I wanted. I assure
+you in those days I was sometimes so discouraged that I thought
+seriously of giving up my profession."</p>
+
+<p>An astounding assertion this will seem to the thousands of listeners
+enthralled by her voice<a name="page_055" id="page_055"></a> to-day. But Madame Eames was very serious, and
+she added philosophically: "After all, I don't think one can attain
+anything worth having unless one has suffered deeply."</p>
+
+<p>Every summer Madame Eames takes a six-weeks' vacation in her Italian
+castle near Florence. I was shown a description of this edifice, which
+reads like a page of old history. The sullen gray stone walls are six
+feet thick, and the heavy doors with their great iron hinges are all
+carved by hand, as indeed is all the workmanship on the place. The main
+hall of the castle is sixty feet long and twenty-five feet wide. There
+are four massive fireplaces in this one apartment, and a wooden balcony
+reached by a broad stairway runs all around the second story of the
+hall. The ceiling is of carved oak, and a reproduction of a famous one
+in Florence. Everything is in accord with the traditions of the Middle
+Ages. Madame Eames takes great delight in this castle, and she has with
+her numerous photographs of it.</p>
+
+<p>There will probably be many guests in<a name="page_056" id="page_056"></a> those halls; but even if the
+gifted owner lived there alone it would always seem peopled by a large
+assemblage, for Madame Eames studies much during these vacations, and
+the mystic characters of her repertoire may be said to hover ever near.
+The castle is to be furnished with rich hangings and historic trophies;
+but most priceless of all should be counted the music furnished by her
+own rare voice. This will soar out and reecho at all hours; sometimes a
+memory of Elsa, and again a thought of Sieglinde.</p>
+
+<p>It were indeed a pity to fling the stray tones of a great voice upon
+crude walls and cramped quarters; let them rather resound and
+reverberate, and perchance be preserved, by the listening atoms of
+carved wood and chiseled stone.</p>
+
+<p>If the earth is God's garden and we are the plants that grow, then
+Madame Eames must be likened to a rare orchid, radiant in the sunshine
+of great success, and showered with all possible blessings.<a name="page_057" id="page_057"></a></p>
+
+<div class="rt">
+<p class="nind">
+"Faust"
+</p>
+</div>
+
+<p><a name="page_058" id="page_058"></a></p>
+
+<p><a name="page_059" id="page_059"></a></p>
+
+<h2><a name="FAUST" id="FAUST"></a>"FAUST"</h2>
+
+<p>Faust is the opera in which Madame Eames has appeared most often in this
+country. No less than sixteen composers have used Goethe's poem as a
+libretto. Many of these works are excellent, and frequently we hear
+excerpts from them in our concerts. But Gounod has clad the words in
+musical raiment of such surpassing loveliness that he has almost robbed
+Goethe of his masterpiece. At this day, on hearing the name Faust we
+think of the opera simultaneously with, if not before, the poem. He has
+made of it a "grand opera" in every sense; and yet so abounding in
+melody that even an untrained ear is captured.</p>
+
+<p>There is no overture. It is a fact without a cause that some operas have
+overtures and some have not. "Faust" opens with a<a name="page_060" id="page_060"></a> short orchestral
+prelude that is somber and subdued&mdash;quite suggestive of the doubt and
+darkness that characterize the scene upon which the curtain rises.</p>
+
+<p>Faust, the philosopher, the student, is seated in his cell, surrounded
+by books, parchments, chemicals, skulls, and hour-glasses. He has grown
+old in his delving after the mysteries, and even now he has devoted the
+whole night to study. The lamp burns low, and all about him is dark and
+gloomy. He closes his book sadly, and exclaims in tones that seem
+spontaneous, but are, nevertheless, in accurate rhythm with the
+orchestra, "In vain!" He does not find the knowledge he seeks; his
+investigations are without avail. It seems strange to hear these laments
+sounded by a tenor voice; but this trifling incongruity of high tones
+and old age does not last long. The character Faust is one of the
+greatest tenor rôles.</p>
+
+<p>His soliloquy is presently broken in upon by a chorus behind the scenes.
+It is the<a name="page_061" id="page_061"></a> song of reapers going to their daily work. The morning light
+streams in at the window which Faust throws open as he listens. But
+sunshine itself is not brighter than that song. It is so joyous and
+light-hearted that the listener fairly inhales the dew-laden air of the
+fields. This first melody in the opera is as perfect a morceau for its
+size as was ever written. The solitaire in his cell is also affected by
+the radiant song, and he envies the reapers for their contentment and
+for their youth. Yes, <i>youth</i> is what he longs for.</p>
+
+<p>Altho Faust has declared his study to be "in vain," he has,
+nevertheless, acquired the accomplishment of being able to call up
+Mephistopheles (this is the operatic name for the great demon), and in
+his present despair he resorts to this power. Mephisto appears without
+delay. Flaming colors and a bass voice are the essential attributes of
+this great character. It seems rather hard on our artists who sing to
+low G that a bass voice is so often chosen to represent iniquity; but
+such happens to be the case. Mephisto<a name="page_062" id="page_062"></a> is invariably clad in red from
+head to toe; exaggerated eyebrows and a fantastic cap with unobtrusive
+horns complete his diabolical appearance.</p>
+
+<p>In a continuous flow of harmony, Faust informs his visitor of his wants,
+and Mephisto promptly states his conditions: for the price of his soul
+after death the philosopher shall now be granted his youth. Faust
+hesitates at this, whereupon the wily demon causes him to behold a
+vision. A bright light at the back of the stage suddenly reveals the
+lovely Marguerite at her spinning-wheel. While the picture lasts there
+is heard in the orchestra a suggestion of one of the themes that come
+afterward in the love-scene of the opera; this is accompanied by a soft
+tremolo on the violins. Forest scenes, moonlight, and dreams are very
+often represented in music by a violin tremolo. When the vision passes
+away, Faust is decided, and he drinks the potion Mephistopheles
+prescribes. Presto! The gray hair and beard disappear; the long robe
+falls off,<a name="page_063" id="page_063"></a> and Faust is a young man&mdash;tall and handsome, as a tenor
+should be. He comes forward with an elastic step and sings of youth and
+its joys, which now are his. The music has undergone a metamorphosis
+like the singer. It throbs with a life and vigor which were lacking
+before; and this final song of the first act is one of the best tenor
+solos in the opera.</p>
+
+<p>The second act is chiefly remarkable for its choruses. It is called the
+Kyrmess, and represents a street thronged with villagers in festive
+array and mood. They dance and sing in honor of their soldiers, who
+start this day to war. The opening chorus is divided among the students,
+girls, soldiers, and citizens, the latter being represented by old men,
+who come forward and sing their delightful refrain in thin, piping
+voices. Every phrase of this first chorus is a surprise, and each one
+seems more fascinating than the preceding. It is all in a rapid,
+tripping tempo, and fairly bubbles over with good humor.<a name="page_064" id="page_064"></a></p>
+
+<p>In this act we are introduced to all the principal characters. Siebel,
+the village youth who loves Marguerite, is already on the scene, and
+very soon her soldier-brother, Valentine, appears. This is the baritone
+rôle, and, while not a long one, is still important, and requires a
+great artist, for he has a splendid death-scene in the fourth act. His
+first solo begins with the words "O santa medaglia!" ("O blessed
+medallion!"). He sings to the token which his sister has just given him
+at parting. He is depressed at the thought of leaving Marguerite alone,
+for she is an orphan; but Siebel consoles him with promises to protect
+and watch over her.</p>
+
+<p>Mephisto is the next one to come upon the scene, and, in spite of his
+satanic make-up, the villagers do not recognize his "name and station."
+He joins in their merry-making, and soon astounds them with his wizard
+tricks and actions. He sings a song about "Gold&mdash;the lord of the earth."
+It is one of the three important solos of this rôle, and is a<a name="page_065" id="page_065"></a> most
+characteristic piece. One has not the least doubt that he learned it at
+home! Such eccentric, sardonic intervals and rhythm at once suggest an
+unholy origin.</p>
+
+<p class="figcenter">
+<a href="images/ill_064_lg.jpg">
+<img src="images/ill_064_sml.jpg" width="421" height="550" alt="Copyright by Aimé Dupont, N. Y.
+
+Melba as Marguerite in &quot;Faust.&quot;" title="" /></a>
+<br />
+<span class="caption">Copyright by Aimé Dupont, N. Y.<br />
+
+Melba as Marguerite in &quot;Faust.&quot;</span>
+</p>
+
+<p>The peasants soon become so convinced of this stranger's evil power that
+they unanimously hold up the hilts of their swords, which are formed
+like a cross, and before this emblem Mephisto trembles. A very strong
+and inspiring chorus accompanies this move on the part of the peasants.</p>
+
+<p>Faust, the handsome cavalier, now comes forward. After a short dialog
+between this master and servant&mdash;who we know are under compact to change
+places in the hereafter&mdash;the chorus again take possession of the stage.
+They sing first a charming waltz song, which of itself seems to start
+them all to dancing. And then comes the celebrated "Faust Waltz," during
+which the listener should pay most attention to the orchestra. There is
+some singing and much dancing on the stage, but the instruments have the
+most important part. Of this<a name="page_066" id="page_066"></a> well-known composition it is unnecessary
+to say more than that it is a splendid waltz.</p>
+
+<p>Its brilliant rhythm is temporarily diverted by the entrance of
+Marguerite, who is on her way home from church. She carries a
+prayer-book in her hand, and is dressed in white, which betokens
+innocence. This costume of the heroine has been considered as imperative
+as the make-up of Mephisto; but Madame Eames carefully studied old
+Nuremburg pictures and resurrected the correct style of that period,
+which somewhat departs from operatic tradition.</p>
+
+<p>On seeing Marguerite, Faust addresses her as "My charming lady," and
+begs permission to walk home with her. To which Marguerite very properly
+replies that she is neither "charming" nor a "lady," and can go home
+"alone." The question and response last only a moment, but the two
+themes are most exquisitely adapted to the words, and should be noted,
+as they recur later on in the opera. Especially lovely are these first
+notes of the soprano; and after<a name="page_067" id="page_067"></a> so much chorus and bass and orchestra,
+they soar out like strokes from a silver bell.</p>
+
+<p>Marguerite goes on her homeward way, and leaves Faust more in love than
+before. Mephisto rejoices, and the waltz is resumed. Thus ends Act II.</p>
+
+<p>And now for the Garden Scene&mdash;a veritable bouquet of melodies, flowers
+that never fade! The first aria is, indeed, called the "Flower Song,"
+but only because Siebel sings to the flowers he has brought for
+Marguerite. Siebel is the contralto rôle, and therefore always taken by
+a woman. It is a very short part, but as two of the sweetest songs in
+the opera belong to Siebel, great artists are glad to take the
+character. The short prelude by the orchestra before the "Flower Song"
+is as artistic as any other part. It seems to smooth the brow and quiet
+the mind, and coax the hearer into just the right mood "to be lulled by
+sounds of sweetest melody." Siebel's song is indeed "sweetest
+melody"&mdash;so much so that a poor singer can hardly spoil it. That<a name="page_068" id="page_068"></a> gentle
+and caressing theme captures the heart every time.</p>
+
+<p>After Siebel has gone, there enter Faust and Mephistopheles (who gains
+admission everywhere). The latter is in high spirits, and Faust is in
+love. They look upon the garden with different emotions. Faust
+rhapsodizes and is lost in romance; but Mephisto's more practical vision
+perceives the flowers which Siebel has left at Marguerite's door. He
+goes off at once to procure a present that shall outshine these. During
+his absence Faust sings the "Salve Dimore." These are the first words of
+the song, which mean "Hail! dwelling pure and simple;" but this
+composition is always given its Italian name. It is interesting to note
+the names by which celebrated arias are known. Some are designated by
+the subject, as the "Jewel Song," "Flower Song." Then, again, some are
+known by the rhythm, as the "Waltz Song" from "Romeo and Juliet," or the
+"Polacca from 'Mignon.'" Then, there are others whose<a name="page_069" id="page_069"></a> names only
+indicate the number of voices, as the "Sextet from 'Lucia,'" the
+"Quartet from 'Rigoletto';" while many are spoken of by their Italian
+names. The "Salve Dimore" belongs to this class, and, like the "Jewel
+Song," is so celebrated that many people who have not heard the music
+are still familiar with the name. The tenor who does not receive
+abundant applause after this aria may feel that he has lost his best
+chance in the opera.</p>
+
+<p>After the solo Mephisto reenters with a jewel-casket under his arm. He
+places this where Marguerite will surely find it, and then the two
+retire. Now is an expectant moment, for the soprano holds the stage
+alone for some time, and has in this scene her finest solos. She comes
+in through the garden gate and walks very slowly, for she is thinking
+about the handsome stranger who spoke to her in the street. She tries,
+however, to forget the occurrence, and resolutely sits down to her
+spinning. As she spins she sings a ballad called "The King<a name="page_070" id="page_070"></a> of Thule."
+It is a sad little song, with strange minor intervals that make one feel
+"teary 'round the heart." Marguerite interrupts her ballad to
+soliloquize again, in pretty recitative tones, about that "fine
+stranger," but she soon recalls herself and resumes the song. At last
+she gives up trying to spin, and starts for the house; whereupon she
+sees Siebel's flowers, which are admired, but dropped in amazement when
+her eyes rest upon the jewel-box. After some misgivings she opens it and
+discovers jewels so beautiful that from sheer joy and delight she starts
+to trilling like a bird. This trill is the opening of the great aria,
+which seems to thus poise for a moment and then fly away in the
+ascending scale which commences the brilliant theme. The "Jewel Song" is
+as difficult as it is beautiful, and the artist who renders it well
+deserves unstinted praise.</p>
+
+<p>Before the song is ended, Martha, the matron in whose care Marguerite
+has been entrusted, comes into the garden, and soon<a name="page_071" id="page_071"></a> is followed by
+Faust and Mephistopheles. Hers is a necessary but unimportant character,
+as she has no solo and is merely a foil for Mephistopheles. She is
+represented as a very susceptible widow, and he takes upon himself the
+uninviting task of making love to her in order that Faust and Marguerite
+may have a chance. The two couples walk back and forth in the garden,
+which is supposed to extend beyond the limits of the stage. The courting
+as done by Mephistopheles is highly absurd, and is, in fact, the only
+touch of humor in the opera.</p>
+
+<p>But very different are the scenes between Faust and Marguerite. Every
+phrase is full of charming sincerity. But it is after the quartet, after
+the second exit and reappearance, that we hear their great love duet.
+The evening shadows have lengthened, and "Tardi si fa" ("It groweth
+late") are the first words of this superb composition, which is indeed
+like pure gold. It stands alone in musical literature as the ideal love
+music. The only work that is ever compared<a name="page_072" id="page_072"></a> to it is Wagner's duet in
+the "Walküre." Some writer has ventured the statement that in this
+"Faust" duo Gounod has "actually discovered the intervals of the scale
+which express the love passion." The idea is not a wild one nor a new
+one, for it is known that the Greeks held a similar belief, and even
+prohibited certain harmonies and intervals as being too sensuous. Be
+that as it may, there is a subtle charm about Gounod's music that eludes
+description. When we hear that final ecstatic leap from C sharp to high
+A, a mystic hush and spell steals over us.</p>
+
+<p>There is little more after the duo. Marguerite rushes into the house,
+and Faust is aroused by the unwelcome voice of Mephistopheles. The
+latter's jesting tone is most irritating to the lover. But this dialog
+is soon interrupted by one of the loveliest scenes in the opera.
+Marguerite throws open the blinds of her window and looks into the
+garden, which she believes is now vacant. The moonlight falls upon her,
+and<a name="page_073" id="page_073"></a> she suddenly begins singing. It is a burst of melody as spontaneous
+and free as the song of a nightingale. The song is not long, and soon
+the curtain descends; but the picture leaves a lasting impression.</p>
+
+<p>Act IV. comprises three scenes. The first one is short, and depicts
+Marguerite's grief and remorse. Faust has forsaken her, and the faithful
+Siebel tries to comfort and console. This second solo of Siebel's is a
+melody of noble simplicity. The beautiful cadence given to the
+twice-repeated name, "Marguerita," reveals a heart full of unselfish
+love.</p>
+
+<p>The next scene represents a street in front of Marguerite's house. There
+is general excitement and anticipation among the villagers, for to-day
+the soldiers return from war. They presently enter, amid much rejoicing,
+and sing their great chorus, called the "Faust March." This march is so
+popular and well known that people who believe they have never heard a
+note of the opera will be surprised to find that they<a name="page_074" id="page_074"></a> recognize this
+march. It is played by every military band in the country. After the
+chorus the soldiers disperse to their homes and friends. Valentine is
+greeted by Siebel, but the brother inquires about his sister, and
+hastens into the house.</p>
+
+<p>The stage now is darkened, for the hour is late. Presently Faust and
+Mephisto appear. The latter has brought his guitar, and he assumes the
+privilege of singing a serenade to Marguerite, while Faust stands to one
+side in melancholy meditation. Mephisto's song is more insulting than
+complimentary. As a musical expression of irony, sarcasm, and insolence,
+this composition is certainly a success. The last three notes of the
+first phrase are a veritable leer. This is the second important bass
+solo, and, when well given, is highly effective, as it admits of great
+variety of expression. But instead of bringing forth the object of the
+serenade, Marguerite's brother appears at the door, and with drawn
+sword. He seeks out Faust and challenges<a name="page_075" id="page_075"></a> him to a duel. The challenge
+is accepted, and they are soon fighting; but the result is inevitable,
+for Mephisto uses his demoniac power to protect Faust, and so Valentine
+is wounded. The noise of the scuffle has aroused the villagers, who
+hurry in with lanterns and find Valentine dying. Marguerite rushes
+forward and falls on her knees beside him, but Valentine motions her
+away. He rises up in his death agony and curses her in tones that are
+like balls of fire. The villagers look on with awe, while poor
+Marguerite is stunned by these terrible words from her dying brother. It
+is the most tragic moment of the opera. When Valentine expires, every
+one kneels as they sing a solemn prayer, and the curtain falls.</p>
+
+<p>We have next the Church Scene, whose sublime music displays Gounod's
+special forte. He is perhaps greater as a composer of ecclesiastical
+music than anything else. His genius finds most congenial soil in
+religious themes, and therefore is this church scene with its mighty
+choruses and<a name="page_076" id="page_076"></a> organ interludes truly grand. We hear the organ tones even
+before the curtain rises, and when it does Marguerite is discovered
+kneeling on a prayer-chair, apart from the other worshipers. She tries
+to pray and find comfort in her despair, but an awful voice mocks her
+endeavors, and that voice is Mephistopheles, who comes to her now in his
+true character. He is near her, but she can not see him, while he
+terrifies and tortures her with fearful prophecies. Vainly and
+desperately she strives to follow the familiar service, but she can hear
+only the demon's voice. It draws ever nearer, and its words increase her
+terror. At last with a cry of anguish Marguerite falls down unconscious.
+Mephistopheles stands over her, and his face beams with satanic glee.</p>
+
+<p>True to Goethe's story, Marguerite becomes insane from grief and kills
+her child. The last act finds her in prison. Once again she is clad in
+white. Her hair hangs loose upon her shoulders, and chains bind her
+wrists. She is sleeping on a straw pallet<a name="page_077" id="page_077"></a> as the curtain rises, and
+Faust enters with his companion. They have come to release the prisoner.
+But when she is aroused and urged to flee she pays little heed to their
+request, for she does not recognize them. But the sound of Faust's voice
+recalls to her that first meeting so long ago, when he said, "My fair
+lady, may I walk with you?" She sings again the charming phrase as we
+heard it in the second act; but it is now rendered with a certain pathos
+and simplicity that bring tears to our eyes.</p>
+
+<p>She presently perceives Mephistopheles, and the sight fills her with
+terror. She falls on her knees and invokes the angels of heaven to
+pardon and receive her soul. The fervor of this prayer knows no bounds.
+A veritable religious ecstasy throbs through the music. The theme is
+broad and free, and seems to burst asunder every bond. It suggests a
+glory and splendor that are celestial. Ever higher and grander it grows.
+Marguerite is now standing with upraised arms; and altho Faust and
+Mephisto join<a name="page_078" id="page_078"></a> in the singing, our attention is entirely riveted by that
+white-robed supplicant. The peerless theme is repeated three times, and
+always higher than before. Those soprano tones finally reach an
+atmosphere so clear and rare that they seem to carry the soul of
+Marguerite with them. The last high B soars up to heaven like a
+disembodied spirit.</p>
+
+<p>It matters not what occurs after this. We have a dim consciousness of
+Marguerite falling down, of some words of lament from Faust; but for us
+the opera was ended with that last supernal note.<a name="page_079" id="page_079"></a></p>
+
+<div class="rt">
+<p class="nind">
+"Werther"
+</p>
+</div>
+
+<p><a name="page_080" id="page_080"></a></p>
+
+<p><a name="page_081" id="page_081"></a></p>
+
+<h2><a name="WERTHER" id="WERTHER"></a>"WERTHER"</h2>
+
+<p>Madame Eames is the only prima donna whom America has heard in
+"Werther"&mdash;a work which in Paris ranks as Massenet's best. But she does
+not sing it often, because, as she says, "It all lies in such a low key;
+and to sing always in one place is hard on the voice." Then she adds,
+"But the love-music of Werther is beautiful."</p>
+
+<p>Goethe's love-stories find favor with French composers. Massenet has
+accomplished with "Werther" what his predecessors have done with
+"Mignon" and "Faust." His work is very recent and altogether unique. The
+story is not dramatic, and there are no regulation operatic
+characters,&mdash;no gods, no kings, no peasants, gypsies, fairies, demons,
+villains, slaves, soldiers, and not even a chorus. The scenery is also
+unconventional; not a palace, nor a mountain, nor a dungeon in the whole
+play.<a name="page_082" id="page_082"></a></p>
+
+<p>The <i>dramatis personæ</i> of "Werther" are taken from "ye lower middle
+classes," and they are graced with such names as Schmidt, Johann,
+Sophia, and Katie. We find it agreeable and gratifying to see our own
+common selves and everyday emotions elevated to the regions of classic
+music.</p>
+
+<p>It is easy to understand why Massenet was attracted by the story, in
+spite of its dramatic weakness and lack of stage effects. It offers
+unbounded opportunities for love-music. Most opera composers must
+content themselves with one rousing duet and perhaps a solo or two; but
+in this story the hero sings of love from first to last.</p>
+
+<p>The prelude to this homely opera is like the blessing before a meal. It
+is peaceful and soothing, and might be called a pastorale.</p>
+
+<p>As the curtain rises we are greeted with the chatter and laughter of
+childish voices: two innovations at one stroke, for real children and
+real laughter have never before held a place in grand opera. This first
+scene of "Werther" forms a pleasing summer<a name="page_083" id="page_083"></a> picture. We see the garden
+and terrace of a simple country house, whose owner, the town bailiff, is
+seated upon the veranda surrounded by his six children, to whom he is
+teaching a Christmas carol. He seems to be teaching them, but in point
+of fact he is teaching the audience this charming melody, which must be
+kept in mind, for it recurs at various intervals during the opera. So
+the children sing at first very loud and badly. The good-natured bailiff
+shakes his head and stops his ears. After a second attempt the song goes
+smoothly, and during this performance Schmidt and Johann enter the
+garden. These are some tavern friends of the bailiff, who lend variety
+to the music by giving occasion for the inevitable drinking-song. They
+compliment the children and inquire after Charlotte. "She is dressing
+for a ball," answers Sophia, the bailiff's second daughter.</p>
+
+<p>We might tire of this plain conversation and the buffoon manners of
+Schmidt and Johann, but the accompanying music is of<a name="page_084" id="page_084"></a> absorbing
+interest. Massenet makes much use of counterpoint, which has been
+broadly defined as the art of combining melodies. A crude but familiar
+example is that wonder-inspiring piano performance of "Yankee Doodle" in
+one hand with "Fisher's Hornpipe" in the other. It is interesting to
+follow the various themes in Massenet's orchestra. Sometimes a bit of
+the Christmas carol combines with the gruff, reeling song of Bacchus,
+which, in turn, is blended with a broad and noble theme that always
+appears in connection with the name of Charlotte. Another theme, that
+might be characterized as severely intellectual, asserts itself whenever
+the conversation turns upon Albert, her absent fiancé.</p>
+
+<p>Schmidt and Johann go off arm in arm, lustily singing, "Vivat Bacchus."</p>
+
+<p>Sophia enters the house, while the bailiff retires with the children to
+an alcove on the veranda, where we see him patiently rehearsing that
+Christmas carol, word for word.<a name="page_085" id="page_085"></a></p>
+
+<p>The music now undergoes a transition, like a dreamer turning in his
+sleep. There are harp-chords, arpeggios, and trills written soft and
+"dim."</p>
+
+<p>A richly clad traveler enters the garden, looking about him with evident
+emotion. It is Werther, returned after years of absence to his native
+village.</p>
+
+<p>"I know not if I dream or wake," are his first words, while the
+instruments recall that pastoral motif of the prelude. Birds and trees
+and the limpid brook are all apostrophized in word and tone, until, with
+a sunburst of rising chords, there is introduced a new and radiant
+theme, eulogizing&mdash;</p>
+
+<p>
+"All nature, full of grace,<br />
+<span style="margin-left: 0.5em;">Queen over time and space;"</span><br />
+</p>
+
+<p class="nind">while under the spell of his emotions&mdash;for Werther is a poet and a
+dreamer&mdash;there comes to him, like the song of angels, that blessed
+Christmas carol which the children are singing softly and with perfect
+rhythm.</p>
+
+<p>The already familiar Charlotte-theme announces the heroine's entrance.
+The girlish<a name="page_086" id="page_086"></a> costumes of this bourgeoise character are unusually
+becoming to Madame Eames; they present her in quite a new light, and her
+first entrance gives a pleasing surprise to the audience.</p>
+
+<p>She is embraced by the children, who love Charlotte dearly, for she is
+to them both a sister and a mother. Regardless of her best gown, she now
+goes to a buffet on the veranda and distributes slices of bread and
+butter. This scene has prompted the epithet, "bread-and-butter opera."</p>
+
+<p>In the mean time Werther is welcomed by the bailiff and introduced to
+Charlotte. Sounds of gay music accompany the arrival of guests who will
+take Charlotte to the ball. This festive music is unique. The bass
+presents a defiant repetition of one chord that is stubbornly out of
+harmony with the bright melody above, like old age shaking his head at
+youthful gaiety.</p>
+
+<p>It is decided that Werther shall go along to the ball. The dance-theme
+is resumed, and the merry party go out. Sophia takes<a name="page_087" id="page_087"></a> the children into
+the house, and the bailiff goes off to the tavern, humming on the way
+that comical drinking-song.</p>
+
+<p>The stage grows darker, the music softer, and we hear a fragment of the
+Albert-theme. It is like seeing the shadow before the person, for Albert
+soon enters. He has returned unexpectedly. Sophia rushes out to greet
+him, and she regrets that Charlotte is absent.</p>
+
+<p>Before going into the house Albert sings to the night winds of his love,
+and hopes that Charlotte on entering the garden will discover the
+thoughts that he leaves.</p>
+
+<p>The orchestra toys with this melody for a time, but then is diverted by
+memories of the ball music. Snatches of the bewitching strain flit by in
+different keys, like belated guests in vari-colored dominoes. They are
+faint as phantoms&mdash;a gentle swaying of the violins, a touch of the harp,
+and then they vanish. There is a pause. The moon has appeared, and the
+humble garden seems transformed into a fairy bower.<a name="page_088" id="page_088"></a></p>
+
+<p>Like the spirit of a dream is the melody now arising. Ethereal in its
+beauty but supreme in power, it rules over the entire opera. This is the
+love-theme. We are not surprised to see Werther and Charlotte enter arm
+in arm. It is a familiar situation: he is "seeing her home" from the
+ball. And arrived at their destination, they linger at the gate as
+couples have done before and since.</p>
+
+<p>Charlotte is of a serious nature, and their talk is never light. She
+tells of her mother and the terrible experience of losing one so dear.
+"I believe that she watches over me and knows when I do her bidding."
+Charlotte's tones are full of pathos, and she becomes abstracted in her
+memories, while Werther, enraptured by her goodness and beauty, gives
+utterance to the feelings that enthrall him. The music grows stronger
+and higher, until it breaks forth in a resounding reality of the
+love-theme. Over an accompaniment of throbbing chords this superb melody
+sweeps by like a meteor<a name="page_089" id="page_089"></a> passing the earth; and during this luminous
+transition we hear the voice of Werther, "Charlotte, I love thee!" There
+follows a hush, and then a chilling, awful discord. Some one is calling
+from the house, "Albert has come home!" Charlotte staggers at this news.
+She explains that Albert is her betrothed&mdash;it was her mother's wish.
+"May she forgive me, that for one moment at your side I forgot my vow."
+Charlotte goes up the steps; she turns once, but then hastens inside.
+Werther buries his face in anguish at the thought of her wedding
+another.</p>
+
+<p>Several months have elapsed since the events of the first act. The
+elm-tree foliage is denser and the situations of the drama have changed,
+but love and music remain the same.</p>
+
+<p>Schmidt and Johann are discovered sitting before the tavern "of a Sunday
+afternoon." Their good-natured song of Bacchus greets us like an old
+friend. The church and parsonage are in plain view, and a solemn choral
+from within alternates with the drinking<a name="page_090" id="page_090"></a>-song without. The village is
+to-day <i>en fête</i> in honor of the pastor's golden wedding.</p>
+
+<p>The serious and thoughtful Albert-theme marks the entrance of Charlotte
+and Albert, who are married. They loiter on their way to church and sit
+down on a bench under the trees. Very calm and tender is the music of
+this little scene between husband and wife. The organ resounds the
+chords of a beautiful hymn, at which summons Charlotte and Albert join
+the other worshipers.</p>
+
+<p>Werther has been observing the pair from a distance. When they are gone
+he comes forward, exclaiming with grief and bitterness, "Wedded to
+another!" The tempestuous chords of the orchestra clash into the holy
+harmonies of the organ. Jagged fragments of Werther's first song of
+admiration depict his shattered joy. As one holds together the pieces of
+a broken vase, sadly recalling its lost loveliness, so does the
+orchestra again build up that old theme in all its beauty while Werther
+sings of<a name="page_091" id="page_091"></a> what might have been. Rebellious at fate, he cries out: "It is
+I&mdash;I alone whom she could have loved!" The succeeding aria is reckless
+as a steed galloping to his death. It plunges from high tones to a sob,
+and the singer, flinging himself upon a bench, buries his face in his
+arms.</p>
+
+<p>Albert discovers Werther thus despondent, and, suspecting the cause, he
+questions him; but Werther desperately disclaims his love for Charlotte.
+This interview is musically serious and sad. But suddenly the orchestra
+gives us a new key, a new melody, a sprinkling of lithesome staccatos
+falling like a shower of apple-blossoms. With a smile on her lips and
+flowers in her hands, Sophia enters, unconscious of the surrounding
+turbulent emotions. She gaily announces that they intend to dance, and
+that Werther must join her in the minuet. Observing his somber
+expression, she bids him cheer up, for to-day&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="poetry">
+<tr><td align="left"><span style="margin-left: 0em;">"All the world is gay!</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0.25em;">Joy is in the air!"</span></td></tr>
+</table>
+
+<p><a name="page_092" id="page_092"></a></p>
+
+<p>This song is the most popular one of the opera. It is bright and light,
+and full of fluttering phrases&mdash;a veritable song of spring.</p>
+
+<p>When Albert and Sophia are gone, Werther cries out with explosive
+candor, "I told a falsehood!" He is wretched beyond compare. He can not
+cease loving, and he dare not cease lying.</p>
+
+<p>Charlotte comes from the church, and, greeting him kindly, asks if he,
+too, is going to the parsonage. They speak lightly but feel deeply, as
+is evidenced by the music. That wondrous love-theme softly surrounds
+them like the magic fire of the Walküre. The harmonies mount up from the
+instruments like flames from living embers. A spell is upon them.
+Charlotte stands mute, while Werther sings of that evening when he
+touched her hand and looked into her eyes for the first time. Softly and
+slowly the beautiful melody disappears, giving place to a different
+chord and motif: "Albert loves me&mdash;and I am<a name="page_093" id="page_093"></a> his wife!" Charlotte has
+recovered herself. She entreats Werther to turn his heart elsewhere:
+"Why do you love me?" This hero seems to understand himself, for he
+answers: "Ask a madman why he has lost his reason!" Then Charlotte urges
+him to go away for a time, say until Christmas. "Yes, until
+Christmas&mdash;good-by, my friend!" She leaves before he has time to refuse.</p>
+
+<p>Now follows a musical adaptation of Goethe's very poetical and ingenious
+plea for suicide.</p>
+
+<div class="blockquot"><p>"Do we offend Heaven in ceasing to suffer? When a son returns from
+his journey before the expected time, far from feeling resentment,
+the father hastens to greet him; and can it be that our heavenly
+Father is less clement?"</p></div>
+
+<p>During this soliloquy we encounter strange chords in the orchestra.
+Strains of a gay minuet play upon these tragic tones like rainbow colors
+on the angles of a glacier.</p>
+
+<p>The dance has begun, and Sophia, appearing at the parsonage door, tells
+Werther that she is waiting. He walks away.<a name="page_094" id="page_094"></a></p>
+
+<p>"You are leaving! But you will come back?" cries the disappointed
+Sophia.</p>
+
+<p>"No&mdash;never! Good-by!" and Werther turns down the road out of sight.
+Either for the lost dance or the lost partner, Sophia bursts into tears.
+Albert and Charlotte find her thus, and between sobs she tells them how
+Monsieur Werther has gone away forever. Charlotte stands rigid, while
+Albert exclaims to himself: "He loves my wife!" The gay assemblage
+within the parsonage has no knowledge of this brewing tragedy, so the
+minuet continues till the curtain descends.</p>
+
+<p>The prelude to Act III. is somber and depressing. It clings to the
+harmonies of that last scene between Charlotte and Werther&mdash;the exile
+motif.</p>
+
+<p>The curtain's rising reveals Charlotte sitting at her work-table, lost
+in thought while her needle plies.</p>
+
+<p>The soft light of the lamp illumines a <i>petit salon</i>; the hour hand of
+the clock points to the figure five, and the libretto tells us it<a name="page_095" id="page_095"></a> is
+the 24th of December. The subject of her thoughts is Werther&mdash;always
+Werther! Why can she not banish him from her mind as she did from her
+presence? The question is not hard to answer, for we learn that he has
+been writing to her. As tho drawn by a magnet, Charlotte goes to the
+desk and reads again the letters she fain would forget. Moaning minors
+like a winter wind accompany the perusal of these sad and poetic
+epistles. Werther writes: "If I never return, blame me not, but weep
+instead, for I shall be dead."</p>
+
+<p>Terrifying tremolos accompany the tragic theme that is now let loose in
+the orchestra like a strange, wild animal in the arena. It preys upon
+the emotions, gnawing at the heart of every listener. Massenet delights
+in startling contrasts.</p>
+
+<p>While Charlotte is grieving over these missives, a happy voice greets
+her, "Good day, sweet sister!" It is Sophia, come with an armful of toys
+and a heart full of melody. She is accompanied by the gay staccatos of<a name="page_096" id="page_096"></a>
+her "Spring Song." Charlotte hastily conceals the letters; but tears are
+not so easily disposed of. Perceiving the reddened eyes, Sophia tries to
+cheer her sister by singing of "Laughter, the light of the heart." The
+gaiety of this music, with its sparkling scales and tripping tempo, is
+infectious. But tears again gather in Charlotte's eyes when Sophia
+mentions the name of Werther. The little sister is very sorry; but
+Charlotte says never mind, weeping does one good. "The tears we do <i>not</i>
+shed fall back upon the heart, which, altho it is big, is very frail and
+can break with the weight of a tear."</p>
+
+<p>The music to this sentiment is a tone-poem well worthy of the text. It
+is written in a low key. Joy mounts upward on the scale, but grief
+weighs down.</p>
+
+<p>Sophia goes out, and all the bright music with her. Falling upon her
+knees, Charlotte prays for strength. This supplication is truly grand,
+with superb crescendos and plaintive diminuendos.</p>
+
+<p>The music now swells out with sudden<a name="page_097" id="page_097"></a> impetus and the parlor door is
+brusquely opened. Charlotte turns around and exclaims&mdash;with startled
+tones, "Werther!"</p>
+
+<p>He is leaning against the door as tho wearied in mind and body. "I tried
+not to come&mdash;<i>mais me voici</i>!"</p>
+
+<p>With forced calm Charlotte bids him welcome. He looks with fond memory
+upon the old piano and familiar books. They talk of casual things, and
+incidentally Charlotte calls his attention to the poems he was
+translating when he left.</p>
+
+<p>The music of this scene has been unnaturally tranquil; the gentle
+Charlotte-theme and another phrase, graceful and simple as a nursery
+rhyme, are used with touching effect. But with the mention of these
+poems sudden emotion breaks through the constraint. Werther turns to the
+unfinished verse and reads aloud.</p>
+
+<p>The ensuing scene is dramatically not a new one. In "Francesca da
+Rimini" the heroine is wooed and won by the reading of a poem; but added
+to the charm of verse we<a name="page_098" id="page_098"></a> here have the enthralling power of music. In
+both instances the reading ends with&mdash;a kiss.</p>
+
+<p>The succeeding aria is a song of soaring ecstasy about "<i>ce premier
+baiser</i>." Werther proclaims that "only love is real!" But Charlotte
+suddenly recoils at her weakness, and rushing to a side door, exclaims:
+"We must never meet again! Good-by&mdash;for the last time!" and disappears.</p>
+
+<p>The music has assumed a dolorous strain that vividly portrays the pathos
+of her last words. Werther calls for her to come back. He knocks at the
+door, but is only answered by the tragic chords of the orchestra. They
+are furious and fearful, but, strange to say, they adequately express an
+awful silence. "So be it!" at last exclaims the sorrowful Werther.
+Crashing chords whirl riot in the orchestra as the hero hastens away.</p>
+
+<p>The stage is vacated, but the music tells us whom next to expect. The
+Albert-theme, easily recognizable tho a trifle harsher than before,
+comes forward to preside over the finale of this act.<a name="page_099" id="page_099"></a></p>
+
+<p>Albert steps into the room, surprised and preoccupied. He has met the
+distracted Werther at the front door, and here finds Charlotte locked in
+her room. In answer to his authoritative call she comes forward looking
+pale and frightened. He questions her, but she answers evasively. At
+this moment a message is handed to Albert by a servant. It is from
+Werther: "I go on a long journey. Kindly lend me your pistols.
+Farewell." Charlotte knows the import of these words, but dare not
+speak. Perhaps Albert also knows. He coldly bids her hand the weapons to
+the servant. Mutely and slowly she goes to the case and delivers the
+contents as she was bid. That theme in the orchestra continues quietly
+to move back and forth like a person keeping the death-watch. When the
+servant has gone, Albert strides angrily out of the room. Charlotte
+stands for a moment immobile. The music also seems to stand still; then
+a sudden impetuous outburst of the instruments coincides with her
+decision. From<a name="page_100" id="page_100"></a> highest B to lowest F octaves and chords are hurled
+together, as Charlotte, seizing a mantle, rushes to the door. "Pray
+Heaven I may not be too late!"</p>
+
+<p>We follow Charlotte in her flight. The scene changes to a view of the
+village. It is Christmas eve, nearing midnight. The snow is falling in
+wild gusts, but through a rift in the clouds the moon looks down upon
+the peaceful town. Roofs and trees are covered with snow, while from
+some of the windows household lights are gleaming. The church, too, is
+lighted, but the moonlight and the snow are most prominent. Even these
+however are not so important as the music. More chilling than hail or
+snow are those sudden blasts of chords and octaves falling one on top of
+the other, down, down until they join and melt into the steady tremolo
+of the bass. Finally, like Death seated on a tombstone, the terrifying
+tragic theme again looms up.</p>
+
+<p>During this introduction the winter scene on the stage remains the same.
+The snow<a name="page_101" id="page_101"></a> continues to fall, and we hear it in the orchestra&mdash;a steady
+movement of double thirds over which play varying melodies like
+Christmas lights. The musicians turn their leaves once, twice, three
+times, but still that slowly palpitating accompaniment goes on. There is
+something appalling in this persistency. What was at first delightful
+becomes oppressive, for we are somehow reminded that falling snow can
+bury the living and hide the dead.</p>
+
+<p>A distant bell sounds the hour of twelve. Fierce winds arise, and we see
+the muffled figure of a woman struggling her way against the gale. The
+tempest is again heard in the orchestra. Breathlessly we watch the
+heroine's slow progress, and wonder if she will be too late.</p>
+
+<p>The scene changes to a little room strewn with books and papers. A lamp
+on the wooden table casts sickly rays upon the surroundings, but we can
+plainly see a figure reclining on a chair near the open window. It is
+Werther, pale and unconscious. Charlotte<a name="page_102" id="page_102"></a> rushes in, and at sight of the
+dying man is beside herself with grief. She calls him by name, and the
+sound of her voice revives him. He asks her faintly to stay near him, to
+pardon him and love him. While he speaks there arises from the
+orchestra, like the dim visions of a dying man, that first love-theme so
+full of summer gladness. Charlotte sings to him the words he has longed
+to hear. This last love-song ends in a whisper. The instruments, too,
+seem hushed with that mysterious silence of Christmas night. We can see
+through the window the bright moonlight, for the storm has abated.</p>
+
+<p>Suddenly the dying man looks up as sweet music greets his ear&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="poetry">
+<tr><td align="left"><span style="margin-left: 0em;">"Noël! Noël! Noël!</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0.25em;">Proclaim the wondrous birth!</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0.25em;">Christ the Lord has come to earth!"</span></td></tr>
+</table>
+<p>It is the happy children's voices singing their Christmas song in the
+church. A merry carillon of the instruments accompanies<a name="page_103" id="page_103"></a> the familiar
+tones of Sophia's high, bright voice in the distance&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="poetry">
+<tr><td align="left"><span style="margin-left: 0em;">"All the world is gay!</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0.25em;">Joy is in the air!"</span></td></tr>
+</table>
+
+<p>This startling contrast of life and death has never been more
+beautifully portrayed.</p>
+
+<p>Werther sadly smiles, murmuring that it is his song of deliverance. He
+dies in Charlotte's arms. She cries out, despairing, inconsolable, "It
+is finished!" Death is in the orchestra, in the darkness, in the ensuing
+silence. But suddenly, like "the morning in the bright light," those
+far-away voices again sing&mdash;</p>
+
+<p class="c">"Noël! Noël! Noël!"</p>
+
+<p><a name="page_104" id="page_104"></a></p>
+
+<p><a name="page_105" id="page_105"></a></p>
+
+<div class="rt">
+<p class="nind">
+Calvé<br />
+and "Carmen"
+</p>
+</div>
+
+<p><a name="page_106" id="page_106"></a></p>
+
+<p><a name="page_107" id="page_107"></a></p>
+
+<p class="figcenter">
+<a href="images/ill_107_lg.jpg">
+<img src="images/ill_107_sml.jpg" width="425" height="550" alt="EMMA CALVÉ." title="EMMA CALVÉ." /></a>
+<br />
+<span class="caption">EMMA CALVÉ.</span>
+</p>
+
+<h2><a name="CALVE_AND_CARMEN" id="CALVE_AND_CARMEN"></a>CALVÉ AND "CARMEN"</h2>
+
+<p>"Hear Calvé in 'Carmen'&mdash;and die," is the motto which heralded this
+singer's first visit to America. Our curiosity was greatly aroused, for
+we thought we knew all about "Carmen." We clung to the traditions of our
+own Minnie Hauk who had created the rôle, and could imagine nothing
+better than a trim, dainty Carmen with high-heeled slippers, short
+skirts, and a Spanish mantilla.</p>
+
+<p>Great was our amazement on that memorable night in 1894 when we beheld
+for the first time a real cigarette girl of modern Spain. Here was a
+daring innovation that at once aroused attention and new interest in the
+opera. This Carmen wore high-heeled slippers, 'tis true, but somewhat
+worn down and scuffed, as they must be if she was in the habit of
+running over the cobblestones of Seville as she ran to the footlights<a name="page_108" id="page_108"></a>
+on her first entrance. And her skirts, far from being well-setting and
+so short as to reveal shapely ankles and a suspicion of lace petticoats,
+were of that sloppy, half-short length, which even the street girls of
+London wear to-day. But most astounding of all departures was the
+absence of any sign of a mantilla! How could one be Spanish without a
+mantilla&mdash;any more than one could be Russian without fur! But this
+Carmen had an eye to color&mdash;she could hardly otherwise be a
+coquette&mdash;and in her hair at the nape of her neck was deftly tucked a
+large crimson flower. Her hair, however, was carelessly pinned, and even
+tumbled quite down later on&mdash;a stroke of realism which was added to by
+the way she coiled it up and jabbed it into place again. A strange
+performance to behold in a grand opera setting; and we might have
+resented such defiance of the code had we not been forced to admit that
+it was all absolutely correct, and this Carmen was more truly Spanish
+than any impersonation we had<a name="page_109" id="page_109"></a> seen. Even her voice seemed tropical;
+such richness of tone, warmth, and color had never before been combined
+in the singing of Bizet's opera. Had Bizet only lived to this day he
+might have died happily, for Carmen, the child of his brain, found no
+favor with the public when first introduced.</p>
+
+<p>After the surprise of Madame Calvé's costume and then of her voice, New
+Yorkers awoke to the fact that Carmen had never before been acted. This
+performance was a revelation, a character study of a creature who
+recklessly holds that it is <i>right</i> to get all the pleasure you can, and
+<i>wrong</i> not to have what you want.</p>
+
+<p>It was the evening after one of these great Carmen performances when a
+knock at the prima-donna's door elicited the Parisian
+response&mdash;"Entrez." Mme. Calvé's salon was brilliantly lighted and
+richly furnished, but it seemed only a sombre setting to the singer's
+radiant self. Not that she was gaudily gowned; on the contrary, her
+dress was simple, but her personality, her smile, her animation, are a
+constant delight and surprise.<a name="page_110" id="page_110"></a></p>
+
+<p>Mme. Calvé is thoroughly French, and thoroughly handsome, and appears
+even younger off the stage than on. She is tall and of splendid figure;
+her complexion is fresh and clear, with an interesting tinge of olive,
+and her eyes are black as her hair, which was arranged very pompadour.</p>
+
+<p>Mme. Calvé seated herself with a half-serious, half-amused expression,
+as tho to recite a lesson, and announced that she was ready and willing
+to answer "toutes les questions que vous voulez." This seemed a golden
+opportunity to learn all there is to know about singing. It stands to
+reason that the most direct and easy method of acquiring this art is
+simply to ask one of the greatest singers of the day how she does it.
+Some one found out how to play the piano by asking Rubinstein, who
+said&mdash;"All you have to do is to select the right keys and strike them at
+the right time."</p>
+
+<p>So, with this idea in view, Mme. Calvé was asked first what she thinks
+of when she steps before the public&mdash;her voice, her acting, or the
+music?</p>
+
+<p>"I think of Carmen," she answered, "if that<a name="page_111" id="page_111"></a> is the opera. I try to <i>be
+Carmen</i>&mdash;that is all."</p>
+
+<p>When asked if she practices her voice much during the day, Mme. Calvé
+shook her head.</p>
+
+<p>"No&mdash;not now. You see, I must have mercy on my poor voice and save it
+for the evenings when I sing. Formerly, of course, I practiced every
+day, but never more than an hour with full voice. Yes, an hour at one
+time, once a day, that is all. But I studied much besides. At first I
+wanted to be an actress, and for this purpose gave much time to dramatic
+art. My mother was a fine musician; she is the one who urged me to
+sing."</p>
+
+<p>"What did you practice when you first began with the voice?&mdash;single
+tones?"</p>
+
+<p>Mme. Calvé looked thoughtful&mdash;she could hardly recall, until a friend
+who was present suggested&mdash;"it was rather intervals and arpeggios, n'est
+ce pas?" then the great Carmen quickly nodded.</p>
+
+<p>"Yes&mdash;you are right; intervals at first, and not until later on,
+sustained tones. I do not consider single sustained tones good for the
+beginner."</p>
+
+<p>In reply to a question about breathing, she answered:<a name="page_112" id="page_112"></a></p>
+
+<p>"Oh, yes; all singers must practice special exercises for the breath.
+What else did I do? Well, I hardly remember. I never had any trouble
+with my throat or my tongue,&mdash;no, I never thought much of these."</p>
+
+<p>She was then asked, by way of suggestion:</p>
+
+<p>"Did you ever <i>hum</i> in your practice?"</p>
+
+<p>Now her face lighted up.</p>
+
+<p>"Yes," she replied, all animation, "and, do you know, that is splendid!
+I do it a great deal even yet, especially for the high tones like
+this"&mdash;&mdash;, and there and then, without moving a muscle, like a conjurer
+materializing a flock of birds, she showered upon us a bevy of
+humming-tones. They were soft, of course, but clear and perfect as tho
+made with full voice, and you wanted to wrap each one in cotton and take
+it home. But&mdash;they were gone!&mdash;and the singer went on speaking.</p>
+
+<p>"With Mme. Marchese I used to hum a great deal. Yes, it is an excellent
+practice, for it brings the tone forward right here," and she touched
+the bridge of her nose.</p>
+
+<p>Mme. Calvé is so genial and vivacious in conversation that you are led
+to forget her position<a name="page_113" id="page_113"></a> and wonderful attainments. But now and then it
+flashes over you that this is the woman whose manifold art has
+astonished two continents; a singer who makes any rôle she undertakes so
+distinctly her own that other singers hardly dispute her right to
+monopolize it. Not only is her "Carmen" a creation; Ophelia, too, she
+has imbued with new interest, introducing many startling voice and
+breath effects. Throughout all the mad scene she calls into use an
+"eerie-tone" that is fearful in its pathos and terror.</p>
+
+<p>"I love that rôle!" she exclaimed, as the subject came up. "The mad
+scene! Ah, it is superb."</p>
+
+<p>Even in Faust, the very Ancient of Days among operas, Mme. Calvé has
+surprised us with original touches, altho it is a work that every
+musician of any description has performed in some way or other. The
+pianist flourishes with the waltz, or a general fantasia of the opera on
+every and all occasions. The organist delights in the church-scene
+music, while the violinist rhapsodizes with the love duo or a potpourri
+of all the arias. Concert sopranos never cease to exploit the
+Jewel-song,<a name="page_114" id="page_114"></a> while the contralto's audience never tires of the famous
+Flower-song. "O Sancta Medaglia" is dear to the heart of the barytone,
+and the tenor has a choice of beautiful solos from the first act to the
+last. Bass singers can find nothing better as a medium for gaining
+public favor than Mephisto's song to the "God of Gold." Even flutist and
+clarinetist resort to "Faust," the Imperishable, when they want
+something sure to please. And last, but not least, the cornet:&mdash;ask any
+soloist on this instrument what piece he has played most often, and, I
+warrant you, he will answer, "My Faust fantaisie!" The opera singer who
+does not have in her scrap-book some account of her performance as
+Marguerite can hardly count herself a prima-donna. No other opera is so
+essentially a piece of common property as is this Gounod's "Faust."</p>
+
+<p>So much the more is Mme. Calvé's achievement to be wondered at. A very
+stroke of genius is the dropping of Marguerite's prayer-book in the
+excitement of her first meeting with Faust, so symbolical is it of his
+effect on her life. This is more than realism&mdash;it is<a name="page_115" id="page_115"></a> poetry. Again, in
+the spinning-song, she creates an exquisite effect by disentangling a
+knot in the thread on her wheel and at the same time slowing up with her
+song and diminishing it until the wheel turns again and she resumes the
+tempo.</p>
+
+<p>When asked how she ever thinks of these innovations, especially the one
+of inserting ecstatic little laughs in the Jewel-song, she smiled
+prettily and shrugged her shoulders.</p>
+
+<p>"It just comes to me in the acting&mdash;I don't know how. But I never change
+the music."</p>
+
+<p>She wished it impressed that, whatever her innovations, she maintains a
+reverence for all of the composer's work.</p>
+
+<p>There is something about Mme. Calvé that makes you feel in her presence
+the subtle influence of a large heart and a grand soul. In her own land
+she is famed not only for her singing, but also for her great
+generosity.</p>
+
+<p><a name="page_116" id="page_116"></a></p>
+
+<p><a name="page_117" id="page_117"></a></p>
+
+<div class="rt">
+<p class="nind">
+"Carmen"
+</p>
+</div>
+
+<p><a name="page_118" id="page_118"></a></p>
+
+<p><a name="page_119" id="page_119"></a></p>
+
+<h2><a name="CARMEN" id="CARMEN"></a>"CARMEN"</h2>
+
+<p>Every one likes "Carmen." Its popularity has been ascribed to the fact
+that "the action explains itself to the eye." One might also add that
+the music explains itself to the ear, for the themes are all unfurled
+and displayed like so many banners. In choosing Mérimée's novel for a
+libretto, Bizet recognized the growing demand for dramatic plots with
+rapid action&mdash;a demand which has since evolved such one-hour tragedies
+as "Cavalleria Rusticana" and "I Pagliacci." Aside from the stirring
+romance and fascinating music, "Carmen" also presents very delightful
+stage-pictures. The suburbs of Seville form an interesting setting, and
+the characters all require brilliant costumes. A bull-fighter, two
+smugglers, three gypsies, cigarette girls, and soldiers&mdash;not a plain
+individual among them!<a name="page_120" id="page_120"></a></p>
+
+<p>Before meeting these unusual personages we are presented with a letter
+of introduction from Bizet, which, because it is written in musical
+notation, the orchestra kindly interprets to us. We herein learn that
+these people take their pleasures, loves, and hates at a breakneck pace.
+There is a feverish excitement about the whole prelude; but at the end
+we hear a tragic minor motif of passion and pain that sends a chill to
+the heart. It is the Carmen-theme&mdash;Carmen herself.</p>
+
+<p>A gay plaza in Seville is the first scene of action. At one side is the
+guard-house, near which are a number of soldiers who mingle and converse
+with the other strollers and promenaders. A gossiping, good-natured
+chorus about the square and the people is the opening number. This
+pleasing melody, in spite of its simplicity, has strange intervals and a
+restless tempo that are thoroughly Spanish. A young peasant girl soon
+enters, rather timidly. It is Michaela, the high soprano rôle, which
+because<a name="page_121" id="page_121"></a> of its two fine arias is often taken by a great artist, altho
+the part is a subordinate one. It has frequently been sung by Madame
+Eames. Michaela inquires for a brigadier called Don José. An officer
+politely informs her that Don José belongs to the next guard, which will
+soon arrive. With a musical phrase of dainty and condescending gallantry
+he invites her to tarry with them. Michaela declines the invitation, and
+uses the same musical setting for her own words. With the announcement
+that she will return after a while she escapes from their entreaties.
+The chorus is resumed, and the walking and talking go on as before. Soon
+the fifes and drums of the relief guard are heard in the distance. The
+soldiers in front shoulder arms and stand in file as the approaching
+company appears, followed by a lot of street gamins who keep step and
+sing to the music. This is so lively and inspiriting that we would march
+and sing too if we dared. There is a satisfying quantity of this
+"ta-ta-ta-ra" music. After marching<a name="page_122" id="page_122"></a> to the foreground the new guards
+change place with the old, who are then led away with the same
+contingent of music and street boys. The soldiers and people at last
+disperse, leaving Don José and a superior officer, Zuniga, conversing
+together. The latter points to a large building, which he says is the
+cigarette factory, where are employed many pretty girls. Don José
+professes to care little for these, and we soon learn that he loves
+Michaela.</p>
+
+<p>The factory bell now rings, and a crowd of young men and boys at once
+fill the square in eager anticipation of seeing the cigar girls. José
+sits down near the guard-house and busies himself with a little chain he
+is mending. The tenors sing a short pianissimo chorus about these
+dark-eyed girls, whom they always court and follow. It closes with a
+drooping, yearning ritardando that quite prepares us for the next
+languishing measures. The factory girls enter, with cigarettes in their
+mouths and a nonchalant manner that is delightful. Between<a name="page_123" id="page_123"></a> puffs of
+smoke they sing a slumbrous refrain that suggests the effect of
+nicotine. The lingering legato melody seems to rise softly and rest in
+the air until it passes away in tones so faint that Bizet has marked
+them four times pianissimo.</p>
+
+<p>The young men now accost the girls, and soon inquire for Carmen. "Where
+is Carmen?" That tragic cry which ended the prelude is heard again in
+the orchestra, but so disguised by rapid tempo as to be scarcely
+recognizable, and with this theme Carmen rushes upon the scene.</p>
+
+<p>Black-eyed, pearly-teethed Carmen, with cheeks like the red acacia
+flowers at her throat, and her whole appearance like a splash of
+sunshine!</p>
+
+<p>The youths clamor about her and inquire collectively when she will love
+them. Carmen bestows regardlessly some of her dangerous laughing
+glances, and then sings her great song, the "Habenera," so called
+because of its rhythm, which is like a Spanish dance. But no mazy,
+undulating dance<a name="page_124" id="page_124"></a> could be so fascinating as this song about "Love, the
+child of Bohemia." The compass of its ravishing melody is within a
+single octave. The notes cling lovingly together, for the intervals are
+mostly half-tones; and, indeed, as Carmen sings them each one seems like
+a kiss or a caress. The theme is first given in the minor, and then
+softly taken up by the chorus in the major&mdash;an effect as surprising and
+delightful as a sudden breeze on a sultry night. The accompaniment is
+like the soft picking of mandolins, and all things combine to represent
+the warm luxuriance of Spain.</p>
+
+<p>During the song Carmen has perceived Don José, who continues his work
+and gives her no attention whatever, which is a new experience for this
+spoiled and petted cigarette girl. She purposely becomes more personal
+in her song, and ends with the audacious words, "if you love me not and
+I love you&mdash;beware!" With a sudden dash of impertinent coquetry she
+flings a flower at Don José, and then rushes off the stage<a name="page_125" id="page_125"></a> amid peals
+of laughter from the others, who follow. The young soldier, thus left
+alone, finds himself troubled with mingled feelings of resentment at the
+girl's impudence and admiration for her beauty. He puts the flower in
+his coat, but at once forgets the whole incident as he sees Michaela,
+whom he joyously welcomes.</p>
+
+<p>She has come to town for a day, and she brings a letter from his mother,
+also some money, and still something else, which she hesitates over, but
+finally delivers as it was given her&mdash;a kiss from his mother. There is
+nothing of the coquette about Michaela, and her songs are all
+straightforward, simple airs that win by their very artlessness. Her
+message is sung with harp accompaniment, and the harmonies are pure and
+clear. Then follows a duet about the mother and home in the village, and
+the tenderness of this music reveals that Don José is a loving and
+devoted son. When the duet is ended Michaela leaves José to read his
+letter. Music as peaceful as village<a name="page_126" id="page_126"></a> church bells comes from the
+orchestra while the young soldier reads. He touches the letter to his
+lips and is prepared to obey his mother, especially in the matter of
+wedding the pretty Michaela.</p>
+
+<p>His thoughts are interrupted by a wild scream from the factory and
+sounds of disputing voices. A number of girls rush from the building,
+all talking at once, and they fairly besiege Zuniga with explanations of
+what has happened. There was a quarrel and Carmen struck another
+girl&mdash;some say she did, and some say she didn't. Don José, in the mean
+time, has gone into the factory and brings out the struggling Carmen. He
+tells his superior officer about the affair, which ended in one girl's
+being wounded by "this one." Carmen tosses her head, and when the
+officer asks what she has to say in defense she looks into his face and
+sings "la-la-la-la!" Her impertinence would be almost repellent were it
+not that her voice is "like the wooing wind," and even her "la-la-la" is
+bewitching. Further questioning<a name="page_127" id="page_127"></a> only elicits the same response, and the
+officer angrily declares she may finish her song in prison. He orders
+Don José to fetter her hands and keep watch while he goes to make out
+the order of imprisonment. While all are gone a most interesting scene
+occurs between the prisoner and her keeper. The latter ties her hands,
+and says he must take her soon to prison, as his superior has ordered.
+Carmen, in her present attitude of charming helplessness, announces with
+sweetest tones that Don José will help her, in spite of the orders,
+because "I know you love me!" This is too much. When José recovers from
+his astonishment at her audacity he commands her to sit still and not
+speak to him&mdash;"not another word." Carmen nods her head in saucy
+obedience, and talks no more; she only sings! Sings of "an inn near the
+ramparts of Sevilla" where she will go to dance the Seguidilla. The song
+is in the rhythm of that dance, and its sinuous melody is handled by
+Carmen like a toy. She composes words to<a name="page_128" id="page_128"></a> suit the occasion: "My heart
+is free and willing to love whoever loves me."</p>
+
+<p>Don José, who has been trying to ignore her, but without success, tells
+her again to stop. She looks up with a grieved expression and her
+prettiest smile, and says she is not talking, only singing to herself
+and thinking; he surely cannot forbid her thinking! So she goes on
+thinking aloud about a "certain officer, who is not captain, nor even
+lieutenant&mdash;he is only a brigadier; but still he is great enough to win
+the heart of Carmen." Such words, music, glances, and smiles are more
+than Don José can resist, and it is not long before he succumbs to her
+witchery. He unties her hands and asks desperately, "Carmen, Carmen, do
+you mean it?" And for answer she softly sings to him that rapturous song
+of the Seguidilla.</p>
+
+<p class="figcenter">
+<a href="images/ill_128_lg.jpg">
+<img src="images/ill_128_sml.jpg" width="429" height="550" alt="Copyright by Aimé Dupont, N. Y.
+
+Calvé as Carmen." title="" /></a>
+<br />
+<span class="caption">Copyright by Aimé Dupont, N. Y.<br />
+
+Calvé as Carmen.</span>
+</p>
+
+<p>The orchestra now starts up a lively repetition of the last chattering
+chorus, and with it the superior officer, Zuniga, reenters. He hands
+José the order and bids him lead<a name="page_129" id="page_129"></a> the prisoner to her destination.
+Carmen holds her hands back, as tho still fettered, and she tells José
+in an undertone to let her push him as they march off, and during the
+commotion thus aroused she will escape. Then she turns to Zuniga, and
+with the greatest effrontery favors him with a fragment of the
+"Habenera" song, to which refrain she marches away with apparent
+docility. The whole group of cigarette girls and young men follow after.
+Just as they are turning to the bridge, Carmen escapes as she has
+planned. She throws back the rope from her hands and runs off laughing.
+It is fun for all but Don José, who for this neglect of duty is himself
+escorted to prison.</p>
+
+<p>Bizet has preceded every act with an orchestral introduction called the
+<i>entr'acte</i>, which presents some important theme or portrays the
+character of the scene. Thus before the curtain rises on the second act
+we become familiar with a new and happy melody, which we later on
+recognize<a name="page_130" id="page_130"></a> and welcome. After the <i>entr'acte</i> the stringed instruments,
+with a touch of the triangle and tambourine, hold the supremacy as they
+breathe forth faint, weird harmonies that flit about like moving
+shadows. The scene presents an interior view of the inn "near the
+ramparts of Sevilla."</p>
+
+<p>It is evening, and amid the glow of soft lights Carmen and her gypsy
+friends are entertaining some officers with their dancing. She further
+enlivens the scene by singing a Bohemian song, whose liquid phrases fall
+upon the air like the soft splashing of a fountain.</p>
+
+<p>After the song and dance it is time for the inn to close, but at this
+moment shouts and hurrahs are heard from without. It is a torchlight
+procession in honor of Escamillo, the bull-fighter, who presently enters
+amid general acclamations. He wears a gorgeous costume, and sings a
+rousing song about the exciting life of a toreador. This baritone aria
+is the most famous of the many popular numbers which comprise this
+opera. Its<a name="page_131" id="page_131"></a> strongly accented rhythm and pulsating theme immediately
+suggest the blaze of lights and blare of trumpets which belong to the
+arena.</p>
+
+<p>Escamillo soon perceives Carmen, and as quickly falls in love. She
+dismisses him with a coquettish remark that might mean much or little,
+and then all depart excepting Carmen and her two gypsy friends,
+Frasquita and Mercedes. These are soon joined by their comrades, the two
+smugglers, who softly tell of a new enterprise which will require the
+"ladies' assistance." Frasquita and Mercedes consent to leave at once.
+Then follows an exquisite quintet, sung with tempo prestissimo and tones
+pianissimo. Carmen suddenly astounds them with the assertion that she
+can not go, and gives as her reason that she is awaiting Don José, who
+to-day is released after two months' imprisonment, and further adds that
+she loves him. They take this at first as a joke; but finding her
+determined, they suggest that she induce José to join them. She<a name="page_132" id="page_132"></a> says
+she will try, and the rest hurry out as they hear the young soldier
+approaching.</p>
+
+<p>He is singing a gay barrack song, and thus comes to Carmen with his
+heart in his voice and soul in his eyes. She welcomes him impulsively,
+and ere long she sings and dances for his amusement. Her song is but an
+accompaniment to the dance&mdash;a low, crooning melody without words which
+resembles the contented purring of a magnificent feline as she glides
+and sways with a splendid grace around the infatuated José. A bugle-call
+is heard in the distance, a summons the soldier must obey, and he stops
+Carmen in the midst of her dance. She thinks he is joking and commences
+again; but when she actually realizes that he is going to leave her,
+that he finds it <i>possible</i> to leave, a perfect whirlwind succeeds the
+sirocco. She throws him his cap and sword, and bids him go forever if
+such is his love. Poor Don José remonstrates, but she will not listen
+until at last he forces her to hear how real and true is his love for
+her. He<a name="page_133" id="page_133"></a> draws from his coat the little flower she threw at him two
+months ago, and he tells how, during all his days in prison, it was his
+dearest treasure. This music is more like the song of a pilgrim at a
+sacred shrine than a song of love, it is so simple and sincere. Its
+tenderness seems to reach even the heart of Carmen, for she now turns
+and with entreating looks and wooing tones she coaxes him to go with her
+and lead the free life of a bandit.</p>
+
+<p>The accompaniment is like the distant prancing of wild horses and the
+melody like the forest wind, low as a whisper, but sweeping before it
+all the fluttering doubts of a weak conscience. It is desertion,
+disgrace, dishonor, that Carmen asks of him, and José recoils. He is
+just on the point of refusing when a knock at the door is heard and
+Zuniga enters. He is himself in love with Carmen, and has presumed thus
+to return after the others have gone, in hopes of finding her alone. On
+discovering the presence of Don José he is angry and orders<a name="page_134" id="page_134"></a> him away;
+but José's jealousy is also aroused and he firmly refuses to obey. A
+duel would ensue did not Carmen quickly call her friends. They seize
+Zuniga, and to avoid being denounced must keep him prisoner until they
+have made sure their escape. Carmen turns to José and asks once more if
+he will be one of them. As there is now no alternative, he consents,
+whereupon Carmen with light steps and light heart rushes to his arms
+like a sunbeam, dispelling for the moment all clouds of memory and
+doubt. The free, fearless measures of her mountain song are heard again
+as all sing about the gypsies' life of liberty. They all go off as the
+curtain falls.</p>
+
+<p>The next <i>entr'acte</i> is sometimes called the intermezzo, for it divides
+the opera&mdash;the comedy from the tragedy&mdash;and it contains the first
+premonition of sorrow. As the curtain rises we hear a stealthy,
+shivering theme that well characterizes the scene before us&mdash;a wild,
+picturesque ravine, which is the smugglers' retreat. Some gypsies<a name="page_135" id="page_135"></a> are
+reclining on the rocks; others soon enter, and sing a quite enticing
+chorus about the dangers and pleasures of their profession. Two leaders
+of the band then go off to reconnoiter, while the others rest. Don José
+is seen standing on one of the rocks, and when Carmen rather moodily
+inquires his thoughts he tells her of his mother in the village, who
+still believes him to be an honest man. Carmen coldly advises him to go
+back to her. Quick as thought-suggestion the orchestra recalls the
+tragic motif which we had almost forgotten. It causes us to feel with
+José the sting of Carmen's words.</p>
+
+<p>Our attention is now directed to Frasquita and Mercedes, who are seated
+on a bale of goods and trying their fortunes. A light staccato
+accompaniment sustains their still lighter song. The dainty measures are
+flung up like bubbles, reflecting the gay colors of the cards, which
+chance to be all diamonds and hearts. Carmen also tries her luck, but
+only the dark cards fall to her<a name="page_136" id="page_136"></a>&mdash;death, always death; and to the
+superstitious gyspy this is like a knell. Again that tragic, mournful
+theme, like the extended hand of fate, feels its way slowly but surely
+through the orchestra, and then Carmen sings a meditative, melancholy
+refrain about the cards whose "decrees are never false." The music is in
+a low key, as tho kept under and depressed by her despair, and it
+touches our sympathy to see the sunny, frivolous Carmen for once
+thoughtful.</p>
+
+<p>The two smugglers presently return and report that three coast-guards
+intercept the way. The girls promise to entertain and divert these while
+the men make off with the booty. To the strains of a rollicking chorus
+they all go out, after stationing Don José as watch on one of the
+highest rocks. At this moment Michaela, with a guide, comes timidly
+forward. She has dared to follow the smugglers to this retreat for the
+purpose of seeing José and begging him to return. She has tried to be
+brave, but her<a name="page_137" id="page_137"></a> heart now trembles, and this fact she confesses in her
+beautiful and best aria, "Je dis que rien" ("I say that nothing shall
+terrify me"). As she begs Heaven to strengthen her courage, the soft
+arpeggios of the instruments seem to rise like incense and carry her
+sweet prayer with them. She presently perceives José in the distance and
+tries to attract his attention, but he is watching another intruder&mdash;on
+whom he now fires. Michaela hides herself in terror as Escamillo enters
+and philosophically studies the newly made bullet-hole in his cap. Don
+José also comes down to interrogate this visitor. The toreador
+good-naturedly informs him that he has fallen in love with a gypsy girl,
+Carmen, and comes to find her. He also adds, "It is known that a young
+soldier recently deserted his post for her, but she no longer loves
+him." Jealousy seems but a feeble word to describe the feelings of Don
+José on hearing this. He quickly reveals his identity and challenges the
+toreador. After a short duet, which contains chromatic<a name="page_138" id="page_138"></a> crescendos of
+blind fury for the tenor and insolent intervals for the baritone, they
+fight. Carmen, for the second time, averts a duel by her timely
+entrance. She calls for help, and the whole troupe of gypsies rush in.
+They separate the rivals and order them to suspend their quarrel, as all
+is now arranged for the journey. Before bidding farewell Escamillo
+invites all to his next bull-fight in Seville. "Whoever loves me will
+come,"&mdash;this with a tender look to Carmen that maddens José.</p>
+
+<p>Escamillo goes off and the others also start, but they suddenly discover
+Michaela in her hiding-place and bring her forward. She is frightened
+and rushes to José for protection, begging him to go home with her.
+Carmen cruelly seconds this entreaty, and then José turns upon her:
+"Take care, Carmen!" The words are menacing, but not so the music. José
+suffers more than he hates, and, instead of the rising tones of anger,
+the harmonies which struggle upward are continually repulsed as they<a name="page_139" id="page_139"></a>
+reach the top, like a wild bird that beats its wings against prison
+bars. When Michaela finally tells him that his mother is dying, Don José
+consents to go. He calls out to Carmen, "We shall meet again!" She pays
+little heed to his words, but a glad smile lights her features as she
+hears in the distance the song of the toreador. And with this melody the
+act ends.</p>
+
+<p>The final scene represents the gates of the arena where occurs the great
+bull-fight, and the preceding <i>entr'acte</i> is like the flaming
+advertisement of a circus, exciting and enthusing from first to last.
+The opening chorus is sung by venders who throng the square and cry
+their wares. After this the arena music announces the entrance of the
+performers. They come in on horseback, and amid enthusiastic greetings
+from the crowd ride into the arena. Escamillo, the hero of the hour,
+enters with Carmen at his ride. The public cry, "Vive, Escamilla!" and
+burst into a vociferous singing of the "Toreador Song." Carmen is
+radiant as the<a name="page_140" id="page_140"></a> dawn, and the bull-fighter wears colors and spangles
+that quite eclipse any soldier's uniform. Before he enters the ring they
+sing a love-duet that displays more depth of feeling than we should
+expect from a Zingara.</p>
+
+<p>When the toreador has gone and the arena gates are closed, Mercedes and
+Frasquita anxiously inform Carmen that Don José has been seen in the
+crowd, and they urge her to leave; but she declares she is not afraid of
+José or any one. They leave her alone, and presently the rejected lover
+appears before her. But not in anger or to avenge does Don José present
+himself. He is too utterly dejected and broken-hearted for that. He
+comes only to entreat and plead for her love. Before he speaks we are
+warned by the ever-terrible death-theme, which has hung over the whole
+opera like a suspended sword, that the end is near. But Don José does
+not know this. Neither does Carmen, else perhaps she would not so
+ruthlessly spurn him when he begs her to<a name="page_141" id="page_141"></a> go with him and begin a new
+life. When he piteously asks if she no longer loves him, her answer is a
+decisive "Non; je ne t'aime plus." But words have lost their sting for
+poor José. In a minor melody, that seems to cry out for pity, he says he
+loves her still. He offers to remain a bandit&mdash;anything, all things! And
+then the pathetic minor melody breaks into the major as he desperately
+adds: "Only, Carmen, do not leave me!" At this moment a fanfare and
+applause are heard in the arena, which cause Carmen's face to glow with
+pleasure as she thinks of Escamillo. She tries to rush past Don José
+into the amphitheater, but he intercepts her and forces her to confess
+that she loves this man whom they applaud. Once again the gay fanfare is
+heard, and Carmen tries to pass.</p>
+
+<p>It is now that the tragic motif takes possession of the orchestra and
+dominates all else. Fearful and appalling sound those five notes which
+form the theme as they are repeated in various keys. In a frenzy of
+anguish Don José asks Carmen for the last<a name="page_142" id="page_142"></a> time to go with him. She
+refuses, and then, as the toreador's song of triumph announces his
+success, José stabs the beautiful gypsy, who falls at his feet like a
+crushed butterfly. The gates of the arena are thrown open and its
+glittering pageant comes forth, while José, with insane grief, calls
+out, "I have killed her&mdash;Carmen&mdash;whom I adored!"</p>
+
+<p>There is no climax more thrilling on the lyric stage than this death of
+Carmen.<a name="page_143" id="page_143"></a></p>
+
+<div class="rt">
+<p class="nind">
+"Hamlet"
+</p>
+</div>
+
+<p><a name="page_144" id="page_144"></a></p>
+
+<p><a name="page_145" id="page_145"></a></p>
+
+<h2><a name="HAMLET" id="HAMLET"></a>"HAMLET"</h2>
+
+<p>Of all Shakespeare's plays, Hamlet is the most difficult to surround
+with music and adapt for the lyric stage. It is more scholastic than
+dramatic, and for this reason composers have passed it by with the
+single exception of Ambroise Thomas. His accomplishment certainly
+deserves more commendation than was bestowed by an irate critic who
+said: "There are four weary, dreary acts before you come to the music."
+This assertion is correct in one way, for the opera is indeed
+long&mdash;quite too long; but there is, nevertheless, much that is beautiful
+in those four acts preceding the mad scene. But even were this not the
+case, that last scene is so exquisite that it would atone for any amount
+of previous ennui.</p>
+
+<p>Thomas has given his principal rôle to the baritone, which seems an
+innovation.<a name="page_146" id="page_146"></a> Whenever a lower voice has been honored with the leading
+rôle in a grand opera the reason is found in the character, as the
+jovial Barber of Seville, the deformed Rigoletto, the accursed Flying
+Dutchman; but the tenor has always held undisputed possession of the
+lover's part. It takes us some little time to become reconciled to this
+baritone-voiced young prince. But we finally realize that he is less a
+lover than a philosopher, which probably explains why Thomas turned from
+the tenor.</p>
+
+<p>The opera opens with a short and somber prelude that closely resembles
+the later introduction to the ghost-scene. It is therefore more
+descriptive of the melancholy Dane than of the first act, which is
+brilliant throughout. The curtain rises upon a state hall in the palace,
+where have been celebrated the wedding and coronation of Claudius and
+Gertrude, brother and widow of the late king. A sturdy march that is
+quite Danish in character accompanies the grand entrance of the king and
+queen. That<a name="page_147" id="page_147"></a> music can express a nationality is clearly evinced by this
+march, which possesses a rugged, North-sea atmosphere that differs from
+all others. The first aria is given by the king, who eulogizes his
+new-made wife, "our sometime sister, now our queen." After this bass
+solo with its pleasing rhythm and satisfying cadences the queen inquires
+for her son Hamlet, who is not among the revelers. But her anxieties are
+drowned by the festive music that recommences and continues until the
+entire court have made their exit.</p>
+
+<p>The music now changes to a meditative, minor mood, which announces the
+entrance of Hamlet. He shares no joy on this occasion of his mother's
+wedding, and his first words are a short recitative about "frailty, thy
+name is woman."</p>
+
+<p>His soliloquy is followed by a phrase in the orchestra&mdash;a timid,
+questioning sort of introduction which before the opera is over we learn
+to associate with the gentle Ophelia. She enters and addresses Hamlet,<a name="page_148" id="page_148"></a>
+her betrothed, with an anxious inquiry about his intended departure from
+Denmark. On learning from his own lips that the report is true, she asks
+why he leaves, and begins to doubt his love. There is a daintiness and a
+delicacy to all of Ophelia's music; and in this short melody, so
+admirably blended with the accompaniment, there is a wooing charm that
+diverts even Hamlet from his grief. He clasps her hands, and with
+thrilling fervor bids her&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="poetry">
+<tr><td align="left"><span style="margin-left: 0em;">"Doubt that the stars are fire.</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1.5em;">Doubt that the sun doth move,</span></td></tr>
+<tr><td align="left"><span style="margin-left: .25em;">Doubt Truth to be a liar,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1.5em;">But never doubt I love."</span></td></tr>
+</table>
+
+<p>This is the great theme of the opera, the center-stone of the musical
+crown that the French composer has given to Shakespeare's Hamlet. Its
+love-laden melody would carry conviction to a less trusting heart than
+Ophelia's. She receives it like truth from heaven. Its memory lingers
+ever, and even in her after madness, when the words have no meaning, we
+hear them again "like sweet<a name="page_149" id="page_149"></a> bells jangled out of tune." There follows a
+duet based upon Hamlet's vow. The soprano voice occasionally runs up in
+some happy little roulades which seem like the outburst of joy which can
+not confine itself to the prescribed theme. However long the whole
+opera, we certainly could not spare a note from the love-duet; it ends
+only too soon.</p>
+
+<p>Ophelia's brother, Laertes, comes in. He is a soldier, and has just
+received a commission which requires his speedy departure; so he sings a
+farewell to his sister and bids Hamlet be as a brother to her in case he
+never returns. This first and only cavatina of Laertes is well worth a
+good artist. It is melodious and pleasing, even when compared to the
+previous duet. As he finishes, gay music is heard from the inner hall.
+Ophelia asks Hamlet to join the festivities, but he declines and retires
+sorrowfully as some pages and young officers enter. They sing a unique
+and merry chorus without accompaniment, which is interrupted by the<a name="page_150" id="page_150"></a>
+entrance of Horatio and Marcellus, who inquire for Hamlet. They declare
+they have seen the ghost of the late king, and seek to apprise Hamlet of
+the fact. The merry-makers laugh and call it a delusion; but the two
+friends continue their search for the young prince. The dance music is
+resumed, and so fascinating and emphatic is its rhythm that our pulses
+throb in tempo long after the curtain descends.</p>
+
+<p>The second act represents the esplanade outside of the castle. It is a
+chilly moonlight night&mdash;a sharp contrast to the beam of lights from
+within and the blare of dance music which ever and anon reaches our
+ears. But the prelude which opens the act is thoroughly descriptive of
+the scene before us. It has deep, rumbling tremolos and chilling
+chromatic crescendos, with here and there a moaning, wo-weighted theme
+that is piteous to hear. There is much singing without orchestra and
+much orchestra without singing in this scene of the esplanade, which
+accounts for the charge<a name="page_151" id="page_151"></a> against it of being "rather thin ghost music."
+Horatio and Marcellus are the first to enter. They are soon joined by
+Hamlet, to whom they recount the strange visitation of the previous
+night. As they wait and watch for the specter to reappear, a gay fanfare
+from the palace jars upon the stillness. Strains of the wedding-march
+are heard, and there seems abundant reason for the dead king to rise
+from his grave! Hamlet utters expletives over the mockery of such gaiety
+within, while "here is the shadow of mourning." His words are
+accompanied by an oft-repeated minor phrase of four notes which is
+stealthy and fearful. This ghost-theme alternates with a single
+monotonous tone that represents the twelve strokes of a clock. Hamlet
+hushes his singing; there is a soft, eerie tremolo of the violins; the
+pale moonlight falls upon the castle's turreted towers. Marcellus and
+Horatio speak in whispers, when suddenly the orchestra gives a great
+crash of brass and cymbals that makes your blood freeze.<a name="page_152" id="page_152"></a> The phantom
+has appeared. Now follows the incantation, so called because Hamlet
+conjures the spirit to speak to him. This music is based entirely upon
+the four-note ghost theme, which is elaborated and carried by the
+orchestra through many forms. At last the specter speaks, and in a deep
+monotone informs Hamlet how he was murdered by the present King. His own
+brother stole his life, his wife, and his throne. He bids Hamlet avenge
+this terrible crime, and then disappears. Hamlet cries out in a theme
+large and grand, "Farewell to fame, love, and happiness!" Revenge shall
+hereafter be the aim of his life.</p>
+
+<p>The peaceful love-music greets our ears as we look upon the next scene,
+which reveals the gardens of the palace. The superb theme of Hamlet's
+vow rings out in clear, untroubled octaves as the fair Ophelia comes
+forward with a book in her hand. She is trying to read, but thoughts of
+Hamlet constantly intrude themselves. "He has not touched my hand for
+quite two days, and<a name="page_153" id="page_153"></a> seems to avoid my presence." She again turns to her
+book and reads aloud. Ophelia reads very beautifully. Thomas has with
+music conveyed the impression of enunciating words from a book. We would
+know she was reading even if the book were not visible nor the words
+audible, and yet it is not by means of a monotone that this idea is
+conveyed. It is a simple song melody, and the effect is probably due to
+the rhythm rather than the intervals. After reading one stanza, Hamlet's
+vow&mdash;that theme so deep and true&mdash;is again heard, and the hero himself
+comes thoughtfully upon the scene. He is in the background, but Ophelia
+has seen him, and she quickly makes a pretense of reading. She listens
+for every step as he draws nearer, and believes he will speak. He sees
+her and at first comes forward, but then remembers that he has foresworn
+love; and thinking she has not seen him, he quietly retires. Poor
+Ophelia throws down her book in wildest grief, and a song of despair
+springs from her heart. "Vows have wings<a name="page_154" id="page_154"></a> and they fly with the dawn;
+the day which gives them birth also sees them die." Every note is like a
+tear, and the harmonies are plaintive and pitiful.</p>
+
+<p>The queen presently enters and is grieved to find Ophelia weeping. The
+latter explains that Hamlet no longer loves her, and she begs permission
+to leave the court; but the queen puts other ideas in her head. She says
+that Hamlet has also acted strangely toward her, and she believes his
+mind is affected. For this reason she asks Ophelia to remain, and hopes
+her presence may restore him. This first song of the queen, who must
+have a mezzo-soprano voice of dramatic quality, combines dignity and
+pathos. Its mood does not contrast, but harmonizes with the previous
+aria. Ophelia accepts the queen's advice, and then goes off as the king
+enters. He confers with his wife about Hamlet's alarming behavior, but
+their conversation is interrupted by the prince himself, who greets them
+moodily and assumes more vagaries than he feels.<a name="page_155" id="page_155"></a> He is constantly
+seeking to entrap the king into some sign or remark which will verify
+the ghost's charge of murder. He has therefore planned to have a play
+enacted which shall depict the king's crime. His invitation to this
+theatrical entertainment is welcomed by the unsuspecting king and queen,
+who are delighted that he thus seeks diversion. As they go off, Hamlet
+exclaims tragically, "Patience, my father, patience!" and the orchestra
+reveals to us thoughts of revenge, for we hear again that ponderous and
+melancholy theme which ended the ghost scene.</p>
+
+<p>Hamlet is now joined by the actors whom he has engaged for the play.
+They sing a characteristic chorus about their several talents, and then
+Hamlet explains to them the plot they are to enact&mdash;how a king whom he
+calls Gonzago shall be poisoned by his brother, who afterward places the
+crown on his own head and marries the widow. After this preliminary,
+Hamlet calls for wine and bids the players make merry. He sings to<a name="page_156" id="page_156"></a> them
+a drinking-song of dazzling exuberance.</p>
+
+<p>It is strange how universally successful operatic composers are in the
+matter of drinking-songs. You can name off-hand more popular <i>chansons
+Bacchic</i> than any other one style of aria. There are various well-known
+serenades and prayers and spinning-songs, but of drinking-songs there
+are any number. "Lucrezia Borgia," "Rigoletto," "Traviata," "Huguenots,"
+"Cavalleria Rusticana,"&mdash;their drinking-songs are heard every day on the
+hand-organs in the street. And so in "Hamlet" its drinking-song is one
+of the most celebrated numbers of the opera. Its bubbling rhythm and
+hilarious melody are continued even after the song is ended and the
+curtain descends. It lingers like the effect of wine.</p>
+
+<p>Act III. is the play scene. There is a small stage erected at one side
+of the spacious palace hall, and opposite this is a throne for the king
+and queen. The orchestra carries everything before it with the rousing<a name="page_157" id="page_157"></a>
+Danish march which accompanies the ceremonious entrance of the entire
+court. This composition ranks with the drinking-song in popularity. When
+all are assembled, Hamlet places himself in a position to watch the
+king, and as the mimic play proceeds he explains the action, which is
+all in pantomime. The orchestral descriptive music of this play within a
+play is beautiful and interesting. As in Ophelia's reading, the simple
+melody and hesitating rhythm again convey the impression of something
+inserted, something apart from the real action of the play. Hamlet
+becomes more and more excited as the play goes on, for he sees
+unmistakable signs of uneasiness in the king's expression; and when at
+last the mimic murderer pours poison into the ear of his sleeping
+victim, the king rises in anger and orders the players away. Hamlet in a
+delirium of vengeful joy cries out the king's guilt. He pushes his way
+through the surrounding courtiers, and with unbridled fury accuses the
+murderer. He<a name="page_158" id="page_158"></a> is sustained by a perfect tidal wave of chords from the
+orchestra, which dash and beat and break, but only harm the good ship
+they bear instead of the rock they attack. The people regard Hamlet's
+charge as an outburst of madness, and he presently lends credence to
+this belief by singing with wild hilarity the drinking-song of the
+previous act. The following strong and seething chorus of dismay is
+again interrupted at the very end by Hamlet's mad song&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="poetry">
+<tr><td align="left"><span style="margin-left: 0em;">"Life is short and death is near;</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0.25em;">We'll sing and drink while yet we may."</span></td></tr>
+</table>
+<p>With a wild mocking laugh he falls into Horatio's arms as the king and
+court withdraw.</p>
+
+<p>The great feature of the fourth act is the scene between Hamlet and his
+mother, but there is much besides. The scene represents the queen's
+apartment in the palace, and the first number is Hamlet's soliloquy. He
+blames himself and deems it cowardice that he did not strike the king
+dead when<a name="page_159" id="page_159"></a> he had the opportunity. Then follows the musical arrangement
+of "To be or not to be," a speech so unsuited to music that Thomas has
+cut it down to a few lines. Hamlet presently sees the king approaching,
+and he conceals himself behind a curtain with the intention of attacking
+him. But the king thinks himself alone, and in agony of mind he kneels
+on the prie-dieu and prays. It is an impressive composition, this prayer
+with its cathedral harmonies and blending accompaniment. Hamlet glides
+softly toward the door, for he can not kill even his father's murderer
+at prayer. The king, who has heard the footsteps, cries out in terror,
+for he fancies it was the ghost of his brother. Polonius, the father of
+Ophelia, quickly enters and reassures the king. They walk out arm in
+arm, and from their few words it is gleaned that Polonius was an
+accomplice to the crime. Hamlet hears them, and is horrified to learn
+this fact about Ophelia's father. At this moment the queen and Ophelia
+enter, and the former<a name="page_160" id="page_160"></a> announces to Hamlet that it is her wish as well
+as the king's that his marriage shall take place at once. The prince
+blankly refuses to obey in spite of the queen's urging; but his heart
+endures a struggle when the poor Ophelia sings of her grief and returns
+to him his ring. The sweet minor strain in her song implies a sad
+resignation that is more touching than intense lamentation. She goes out
+weeping. The queen then turns to Hamlet and upbraids him for his
+faithlessness. She presently recurs to the terrible scene at the play,
+and utters the famous words, "Thou hast thy father much offended."</p>
+
+<p>The scene which follows demands great dramatic ability of the queen, as
+well as vocal strength. After a sharp and active recitative dialog, in
+which Hamlet announces himself as her judge and no longer her son, she
+sings a fine entreaty that the tenderness of the son may mitigate the
+severity of the judge. It is a strong and powerful theme, but Hamlet is
+obdurate. He contrasts the<a name="page_161" id="page_161"></a> late king with the present one in words and
+tones that make his mother cower. She again pleads for mercy and
+forgiveness, and finally falls in a swoon as the stage is darkened and
+the ghost appears. Hamlet trembles before this admonisher. The music of
+the incantation is again heard, and the phantom bids Hamlet spare his
+mother, but "fail not to avenge." As the ghost disappears the
+instruments are weighted with that great and gloomy theme of revenge
+which seems to descend and enwrap the whole scene like a dark, heavy
+mist. The queen awakens; but there is little more seen or heard before
+the curtain falls.</p>
+
+<p>Act V. is known as the Mad Scene, one of the most beautiful, most ideal,
+and most difficult creations ever put upon the lyric stage. It is seldom
+performed, merely because there are few artists who can adequately
+render its astonishing music. There are other mad scenes in existence.
+The one from "Lucia di Lammermoor" is very celebrated, but its music no
+more expresses the<a name="page_162" id="page_162"></a> vagaries of madness than does any other florid aria.
+Of course, lavish colorature seems appropriate and is considered
+imperative; but Donizetti's florid fancies are mere plumes and flounces
+draped upon a melody, whereas with Thomas these form the texture of the
+theme. The French composer well knows the worth of his mad music, and he
+has taken pains to present it most advantageously. You are not ushered
+at once from the grim and gruesome harmonies of the last act to this
+wealth of inspiration, but are first entertained by a ballet of
+shepherds and shepherdesses. During this dance we become accustomed to
+the beautiful rural landscape, the gentle stream at the back and the
+drooping willows. We are also brought under the spell of a different
+kind of music; these pastoral ballet motifs are very charming. They are
+light and fantastic, but at the same time suggest a midsummer peace and
+tranquillity.</p>
+
+<p>At last the dainty dance is ended, and then the rustic group perceive a
+strange<a name="page_163" id="page_163"></a> figure approaching&mdash;a beautiful maid, with her flowing hair
+adorned with bits of straw and wild flowers. Her white dress is torn,
+and her bare arms carry a straggling bunch of flowers which she plays
+with and caresses. That exquisite inquiring little introduction which we
+heard in the first act again announces the entrance of Ophelia. She
+glances a moment at the pretty peasants, and then, with intuitive
+politeness, asks permission to join in their sport. There is a subtle
+pathos about this first little phrase, which is sung without
+accompaniment, and is simple as a child's question. She goes on to tell
+them how she left the palace at dawn and no one has followed. "The tears
+of night were still on the ground and the lark poured forth its morning
+song." A perfect bird-throat warble of trills and fluttering staccatos
+follows this memory of the lark. But her thoughts are varied, and she
+suddenly turns and asks: "Why do you whisper to each other? Don't you
+know me? Hamlet is my betrothed, and I&mdash;I am<a name="page_164" id="page_164"></a> Ophelia." Then she tells
+them, in tones that rest upon the accompaniment like lilies on a lake,
+how Hamlet vowed always to love her and that she has given him her heart
+in exchange. "If any one should tell you that he will leave and forget
+me, do not believe it. Believe nothing they tell you, for Hamlet is my
+betrothed, and I&mdash;I am Ophelia." But in spite of this assertion of
+Hamlet's faith, there is throughout all the music a ring of perpetual
+pain. She clasps her hand to her head with terror, and exclaims: "If he
+were false I think I should lose my reason!"</p>
+
+<p class="figcenter">
+<a href="images/ill_164_lg.jpg">
+<img src="images/ill_164_sml.jpg" width="430" height="550" alt="Copyright by Aimé Dupont, N. Y.
+
+Calvé as Ophelia in &quot;Hamlet.&quot;" title="" /></a>
+<br />
+<span class="caption">Copyright by Aimé Dupont, N. Y.<br />
+
+Calvé as Ophelia in &quot;Hamlet.&quot;</span>
+</p>
+
+<p>The flowers again hold her attention, and she plays with them as the
+orchestra commences a ravishing waltz theme. She at first pays little
+heed to the music, but its gay melody at last drifts to her soul and
+finds immediate expression. The difficult phrases fall from her lips
+like petals from a flower. Gleeful chromatics and happy trills are also
+thrown in, and we would soon forget it was the sad Ophelia did she not
+suddenly<a name="page_165" id="page_165"></a> tire of this extravagant virtuosity. She turns to the
+shepherds and bids them harken to the song she will sing. Then follows a
+ballad whose moaning, minor harmonies sound like a sighing breeze. It is
+about the sirens beneath the water who lure men to its glassy depths.
+The wearied, worried mind of the mad girl now revels in a wild, merry
+laugh, which is as quickly followed by passionate sobs; but she finally
+remembers to finish her song about the siren. This strange, sad melody
+possesses a weird charm that is irresistible. Again she breaks into
+hilarious laughter and uncontrolled weeping. Grief without hope and joy
+without memory alternate in rapid succession. The music of this portion
+defies description. It is a perfect conflagration of impossible
+staccatos and scales. With one last sweeping chromatic run, that rushes
+like the whistling wind from low D to high E, Ophelia kneels down with
+her flowers and thinks only of them. The peasants retire from the scene,
+and<a name="page_166" id="page_166"></a> the orchestra take up fragments of the waltz.</p>
+
+<p>They play for some moments, while Ophelia contentedly rearranges her
+bouquet. But presently a wonderful change comes over the music. We hear
+only the string instruments and flute, and soon these, too, are hushed,
+while out of the air a magical song arises. It is the siren's ballad,
+faint as a vision but with full harmonies. Thomas has produced this
+effect of dream-music by having the chorus sing behind the scenes with
+closed mouth. This soft humming of a hidden chorus well resembles the
+buried voices of water-nymphs. Ophelia at once recognizes the song, and
+she is drawn by the music toward the stream, where she hopes to see the
+sirens. All unconscious, she pushes her way through the rushes and reeds
+on the bank. The chorus has ceased, and only the tender, liquid tones of
+the harp now fill the air. Ophelia steps too far and soon falls into the
+"weeping brook." Her dress bears her up for a time, and we hear<a name="page_167" id="page_167"></a> her
+sweetly singing as she floats down the stream. It is no longer the
+ballad or the gay waltz, but quite another theme to which her memory now
+clings. It is Hamlet's glorious vow&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="poetry">
+<tr><td align="left"><span style="margin-left: 0em;">"Doubt that the sun doth move.</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1.5em;">Doubt truth to be a liar,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0.25em;">But never doubt I love."</span></td></tr>
+</table>
+
+<p>Ophelia ends her song with a lingering high note of such silvery beauty
+that it seems like a far-away star in the dark night of death.</p>
+
+<p><a name="page_168" id="page_168"></a></p>
+
+<p><a name="page_169" id="page_169"></a></p>
+
+<div class="rt">
+<p class="nind">
+A Talk<br />
+with<br />
+Lillian Nordica
+</p>
+</div>
+
+<p><a name="page_170" id="page_170"></a></p>
+
+<p><a name="page_171" id="page_171"></a></p>
+
+<p class="figcenter">
+<a href="images/ill_171_lg.jpg">
+<img src="images/ill_171_sml.jpg" width="424" height="550" alt="Copyright by Aimé Dupont, N. Y.
+
+LILLIAN NORDICA." title="" /></a>
+<br />
+<span class="caption">Copyright by Aimé Dupont, N. Y.<br />
+
+LILLIAN NORDICA.</span>
+</p>
+
+<h2><a name="A_TALK_WITH_LILLIAN_NORDICA" id="A_TALK_WITH_LILLIAN_NORDICA"></a>A TALK WITH LILLIAN NORDICA</h2>
+
+<p>It was during one of Patti's farewell seasons at the old Academy of
+Music that a young American girl, by the name of Lillian Norton, first
+appeared as a prima donna. She made a success, but not a sensation, for
+she had not then the halo of a European glory, and people were in those
+days too intent on the passing star to note any rising one.</p>
+
+<p>But later on, when she Italianized her name, they applauded the same
+voice more loudly, tho their attention was still more directed to the
+foreign artists who appeared every year.</p>
+
+<p>The American girl all this time never relaxed her determination, but
+kept on working with a will, learning rôles there was no prospect of
+using, and studying all things in her line. At last she was engaged<a name="page_172" id="page_172"></a> by
+the Metropolitan Opera Company; but her name was not printed at the top
+of the list, and she was not held out as the magnet to fill the house on
+the opening night. In the end, tho, she sang oftener than any of the
+other sopranos, for when they were indisposed she it was that always
+came forward. <i>There was never a rôle she could not sing, and never a
+time she was not ready.</i></p>
+
+<p>The dormant appreciation of her countrymen became at last thoroughly
+aroused. Since then her success has swept onward with unabating force.
+The following season in New York the enthusiasm she inspired was so
+great that one large club of opera-goers presented her with a diamond
+tiara, and the people that year had to stand in line when buying seats
+to hear Madame Lillian Nordica.</p>
+
+<p>The Waldorf-Astoria, where she lives when in New York, is quite a
+contrast to the humble New England home in Farmington, Me., where she
+was born. This hotel is a city in itself, and the visitor who<a name="page_173" id="page_173"></a> inquires
+for some distinguished resident is conducted personally along the marble
+avenues and carpeted byways and through the beautiful "palm-garden." The
+door of Madame Nordica's apartment was opened by a white-capped maid,
+who seated the caller and then left the room. It was the day of a
+blizzard, and from this sixth-floor elevation the snow-storm without was
+of superb fury. It battered against the window as tho maddened by the
+sight within of the prima donna's cosy parlor, of the shaded electric
+lights, the wide-open grand piano, and the numerous long-stemmed roses,
+in various tall jars, fragrant and peaceful as a summer's day. Through
+the silken draperies of a doorway could be heard the sound of voices, of
+occasional laughter, and then&mdash;a scale, a trill, and a soft high note.
+It was an exquisite grand-opera effect with the whistling storm by way
+of orchestral accompaniment.</p>
+
+<p>Soon the curtains were parted and Madame Nordica entered&mdash;a woman of
+regal height<a name="page_174" id="page_174"></a> and figure, but with manners thoroughly American and
+democratic.</p>
+
+<p>"Do you mean to say you came through all this storm to see me! You are
+certainly very brave." These were her first words; then she drew up a
+comfortable chair, and added: "Well, it's just the sort of day to talk
+and take things easy."</p>
+
+<p>Madame Nordica's tones convey even more than her words, for her voice is
+noticeably beautiful in conversation. It is fascinating in its variety,
+its softness, and its purity. Her face is also very expressive, as well
+as beautiful, with a complexion remarkably fine, teeth of absolute
+perfection, and thoughtful blue eyes set well apart.</p>
+
+<p>She wore a house-gown of pale, clinging blue silk, and, with the
+exception of her wedding ring, had on no jewelry.</p>
+
+<p>She told first of her birthplace and home.</p>
+
+<p>"I was the sixth girl, and I think my parents were rather tired out by
+the time I came. I wasn't even baptized!" Then she talked of her work.<a name="page_175" id="page_175"></a></p>
+
+<p>"I studied first in Boston, and sang there in church; but I made my
+concert début here in New York with Gilmore at the old Madison Square
+Garden. He took me with him afterward to Europe. When I returned to
+America I sang in all the Italian operas, especially Verdi's."</p>
+
+<p>Madame Nordica still holds to-day a supreme place as a singer of the
+Italian school, altho her greatest fame has been won in the Wagner
+rôles.</p>
+
+<p>When asked if she had ever met Verdi, the singer replied in the
+affirmative.</p>
+
+<p>"I met him in Italy, but only once. I was much better acquainted with
+Gounod, and also the modern composers, Leoncavallo, Mascagni, etc., but
+now I devote my chief time to Wagner."</p>
+
+<p>This led to inquiries about Madame Cosima Wagner.</p>
+
+<p>"Ah, I lived right with her for three months, and it was a great
+privilege for me. Her husband's music is to her like her very <a name="page_176" id="page_176"></a>eyes. She
+taught me the German and helped me in every way. 'Lohengrin' had never
+been sung in Baireuth, and I was to create there the rôle of Elsa."</p>
+
+<p>A remarkable honor this was, indeed: to be the first Elsa in Wagner's
+own temple, under the guidance of his own wife, with the grave of the
+great composer fairly in sight, and memories of the "Mad King" on all
+sides&mdash;the king whose ears were deaf to the functions of state, but open
+to the art of heaven.</p>
+
+<p>"It was a great opportunity for me, but I sometimes thought I would have
+to give it up. Oh! I have been so discouraged! I have wept <i>barrels of
+tears</i>!"</p>
+
+<p>This is a kind message for the great singer to send to the many
+struggling aspirants who may to-day be working under discouragement.</p>
+
+<p>Madame Nordica insists that "work is everything. The voice is but the
+material; it is the stone from which the cathedral is built."</p>
+
+<p>After her great success in Baireuth, the<a name="page_177" id="page_177"></a> American prima donna sang Elsa
+in New York.</p>
+
+<p>"But I had to sing again in Italian, for the rest of the company had not
+learned the German. It was through my efforts that they have since
+studied these rôles in the original, and we now sing all the Wagner
+operas in German."</p>
+
+<p>It was a great musical event when Jean de Reszke and Madame Nordica
+appeared as Tristan and Isolde. This love-tragedy done in music is
+perhaps the most profound of all operas. It is somber with sorrow
+throughout; even the great love-duet in the second act is too intense
+and grand in its motifs ever to be called happy. It is not the joyous
+emotion of youth, but the fervor of maturity, where life itself is
+staked for a mighty love. This second act is a wondrous musical scene.
+It is in the moonlit gardens of the Cornish castle where Tristan and
+Isolde meet clandestinely, while Bragaende, the faithful attendant,
+keeps watch in the tower above. She is not seen, but the calm<a name="page_178" id="page_178"></a> sustained
+tones of her watch-tower song soar out in contrast to the intense
+love-music like a beacon-light on a turbulent sea.</p>
+
+<p>Another very popular rôle of Madame Nordica's, tho altogether different
+in style, is Valentine in "The Huguenots." Her sustained and crescendoed
+high C in the third act of this opera is worth a long journey to hear.
+Madame Fursch-Madi in years agone used to sing this rôle very grandly,
+but she was plain of feature; whereas with Madame Nordica her Valentine
+is so beautiful to behold that the audience is aroused to greatest
+sympathy with the hero's struggle between love and duty.</p>
+
+<p>"Our art is so very legitimate," Madame Nordica thoughtfully remarked.
+"The painter or the writer can take advice, can be assisted, and has
+time to consider his work; but we must face the music alone, at the
+point of the bayonet as it were, for every tone must come at the right
+moment and on the right pitch. The actress has neither of these
+requirements to meet. It is very<a name="page_179" id="page_179"></a> trying, also, to sing one night in
+German and the next time in some other language. Indeed, every
+performance is a creation. No wonder we are so insistent on the
+applause. A painter or writer can say to himself, if his work is not at
+first well received, 'Just wait till I am dead!' But our fate and fame
+are decided on the spot."</p>
+
+<p>Madame Nordica grew enthusiastic as she talked, and her face was all
+animation.</p>
+
+<p>"It is easy to criticize us, but hard for an outsider to appreciate the
+difficulties of our art. No one is in a place he does not deserve&mdash;at
+least not for any length of time. And I believe, too, that no one lacks
+for opportunity. When people say, So-and-so has a beautiful voice, and
+ought to be on the Metropolitan stage, just inquire what that person can
+do. Very likely she only knows one language, and probably can not sing a
+single act of one opera straight through. Why should she be on the
+Metropolitan stage? A girl came to me not long ago who had been singing
+with some English<a name="page_180" id="page_180"></a> opera company. She had a beautiful voice and said she
+could sing everything, which I found to be true. I asked why she did not
+go to Mr. Grau, and she replied, quite disheartened, that he would do
+nothing for her. Then I asked, 'Are you ready for <i>anything</i>? I feel
+quite sure he could use you now as the page in "Romeo and Juliet."' 'Oh,
+I wouldn't sing a secondary rôle!' she quickly exclaimed. Now that girl
+makes a great mistake. To sing well one beautiful aria on the same stage
+with such artists as the two De Reszkes and Madame Melba would do her
+more good than to sing the first rôles in a poor company."</p>
+
+<p>Madame Nordica spoke very earnestly as she related this story of a lost
+opportunity, which so plainly points its own moral. Another incident she
+told gives the reverse side of the same idea:</p>
+
+<p>"I remember one day some singers were discussing another member of their
+company, and claiming that he did not deserve his high position; but I
+protested, and said:<a name="page_181" id="page_181"></a> 'Just consider what that man can do. He knows
+every language, has a fine stage presence, a good voice, and can sing
+every rôle in the repertoire. Now where will you get another to fill his
+place?'</p>
+
+<p>"Our art to-day is very different from what it used to be. People wonder
+who will replace Patti or some other retiring singer; but if one should
+appear who adequately filled the vacant place, we would at once hear
+people saying, 'She only sings coloratura rôles and nothing but
+Italian!' No, the great artist to-day is the one who has mastered all,
+who does the work of three in former years, and not one who shines forth
+temporarily in a few special rôles."</p>
+
+<p>Madame Nordica can certainly speak with authority on this point, for she
+is one whom we may truly say has "mastered all." Her repertoire is
+astonishing in its scope and variety; and when we consider that out of
+eighty-seven million people, which is our present population, including
+the colonies,<a name="page_182" id="page_182"></a> she is the only one to-day who sings the three
+"Brünhildes" of Wagner and also his "Isolde," we can then better
+appreciate Madame Nordica's achievement. It needs a very great mind to
+grasp and portray these Wagnerian creations. Brünhilde, the war goddess,
+must be both tender and heroic&mdash;as it were, divinely human. No composer
+but Wagner could have imparted these qualities; but he was himself a
+sort of musical Jove, who wielded the scale like a thunderbolt. If any
+one doubt this, let him hear and behold the wonderful "Ride of the
+Walküre," those five war maidens, daughters of Wotan, who chase through
+the clouds on their armored steeds, and call one another in tones
+unearthly, to an accompaniment of whizzing strings, and clanging brass,
+and a torrent of intricate chords. The music depicts the fierce clash of
+the elements, the war gods in battle, the clamor of shields, and the
+furious dash of wild horses. Above it all there rings out on the air the
+weird, far-reaching cry of Brünhilde,<a name="page_183" id="page_183"></a> the leader of the Walküre
+maidens, and her call is repeated from the East, from the West, from the
+uttermost mountain-peaks, by her sister spirits, who are sometimes
+hidden and sometimes revealed by the fast-rushing clouds, through which
+their steeds gallop and plunge.</p>
+
+<p class="figcenter">
+<a href="images/ill_182_lg.jpg">
+<img src="images/ill_182_sml.jpg" width="421" height="550" alt="Copyright by Aimé Dupont, N. Y.
+
+Nordica as Brünhilde in &quot;Siegfried.&quot;" title="" /></a>
+<br />
+<span class="caption">Copyright by Aimé Dupont, N. Y.<br />
+
+Nordica as Brünhilde in &quot;Siegfried.&quot;</span>
+</p>
+
+<p>Whoever can hear this wonder-work and not bow to Wagner's greatness is
+surely a musical degenerate.</p>
+
+<p>"My progress has not been by leaps and bounds," Madame Nordica presently
+announced; "it has been more tortoise-like; and I have sometimes seen
+others sweep past me with apparently little effort. But in the end
+justice comes around to all. What is it Mrs. Carter says in 'Zaza' about
+success? 'It comes from much misery.' Yes, there is very much of that.
+'And much work,'&mdash;ah, a <i>great deal</i> of that. 'And a little luck,'&mdash;yes,
+a <i>very</i> little of that; it is not good to have much luck."</p>
+
+<p>As I arose to go, Madame Nordica added with a smile: "You see I could
+talk on this<a name="page_184" id="page_184"></a> subject all day. The sum of it is, success comes from
+steady daily work. You must work well in the morning, and then work some
+more in the afternoon&mdash;and it is well to practise between times too!"<a name="page_185" id="page_185"></a></p>
+
+<div class="rt">
+<p class="nind">
+"Lohengrin"
+</p>
+</div>
+
+<p><a name="page_186" id="page_186"></a></p>
+
+<p><a name="page_187" id="page_187"></a></p>
+
+<h2><a name="LOHENGRIN" id="LOHENGRIN"></a>"LOHENGRIN"</h2>
+
+<p>There seems a very magic about the name of Lohengrin&mdash;a mythical
+strength and beauty that at once characterize the whole opera. The fault
+is occasionally found that Wagner's operas are long and at times
+tedious; but this term is never applied to "Lohengrin." One is disarmed
+of this suspicion in the very first prelude. Ah, what a prelude is that!
+It is like the gradual drawing together from empty space all the music
+of the spheres. The two first measures are so pianissimo that we
+scarcely hear them, but the vague and far-away voices come slowly
+nearer. They mingle with each other and weave in and out, until there is
+a crescendo mighty and overpowering. We are now prepared for the
+legendary character of the opera; such music could not represent things
+earthly.</p>
+
+<p>The curtain rises upon a scene of medieval<a name="page_188" id="page_188"></a> coloring. It is a woodland
+upon the banks of the Scheldt in the province of Brabant. A throne is
+erected on one side, and here the king of Germany is holding court. He
+is visiting this province of his realm to solicit aid in a coming war.
+After this fact is announced by the herald, the king arises and in
+stately phrases greets the people and explains more fully the object of
+his visit. He closes with the observation that it grieves him to find
+this province in a state of discord, and he requests Frederick of
+Telramund, an esteemed nobleman of Brabant, to recount the situation.</p>
+
+<p>Frederick, which is the baritone rôle, tells a strange and interesting
+story. The province is at present without any ducal ruler, owing to the
+recent mysterious disappearance of the young heir. He was last seen in
+company with his sister Elsa. The two were walking in the forest, but
+she returned alone and declared she had lost her brother. Frederick now
+charges Elsa with murder, and furthermore lays claim to the ducal<a name="page_189" id="page_189"></a>
+throne in the name of himself and also his wife Ortrud, who bears some
+kinship to the late duke.</p>
+
+<p>On hearing this charge the king summons Elsa, who presently comes
+forward with bowed head and sorrowful mien. This must have been a
+thrilling moment at that first performance in Baireuth when Lillian
+Nordica stepped before the audience. It was not only Elsa challenging
+her accusers, but an American girl challenging German critics under the
+dome of their most hallowed shrine, with their own music and in their
+own language. But whatever a singer's emotions may be, she must give no
+evidence of them. It is wonderful how smoothly these great performances
+always run. Come what may, the play goes on.</p>
+
+<p>Elsa can say no more in her behalf than has already been given; but when
+urged by the king to speak freely all that is on her heart, she tells of
+a wonderful vision which came in her hour of distress. An armored
+knight, more grand than any she had seen,<a name="page_190" id="page_190"></a> appeared to her and promised
+to be her deliverer and champion. This dream-song of Elsa's is like a
+musical apparition, so ethereal and spirituelle; but one must not seek
+for these wonderful beauties in the voice-part alone. With Wagner the
+orchestra is never a mere accompaniment, but more often the principal
+part. A theme is sometimes begun in the orchestra and finished by the
+voice, or it may be altogether with the instruments. Wagner handles the
+voice like a noble metal which can be fashioned into useful vessels to
+carry and convey the emotions, in contrast to the Italian composers, who
+look upon the voice as a jewel to be displayed and admired for its own
+sake.</p>
+
+<p>To return to Elsa's song. It should be understood from the first that
+each theme in the opera expresses some emotion or idea which is
+consistently adhered to throughout. For instance, when Elsa describes
+the knight in her dream, there is heard in the orchestra a few bars of
+the Lohengrin&mdash;or<a name="page_191" id="page_191"></a> swan-song, a theme which is constantly revealing
+itself in this great kaleidoscope of sound whenever the hero appears or
+is mentioned. Again, when she speaks of his glittering armor, the
+splendid warlike motif which asserts itself is the same one that is
+worked up in the crescendo preceding Lohengrin's arrival.</p>
+
+<p>After this strange recital of Elsa's, Frederick still maintains his
+charge against her, and states as her motive for the crime that she
+hoped to gain the throne. The king decides to settle the question by
+single combat. Frederick must defend himself against whomever may come
+forward as Elsa's champion. This custom is according to the ancient
+belief that "might is right," and that Heaven itself is the awarder of
+victory and defeat. The herald of the king announces, with a
+trumpet-call, the impending combat, and bids "him who will fight for
+Elsa of Brabant to come forth at once." The call dies away, but no one
+presents himself as her defender, and it<a name="page_192" id="page_192"></a> appears as tho Heaven already
+indicates which side is right. Elsa piteously begs them to call again.
+Her wish is granted, and once more the cry rings forth. She falls on her
+knees, and in tones that vibrate with intense despair prays Heaven to
+send her the hero of her dream. "Elsa's prayer" and "Elsa's dream" are
+two of the most beautiful soprano solos in the opera. The prayer is
+short, but it accomplishes a thrilling crescendo. The final climax is
+such a passionate outcry that we are not surprised to see an immediate
+answer granted.</p>
+
+<p>Wagner is a master of crescendos, and he now commences one for the
+chorus which is truly wonderful in effect. Instead of starting all the
+voices pianissimo, or even part of the chorus, he starts with a single
+voice. One man has perceived a knight floating down the river in a boat
+drawn by a swan. He whispers it to his neighbor, who in turn says,
+"Look!" and then another and another in quick succession join in
+exclamations, until all are singing of the strange<a name="page_193" id="page_193"></a> sight. They rush to
+the bank, and still the wonder grows. The knight of the swan draws
+nearer, the orchestra crashes out its stupendous theme, the sopranos
+ring out above everything, and the whole chorus seems to have doubled
+its capacity. It is a greeting worthy of the subject, who is Lohengrin
+himself.</p>
+
+<p>No wonder the people subside and look at him with awe as he steps upon
+the bank. He is clad in shining silver, with a helmet, shield, and
+sword. His face is fair and his hair is blonde. Before noticing the
+people, he turns to the swan and sings it a farewell. This song is only
+two lines long, and for the most part without accompaniment. It is
+apparently simple, and differs little from the form of a recitative, and
+yet so rare and strange is this melody that it portrays the legendary
+character of the opera more than any other phrase. It seems as tho
+Lohengrin is still singing in the mystical language and music of that
+other world from which he has come. Every one knows this song<a name="page_194" id="page_194"></a> by its
+German name, "Mein lieber Schwan," and it is so much admired and so
+famous that it is actually paraphrased. A man must be great indeed to be
+caricatured; how much more is this true of classical music!</p>
+
+<p>Lohengrin soon comes forward and bows before the king, after which he
+announces that he has been sent as champion "for a noble maid who is
+falsely accused." But before entering the combat he speaks to Elsa, who
+has previously offered to bestow her hand and heart upon whomever would
+fight for her. She now reiterates this vow most gladly, and also makes
+another promise which the strange knight requests&mdash;she must never ask
+from whence he came, nor what his name. Lest there be any
+misunderstanding, he repeats the impressive phrase in a higher key, and
+Elsa again promises. This short theme is most important. It might be
+described as the dark motif. It is the one most often heard when Ortrud
+and Frederick do their evil<a name="page_195" id="page_195"></a> plotting, for it is by means of this
+interdiction of Lohengrin's that they eventually succeed in
+accomplishing Elsa's unhappiness.</p>
+
+<p>When the two combatants face each other and all is ready, the herald
+again comes forward and solemnly proclaims the rules governing such
+contests. They are interesting to note: "No one shall interfere with the
+fight under penalty of losing his head or his hand;" and furthermore, no
+sorcery or witchcraft shall be exerted, for Heaven alone must decide who
+is right. After this preliminary the king arises and prays for the just
+judgment of Heaven to show clearly which side is true and which is
+false. Wagner always favored the bass voice when possible, and so he has
+given to the king this splendid and impressive composition, with its
+rich, full chords and stirring rhythm. The chorus takes up the prayer
+and finishes it with inspiring breadth and grandeur. The king strikes
+upon his shield three times and the battle begins. It does not last
+long, for Frederick is soon disarmed<a name="page_196" id="page_196"></a> and thrown down by Lohengrin, who,
+however, spares his life.</p>
+
+<p>The victory has proven Elsa's innocence and Frederick's falsehood. The
+latter is disgraced utterly, while Lohengrin is regarded as Heaven's
+favorite. Elsa sings forth her joy and gratitude in melodic phrases
+which would need no words. The music of Elsa and Lohengrin is like the
+music of day&mdash;it is so clear, so lucid and full of melody in contrast to
+the rugged, weird, and gloomy themes of Ortrud and Frederick.</p>
+
+<p>The great chorus of victory is the last number of this act. It brings in
+with Wagner's inimitable modulations the martial theme of the previous
+chorus and also Elsa's song of praise. All excepting Ortrud and
+Frederick look happy and join in the singing right heartily as the
+curtain descends.</p>
+
+<p>The second act comprises Ortrud's great scene. This rôle may be sung by
+a contralto, but is better adapted to a mezzo-soprano. Ortrud is often
+called the operatic<a name="page_197" id="page_197"></a> Lady Macbeth. She is not only as wicked and
+ambitious as Shakespeare's heroine, but is also a sorceress of no mean
+ability, for it is she who made away with Elsa's brother; but this fact
+is not revealed until the last act. She also exerted her power upon
+Frederick with such effect that he believed her to be a prophetess. He
+was sincere in his accusation against Elsa, for Ortrud told him she had
+witnessed the crime herself. But he is now awakened to her wickedness,
+and the scene opens with his maledictions against her and his abject
+wretchedness over his own disgrace. The two are seated upon the church
+steps facing the palace, where jubilant preparations are going on for
+the wedding of Elsa and Lohengrin, which will take place at dawn. It is
+yet night, and the music is deep and ominous. The dark motif and a new
+one which seems to represent Ortrud are the musical heart and soul of
+this scene. They stalk about the orchestra like restless phantoms, and
+are heard in all sorts of<a name="page_198" id="page_198"></a> keys and instruments. After Frederick's great
+harangue against his wife and fate and everything, she calmly inquires
+the cause of his anger. She declares that she never deceived him, and
+that the recent combat was unfairly influenced by Lohengrin's sorcery.
+Such is her power over Frederick that he again believes and listens to
+her plans. She explains how Lohengrin may yet be robbed of his power and
+Frederick's honor vindicated. Elsa must be induced to ask the hero his
+name, or he must be wounded, be it ever so slightly. Either of these
+methods will annihilate his power. This remarkable scene closes with a
+duet about revenge, which the two voices sing in unison&mdash;a point
+indicative of their renewed unity of purpose.</p>
+
+<p>The music now changes to harmonies that charm and soothe, and Elsa
+appears upon the balcony of her palace. The moonlight falls upon her as
+she clasps her hands in rapture and sings to the gentle zephyrs of her
+love. It is a song as peaceful as the<a name="page_199" id="page_199"></a> night; and in contrast to the
+recent somber and spectral themes, it beams forth like a diamond against
+black velvet. This solo of Elsa's is one of the most difficult to sing
+because of its many sustained pianissimo tones. After the last sweet
+note has died away like a sigh, Ortrud, who is still seated on the steps
+beneath, calls to Elsa in a pleading voice. She appeals to the latter's
+sympathy by announcing herself as "that most unhappy woman, Ortrud,"
+wife to the disgraced Frederick. "We are cursed by God and man, and
+welcomed nowhere." Thus speaks the sorceress; and Elsa, in the goodness
+of her heart, takes pity and impulsively offers to receive the outcast.
+She retires from the balcony and presently opens the door below to
+welcome Ortrud, who in this short interim has sung some splendid phrases
+of gloating animosity. But she kneels like a humble slave before the
+unsuspecting Elsa, who invites her to the wedding and also promises to
+induce Lohengrin to pardon Frederick.<a name="page_200" id="page_200"></a></p>
+
+<p>As an expression of gratitude, Ortrud now offers to exert the power of
+prophecy for Elsa's benefit. Prophecy and sorcery are regarded in
+different lights: the latter is wicked and implies collusion with the
+evil one, while the "prophetic eye" is a gift to be coveted. Ortrud
+pretends to possess this power. She forewarns Elsa against too great
+confidence in her hero, and mysteriously hints that he may leave as
+suddenly as he came. These words are accompanied by the threatening dark
+motif, which hovers ever near like a lowering cloud. Elsa recoils at the
+thought&mdash;this first seed of suspicion,&mdash;but she soon smiles assuredly
+and sings to Ortrud a lovely song about "the faith and trust that knows
+no doubt." Wagner's words are as beautiful as his music, and in this
+composition they seem to mount upward on the "wings of song" like the
+spontaneous utterance of a pure heart. Elsa puts her arms gently about
+Ortrud and leads her into the palace. Frederick, who has kept in the
+background,<a name="page_201" id="page_201"></a> watches them disappear, and the scene closes with his final
+descant on revenge.</p>
+
+<p>After his exit the orchestra has a solo, so to speak, while the stage is
+occupied in representing the dawn of day. Villagers stroll in one by
+one, garlands are hung in honor of the wedding, and the scene becomes
+constantly brighter and more active. The herald appears above the gates
+of the palace and makes three announcements in the name of the king:
+First, that Frederick of Telramund is banned and shall be befriended by
+no one; second, that the Heaven-favored stranger shall hereafter be
+called the guardian of Brabant; and, third, that this hero shall lead
+them soon to "victorious war." Then follows a chorus about the
+Heaven-sent guardian of Brabant, after which there is a momentary
+commotion caused by Frederick, who, in spite of the ban against him,
+comes forward and asserts that he will defy their much-lauded hero and
+will open their eyes to his duplicity.</p>
+
+<p>But this incident is forgotten in the<a name="page_202" id="page_202"></a> gorgeous scene which now
+commences. The wedding-guests come slowly from the palace, and wend
+their way in stately procession toward the church. Their course is
+accompanied by a march of pontifical solemnity, which attains its
+grandest beauty when Elsa comes down the great stairway clad in robes of
+regal splendor. All voices join in praise for "Elsa of Brabant."</p>
+
+<p class="figcenter">
+<a href="images/ill_202_lg.jpg">
+<img src="images/ill_202_sml.jpg" width="430" height="550" alt="Copyright by Aimé Dupont, N. Y.
+
+Eames as Elsa in &quot;Lohengrin.&quot;" title="" /></a>
+<br />
+<span class="caption">Copyright by Aimé Dupont, N. Y.<br />
+
+Eames as Elsa in &quot;Lohengrin.&quot;</span>
+</p>
+
+<p>The procession proceeds to the church; the music increases in strength,
+when suddenly there is a discord. Elsa is confronted at the church
+entrance by Ortrud, who fiercely declares she will no longer follow like
+an attendant; that she is the one to whom people should bow instead of
+Elsa, whose future lord comes of a land and family which he dare not
+tell! Elsa is dumbfounded by this sudden onslaught from the woman she
+has befriended. But Ortrud maintains her position, and actually defies
+Elsa to ask the hero his name. This attack is diverted by the
+ceremonious entrance of the king and Lohengrin, to whom Elsa hastens
+with<a name="page_203" id="page_203"></a> her grievance. Ortrud is promptly ordered aside, and the
+procession resumes its march. But again the solemn cathedral music
+crashes into a discord. Frederick, the despised one, dares to rush
+before the king and bar the way as he begs them to harken to his words.
+There is great indignation over the interruption, but Frederick so
+intensely cries for justice that at last even the king listens as he
+charges Lohengrin with sorcery. He sustains the charge by demanding
+Lohengrin to tell his name, if he be an honest man; if he can not do
+this there must be some dark secret to hide. All turn to the hero
+expectantly, but he only defends himself by saying that he has proven
+his worth in mortal combat, according to ancient usage, and that he will
+not answer Frederick nor even the king&mdash;only Elsa shall be answered this
+question. He turns to her and finds her trembling with agitation. The
+orchestra tells us her thoughts, for we hear the Ortrud-theme and dark
+motif writhing in and out like venomous serpents. A murmuring sort<a name="page_204" id="page_204"></a> of
+chorus about the strange secret which the hero so zealously guards is
+gradually resolved into a song of allegiance and belief. The king
+declares Frederick unworthy of consideration. But during the jubilant
+chorus which follows, that Miserable steals up to Elsa and casts his
+final poison-shaft. He tells her that if Lohengrin were once wounded,
+"merely pricked in the finger," he would then bestow upon her full
+confidence and never leave. Frederick further says he will "linger near
+the coming night," and when she calls will enter and commit the deed
+without harm to Lohengrin. Elsa spurns the tempter away, and Lohengrin,
+who perceives him at her side, bids him forever begone. But finding Elsa
+even more agitated than before, he asks in the presence of all if she
+wishes to be told his name. She remembers her vow, and in tones of
+exultation declares that love is greater than doubt. The magnificent
+march music is again resumed, and they enter the minster without further
+incident,<a name="page_205" id="page_205"></a> excepting the defiant gaze of Ortrud as Elsa passes; and
+while the curtain descends we hear again, half hidden in the orchestra,
+the terrible dark motif.</p>
+
+<p>There is a brilliant orchestral introduction to the third act, which
+represents the marriage fête. Its tempo and rhythm are positively gay,
+tho this is an adjective seldom appropriate to Wagner. But the hilarity
+has subsided by the time the curtain rises: the trumpets and cymbals are
+hushed, and the gentlest of music greets our ears as we look upon the
+bridal chamber. The voices are at first distant, but gradually approach,
+and the effect of their song steals over us like a potent charm. It is
+the wedding-march&mdash;the "Lohengrin Wedding-March"! We all know the power
+of that music. There are some compositions which become absorbed, as it
+were, by the world like important inventions or discoveries. People
+require certain musical forms of expression as they do artificial light,
+and we pity those who did without this "Wedding-March," or<a name="page_206" id="page_206"></a> Chopin's
+"Funeral March," or the Schubert "Serenade," as we pity our ancestors
+who made shift with tallow candles instead of incandescent lamps. The
+charm of the "Wedding-March" is not diminished because we know it so
+well. With Wagner as with Beethoven, every hearing reveals new beauties.
+When the chorus at last leaves Elsa and Lohengrin alone, we echo his
+first words: "The sweet song now is ended."</p>
+
+<p>But our regrets are quickly appeased by the delicious love-duet which
+follows. It is a scene of rapt delight&mdash;of happiness too great to last.
+Not in vain did we have the dark motif jangled in our ears when the
+curtain last descended; it meant trouble in the coming act, as we soon
+perceive. Elsa wishes she knew his name&mdash;just to speak it lovingly as he
+does hers. Then Lohengrin points to the open window through which the
+moonlight streams upon them, and he sings of the perfumed air which they
+enjoy without questioning its cause or source;<a name="page_207" id="page_207"></a> thus, he says, should
+they love. The exquisite melody of this song seems to exhale from his
+heart like fragrance from a flower. It is redolent of tenderest love.</p>
+
+<p>The nobility and beauty of Lohengrin's character so impress themselves,
+that Elsa feels oppressed with her own unworthiness. She wishes she
+might do something heroic to prove her love. For instance, if he would
+confide to her his secret, she would guard it so faithfully that death
+itself could not wrest it from her! Very sweetly and beautifully does
+she coax for this token of trust on his part. Lohengrin replies most
+gently that he has trusted her already by believing that she would keep
+her vow. Then he says she little knows how much she is to him; that no
+earthly honor&mdash;not the king's kingdom&mdash;could replace what he has left.
+Only Elsa, his bride, can recompense the sacrifice; for not from night
+and grief does he come, but from a home of joy and pride.</p>
+
+<p>Like a flash does this remind Elsa of<a name="page_208" id="page_208"></a> Ortrud's prophecy that he may
+leave her. The Ortrud-theme swoops down upon the orchestra and settles
+there like an ill-omened bird. The director's baton may send it away for
+a moment, but down it comes again, and the dark motif with it. Poor Elsa
+becomes almost frenzied. She believes Lohengrin will long for his
+beautiful home, which even now he can not forget. She sees in her mind's
+eye the swan-boat approaching to take him away. Lohengrin speaks
+reassuringly; but the spell is upon her, and nothing&mdash;nothing can give
+her peace but to know the truth. With mounting tones, the last one of
+which is like an outcry, she asks the fatal question. Lohengrin gives an
+exclamation of grief.</p>
+
+<p>At this moment the door is burst open by Frederick, who with drawn sword
+has come to wound the hero, or, more probably, to kill him. Elsa at once
+recognizes his intention, and frantically bids Lohengrin defend himself.
+With a single thrust he kills his would-be assassin.<a name="page_209" id="page_209"></a></p>
+
+<p>This intense and tragic climax is followed by a lull. Elsa has fallen
+half-swooning on the couch, and Lohengrin stands sorrowfully to one
+side. He at last exclaims slowly and sadly: "Now is our sweet joy fled;"
+and then we hear in the orchestra, faint and beautiful as a memory, that
+first love-duet. It is only a fragment, a fleeting thought, but so
+touching and pathetic that we could weep with Lohengrin for the harmony
+that is gone.</p>
+
+<p>The last act is short and almost entirely taken up by Lohengrin's story
+and farewell. The scenery is the same as in the first act, and the
+entire chorus of noblemen and soldiers again assemble before the king.
+They have not yet heard of the tragic event which ended the last act,
+and are therefore surprised when a bier is carried in and placed
+solemnly before them. It bears the body of Frederick. They are still
+more surprised when Elsa enters, pale and dejected, and then their hero,
+who appears equally sad. But surprise reaches its climax<a name="page_210" id="page_210"></a> when they hear
+him announce that he can not be their leader.</p>
+
+<p>Lohengrin wastes no words. After the first assertion he informs them of
+Frederick's death; whereupon all voices declare his fate to be most
+just, and the body is removed. Lohengrin then announces that Elsa, his
+wife, has broken the vow which they all heard her make, and he has come
+before them to answer her question and dispel the mad suspicion which a
+wily tempter implanted in her heart. They shall all learn his name and
+heritage, and may then judge whether he was worthy of their trust. The
+people wonder with awe-hushed voices what revelation is in store, and
+then there floats in the orchestra the soft tremolo of the swan-music,
+as Lohengrin tells them of a distant land called Montsalvat, where is a
+radiant temple. And in this temple is guarded a sacred vessel which
+possesses wonder-powers. A dove descends from heaven once every year to
+renew its marvelous strength. This treasure-blessing<a name="page_211" id="page_211"></a> is called the
+"Grail," and to its chosen votaries a matchless power is given. These
+knights of the Grail are sent abroad as champions of innocence and
+truth, and they may tarry so long as their name is unknown. But the
+Grail's blessing is too pure and holy to be regarded by common eyes, and
+if disclosed its champion must leave at once. Lohengrin adds that this
+penalty now falls on him, for he is a knight of the Grail: his father,
+great Parsifal, wears its crown, and "I am Lohengrin."</p>
+
+<p>As in the first prelude and swan-song, the harmonies of this last great
+recital seem not of earth but from another sphere; they linger and abide
+with us like a beautiful blessing. This silver-clad knight of the Grail
+has been singing of a hallowed mystery whose purity and spirituality are
+revealed more in the music than by the words. After bidding farewell to
+the hapless Elsa, from whom he must part in spite of her piteous
+appeals, there comes gliding upon the river the swan-boat. He sings a
+sad welcome to<a name="page_212" id="page_212"></a> the swan, and then announces to Elsa that could he have
+remained one year, through the mercy of the Grail her brother would have
+returned. He hands her his sword and horn and ring to give this brother
+if ever he comes back. The sword and horn will impart strength and
+victory, and the ring shall remind him of "Lohengrin who loved Elsa and
+was her champion."</p>
+
+<p>A jarring interruption is now created by Ortrud, who cries out with
+reckless triumph that the swan who serves Lohengrin is the bewitched
+brother, and that Elsa has herself to thank for causing the hero's
+departure, which forever prevents the young Duke's return. On hearing
+this mocking invection from the sorceress, Lohengrin clasps his hands in
+a fervent prayer, which is at once answered. A dove descends from heaven
+and touches the swan, which is immediately changed into the young heir.
+He rushes forward to embrace his sister, while Lohengrin steps into the
+boat, which is drawn away by the dove. It floats silently<a name="page_213" id="page_213"></a> down the
+beautiful river, and the hero stands sorrowfully leaning upon his silver
+shield. This is our last glimpse of Lohengrin, the Knight of the
+Grail.</p>
+
+<p><a name="page_214" id="page_214"></a></p>
+
+<p><a name="page_215" id="page_215"></a></p>
+
+<div class="rt">
+<p class="nind">
+"Aida"
+</p>
+</div>
+
+<p><a name="page_216" id="page_216"></a></p>
+
+<p><a name="page_217" id="page_217"></a></p>
+
+<h2><a name="AIDA" id="AIDA"></a>"AIDA"</h2>
+
+<p>Madame Nordica's "Aida" is an unsurpassed performance and always draws
+crowded houses, for the strange pathos of the music displays her
+wonderful voice to its fullest beauty.</p>
+
+<p>As in "Carmen" every measure scintillates with the sunshine of Spain, so
+in "Aida" every phrase seems shadowed by the mysteries of Egypt. A
+comparative study of these two operas will forcibly impress one with the
+power of music to express nationality. "Aida" carries one to a distant
+land and centuries back; but this power of breathing the musical life of
+ancient Egypt into the still form of a libretto is the culmination of
+modern art. Giuseppe Verdi, the greatest modern Italian composer, had
+written twenty-six operas before he wrote "Aida."<a name="page_218" id="page_218"></a></p>
+
+<p>A tender, wistful strain high up in the violins forms the opening of the
+prelude. With this first faint phrase the composer seems to awaken from
+her long sleep the muse of Egyptian music. Like the hero of fairy lore,
+Verdi, the prince of melody, has penetrated a realm of slumbering
+harmonies. They are at first subdued, dazed, and bewildered with themes
+mingled and woven together like exquisite cobwebs. The conductor's wand
+gently disperses these clinging meshes of sound, the curtain is lifted,
+and we are ushered into the musical life of an ancient civilization.</p>
+
+<p>We see a hall in the palace at Memphis, and Ramphis, the high priest,
+converses with Rhadames, a distinguished soldier. They talk of the
+impending war against Ethiopia, and it is intimated that Rhadames may be
+chosen to lead the Egyptians. But the words and song are of little
+interest compared to the orchestral accompaniment. This is somber and
+subdued; the notes are of equal length, and the intervals seem of<a name="page_219" id="page_219"></a>
+geometric exactitude like the diagram of an astrologer.</p>
+
+<p>Ramphis goes out leaving Rhadames joyous over the prospect of becoming a
+general. He thinks of his beloved Aida, to whom he will return laden
+with laurels. "Celeste Aida!" is the title of this great romanza. Like
+all love-songs it is legato, andante, and pianissimo, but at the same
+time noticeably original and characteristic. The harmonies are
+constructed with rigid grandeur, but softened and beautified by a tender
+melody that rests upon them like moonlight on the pyramids. While he is
+lost in thoughts of Aida, the Princess Amneris enters. She inquires the
+cause of his radiant expression, and insinuatingly wonders if it is some
+dream of love. Rhadames only replies that he has hopes of martial
+honors, and is therefore happy. The Princess secretly loves Rhadames,
+and her questions are based on jealousy, which is revealed in the
+nervous, agitated theme that accompanies this duet. Her suspicions are
+further<a name="page_220" id="page_220"></a> aroused by the entrance of Aida. As the heroine approaches we
+hear again the pensive theme that opened the prelude. It takes on a new
+and greater meaning, for Aida is a captive slave, an exile, and the
+music reminds us of some great longing that vainly strives to express
+itself. This effect is due to the fact that the musical cadence is left
+unresolved.</p>
+
+<p>Aida must have the dark complexion of the Ethiopian, and very few prima
+donnas look well under coffee-colored cosmetic; but Madame Nordica's
+appearance does not suffer from the application. This Aida is beautiful,
+and Rhadames can scarce conceal the joy of her presence. The captive
+also looks down to hide her emotion. But Amneris has detected every
+glance, and again that jealous theme sweeps like a flame over the
+orchestra.</p>
+
+<p class="figcenter">
+<a href="images/ill_220_lg.jpg">
+<img src="images/ill_220_sml.jpg" width="423" height="550" alt="Copyright by Aimé Dupont, N. Y.
+
+Nordica as Aida." title="" /></a>
+<br />
+<span class="caption">Copyright by Aimé Dupont, N. Y.<br />
+
+Nordica as Aida.</span>
+</p>
+
+<p>The princess addresses her slave by sisterly names, and asks the cause
+of her downcast looks. Aida says she grieves because of the war against
+her native land.<a name="page_221" id="page_221"></a> There follows a trio wherein Amneris fosters her
+jealousy, while Aida and Rhadames tremble lest their secret be
+discovered.</p>
+
+<p>Sounds of martial music prelude the entrance of the king and his suite.
+When they are assembled a messenger comes forward to announce that the
+Ethiopians are marching toward Egypt's capital under the leadership of
+their king, Amonasro. Upon hearing this name Aida exclaims to herself,
+"My father!" and we thereby learn that she is a princess, but has
+concealed the fact from her captors. The Egyptians impulsively shout "To
+war!" and Rhadames is proclaimed their leader. They sing a war-hymn
+which is so inspiring that even Aida joins in this prayer for victory to
+Rhadames. After a grand climax all go out excepting the heroine.</p>
+
+<p>"Return victorious!" She repeats this last sweeping phrase, and shudders
+at the words, for success to Rhadames implies defeat to her father. This
+distressing thought agitates the music like the passing of a great<a name="page_222" id="page_222"></a> ship
+over tranquil waters. The ensuing melody rises and falls like waves in
+the wake of a vessel. Aida realizes that she can not pray for either
+lover or father. "Was there ever a heart so oppressed!" Her song is like
+a wail, and the accompaniment introduces a pagan use of the monotone
+that gives startling effects. "Pieta, pieta!" are the final words of
+Aida's great solo.</p>
+
+<p>She goes off, and the scene changes to an interior view of the temple of
+Vulcan. It is a brilliant setting, with solid columns and golden
+statues, mysterious colored lights and fuming incense, priests and
+priestesses in glittering costumes; but the music of this
+consecration-scene reveals more barbaric splendor than the surroundings.
+The first sounds are the full, pulsating chords of a harp, and from an
+inner sanctum the grand priestess sings with rich soprano tones a weird
+refrain that is weighted with mystery. The priests in front answer in
+subdued, awe-hushed voices. Three times the wondrous<a name="page_223" id="page_223"></a> song and answer
+are repeated, after which the priestesses perform a sacred dance around
+the altar. The music of this dreamy dance has the most astonishing
+progressions, but at the same time maintains an imposing solemnity.
+During the dance Rhadames is led to the altar, where a silver veil is
+placed over his head. Ramphis, the high priest, charges him with the
+welfare of the Egyptian army; and then follows a splendid prayer that
+Ramphis starts like a sacred fire. It reaches Rhadames, who sings in a
+higher key, and then it spreads and fills the great temple; bassos,
+tenors, soloists, and chorus take it up in turn and form one mighty
+rondo. Like a response from heaven comes the chant of the grand
+priestess from within. Her inspired refrain with its harp accompaniment
+alternates with the exalted prayer in front. This consecration-scene has
+little to do with the plot of the story, but it contains some of Verdi's
+finest music.</p>
+
+<p>Several months are supposed to elapse<a name="page_224" id="page_224"></a> before the second act, which
+opens with a scene in the apartment of Amneris. Maids are robing the
+princess for a festive occasion, and we learn by their chorus that
+Rhadames will to-day return from victorious war. This scene is
+monopolized by the stringed instruments and female voices. A tropical
+indolence characterizes the choruses, with their abundant harp
+accompaniment. Amneris ever and anon breaks forth with an expansive
+theme expressing her unconquered love for Rhadames. To divert their
+mistress a group of Moorish slaves perform a lively, grotesque dance,
+for which Verdi has written music of intoxicating witchery. It is crisp
+as the snapping of fingers and uncivilized as the beating of bamboo
+reeds&mdash;a veritable savage revel that is nevertheless graceful and
+delicate. The chorus resume their dreamy praise of the hero, and Amneris
+continues her moody thoughts of love.</p>
+
+<p>Like an electric flash from a sultry sky does the entrance of Aida
+affect the musical<a name="page_225" id="page_225"></a> atmosphere. At sight of the beautiful captive,
+Amneris again rages with jealousy, as is plainly indicated by the
+conflicting themes in the orchestra. With subtle devices the princess
+seeks to entrap her rival. She pretends a deep sympathy for Aida's grief
+over the vanquished Ethiopians, and adds that "Egypt also has cause to
+mourn, for our brave leader Rhadames is among the slain." This
+treacherous falsehood is foisted so suddenly that Aida loses caution and
+reveals her emotion. Amneris cries out in fury: "Tremble, slave! thy
+secret is discovered!" She informs Aida that Rhadames lives, and that
+she, Pharaoh's daughter, loves the hero and "will not brook the rivalry
+of a slave!" Amneris threatens death as the punishment for such
+audacious love. The proud captive stands for a moment in defiance; but
+realizing the futility of such action, she humbly pleads for pardon. In
+this song the composer admirably simulates a savage dearth of compass
+and harmony&mdash;an effect of crude<a name="page_226" id="page_226"></a> simplicity that is charming and
+touching. The scene is interrupted by a song of victory from the
+streets, a signal for the festivities to begin. After commanding the
+Ethiopian to follow as a menial in the celebration, Amneris goes out.
+Aida closes the scene with the same prayer to Heaven "Pieta!" that ended
+the first act.</p>
+
+<p>A noisy march introduces the next scene, which represents a grand avenue
+in Egypt's capital. At the back of the stage is a triumphal arch and at
+one side a throne. The greater part of this act is spectacular, and
+after an opening chorus the orchestra has for some time entire charge of
+the music. The March from "Aida" is almost as popular as the Faust
+March. Its harmonies never swerve from the Egyptian type, being always
+stately and substantial as their architecture.</p>
+
+<p>While the brass instruments are playing with full force, we witness the
+ceremonial entrance of the court, with innumerable priests and soldiers,
+trumpeters, fan-bearers,<a name="page_227" id="page_227"></a> standard-bearers, train-bearers, white slaves,
+black slaves, flower girls, and dancing girls. There follows an
+elaborate ballet divertissement, clothed in music of gay pattern and
+gaudy design, but light in substance. Five lines of continuous
+staccatos, like so many strings of beads, form the opening of this dance
+music. The salient points that impart an unmistakable Egyptian
+atmosphere to this composition are as follows: A savage repetition of
+every musical phrase, a wild predilection for the monotone, a limited
+variety of keys, and a preponderant accenting of the rhythm.</p>
+
+<p>After the dance more soldiers enter, some more slaves, more banners,
+chariots, and sacred images. A chorus of welcome to the conquering hero
+is struck up, and it increases in strength and grandeur with the
+pageantry on the stage. It is not merely the crescendo, but the glorious
+swing and rhythm of the melody that so inspires enthusiasm. When at last
+Rhadames is borne in on a golden palanquin, the climax is<a name="page_228" id="page_228"></a> stupendous.
+With a final "Gloria!" shouted by every voice the hero comes forward to
+be embraced by the king. A group of Ethiopian prisoners are led forward,
+and Aida with a cry of joy recognizes her father. He has disguised
+himself as a common soldier, and does not wish it known that he is the
+defeated king Amonasro. Every one is interested in this reunion of Aida
+with her father, and the princess secretly rejoices to have them both in
+her power. Amonasro makes a noble plea for mercy, and his words are set
+to music that "droppeth as the gentle rain from heaven." It is like a
+tone-translation of Shakespeare's ode to the quality of mercy. Aida and
+the other captives lend their voices to the entreaty. Rhadames, who has
+been observing Aida but dare not address her, is moved by his love to
+ask for the prisoner's release. The king feels bound to grant the hero's
+request, but finally decides to retain Aida and her father as hostages
+of peace. As a final honor the king presents his daughter to<a name="page_229" id="page_229"></a> Rhadames,
+and adds that by her side he shall some day reign over Egypt. The act
+closes with another grand ensemble. Amneris gloats over her rival's
+subjection, Rhadames longs for Aida but dare not oppose the king, and
+the heroine bemoans her fate. The priests, people, soldiers, and
+prisoners praise the king, the trumpets blare forth the Aida March, and
+the curtain descends.</p>
+
+<p>Act III. is the most beautiful both scenically and dramatically. It
+pictures the banks of the Nile at night. An illuminated temple is at one
+side, and we see the silvery river winding its way amid palms and rushes
+far into the distance. Not only is the landscape bathed in "softened
+light," but also the music imparts an unmistakable effect of moonlight.
+A faint violin pizzicato that vibrates but never changes position is
+maintained throughout the introduction, while the other instruments call
+up weird sounds of the night&mdash;the palm-trees rustling together and the
+plaintive cry of some river-<a name="page_230" id="page_230"></a>bird&mdash;then all is still: only that
+fluttering moonbeam holds the senses.</p>
+
+<p>The silence is broken by a solemn chant from within the temple, and one
+soprano voice soars out alone in an incantation, mysterious and imposing
+as an oracle. A royal barge glides to the river's bank, and Amneris with
+her maids and the high priest Ramphis betake themselves to the temple,
+where the princess offers prayers for her coming marriage. The
+sphinx-like song of the grand priestess is again heard, and then every
+sound is hushed excepting the dreamy pizzicato movement in the violins
+that so resembles the flitting of moonbeams.</p>
+
+<p>Ere long the solitary tones of the Aida-theme arise from the stillness
+like a spirit of night. Never before have we realized the full beauty of
+this melody, for amid the blare and brightness of other harmonies it has
+been obscured like a sensitive flower. But here in the solitude and
+darkness it unfolds itself like some glorious night bloom. With cautious
+steps the heroine enters.<a name="page_231" id="page_231"></a> Rhadames has told her to meet him, and Aida
+wonders what greeting he will have for her. If it is but to say
+farewell, then "Nilus, the mighty river, shall quiet forever the exile's
+grief." For the present she plunges into a flood of memory about her
+native land, a stream of words that gently flows through a forest of
+beautiful harmonies. It is a song of homesickness that soothes tho it
+saddens.</p>
+
+<p>While still under the spell of this music Aida is startled by the
+entrance of her father. He also sings of their distant home, but with an
+underlying purpose. He says they may yet return; that it is in her power
+to save Ethiopia, to regain her throne, her love, and to vanquish her
+rival Amneris. The father has been quick to detect the love between Aida
+and Rhadames. Amonasro announces that his people are prepared to renew
+their attack and that success is assured if they can learn by what path
+the Egyptians will march. He wishes his daughter to win, by fair means
+or false, this<a name="page_232" id="page_232"></a> secret from Rhadames. Aida at first refuses to act this
+part of treachery, whereupon Amonasro chills her with his curse. He says
+she is no longer his daughter, "No longer princess of Ethiopia, but a
+slave of the Pharaohs!" The proud blood of the captive is aroused by
+this epithet. She entreats her father to recall his words, for "'Patria
+mia' ('my country') is more to me than my love. I will obey." The
+accompaniment presents an unvaried monotone in the treble, while beneath
+it there is a pathetic melody half hidden by the upper octaves like
+romance suppressed by duty. Amonasro conceals himself behind palm-trees
+as Rhadames approaches.</p>
+
+<p>Never has the joy of meeting been more admirably expressed in music than
+in Rhadames's greeting of Aida. It is a flight of song as spontaneous
+and free as the flight of a released bird. He tells her that he will not
+marry the princess, but must start at once on a second war; and if this
+time victorious he will tell the king of his love<a name="page_233" id="page_233"></a> and will claim Aida
+as the reward of his valor. It is a brave plan, but she quickly
+discovers the weak point. The nervous, inflammatory theme of jealousy
+that accompanied Amneris in the first act again arises like a hot breath
+from the orchestra. Aida well knows that the princess would wreak
+vengeance "like the lightning of heaven." There is only one course that
+will unite the lovers, and this is to fly&mdash;"Fugire!"&mdash;to fair Ethiopia,
+Aida's native land. She coaxes and entreats in phrases of delirious,
+dream-like beauty descriptive of that wondrous land&mdash;"There where the
+virgin forests rise 'mid fragrance softly stealing." A halcyon peace
+pervades the music, and its harmonies are strange and rare like the
+perfume of some exotic flower. Rhadames demurs, but the power of her
+song is irresistible, and he soon consents to leave Egypt for her sake.
+There is nothing half way about his decision when once made. The
+orchestra music rises in emphatic, resolute crescendos that are
+gloriously inspiring, and the singer's<a name="page_234" id="page_234"></a> voice is carried forward like a
+rider on his steed. The music recurs to the first impulsive theme of
+greeting. It is given in full chords, and the soprano joins with the
+tenor. Every note is accented and the crescendos are augmented. Both
+voices and orchestra mount upward and soar away on one final, sustained
+note.</p>
+
+<p>As the lovers start to go, Aida asks, "By what route do the Egyptians
+march? We must avoid them in our flight." Rhadames names the path,
+whereupon Amonasro steps forward announcing that "the king of Ethiopia"
+has overheard this important secret. He promises royal honors to
+Rhadames; but the hero is overwhelmed with the realization that he has
+betrayed his country. Vengeance falls upon him at once, for Amneris and
+the high priest have also overheard. They come from the temple and
+denounce Rhadames as a traitor. He is seized, but Amonasro and Aida
+escape.</p>
+
+<p>The first scene of the fourth act reveals a hall in the palace. At the
+back is a large<a name="page_235" id="page_235"></a> portal leading to the subterranean court of justice.
+Amneris holds the stage alone during the greater part of this scene. The
+orchestra preludes it with the familiar theme of jealousy that indicates
+the ensuing action as clearly as the title to a chapter. Rhadames is
+to-day awaiting judgment, and the princess, as a last resort, offers to
+secure his pardon if he will promise to forget Aida. The hero firmly
+refuses the proffered love of Amneris. He believes Aida is dead and
+prefers to die also. Very grandly does the music depict Amneris's
+outraged feelings. She flings a fusilade of wrathful tones, every one
+bearing the sting of sharp accent. But when he is gone her pride and
+jealousy wilt under the warmth of genuine love. She sees him led to his
+doom in the underground courts and hears the priests and judges chanting
+his name as traitor. This scene resembles the "Miserere" in "Il
+Trovatore." Three times the unseen chorus is followed by the soprano in
+front, who sings an anguished phrase that starts with a high<a name="page_236" id="page_236"></a> note and
+ends with a palpitating, gasping decrescendo that is almost identical
+with the music of Leonore. The priests condemn Rhadames to be buried
+alive. As they again pass through the hall, Amneris pleads and implores
+for mercy, but it is now too late. No power can save the hero.</p>
+
+<p>The last scene of the opera is very short, but it is the most important.
+It represents two floors, the upper one being a splendid and brilliant
+temple interior, while beneath it is the crypt&mdash;gloomy and terrible.
+This is the tomb of Rhadames, who has just been immured. The priests
+above are placing the final stone as the curtain rises and the hero is
+seen below reclining on the steps. He is thinking of Aida while
+resignedly awaiting his slow and awful death. Suddenly a voice calls
+him, and Aida herself appears to his wondering gaze. She had heard of
+his fate, and to prove her love has secretly returned and hidden in this
+tomb to die with him. The following song of the lovers has been
+humorously referred to<a name="page_237" id="page_237"></a> as the "starvation duet." The fact of this
+appellation only reveals how celebrated is the composition. It is more
+generally known as "the duet from 'Aida.'" There are other duets in the
+opera, but when another is meant it is designated; this is the <i>great</i>
+one. Its pathetic harmonies are mingled with the solemn chant of the
+grand priestess in the temple above and the music of a sacred dance.
+Aida becomes delirious, and sees in her dreams the gates of heaven
+opening. Indeed, the music is exquisite enough to make any one dream of
+heaven. When Madame Nordica sings it, the whole scene seems real and so
+sadly beautiful that your own heart too almost stops its beating. With
+soft, sweet tones and bated breath Aida sings till she dies.</p>
+
+<p>Instead of closing with a crescendo, as do most operas, the final of
+"Aida" becomes ever softer and fainter, like a departing spirit. The
+brass and wood instruments have long since retired, only the violins and
+harp keep up a gentle vibrating accompaniment<a name="page_238" id="page_238"></a> like the flutter of
+cherubs' wings. The curtain descends very slowly, and the last notes of
+the violin are written doubly pianissimo. The muse of Egyptian music
+glides away as silently as she came.<a name="page_239" id="page_239"></a></p>
+
+<div class="rt">
+<p class="nind">
+"The Huguenots"
+</p>
+</div>
+
+<p><a name="page_240" id="page_240"></a></p>
+
+<p><a name="page_241" id="page_241"></a></p>
+
+<h2><a name="THE_HUGUENOTS" id="THE_HUGUENOTS"></a>"THE HUGUENOTS"</h2>
+
+<p>It is not surprising that the massacre of St. Bartholomew should have
+attracted such a composer as Giacomo Meyerbeer. The terrible scene
+immediately suggests a blaze of orchestral chords, seething strings, and
+shrieking brass, a style in which Meyerbeer delighted. He secured the
+collaboration of the celebrated French dramatist Eugene Scribe, who
+apparently went to work at this libretto by writing the fourth act first
+and then forcing the preceding situations to fit together as best they
+would. The result is not wholly satisfactory; but where the plot is
+vague the music is clear and strong enough to carry our emotions over
+chasms of inconsistencies.</p>
+
+<p>The great theme of the opera is the Huguenot hymn, a thrilling song of
+faith, with firm, bold harmonies that express unswerving<a name="page_242" id="page_242"></a> belief. This
+hymn is used in the overture with grand effect. It is sustained and
+upheld clear and strong amid the murmurings and attacks of surrounding
+variations until it finally bursts forth in untrammeled splendor like
+the supremacy of religious faith.</p>
+
+<p>The curtain rises upon a banquet-hall in the mansion of Count de Nevers,
+who is a gay young nobleman of Touraine, the province of France in which
+the first two acts occur. Nevers is giving a supper to his comrades, and
+the first chorus is the celebrated drinking-song, a refrain so abounding
+in good cheer that it predisposes one in favor of the whole opera. The
+revelers are all Romanists, with the exception of Raoul de Nangis, a
+young Huguenot, who because of recent promotion in the army has been
+included among the guests. Nevers proposes a toast to "our sweethearts,"
+and gaily adds that he must soon forego such frivolities as he is to be
+married. Some one suggests that they all recount their<a name="page_243" id="page_243"></a> love affairs,
+and Raoul is requested to begin. He relates an adventure wherein he
+rescued a beautiful lady from the rude insults of some boisterous
+students. He has not seen her since and knows not her name, but she
+dwells&mdash;in his heart. His glowing description of the heroine is a verbal
+portrait framed in music of golden beauty. It is the best tenor solo of
+the opera.</p>
+
+<p>After this love-story some surprise is caused by the entrance of Marcel,
+a Huguenot soldier, who is Raoul's faithful attendant and has followed
+his young master to this banquet merely to be near and watch over him.
+Marcel much disapproves of this "feasting in the camp of the
+Philistines," as he terms it, and by way of atonement he renders in a
+loud voice that fervid hymn which the Huguenots always sing when in
+danger. Raoul begs his friends to excuse the rough soldier, and they
+promptly attest their good will by inviting Marcel to drink. He declines
+the wine, but consents to sing for them. His song has a wild refrain
+like<a name="page_244" id="page_244"></a> the firing of musketry, "Piff-paff-piff," and it is a celebrated
+bass aria.</p>
+
+<p>When this whizzing composition is ended a servant informs the host that
+a strange visitor would like to speak with him privately. Nevers at
+first refuses to see any one; but on learning that it is a veiled lady
+he changes his mind and goes out, after laughingly announcing that he is
+thus constantly sought by handsome women. During his absence the others
+joke about the incognita and handle her reputation lightly. They look
+through a window and see her conversing with Nevers in his private
+apartment. At sight of her face Raoul recoils, for this clandestine
+visitor is none other than the heroine of his romance&mdash;the beauty to
+whom he had lost his heart. His ideal is shattered by the discovery.
+When Nevers returns the audience learns from an aside remark that the
+lady was his prospective bride, Valentine de St. Bris, and that she came
+to beg release from her promise. He has reluctantly complied, but does<a name="page_245" id="page_245"></a>
+not inform his guests of the matter. At this moment a richly attired
+young page presents himself. It is Urban, the contralto rôle, who after
+bowing gracefully on all sides sings a charming and celebrated aria,
+"Nobil donna,"&mdash;"a noble lady sends by me a missive to one of these
+gentlemen." Such is the substance of this exquisite song with its
+chivalrous melody, surrounded by rococo embellishments that seem as
+appropriate to the pretty page as are his Louis Quinze slippers and
+point-lace ruffs. The note is addressed to Raoul, a fact that occasions
+some surprise. The young Huguenot reads aloud what sounds like a
+practical joke, for the paper tells that a court carriage is in waiting
+to convey him blindfolded to an unnamed destination. His companions urge
+him to go, for they have recognized the seal as belonging to Queen
+Margaret of Touraine; but Raoul does not know this. He, however, accepts
+their advice, and allows himself to be blindfolded in spite of protests
+from Marcel. They sing a bewitching<a name="page_246" id="page_246"></a> ensemble that is finally resolved
+into the familiar drinking-song. With these rollicking measures Raoul is
+led away by the page and the curtain descends.</p>
+
+<p>The opening of the second act is like a musical mirage&mdash;tone-phantasies
+suspended in the air. We see before us the luxuriant palace gardens
+where Margaret, queen of Touraine, is surrounded by her maids of honor.
+Terraces and fountains, jeweled hands and feathered fans, vibrant harps
+and caroling flute combine to form an effect of elegant repose. Margaret
+is the rôle for colorature soprano, in contradistinction to the heroine,
+Valentine, which is for dramatic soprano. The music of the queen is very
+beautiful and so difficult that it requires a great artist, altho there
+is but the one important scene. It is considered by some to be Madame
+Melba's best rôle.</p>
+
+<p>Her first aria is about "this fair land," and we incidentally learn that
+she deplores the existing dissension between Catholics and Huguenots,
+the one blot upon the perfect<a name="page_247" id="page_247"></a> peace of Touraine. Her court ladies
+presently sing an idyllic refrain, and Margaret joins in their song; but
+while the others abide by the simple melody she decks it out with
+colorature spangles quite befitting a queen. After another florid solo
+the favorite maid of honor, Valentine de St. Bris, enters. She wears a
+riding costume and has just returned from her venturesome interview with
+De Nevers, who, as she joyfully announces, has released all claim to her
+hand. We soon learn that Valentine loves Raoul and has confided in the
+queen, who is planning the marriage of these two, which she much desires
+because it will unite the leading families of Catholics and Huguenots.
+The queen rather delights in playing the good fairy, and for this reason
+has summoned Raoul in the mysterious fashion witnessed in the first act.
+Before he arrives there is another chorus, called the "song of the
+bathers." A harp accompaniment like rustling leaves plays around the
+melody, which is of eolian sweetness, until suddenly,<a name="page_248" id="page_248"></a> like a fitful
+breeze, there comes an elfish measure all in the treble. After a brief
+disporting of this air-sprite we hear again the soft eolian harmonies,
+which rise and fall until lulled into silence. The page Urban announces
+that a stranger is approaching, and the maids of honor gather around as
+he tells of this young cavalier who comes with blindfolded eyes and
+knows not his destination. Urban's song is brimming over with
+mischievous coquetry. Its opening words are simply, "No, no, no, no, no,
+no, you never heard so strange a tale." The court ladies are all in a
+flutter of curiosity when Raoul is led in, and they would like to see
+the outcome of this adventure; but the queen orders them away.</p>
+
+<p>Now follows a scene that is full of quaint themes and ingenious duets, a
+musical branch with many blossoms. Raoul is permitted to remove the
+bandage from his eyes. He looks with wonder upon the beautiful scene,
+and then addresses elegant phrases of adoration to the fair lady before<a name="page_249" id="page_249"></a>
+him. She is not devoid of coquetry&mdash;this queen of Touraine&mdash;and for some
+moments there is a graceful game between the two in which the
+shuttlecock of love is tossed upon the battledores of music. But it is
+only a game, and the toy is presently dropped. Urban enters to announce
+that some noblemen of Touraine have come to attend the queen. Raoul is
+amazed to learn the lady's identity, and Margaret hastens to inform him
+that in order to unite the Huguenots and Catholics of her province she
+has arranged a marriage between him and the daughter of St. Bris. Raoul
+bows obedience to her wish.</p>
+
+<p>The Catholics and Protestants enter in stately procession and group
+themselves on either side of the stage, Raoul and Marcel heading the
+Huguenots, while St. Bris and Nevers represent the opposite side.
+Margaret welcomes them in musical phrases that are right royal. She
+informs St. Bris and Nevers that the king of France requests their
+immediate presence in Paris,<a name="page_250" id="page_250"></a> and she then makes her own request, which
+is that Huguenots and Catholics shall lay aside all enmity and sanction
+the marriage that she has arranged. They sing a splendid refrain calling
+upon heaven to witness their vow of future fellowship. This scene
+contains some fine climaxes, and several brilliant cadenzas for the
+queen. Margaret sends for Valentine, and expects Raoul to be thrilled
+with delight when he recognizes the heroine of his romance. But as
+Valentine comes forward, Raoul gives an exclamation of indignant
+surprise, for he thinks some great insult is implied in asking him to
+marry this woman who secretly visits De Nevers and who has been the
+subject of jests. Without explanation he firmly refuses to accept her
+for his bride. The consternation hereby aroused is admirably expressed
+in the music. The first measures are hushed, as tho the chorus were
+dumbfounded; but they soon gain their voices and denounce Raoul in
+ringing tones. Valentine exclaims, "What have I done to earn<a name="page_251" id="page_251"></a> such
+disgrace?" and the theme is taken up in grand form by the others. Every
+now and then we catch the firm tones of Marcel who amid all this
+dissension is singing his Huguenot hymn. St. Bris draws his sword, but
+the queen forbids a duel in her presence, and reminds him that he must
+go at once to Paris. Raoul declares he will follow and is ready to fight
+St. Bris at any time. The action and music increase in strength until
+the curtain falls.</p>
+
+<p>Act III. pictures an open square in Paris, the Pré-aux-Clercs, which
+extends back to the river. There are two taverns and a church in the
+foreground, and the stage is filled with a mingled crowd. After an
+opening chorus of promenaders some Huguenot soldiers come forward and
+sing a march that is equally stirring and much resembles our own "Rally
+'round the flag." It is, however, more elaborate, and has a surprising
+effect in which the upper voices sing a steady accompaniment of
+"derum-de-dum-dum," while words and melody are in<a name="page_252" id="page_252"></a> the bass. There
+follows a sharp contrast in the song of some Catholic maidens on their
+way to church. Purity and simplicity are expressed by the slender
+accompaniment of flute and clarionet. The people kneel as they hear this
+"Ave Maria," but Marcel, who has just entered, refuses to do so. The
+Catholics are angered, while the Huguenots side with Marcel. There is a
+vigorous ensemble in which the "Ave Maria" and soldiers' chorus are
+admirably combined, and through it all are heard the disputing cries of
+the two factions. A general scuffle would ensue were it not for a sudden
+diversion in the form of some brightly clad gypsies who enter and
+solicit trade in fortune-telling. Their song is as gay as their costume,
+and they wind up with a fantastic dance. The orchestra music is here
+more deserving of attention than the stage picture. The principal melody
+has the quaint conceit of reiterating one note through five beats, and
+then with a quick turn reeling on to the next, like a dancer poising on<a name="page_253" id="page_253"></a>
+one foot until forced to whirl upon the other.</p>
+
+<p>After this divertissement, St. Bris, his friend Maurevert, and de Nevers
+come out of the church where they have left Valentine, who, we now
+learn, is after all to marry Nevers and this is their wedding-day. The
+bridegroom goes to bring his retinue to escort the bride home, and St.
+Bris felicitates himself for bringing about this union which wipes out
+the disgrace of Raoul's refusal. His remarks are interrupted by Marcel,
+who delivers a letter from his master which designates the
+Pré-aux-Clercs as meeting-place and an "hour after sundown" the time for
+their deferred duel. Maurevert suggests to St. Bris that the Huguenot
+deserves more punishment than can be meted out in honorable combat, and
+the two friends retire in consultation.</p>
+
+<p>The stage is darkened and we hear the curfew bell, while a watchman goes
+through the street chanting a drowsy refrain that tells all good people
+to close their doors and<a name="page_254" id="page_254"></a> retire. Maurevert and St. Bris again cross the
+stage, and we glean from their few words that a plot is brewing for
+Raoul's destruction. But Valentine has been standing at the church door
+and overheard their talk. She is much alarmed, and wishes to warn Raoul,
+but knows of no way until suddenly she hears and recognizes the voice of
+Marcel. She calls to him, and he asks: "Who calls in the night? Explain
+at once or I will fire!" Valentine quickly thinks to speak the potent
+name "Raoul." Meyerbeer has very aptly used for this call the interval
+of the perfect fifth, which is known as the cry of nature, because it is
+the most natural interval to fall upon when calling in the open air. The
+milkmaid calling her cows or the huckster vending his wares will most
+often be found singing the perfect fifth.</p>
+
+<p>On hearing the name of his master Marcel is satisfied and comes forward
+to investigate, but Valentine's face is concealed by her bridal veil.
+She tells him that his master should be well armed and have strong<a name="page_255" id="page_255"></a>
+friends near in the coming duel, else he will fall the victim of a plot.
+Valentine starts to go, but Marcel detains her with the question, "Who
+art thou?" She hesitates and then answers, "A woman who loves Raoul." In
+a highly dramatic aria whose phrases are like storm-tossed billows on a
+restless deep-sea accompaniment she confesses that in saving the one she
+loves she has "betrayed her own father." The two voices finally work
+together as is the fashion of duets, and end up with a flourishing
+climax. At this point occurs the famous high C which Madame Nordica so
+brilliantly sustains and crescendos throughout four measures. It is a
+<i>tour de force</i> which always brings down the house. Valentine now
+reenters the church as the principals and seconds of the duel approach.
+Marcel tries to warn his master, but Raoul will not listen to
+suspicions, for he believes his opponent to be honorable. There follows
+a splendid septet, in which Raoul sings the leading refrain buoyant with
+youthful courage. The ensemble<a name="page_256" id="page_256"></a> is occasionally interspersed with the
+religious tones of Marcel, who prays Heaven to interfere. A grand,
+swinging theme in which all the voices move together like a great
+pendulum is the final of this septet.</p>
+
+<p>The duel begins, but Marcel, who is on the alert, hears approaching
+footsteps and draws his sword. Maurevert enters and cries out as
+prearranged: "A duel with unfair numbers! More Huguenots than Catholics!
+Help!" whereupon his followers rush in and surround Raoul. But at this
+moment the Huguenot soldiers who are merry-making in the tavern commence
+singing their jolly "derum-de-dum-dum," whereupon Marcel rushes to the
+door and sings in thundering tones the Protestant hymn, which the
+soldiers within at once recognize as a signal of danger. They hurry out,
+and then follows a lively commotion on all sides. But there are more
+words than blows, and the excitement is presently quelled by the
+ceremonious entrance of Queen Margaret who has just arrived in Paris.
+She is much<a name="page_257" id="page_257"></a> displeased to come upon party dissension. St. Bris blames
+Raoul, while the Huguenot charges St. Bris with treachery. At this
+moment Valentine comes from the church, and Marcel relates how she
+warned him of a plot. There is general amazement on hearing this. Raoul
+now thinks to make some inquiries about this lady he had so
+unhesitatingly condemned, and learns how terrible was his mistake. St.
+Bris enjoys telling him that she is the bride of De Nevers, and we hear
+the approaching music of the nuptial barge. An illuminated flotilla
+appears at the back of the stage, and Nevers steps upon the bank. He
+addresses to Valentine some gallant phrases of welcome, and escorts her
+to the boat as his splendid retinue sing a joyous wedding-march. The
+curtain falls upon a whirl of gay music.</p>
+
+<p>Scribe is on terra firma in the fourth act, which is really the nucleus
+of the plot, and is perhaps the most dramatic love-scene of any grand
+opera. The curtain rises upon an apartment in the house of Nevers, and<a name="page_258" id="page_258"></a>
+Valentine is alone. The opening orchestral measures seem oppressed with
+a tuneful despair that is soon explained by her song, wherein she
+bewails this forced marriage, for her heart still cherishes Raoul. The
+hero suddenly appears at her door, and Valentine thinks she is dreaming
+until Raoul announces that he has come "like a criminal in the night,
+risking all" for the sake of seeing her and craving forgiveness. They
+hear approaching footsteps, and Valentine prevails upon him to enter a
+side room just as her father and husband come in at the main door with a
+company of Catholic noblemen. They are too interested in themselves to
+note Valentine's agitation, and she, being a Catholic, is allowed to
+remain while her father unfolds the awful plan sanctioned by Catherine
+de Medicis to "wipe the Huguenots from the face of the earth." The great
+theme of this conjuration-scene, "blessed is revenge, obey the good
+cause," is softly sung by St. Bris and then taken up by the others in
+broad harmonies<a name="page_259" id="page_259"></a> that swell out and sweep forward like a mighty torrent.
+When the tone-waves are again tranquil St. Bris bids his friends swear
+allegiance to the royal decree, and all comply with the exception of De
+Nevers, who declares he can not join in such murder. There is graceful
+nobility in his music and fervor in his words.</p>
+
+<p>The details of the plot are sung by St. Bris in hushed, hurried tones:
+how "to-night when strikes the bell of St. Germaine" the Catholics shall
+rush upon the unsuspecting Huguenots. He then admits into the room a
+group of monks, who tie white scarfs upon the conspirators and bless
+their uplifted swords. The music of this scene is grandly sustained by
+the orchestra, but the ensemble is difficult and requires much
+rehearsing, for it abounds in surprising fortes and pianissimos.</p>
+
+<p>When the conspirators are gone, Raoul starts from his hiding-place
+toward the door, but Valentine intercepts the way. He wishes to fight
+for his friends or die with<a name="page_260" id="page_260"></a> them, but she begs him to stay. There
+follows a thrilling duet in which the voices pursue each other with
+growing intensity. The tempo is rapid, and the phrases short and
+breathless. The first minor melody is soft, but throbbing with
+suppressed emotion like the strange light and peculiar hush preceding a
+tempest. Then the music rushes into the major, where it reels and sways
+like an anchored ship that must soon break its moorings. The soprano
+voice rises upon G, A, B flat, B natural, and finally C, where all bonds
+seem loosed and the music rebounds in a rapid descending chromatic run.
+Then comes a furious passage in which the orchestra conductor uses his
+baton like a Roman charioteer lashing his steeds. Valentine places
+herself before the door, and in a desperate moment she declares, "Thou
+must not go, for, Raoul&mdash;I love thee!" This confession is followed by a
+transporting duet that brings oblivion to other memories. Its
+mellifluous melody is written pianissimo, dolce, legato, amoroso, and
+the<a name="page_261" id="page_261"></a> orchestra carries it one measure behind the voice, thus keeping the
+theme constantly in the air like a sweet incense.</p>
+
+<p>A bell in the distance suddenly scatters all lingering harmonies. It is
+the bell of St. Germaine, and Raoul is aroused to reality. He sings a
+dramatic refrain about duty and honor, but Valentine still entreats him
+to stay. Her song is simple as a lullaby but powerful in effect, and he
+is distracted between her pleadings and the cries from the street.
+Flinging open the window, he shows her the terrible scene of massacre. A
+lurid light falls upon them, and there is murder in the orchestral
+music. Valentine swoons. Raoul looks with anguish upon her prostrate
+form and we hear the struggle he endures. The melody of Valentine's last
+sweet song predominates for a moment in the orchestra, but then the
+noise of the massacre is resumed. Raoul hesitates no longer. One
+farewell glance, and he rushes with drawn sword through the open window
+to the street.<a name="page_262" id="page_262"></a></p>
+
+<p>Unlike many operas in which the fourth act is the greatest, the finale
+of "The Huguenots" is of sustained intensity and not an anti-climax.
+This fifth act is often omitted, however, as it makes the opera very
+long. The scene represents a street at night&mdash;men, women, and children
+cross the stage and take refuge in a church. Raoul and Marcel chance to
+meet, and they are soon surprised by the entrance of Valentine, who has
+recklessly followed the hero. She wears the white scarf which betokens
+Catholicism and has brought one for Raoul, but he refuses this mode of
+escape. Valentine then flings her own emblem away and declares she will
+join his faith. The music of this entire act is most thrilling. We hear
+the women in the church singing as a last prayer that grand Huguenot
+hymn and in the distance a chorus of murderers as they make their awful
+progress through the streets. This massacre music is blood-curdling; its
+steady, muffled tread sounds like marching over a paving of dead
+bodies.<a name="page_263" id="page_263"></a> The waiting figures in the foreground again hold our attention.
+Marcel relates how he witnessed the death of De Nevers, and on learning
+that Valentine is free these lovers kneel before the Huguenot soldier,
+who blesses their union. The choral in the church is again heard, and
+those outside join in its splendid harmonies. Valentine sings with the
+fervor of her new-found faith, "Hosanna, from on high the clarion
+sounds!" This last trio resembles the finale of "Faust" in that the
+theme rises higher and higher, like a flaming fire, to be quenched at
+last by Death. The murder-chorus is heard approaching, and soon a group
+of massacrers enter. "Who is there?" they ask.</p>
+
+<p>"Huguenot!" replies the hero, and in ringing tones a woman's voice cries
+out, "Huguenot!" "Fire!" orders St. Bris, who thereby kills his own
+daughter.</p>
+
+<p><a name="page_264" id="page_264"></a></p>
+
+<p><a name="page_265" id="page_265"></a></p>
+
+<div class="rt">
+<p class="nind">
+An Hour<br />
+with<br />
+Lilli Lehmann</p>
+</div>
+
+<p><a name="page_266" id="page_266"></a></p>
+
+<p><a name="page_267" id="page_267"></a></p>
+
+<p class="figcenter">
+<a href="images/ill_267_lg.jpg">
+<img src="images/ill_267_sml.jpg" width="406" height="550" alt="LILLI LEHMANN." title="LILLI LEHMANN." /></a>
+<br />
+<span class="caption">LILLI LEHMANN.</span>
+</p>
+
+<h2><a name="AN_HOUR_WITH_LILLI_LEHMANN" id="AN_HOUR_WITH_LILLI_LEHMANN"></a>AN HOUR WITH LILLI LEHMANN</h2>
+
+<p>In Berlin, fourteen years ago, the foreigner was at once impressed with
+two faces, new to him, but conspicuous in every show-window. One picture
+represented an imposing, middle-aged man, which you were told was "unser
+Kronprinz," and the other, a handsome, fine-figured woman, was "unsere
+Lilli Lehmann." And you were looked at in surprise for not knowing "our
+Lilli Lehmann."</p>
+
+<p>The Berliners have always spoken in a possessive sense of this
+lady&mdash;their star of the opera&mdash;especially in that year when she broke
+her contract with the Kaiser to accept an engagement in America. It made
+a great talk there at the time, but the Berliners thought none the less
+of her, and the morning after her début in New York the first words that
+greeted you in the Vaterland were:<a name="page_268" id="page_268"></a></p>
+
+<p>"Have you heard the news? The Lilli Lehmann has had a great success in
+America."</p>
+
+<p>Fourteen years later this same Lilli Lehmann is still having "a great
+success in America." Her art is enduring as it is great. She is equally
+successful in colorature and dramatic rôles; but her physique and voice
+are particularly fitted to the mythical Wagnerian characters. Lilli
+Lehmann imparts to these legends of the Norseland all the attributes our
+fancy calls for. Her Scandinavian goddess is a creature of mighty
+emotions, heroic build, and a voice at times like the fierce north wind.
+Her cry of the Walküre is a revelation in the art of tone-production.</p>
+
+<p>I was to call upon Madame Lehmann at 9:30 <small>A.M.</small>, and this after a great
+and long performance the evening before. I had visions of the prima
+donna still in bed, receiving her caller quite in negligee, and sipping
+her coffee, served by a French maid, while a parrot and pet dog and
+flowers and<a name="page_269" id="page_269"></a> the morning mail and newspapers combined to form an effect
+of artistic confusion.</p>
+
+<p>This makes a pleasing picture, but it is not Lilli Lehmann. There is no
+sense of "artistic confusion" about her from her gray-tinged hair to her
+grand, true voice.</p>
+
+<p>In answer to the visitor's knock at her room in the Hotel Netherlands,
+she opened the door herself, and shook hands with true German
+cordiality.</p>
+
+<p>The bed in the adjoining room was already made, and there was no sign of
+a late breakfast; all this at an hour when it is safe to say half her
+hearers of the evening before were not yet up.</p>
+
+<p>And Lilli Lehmann, who in the eyes of the public is majestically arrayed
+in flowing robes and breastplates and silver shields, wore on this
+occasion, over her plain serge dress, the typical little fancy apron&mdash;so
+dear to the German <i>Hausfrau</i>.</p>
+
+<p>The Berliners may well call her "Our Lilli Lehmann," for she is as
+unassuming to this day as the least of them.<a name="page_270" id="page_270"></a></p>
+
+<p>But altho she impresses you as unpretentious, you also feel at once her
+great force and energy. It shows in her every word and movement, and
+also in her business-like method of being interviewed.</p>
+
+<p>"Yes, I am quite tired," was her first remark as she seated herself at a
+little writing-desk and her visitor near by. "The opera lasted so late;
+I did not get to bed until two o'clock. But I was waiting for you this
+morning, and had just prepared to write down some items you might wish
+to know."</p>
+
+<p>Then she took a pencil and paper,&mdash;and what do you suppose she wrote
+first? These are the exact words, and she read them aloud as she wrote:</p>
+
+<p>"Born&mdash;Würzburg, November 24, 1848."</p>
+
+<p>I could not conceal some surprise, and was obliged to explain: "The
+American ladies so seldom give their age that your frankness is a
+revelation."</p>
+
+<p>"The Lilli Lehmann" smiled and said: "Why not? One is thereby no
+younger."<a name="page_271" id="page_271"></a></p>
+
+<p class="figcenter">
+<a href="images/ill_270_lg.jpg">
+<img src="images/ill_270_sml.jpg" width="429" height="550" alt="Copyright by Aimé Dupont, N. Y.
+
+Lehmann as Isolde in &quot;Tristan and Isolde.&quot;" title="" /></a>
+<br />
+<span class="caption">Copyright by Aimé Dupont, N. Y.<br />
+
+Lehmann as Isolde in &quot;Tristan and Isolde.&quot;</span>
+</p>
+
+<p>She turned again to the desk, and went on with the "interview," using
+her pencil with great firmness and rapidity as she wrote in German, and
+with all possible abbreviations:</p>
+
+<p>"I was brought up in Prague, where I made my début when eighteen years
+of age. My mother was my first teacher and constant companion. She was
+herself a dramatic soprano, well known as Maria Löw, and my father, too,
+was a singer."</p>
+
+<p>"In what opera did you first appear?"</p>
+
+<p>"It was the 'Magic Flute,' and I appeared in one of the lighter rôles;
+but two weeks later, during the performance, the dramatic soprano was
+taken ill, and I then and there went on with her rôle, trusting to my
+memory after hearing it so often. My mother, who was in the audience and
+knew I had never studied the part, nearly fainted when she saw me come
+on the stage as Pamina."</p>
+
+<p>Madame Lehmann's feats of memory have more than once created a
+sensation. We remember the astonishment aroused in New<a name="page_272" id="page_272"></a> York music
+circles five years ago when she mastered the Italian text of "Lucrezia
+Borgia" in three days.</p>
+
+<p>Recurring to her life in Prague, Madame Lehmann further said:</p>
+
+<p>"I appeared not only in many operas, but also as an actress in many
+plays. In those days opera singers were expected to be as proficient in
+the dramatic side of their art as the musical, and we were called upon
+to perform in all the great tragedies. But nowadays this would be
+impossible, since the operatic repertoire has become so tremendous."</p>
+
+<p>People seldom consider how much larger is the present list of famous
+operas than formerly. All the Wagnerian works, many of Verdi's, and most
+of the French have taken their places in comparatively recent years, and
+yet there is still a demand for all the old operas too. The singer who
+attains Wagner must at the same time keep up her Mozart, Beethoven,
+Glück, Rossini, Meyerbeer, and Bellini.<a name="page_273" id="page_273"></a></p>
+
+<p>As the visitor mentioned Bellini, Madame Lehmann assented. "Yes, we are
+to give 'Norma' here next month." "Norma," abounding in melody and
+florid fancies, is as different from Wagner as a cloudless sky from a
+thunder-storm.</p>
+
+<p>The divine art, like nature, has its various moods, and Wagner and
+Bellini represent two extremes.</p>
+
+<p>Among Wagner's works, "Isolde" is one character to which Madame
+Lehmann's temperament and physique are strikingly fitted. Throughout the
+long first act, wherein she is almost constantly singing, she imparts a
+glorious impression of one who <i>thinks in music</i>. The fearless,
+impassioned Isolde thinks bitter, rancorous thoughts of Tristan, whom
+she abhors, until with fierce resolve she hands him the fatal drink
+which, unknown to herself, is a love-potion. The previous dearth of
+action has created a ready mood for us to thrill and respond at the
+love-frenzy, the delirium which now animates the scene as these
+unwitting lovers<a name="page_274" id="page_274"></a> suddenly find all hatred and other memories gone from
+their hearts.</p>
+
+<p>It may be mentioned here that Wagner firmly believed in the power of
+contrast, and he purposely preceded his greatest climaxes by what many
+would deem an unwonted length of inaction.</p>
+
+<p>In 1870 Lilli Lehmann was engaged for the Berlin Opera-House.</p>
+
+<p>Americans can hardly appreciate the significance of this fact; but it
+means much. The opera in Berlin is supported by the government and
+directly under the supervision of the emperor. The singers are not
+engaged for a season, but for life, being entitled to an annuity after
+they retire from the stage. Lilli Lehmann's contract was signed by the
+kaiser during the Franco-Prussian war.</p>
+
+<p>When asked if the old Emperor Wilhelm was musical, Madame Lehmann
+smiled, and there was a gleam of humor in her eyes:</p>
+
+<p>"No, I can not truthfully say that he was<a name="page_275" id="page_275"></a> at all musical, tho he was
+wonderfully kind and good to all artists."</p>
+
+<p>For fifteen years Lilli Lehmann sang in Berlin with an occasional flight
+to Baireuth under the kaiser's permission, where she sang for Wagner
+himself.</p>
+
+<p>"I was one of the Rhine daughters, and also the first Forest Bird in
+'Siegfried.'"</p>
+
+<p>Wagner's own Forest Bird! It is a thrilling and poetic statement that
+would be hard to equal. Of all this great master's characters, including
+gods and demi-gods, knights and shepherds, dwarfs and giants, his most
+original, and perhaps for this reason his best-loved children of the
+brain, were, we believe, his Rhine daughters and his Forest Bird. The
+former sing under the water laughing strains of mystical import and
+unearthly sweetness, while the Forest Bird sings in the air&mdash;always
+unseen, but more impressive than the greatest presence.</p>
+
+<p>This bird-music is not very long, but it is of unsurpassed beauty, and
+the most memorable theme in the opera. The scene too is<a name="page_276" id="page_276"></a> exceptional and
+powerful in its simplicity&mdash;only one person on the stage. Siegfried, the
+inspired youth, who knows the speech of bird and beast, is alone in the
+forest when he hears a bird sing. He pauses to listen, as you in the
+audience do too, for the song is not a meaningless mocking-bird array of
+trills and cadences, but a tender strain that bespeaks the bird as a
+prophet. Siegfried tries to catch the message, tries to see the bird,
+and tries, too, to imitate its tones. He cuts him a reed from the
+water-banks, and shapes it and tests it until he can play upon it the
+music he hears. Ah, we should like to have been in that audience at
+Baireuth when this Forest Bird took its first flight into the world!</p>
+
+<p class="figcenter">
+<a href="images/ill_276_lg.jpg">
+<img src="images/ill_276_sml.jpg" width="425" height="550" alt="Copyright by Aimé Dupont, N. Y.
+
+Lehmann as Venus in &quot;Tannhäuser.&quot;" title="" /></a>
+<br />
+<span class="caption">Copyright by Aimé Dupont, N. Y.<br />
+
+Lehmann as Venus in &quot;Tannhäuser.&quot;</span>
+</p>
+
+<p>It is a great thing to create a rôle, to set the standard by which all
+later performances shall be modeled. If the new opera proves to be a
+great and lasting work, the singers who created the important rôles are
+always credited therewith and mentioned. They usually have been selected
+by the<a name="page_277" id="page_277"></a> composer, and their performance is the result of his best
+instruction as well as their own inspiration. Madame Lehmann has
+"created" many rôles, but the most poetic, we deem, is the Forest Bird.</p>
+
+<p>After writing with characteristic abbreviation the foregoing
+fact&mdash;"'75-'76, Baireuth, Rhine daughter, I Forest Bird"&mdash;Madame Lehmann
+handed over the paper and asked "Is there anything more I can tell you?"</p>
+
+<p>Her bright eyes, clear complexion, and magnificent figure prompted a
+personal question:</p>
+
+<p>"How do you keep your splendid health, and the strength to work so
+much?"</p>
+
+<p>For this she had a ready answer:</p>
+
+<p>"I have been a vegetarian for the past five years."</p>
+
+<p>In reply to one more parting question, Lilli Lehmann spoke words of
+wisdom that are worthy of reflection:</p>
+
+<p>"Yes, I still practise and study more than ever. At the end one is just
+beginning."</p>
+
+<p><a name="page_278" id="page_278"></a></p>
+
+<p><a name="page_279" id="page_279"></a></p>
+
+<p><a name="page_280" id="page_280"></a></p>
+
+<p><a name="page_281" id="page_281"></a></p>
+
+<div class="rt">
+<p class="nind">
+"The Flying Dutchman"
+</p>
+</div>
+
+<h2><a name="THE_FLYING_DUTCHMAN" id="THE_FLYING_DUTCHMAN"></a>"THE FLYING DUTCHMAN"</h2>
+
+<p>"The Flying Dutchman" is one of the most melodious of Wagner's operas,
+and also one of the most popular in Germany. Its soprano rôle is well
+beloved by all Wagnerian singers, but for some reason the work is seldom
+given in this country. Americans have never had an opportunity to hear
+Madame Lehmann in this opera, but it is one in which she is well known
+abroad.</p>
+
+<p>"Der Fliegende Holländer" is an early offspring of Wagner's genius, and
+was composed at a time when Fate frowned upon him, and poverty and
+despair were his close companions. After six weeks of feverish labor,
+alone in hostile Paris, Wagner presented his beloved score to the
+orchestra of the "Conservatoire." They promptly condemned it, which
+affords a notable example of the change in musical taste. Portions<a name="page_282" id="page_282"></a> of
+the "Flying Dutchman" now hold a permanent place on French programs.</p>
+
+<p>The plot, as well as the music, is as usual Wagner's own. "A daring
+captain, after frequent vain attempts to double the Cape of Storms,
+swears a mighty oath to persevere throughout eternity. The devil takes
+him at his word, and the hapless mariner is doomed to roam the seas
+forever." Such is the legend of the Flying Dutchman, to which Wagner has
+added one redeeming clause: once in seven years the wanderer may land in
+search of a faithful wife. If she be true unto death the curse shall be
+lifted.</p>
+
+<p>Wagner's music is so powerful and absolutely appropriate that it seems
+to suggest the text, instead of conforming to it. No ordinary tunes or
+conventional harmonies could adequately depict the roaming, restless,
+Satan-chased sailor. The overture opens with the curse-theme, which
+seems like the phantom ship itself as we follow its course throughout
+the introduction. It rides<a name="page_283" id="page_283"></a> over and under and around hurricanes of
+chromatics and tremolos. Chords sweep like a deluge over the luckless
+theme. But as neither rocks nor tempest can annihilate the accursed
+vessel, so this theme mounts ever uppermost. On and on, "<i>Ohne Rast,
+ohne Ruh</i>," must sail the Flying Dutchman. But the wanderer in his dark
+existence finds hope in the salvation-theme, a peaceful, religious
+phrase that is poised like a single star amid the tumultuous elements.
+Like all of Wagner's overtures, this one has become a favorite program
+piece.</p>
+
+<p>With the ascending curtain there arises from the orchestra a storm of
+restless tremolos and shrieking scales. The wind and waves thus rendered
+in the music are also depicted on the stage. An expanse of ocean
+occupies most of the scene, only in front the turbulent waves beat
+against a bleak Norwegian coast. Driven thither by the elements, a ship
+casts anchor at the shore. Daland, the captain, steps on land, while his
+crew noisily pull up sails and cast out<a name="page_284" id="page_284"></a> cables. As they work they shout
+in unison a rude refrain that lends rhythm to their movements,
+"Ho-lo-jo! Ho-he!" This is accompanied by surging waves of sound from
+the orchestra. Owing to the sudden storm, this ship has been carried
+seven miles away from the home port, to which it was returning after a
+long voyage. There is nothing to do but wait for a south wind to carry
+them back. Daland goes on board again and orders the sailors to rest. He
+also retires, after entrusting the watch to his boatswain.</p>
+
+<p>Altho this boatswain has no name, he is no insignificant character, for
+to him falls one of the loveliest songs of the opera. He has a tenor
+voice, and is in love with a "blue-eyed mädel." He makes a tour of the
+deck, and then seats himself by the rudder. The storm has abated, but we
+occasionally hear a gust of chromatics and a splash of chords. To ward
+off sleep, the boatswain sings of his sweetheart, and calls upon the
+south wind to blow their good ship<a name="page_285" id="page_285"></a> home. This music is delightful and
+refreshing as a salt sea breeze. The sailor does not trouble himself
+with any fixed standard of tempo. He sings like the fitful wind, one
+moment "accelerando," and the next "una poco moderato." He sustains the
+climaxes and indulges in sentimental "rubatos," all of which is a touch
+of naturalness skilfully introduced by the composer. The boatswain makes
+another tour of the deck and then renews his song; but there is this
+time more languor in his tones. The phrases are separated by frequent
+"rests," the "moderatos" have developed into "largos;" the "rubatos" are
+exaggerated, and finally this sweet-voiced boatswain falls asleep.</p>
+
+<p>Soon the clouds become black and lowering, the waves are white and
+towering, and the orchestra is like a seething cauldron of sound. The
+conductor stirs it up more and more, until he brings to the top that
+awful curse-theme of the Flying Dutchman. We lift our eyes to the stage,
+and lo! over the<a name="page_286" id="page_286"></a> dark waters comes another ship, strange and uncanny in
+appearance, for its sails are blood-red and they hang upon masts that
+are black as night. With a mighty crash this wanderer of the seas sinks
+anchor alongside the Norwegian vessel. The dreaming boatswain is aroused
+for a moment. He hums a snatch of his love-song, and then once again
+nods his head in slumber. A terrifying silence falls upon the music as
+we watch the ghostly crew of the phantom vessel noiselessly furl those
+crimson sails.</p>
+
+<p>There is a pause, and then, soft but impressive, that remarkable
+curse-motif announces the approach of the Holländer himself. He steps
+upon shore after another seven years of wandering. His stalwart figure
+is draped in a black mantle, he wears a full beard, and has a baritone
+voice.</p>
+
+<p>The first solo of the Holländer is most interesting; but those who
+expect a pleasing tune with a one-two-three accompaniment will be
+disappointed. One is apt to<a name="page_287" id="page_287"></a> think that music must be always beautiful
+to be admired, but Wagner has taught that this idea is erroneous. Music
+should represent what the maker feels, just as painting does what he
+sees; and in proportion to the correctness of his representation is the
+work to be admired. As a prominent example of this fact in painting,
+mention may be made of Munkacsy's picture of Judas, which all admire but
+none call beautiful. And so this solo of the accursed mariner is not
+beautiful, as that term goes. How could it be? The weary, dreary,
+condemned Dutchman communing with himself does not think of graceful
+melodies that delight the senses. His phrases, instead, are all angular,
+bitter, heavy, and despairing. He tells of his longing for rest, and he
+mocks at the hope of finding true love. Too often has he been deceived:
+"I wait and watch for the Judgment Day. Then only shall I rest!"</p>
+
+<p>The Holländer leans mournfully against a rock, and the music subsides,
+until a light-<a name="page_288" id="page_288"></a>hearted melody directs our attention to the Norwegian
+ship. Daland has come upon deck, and is surprised to find another ship
+alongside. He calls the boatswain, who, half awake, commences to hum his
+love-song; but another call from the captain brings him to his feet.
+They hasten to signal the strange ship, but receive no answer; whereupon
+Daland, seeing the Holländer, steps upon shore to accost him.</p>
+
+<p>Politely but unconcernedly the hero makes answer to all questions, and
+learns, in turn, that Daland's home is but seven miles' sail from here.
+The Holländer asks for a night's lodging, and offers to pay liberally.
+He brings forth a casket of jewels, which he declares is but a sample of
+the cargo he carries. With bitter tones he adds: "What joy are such
+riches to me? I have no home, no wife, no child; all my wealth should be
+yours if you could give me these." He astonishes Daland with the sudden
+question, "Have you a daughter?" and on being answered in the
+affirmative<a name="page_289" id="page_289"></a> the Holländer proposes to wed her. Very nobly does this
+strange suitor plead his cause, his longing for love and rest. The music
+is here truly beautiful, for the hero is striving to win and please.</p>
+
+<p>Captured by the prospect of wealth and also by the strange fascination
+of the Holländer, Daland consents to the proposition. Once again the sad
+seaman is tempted to hope. The music has become decisive and, because of
+rapid tempo, sounds quite joyous. On top of this pleasing climax there
+comes a happy cry from the Norwegian ship: "A south wind! south wind!"
+The sailors sing their "Ho-lo-jo" chorus as they let down sails and pull
+up anchor. Daland goes on board, and the Holländer promises to follow.
+With a breezy accompaniment of wind instruments the two ships sail away
+and the curtain descends.</p>
+
+<p>The prelude to the second act carries us from the storm-beaten coast of
+Norway to the domestic peace of Daland's home. The composition is like a
+brisk sail over smooth<a name="page_290" id="page_290"></a> harmonies. It opens with the boatswain's song of
+the south wind, and after a succession of undulating passages finally
+lands upon the celebrated spinning-chorus.</p>
+
+<p>A capacious room in the captain's home is filled with a merry company of
+maidens, who, with their spinning-wheels, are working together under the
+watchful eyes of Frau Mary. The wheels whir and whiz, like a drone of
+bees, the orchestra keeps up a continuous revolving accompaniment, and
+even the melody, with its ingenious rhythm, simulates a whirling wheel.
+The picture is as pleasing as the music; both are unique and delightful.
+The girls spin industriously where the song goes fast, but unconsciously
+hold up with the ritardandos, and Frau Mary has frequent occasion to
+remonstrate.</p>
+
+<p>Only Senta, the captain's daughter, does not join in the song. She is
+sitting in a big arm-chair and dreamily regards a large picture that is
+hanging over the hearth. It is an ideal portrait of the Flying
+Dutchman,<a name="page_291" id="page_291"></a> such as many seafaring folk possess. Senta is an imaginative
+girl, and has always been fascinated by the "pale man" on the wall and
+his story. She begs Frau Mary to sing the ballad of the Flying Dutchman.
+This request being refused, Senta sings it herself. Truly wonderful is
+this ballad, with its blustering accompaniment and shivering climaxes.
+The final verse relates how every seven years the weary seaman lands in
+search of a faithful wife, but never yet has he found one. "False love!
+false faith! Forever and ever must he ride the seas!"</p>
+
+<p>Senta has become so wrought up by the song that she now sinks back in
+her chair from exhaustion, while the other girls sing with bated breath
+that beautiful melody of the salvation-theme. "And will he never find
+her?" they ask with childlike credulity. Senta suddenly springs from her
+chair and sings out with exultant tones: "I am the one who could save
+him! I would be true till death! May heaven's angels send him to me!"
+This music is of boundless<a name="page_292" id="page_292"></a> intensity; the strongly accented
+accompaniment sweeps forward and recedes like angry breakers, while the
+voice part soars above like a fearless sea-bird. "Senta! Senta! Heaven
+help us, she has lost her reason!" exclaim the astonished maidens, and
+Frau Mary utters maledictions upon that "miserable picture," threatening
+to throw it out of the house.</p>
+
+<p>At this moment Erik, the young hunter who loves Senta, hastily enters,
+announcing that her father's ship is landing. The dreamy heroine
+promptly revives at this news, and becomes as elated and excited as any
+of the girls. They all want to rush out and see the ship, but Frau Mary
+orders them back, directing them, instead, to the kitchen, where there
+is work to be done on account of this sudden home-coming. With much
+chattering and commotion the girls and Frau Mary go out, leaving Senta
+and Erik alone.</p>
+
+<p>He detains her to listen to his vows and fears. Very tender and earnest
+is this song<a name="page_293" id="page_293"></a> of love and doubt. Wagner knew well how to use the simple
+melody, which he considered essential to some emotions but out of place
+with others. Like the artist's fine brush, it will not do for painting
+storm-clouds, but in scenes of delicate delineation it is used with good
+effect. Erik is troubled about a dream he had the night before. To the
+usual accompaniment of violin tremolos, he relates how he saw Senta's
+father bring with him a stranger who looked like that picture on the
+wall. Already we hear far away beneath the tremolos, soft but distinct,
+the curse-theme of the Flying Dutchman. As the dream-song goes on this
+ominous phrase comes nearer, step by step, always in a higher key,
+always louder and more impressive. It represents, in fact, the actual
+approach of the Holländer. Senta listens as though entranced, while Erik
+tells how he saw her come forward and kneel at the stranger's feet. But
+the "pale man" lifted her in his arms and carried her away over the sea.
+To Erik's horror, Senta turns<a name="page_294" id="page_294"></a> toward the picture and cries out: "He is
+seeking me! I would save him!" The young hunter sadly goes away,
+believing that she is out of her mind.</p>
+
+<p>Senta continues gazing at the picture. The music has become soft and
+slow, and the curse-theme pervades the air like a ghostly presence. But
+the heroine sings to herself that beautiful salvation-motif. The phrase
+is finished with a startled shriek, for the door has opened, and there
+before the astonished girl stands her hero&mdash;"der Fliegende Holländer!"
+Daland, her father, is also there, but Senta has neither sight nor
+thought of him. She stands immobile and amazed, her eyes never turning
+from the Holländer. When Daland comes nearer, she grasps his hand,
+whispering, "Who is that stranger?"</p>
+
+<p>The father has carefully prepared his answer, and it is the finest bass
+solo of the opera. After telling Senta that the stranger has come to be
+her bridegroom, he turns to the Holländer, asking, "Did I exaggerate<a name="page_295" id="page_295"></a>
+her loveliness? Is she not an ornament to her sex?" In this phrase the
+listener is surprised with a genuine <i>ad libitum</i> colorature passage, a
+style of musical decoration in which Wagner seldom indulges. But in the
+original text this bit of fioritura falls upon the word <i>zieret</i>
+("ornament"), and thus is a striking example of Wagner's theory that
+music must fit the words. Daland sings on for some time, until he
+notices that neither Senta nor the Holländer accord him any attention.
+They are still gazing at each other, and the father very wisely goes
+out.</p>
+
+<p>The leading theme of his aria slowly departs from the orchestra, and
+then, softly and hesitatingly, the curse-theme and salvation-motif enter
+side by side. They move around a little, as tho to make themselves at
+home, and then begins the great duet between soprano and baritone.</p>
+
+<p>The Holländer recognizes in Senta the angel of his dreams, and she finds
+his voice greeting her like familiar music. A beautiful<a name="page_296" id="page_296"></a> melody is borne
+upon the orchestra like a boat on the breast of a stream. As the
+graceful structure floats past, the soprano and then the baritone enter
+upon it. They glide on together, over smooth places, upon tremulous
+undercurrents, but finally touch upon the salvation-theme, which,
+throughout the opera, is typical of the seaman's haven. It often arises
+above stormy passages like a mirage of the longed-for harbor.</p>
+
+<p>After this vocal excursion the Holländer asks Senta if she is willing to
+abide by her father's choice and to vow eternal faith. Her consent is
+glad and free. There is another ensemble introducing a new and stirring
+joy-theme. The highest note always occurs upon the word faith, thus
+fulfilling the substance of the text, which is, "Faith above all!"</p>
+
+<p>Daland reenters and is delighted to find such unity of voice and
+purpose. He wishes the engagement announced at the evening fête which
+his sailors will have to celebrate their home-coming. Senta repeats her
+vow<a name="page_297" id="page_297"></a> to be faithful unto death, and the act closes with an exhilarating
+trio.</p>
+
+<p>Wagner makes his orchestral preludes conform to a distinct purpose&mdash;that
+of connecting the acts. So with the next introduction we hear the joyous
+theme of the recent duet gradually modulated into a whispering memory of
+the boatswain's song. This, in turn, develops into a new and noisy
+nautical refrain, that is continued till the curtain rises, and then is
+sung by the Norwegian sailors who are on the deck of their ship. They
+are merry-making. The ship is illuminated with gay lanterns, as are also
+the tavern and houses in the foreground. But not so the stranger's
+vessel that lies alongside at the back of the stage. It is engulfed in
+gloom and silence like the grave. The gay Norwegian chorus has a
+peculiar rhythm that suggests the flapping of sail-cloth in a brisk
+wind; it has sharp, rugged accents and a spirited tempo. The song is
+ended with a regular hornpipe dance on deck. This bewitching
+dance-melody seems<a name="page_298" id="page_298"></a> thrown in to show what Wagner could do in that line
+if he wanted to.</p>
+
+<p>Some maidens come from the tavern with a basketful of provisions. While
+the sailors continue dancing to the gay orchestral accompaniment, the
+girls sing among themselves in quite another strain. As their
+conversation should be most prominent, the dance-melody is promptly
+changed from major to minor, which always gives a subduing and receding
+effect like "scumbling over" in painting.</p>
+
+<p>The girls go toward the Holländer's ship, intending their provisions for
+the strangers, who seem to be sleeping profoundly. The girls call to
+them, but only a ghostly silence rewards their efforts. They sing a
+winning waltz phrase inviting the strangers to join their fête; they
+offer every inducement to arouse the silent crew, and finally resort to
+a great outcry: "Seamen! Seamen! wake up!" But again only prolonged
+stillness is the answer.</p>
+
+<p>The well-meaning maidens are thoroughly<a name="page_299" id="page_299"></a> frightened, and they hasten
+away after handing their basket to the Norwegian sailors. These proceed
+to enjoy the contents. They fill their wine-glasses and repeat the merry
+opening chorus.</p>
+
+<p>In the mean time the sea surrounding the Holländer's ship becomes
+suddenly turbulent, a weird blue light illumines the vessel, and its
+crew, which were before invisible, are seen to move about.</p>
+
+<p>The Norwegians cease singing, while their ghostly neighbors begin to
+chant in hollow tones that terrible curse-theme. Tremolos and chromatics
+descend upon the orchestra like a storm of hail and rain that almost
+drown the singers' voices. To a demoniacal refrain full of startling
+crescendos and pauses they sing of their gloomy captain</p>
+
+<p class="c">"Who has gone upon land to win a maiden's hand."</p>
+
+<p>Then they laugh an unearthly "Ha! ha!"</p>
+
+<p>The Norwegian sailors have listened at first with wonder and then with
+horror. Like children afraid in the dark, they decide<a name="page_300" id="page_300"></a> to sing as loud
+as they can. So their gay sailors' chorus rings out above the steady
+curse-theme of the Holländer's crew. The Norwegians urge each other to
+sing louder. Three times they start their song in a higher key, but that
+fearful refrain from the phantom ship overcomes every other sound. The
+Norwegians are too terrified to continue. They cross themselves and
+hurry below deck. The sign of the cross arouses another mocking laugh
+from the crew of the <i>Flying Dutchman</i>. Then sudden silence falls upon
+them. The blue flame disappears and darkness hangs over all, while in
+the orchestra there is a long-sustained note, and then one soft minor
+chord like the shutting of a door upon the recent musical scene.</p>
+
+<p>The succeeding harmonies are of another character, as distinct as a new
+stage-setting. A phrase that well simulates hurried footsteps
+accompanies the hasty entrance of Senta and Erik, who is much agitated.
+He has just heard of her engagement to the stranger, and can scarce
+believe it. He<a name="page_301" id="page_301"></a> upbraids and pleads in one breath, while Senta begs him
+to desist. But the despairing Erik kneels before her and sings with
+grief-stricken tones of their past love. Like all of Erik's music, this
+cavatine is simple and sincere, as one would expect from a peasant lad.</p>
+
+<p>While he is kneeling before her the Holländer comes upon the scene
+unobserved. With tones as furious as the orchestra accompaniment he
+cries out: "Lost! My happiness is lost! Senta, farewell!" He summons his
+crew to haul up anchor and let down sails. "False love! false faith! I
+must wander the seas forever!"</p>
+
+<p>A tempestuous trio follows the Holländer's outcry. Senta reiterates her
+vow, and with intense fervor declares he must not leave her. Maidens and
+sailors rush to the scene, but all stand back in amazement as they hear
+the stranger announce: "You know me not, else had you ne'er received me.
+My ship is the terror of all good people. I am called Der Fliegende
+Holländer!" With<a name="page_302" id="page_302"></a> this word he springs upon board; the crimson sails
+expand upon the black masts, and the ship leaves shore; while the
+ghostly crew chant their blood-curdling "Jo-ho-ho!"</p>
+
+<p>But this is our last hearing of the curse-theme. Senta has rushed upon a
+high rock projecting into the sea. With full voice and soaring tones she
+calls to the receding ship: "My vow was true! I am faithful unto
+death!"&mdash;whereupon she throws herself into the waves.</p>
+
+<p>No sooner has she done so than the phantom vessel sinks from sight. The
+music also tumbles down a tremendous chromatic; then it mounts again,
+changing from minor to major, which gives an effect of sudden peace. The
+Holländer has found true love. He rescues Senta, and we see him clasping
+her in his arms, while the chords of the salvation-theme rise above the
+other harmonies like the spires of a beautiful city. The haven has been
+reached at last.<a name="page_303" id="page_303"></a></p>
+
+<div class="rt">
+<p class="nind">
+Melba<br />
+the Australian<br />
+Nightingale
+</p>
+</div>
+
+<p><a name="page_304" id="page_304"></a></p>
+
+<p><a name="page_305" id="page_305"></a></p>
+
+<p class="figcenter">
+<a href="images/ill_305_lg.jpg">
+<img src="images/ill_305_sml.jpg" width="422" height="550" alt="NELLIE MELBA." title="NELLIE MELBA." /></a>
+<br />
+<span class="caption">NELLIE MELBA.</span>
+</p>
+
+<h2><a name="MELBA_THE_AUSTRALIAN_NIGHTINGALE" id="MELBA_THE_AUSTRALIAN_NIGHTINGALE"></a>MELBA, THE AUSTRALIAN NIGHTINGALE</h2>
+
+<p>A memorable performance of "Aida" was given in London, at Covent Garden,
+a number of years ago. The Ethiopian slave-girl, dark-tinted and slight
+of figure, attracted no particular attention with her first unimportant
+recitative notes. The audience was diverted by the fine tenor singing,
+the excellent contralto, and the well-drilled work of the chorus. There
+followed more of this ensemble, more good orchestral playing, and then
+an effect of melody, or rhythm, or something&mdash;that gradually caused
+every pulse to quicken, and stirred every soul in a strange,
+unaccountable way, until suddenly we realized that it was not the
+rhythm, or the harmony, or the tenor, or the orchestra, but <i>one soprano
+voice</i>, whose tones seemed to penetrate all space and soar to all
+heights and thrill all hearts in a manner that was overpowering!</p>
+
+<p>The slave-girl was singing! A new star from the Southern Hemisphere was
+just beginning to<a name="page_306" id="page_306"></a> appear in the North! A "<i>new name</i>" had been added,
+and was soon to be heard by "all who had an ear to hear"&mdash;Melba, the
+Australian Nightingale.</p>
+
+<p>All critics agree that the quality of her voice has never, in the annals
+of music, been surpassed.</p>
+
+<p>In furnishing Melba her name, which is a diminutive of Melbourne, the
+far continent has sprung into a musical prominence it never before
+attained. From a land at the outer edge of the world, a sovereign of
+song has arisen.</p>
+
+<p>It would, of course, be artistic and effective to picture Melba's early
+life as one of struggle and privation. But, search as one will, not a
+crust or a tatter turns up in her history! She never shivered on a
+doorstep, or sang for pennies in the street! Let the dismal truth be
+told,&mdash;her father was wealthy, and his gifted daughter never lacked for
+anything.</p>
+
+<p>Nellie Mitchell, as she was known in those days, was gifted not only
+with a voice, but with a splendid determination to work. She practiced
+diligently all the time in the line of her ambition, and learned to play
+admirably on the<a name="page_307" id="page_307"></a> piano, violin, and pipe-organ. All this in spite of
+the diversions and enticements of young companions and monied pastimes.
+Wealth, as well as poverty, may serve to hinder progress, and it is much
+to Melba's credit that she had the perseverance to work unceasingly.</p>
+
+<p>Even at school, during recess hours, she was always humming and
+trilling. This latter trick was a source of puzzling delight to her
+comrades, who never tired of hearing "that funny noise she made in her
+throat." The marvelous Melba trill, you see, was a gift of the gracious
+fates at her birth&mdash;just back of the silver spoon in her mouth was
+tucked a golden trill.</p>
+
+<p>The story of her childhood is best told in her own words:</p>
+
+<p>"My mother was an accomplished amateur musician, and it was her playing
+that first gave me an idea of the charms of music. I was forever humming
+everything I heard, and she was always telling me to stop, for my noise
+was unceasing! My favorite song was 'Coming Thro' the Rye.' I also liked
+'Nellie Ely,' because my own name was Nellie!"</p>
+
+<p>Incidentally, it was learned that dolls were<a name="page_308" id="page_308"></a> tabooed by this
+prima-donna in pinafores.</p>
+
+<p>"I hated dolls. My favorite toys were horses&mdash;wooden horses. One given
+to me by my father's secretary was almost an idol to me for years."</p>
+
+<p>Recurring to the subject of music, Mme. Melba continued:</p>
+
+<p>"I didn't <i>sing</i> much when a child; I only <i>hummed</i>. And by the way, a
+child's voice should be carefully guarded. I consider the ensemble
+singing in schools as ruinous to good voices. Each one tries to outdo
+the other, and the tender vocal cords are strained and tired. I,
+personally, did not seriously study singing until after my marriage at
+seventeen years of age."</p>
+
+<p>The preparation required for Mme. Melba's career was neither very long
+nor arduous. She studied nine months with Marchese, then was ready to
+make her début in Brussels as a star.</p>
+
+<p>All things came easy to her, because her voice never had to be
+"<i>placed</i>"; her tones were jewels already set.</p>
+
+<p>"The first opera I ever heard was Rigoletto.' That was in Paris, when I
+was studying.<a name="page_309" id="page_309"></a> What did I think of it? Well, I dare say my inexperience
+made me very bumptious, but I remember thinking I could do it better
+myself! In Australia I had no chance to hear operas. 'Lucia' I have
+never yet heard, tho that is perhaps the rôle most associated with my
+name."</p>
+
+<p>"Lucia" has, indeed, become a Melba possession. The mad-scene alone, on
+a program with her name, would invariably crowd the house. It is a
+veritable frolic to hear her in this aria. She is pace-maker, as it
+were, to the flute, which repeats every phrase that she sings. It is the
+prettiest race ever run, and when at the finish the time-keeper brings
+down his baton, the audience cheers itself hoarse for the winner.</p>
+
+<p>When asked her opinion of the new gramaphones and the wonderful records
+of her voice, Madame Melba spoke with enthusiasm.</p>
+
+<p>"They are, indeed, a remarkable achievement. I am looking, however, for
+still greater improvements, and am keenly interested in every new
+development."</p>
+
+<p>A matter of "keen interest" it must, indeed,<a name="page_310" id="page_310"></a> be to every prima-donna of
+to-day&mdash;this amazing, magic trumpet that can record the subtle
+individual quality of a singer's voice, and give it gloriously forth
+again when desired. By means of this weird invention, the present
+vintage of fine voices can be bottled up like rare wine, and poured out
+in future years. More wonderful still: like the "widow's cruse," this
+trumpet never grows empty; from its uptilted mouth the flow of song will
+stream on continuously, if so desired and directed. It is enough to make
+poor Jenny Lind and other long-silent singers turn restlessly in their
+graves: they died too soon to profit by the powers of this recording
+trumpet,&mdash;which surely has no rival save the one that Gabriel blows.</p>
+
+<p>Some further random questions about the experiences of a prima-donna
+elicited the following item. Mme. Melba smiled as she told it:</p>
+
+<p>"Yes, I have some queer things said to me. Just recently a young girl of
+eighteen, who wished me to hear her sing, assured me that there were
+only two fine voices in the world to-day&mdash;hers and mine!</p>
+
+<p>"But I must tell you," she added brightly,<a name="page_311" id="page_311"></a> "the most graceful
+compliment ever paid me. It was by an Irish woman, who, in commenting on
+the lack of song in the native birds of Australia, pointed out that they
+had treasured up all their melody through the ages and then had given it
+to me."</p>
+
+<p>Some one has said, "The ease of Melba's singing is positively
+audacious!" She certainly makes light of the most time-honored
+difficulties. She will start a high note without any preparation, with
+apparently no breath and no change of the lips. Faint at first as the
+"fabric of a dream," it is followed by the gradual grandeur of a
+glorious tone, straight and true as a beam of light, until finally it
+attains the full zenith of a crescendo.</p>
+
+<p>In a bewildering variety of ways writers have attempted to describe the
+wonder of her voice.</p>
+
+<p>"It seems to develop in the listener a new sense; he feels that each
+tone <i>always has been</i> and <i>always will be</i>. She literally lays them out
+on the air."</p>
+
+<p>"Her <i>tone-production</i> is as much a gift as the voice itself."</p>
+
+<p>After all, "she is Melba, the incomparable,<a name="page_312" id="page_312"></a> whose beauty of voice is
+only equaled by the perfection of her art."</p>
+
+<p>"In future years the present time will be referred to, musically, as 'in
+the days of Melba.'"</p>
+
+<p>Like all great prima-donnas, Madame Melba has a beautiful home of her
+own, and a country place to which she hies in the summer. Her town house
+is near Hyde Park, London.</p>
+
+<p>We imagine these song-birds during the hot months resting luxuriantly in
+their various retreats&mdash;Melba in her river residence, Calvé in her
+French chateau, Jean de Reszke on his Polish estate, Eames in her
+Italian castle, and Patti at "Craig y Nos." But it is hardly an accurate
+picture, for <i>rest</i> to the artist still means <i>work</i>. They study all
+summer, every one of them, and entertain other artists, who work with
+them, or, at any rate, contribute to the perpetual whirl of music in
+which they live.</p>
+
+<p>A very good idea of the home life of these song-queens was given to me
+by a young lady who visited one of them for several months.</p>
+
+<p>"Do you know," she said, "it was positively depressing to be near so
+much talent and genius.<a name="page_313" id="page_313"></a></p>
+
+<p class="figcenter">
+<a href="images/ill_312_lg.jpg">
+<img src="images/ill_312_sml.jpg" width="426" height="550" alt="Photograph by Davis &amp; Sanford.
+
+Mme. Melba as Elizabeth in &quot;Tannhäuser.&quot;" title="" /></a>
+<br />
+<span class="caption">Photograph by Davis &amp; Sanford.<br />
+
+Mme. Melba as Elizabeth in &quot;Tannhäuser.&quot;</span>
+</p>
+
+<p>"Why, in the drawing-room they would be talking seven or eight
+languages; and some one would improvise at the piano, while another
+would take a violin and join in with the most wonderful cadenzas, and
+then, perhaps, the piano-player would step aside and some one else would
+slide into his place and continue the improvisation the first one had
+begun; and so on all the time, until really I began to feel just about
+as small and worthless as a little pinch of dust."</p>
+
+<p><a name="page_315" id="page_315"></a></p>
+
+<p><a name="page_316" id="page_316"></a></p>
+
+<p><a name="page_317" id="page_317"></a></p>
+
+<div class="rt">
+<p class="nind">
+"Lakme"
+</p>
+</div>
+
+<h2><a name="LAKME" id="LAKME"></a>"LAKME"</h2>
+
+<p>Lakme was one of Patti's most successful rôles, and very few other
+singers have ventured to attempt it. But Madame Melba includes it in her
+repertoire, and a great treat is in store for New Yorkers when the
+managerial difficulties in the way of its production are sufficiently
+overcome for her to present it.</p>
+
+<p>"Lakme" is composed by Delibes. This name at once recalls that exquisite
+"pizzicato" from the ballet "Sylvia," a musical fragment that has
+floated around the world and stuck to the programs of every land. The
+same delicate fancy and witchery that characterize the ballet are also
+prominent in the opera. His style is perhaps the furthest removed from
+Wagner of any modern composer. "Lakme" has no crescendo worth
+mentioning, and the themes are, for the most part, left to take care of<a name="page_318" id="page_318"></a>
+themselves; but every phrase is fascinating, and there is never a
+tedious passage.</p>
+
+<p>The prelude opens in the minor key with a group of octaves erect and
+solemn as pine trees. The next phrase starts up like a blue flame
+darting from obscurity&mdash;a fantastic measure with wild harmonies that
+plainly suggest India as Lakme's home. A pathetic wail from the flute
+offsets this elfish interlude; the gloom of the minor still hangs over
+all, and the persistent tremolo of the violins becomes oppressive as the
+perfume of magnolias. It is like a forest at midnight. Suddenly the
+gloom and stillness are dispersed by the love-theme of the opera, which
+is in the major key, and consequently has a purifying effect. Major and
+minor are the oxygen and nitrogen of the musical atmosphere.</p>
+
+<p>A peculiar, rhythmical beating of the triangle accompanies the rising of
+the curtain, which reveals a luxuriant garden enclosed by a bamboo
+fence. At the back is a little river, and a modest dwelling stands<a name="page_319" id="page_319"></a> on
+the bank; but a pretentious idol at one side characterizes the place as
+a sanctuary. Day is breaking, and as the light increases those soft,
+metallic tones of the triangle penetrate the air like sunbeams.
+Nilikanthe, a Brahmin priest and owner of the dwelling, comes forward
+with two slaves, who open the bamboo gates, admitting a group of Hindu
+devotees, who prostrate themselves before the idol. Beneath the radiance
+of those unceasing triangle tones arises a languid prayer, soft as the
+gray morning mist, after which Nilikanthe addresses the worshipers. He
+refers to their recent English conquerors, who have "displaced our gods
+and devastated our temples." His tones mount higher and ring out with
+religious ecstasy until he causes a sudden hush. The music of invisible
+harps fills the air, and as the Hindus again kneel a woman's voice, like
+a clarion call, renders an incantation that is rare and wondrous. It
+sounds like the song of an angel, but it is only Lakme, the Brahmin's
+daughter. She<a name="page_320" id="page_320"></a> comes forward and mingles her prayer with those of the
+people. Weird and strange, like the tones of a wild bird, her voice
+soars above the chorus, filling the air with reckless trills and soft
+staccatos. The worshipers arise and go out, leaving Lakme and her father
+alone. She is a "child of the gods," and her life is dedicated to
+Brahma. Nilikanthe declares it is her pure influence that protects their
+sacred abode from the enemy. He leaves her for a time in charge of
+Mallika, a trusty slave.</p>
+
+<p>When he is gone the music assumes a lighter mood, while mistress and
+maid look about for diversion. After removing her jewels and placing
+them upon a stone table, Lakme proposes a row on the river. The music of
+this scene is fraught with a tropical heat and midday languor&mdash;dreamy,
+drowsy violin tremolos that suggest the drone of bees. The two maidens
+render a duet whose words&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="poetry">
+<tr><td align="left"><span style="margin-left: 0em;">"Ah, we'll glide,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0.25em;">With the tide&mdash;"<a name="page_321" id="page_321"></a></span></td></tr>
+</table>
+
+<p class="nind">are set to music that seems to sing itself. It is a fountain of melody
+with flowing rhythm and rippling runs, staccatos like drops of water,
+and trills that are light as bubbles. The singers step into the boat,
+and we hear their song far down the stream, soft as a shadow and lovely
+as a dream.</p>
+
+<p>After a moment's silence a new element comes forward&mdash;a party of English
+sight-seers. Their appearance in grand opera seems to us as much an
+invasion as their presence in India does to the Hindu. After the costume
+of Lakme, which is all spangles and bangles and gauze and fringe, we are
+astonished to see the modern English waistcoats, fashionable bonnets,
+and long-trained skirts. But it is all compatible with facts and
+history. Gerald is an officer in the army; Ellen, his fiancée, is a
+daughter of the governor; the other couple are their friends, and Mrs.
+Benson is the chaperone.</p>
+
+<p>To enter this enclosure, the party have had to force an opening in the
+bamboo. It is evident trespassing, but they are too <a name="page_322" id="page_322"></a>unconcerned to
+care. Their first rollicking ensemble is an interesting evidence of the
+composer's ability to change from the Hindu to the English type. Instead
+of weird, uncivilized cadenzas, these are plain, Christianlike
+harmonies, such as we have been brought up to and can anticipate.
+Indeed, this song recalls Arthur Sullivan in his best mood.</p>
+
+<p>After inspecting the idol and various points of interest, the party
+discover Lakme's jewels. Ellen admires their workmanship, and Gerald
+proposes to sketch them; but Mrs. Benson urges the party away. They all
+go excepting Gerald, who insists on copying the jewels. He prepares his
+sketching materials and is apparently in haste; but true to the precepts
+of grand opera, he first sings to us a long and beautiful aria about
+"taking the design of a jewel."</p>
+
+<p>By the time he has sustained the last high tone through five measures,
+Lakme and Mallika have finished their row upon the river. Gerald
+conceals himself behind a<a name="page_323" id="page_323"></a> shrub as they enter. The undulating melody of
+their boat-song is rendered by the orchestra, first softly, then with
+increasing strength, until it ends with a sforzando chord as the boat
+touches shore.</p>
+
+<p>Lakme brings forward an armful of flowers as an offering to the idol,
+and she sings a tender little song whose pathetic melody belies the
+text, which constantly asserts, "I am happy." The accompaniment is a
+simple violin arpeggio, swaying back and forth upon the melody like a
+butterfly on a flower. Between the verses it flutters up in a fanciful
+cadenza, but soon returns, and, alighting on the melody, it continues to
+sway as before.</p>
+
+<p>Great is Lakme's indignation on perceiving Gerald, the intruder. As she
+goes toward him, her every step is emphasized by a resolute chord in the
+orchestra.</p>
+
+<p>"Leave at once!" she commands. "This ground is sacred, and I am a child
+of the gods!"</p>
+
+<p>But Gerald has fallen hopelessly in love with the pretty priestess, and
+he loses no<a name="page_324" id="page_324"></a> time in telling her. No one has ever dared thus to address
+Lakme, and she is incensed at his boldness. She warns him that death
+will be the penalty of his rash trespassing unless he goes at once. But
+Gerald only repeats his sweeping song of infatuation.</p>
+
+<p>At last, moved to admiration by his courage, Lakme ventures to ask by
+what god is he inspired. Like ripples of sunlight are the next measures,
+wherein he tells her that the God of Love makes him fearless.</p>
+
+<p>Interested in this new deity, the Hindu maiden repeats after him the
+sparkling words and music. She sings timidly and a tone too low, but
+Gerald leads his ready pupil into the right key, and they sing together
+with full voice this most fascinating melody. The final rapturous tone
+has scarcely subsided when Lakme hears her father approach.</p>
+
+<p>Complying with her entreaties, Gerald departs just in time for
+Nilikanthe to perceive the broken fence. He vows vengeance upon the
+profane foe who has dared to<a name="page_325" id="page_325"></a> enter here. His followers second the cry,
+while Lakme stands aside in fear and trembling.</p>
+
+<p>Tambourines and fifes predominate in the next orchestral prelude. It is
+a miniature <i>marche militaire</i>, and unmistakably English. The second act
+discloses a public square filled with Indian shops and bazars. It is the
+occasion of a great festival at the pagoda. Merchants and promenaders
+occupy the stage, and their opening chorus is all bickering and
+bargaining. The music is very ingenious. A free use of harmonic
+discords, dazzling scales that seem to clash with their bass, and
+chromatics that run into each other gives an effect of Oriental
+extravagance&mdash;gay colors upon crumbling walls, jewels over rags.</p>
+
+<p>The chorus continues until a bell announces the beginning of the
+festival and time for the venders to disperse. They slowly depart and
+give place to the ballet, without which Delibes would hardly be
+himself.<a name="page_326" id="page_326"></a></p>
+
+<p>It is interesting to note the specialties that different composers
+unconsciously assume. Liszt seemed to revel in rhapsodies; while the
+alliteration, "Schubert's Songs," comes uppermost in spite of our
+knowledge that he wrote some eleven hundred other compositions. Bach
+invented more fugues than any one else; while Handel made his most
+lasting impression with oratorios. Symphonies and sonatas were the
+life-work of Beethoven; while Chopin had a particular fancy for
+nocturnes. And Mendelssohn! With all deference to his greater works, it
+must be conceded that "Songs Without Words" are inseparably linked with
+his name. Verdi with his tremendous range of operas has had little time
+for anything else. The list could be extended to almost any length; but
+we will only add that Czerny is known for his scale exercises and Kullak
+for his octaves; while Weber, in the language of a recent critic, "is
+famous because he invited all the world to waltz!"</p>
+
+<p>But to return to Delibes and his ballets.<a name="page_327" id="page_327"></a> The present one is divided
+into several movements&mdash;the first being slow but of throbbing rhythm,
+while in the second one the melody whirls and spins around like a top.
+It is constantly whipped up by the conductor's baton, and the dizzy pace
+continues until this merry melody bumps against a substantial chord.</p>
+
+<p>After the ballet Lakme and her father come forward. They are disguised
+as pilgrim mendicants, the better to enable Nilikanthe to seek out his
+foe. It must be understood that this Hindu thirst for vengeance is a
+matter of religious belief, and the music plainly impresses this fact. A
+weird theme that was prominent in the overture recurs as Nilikanthe
+explains that the wrath of heaven must be appeased with the blood of a
+victim. He has cleverly surmised that Lakme was the attraction inducing
+the stranger to trespass on sacred ground. Confident that every one will
+attend this great festival, the Brahmin has brought his daughter as a
+decoy. She plays the rôle of<a name="page_328" id="page_328"></a> a street ballad-singer, and is at the
+merciless command of her father. He bids her look gay and sing with full
+voice so as to attract a crowd. The orchestra gives her the keynote, and
+then, like a necromancer performing wonders with a coin, she executes a
+cadenza that bewilders and dazzles the senses. Her tones soar away like
+carrier-birds, and they bring the people from far and near to hear the
+wondrous singing. When a crowd has collected, Nilikanthe announces that
+she will sing to them the "Legend of the Pariah's Daughter." Lakme sings
+as easily as she talks. The first phrase is a simple little narrative
+about a maiden wandering at eve in the forest, fearless of beast and
+sprite, for she carries in her hand a little bell that wards off evil
+with its merry tinkling. Then follows one of the most difficult staccato
+fantasias in existence, for the voice imitates the tinkle of that silver
+bell. The tones fall fast as rain-drops in a shower, round as beads and
+clear as crystal. The composer shows no respect or reverence<a name="page_329" id="page_329"></a> for high
+notes. Upper B is given a "shake" and any amount of staccato raps, while
+even high E, that slumbering "spirit of the summit," is also aroused to
+action. In fact, this aria is one of the few that can not be poorly
+rendered. To do it at all argues doing it well. Its difficulties protect
+it like a barricade from the attack of mediocre singers. The second
+verse relates how the maiden meets a stranger, who is saved from the
+surrounding wolves by the tinkle of her magic bell. This stranger was
+"great Vishnu, Brahma's son;" and since then&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="poetry">
+<tr><td align="left"><span style="margin-left: 0em;">"In that dark wood</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1.5em;">The traveler hears</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0.25em;">Where Vishnu stood</span></td></tr>
+<tr><td align="left"><span style="margin-left: 1.5em;">The sound of a little bell ringing."</span></td></tr>
+</table>
+<p>Soft and clear as a wood-nymph laughing those marvelous staccatos again
+peal forth.</p>
+
+<p>During his daughter's performance Nilikanthe has been scanning the faces
+around him, but none reveals any emotion other than the pleasure of
+listening. Furious that his plan has not succeeded, he bids<a name="page_330" id="page_330"></a> Lakme to
+sing it again&mdash;"Louder!" But she has suddenly perceived Gerald
+approaching; and, knowing that if he recognizes her he will betray
+himself, she does not wish to sing. She pleads and entreats, but her
+father is obdurate. So she begins with pouting lips and trembling voice.
+"Sing out!" admonishes Nilikanthe. As Gerald draws nearer, Lakme becomes
+more and more disturbed. The pretty staccatos are all out of place, like
+blossoms falling to pieces. They are flat where they should be sharp,
+and minor instead of major; but her tones, like perfect petals, are none
+the less lovely because detached. Once, twice, three times she
+recommences, always in a higher key. Suddenly she utters a musical
+scream as Gerald comes up to her, and Nilikanthe exclaims: "'Tis he!"</p>
+
+<p>In the mean time, Gerald hears the fifes and tambourines of his regiment
+and goes to answer the roll-call.</p>
+
+<p>Nilikanthe summons his Hindu followers and informs them that he has
+discovered<a name="page_331" id="page_331"></a> the foe. This solo with chorus of the conspirators is minor,
+<i>mysterioso</i>, and <i>agitato</i>; it is the most interesting bass solo of the
+opera. The conspirators go off, leaving Lakme alarmed and disconsolate.
+Like a faithful hound, Hadji, the slave, draws near to her and whispers
+that he has seen her tears and heard her sighs: "If you have a friend to
+save, confide in me." His words are <i>parlando</i>, but the orchestra
+illumines them with music clear as a calcium light. Lakme grasps his
+hand in gratitude, but motions him aside as she perceives Gerald
+thoughtfully returning.</p>
+
+<p>The hero has left his comrades at the first opportunity and retraced his
+steps to the place he left Lakme. His joy on finding her is portrayed in
+a musical greeting of such unbounded rapture that one key will hardly
+hold it. The ensuing love-duet deserves to rank with the best. But Lakme
+is more sad than glad, for she knows of impending danger. She urges him
+to flee, and tells him of "a little cabin hidden in<a name="page_332" id="page_332"></a> the forest, quite
+near by," where he can hide secure from his enemies. This Cabin Song is
+an idyllic refrain, with gentle harmonies that picture more than the
+words. She urges him to follow her; but, in spite of his infatuation,
+Gerald realizes his duty as a soldier. He dare not go.</p>
+
+<p>Like dust before a tempest is the succeeding instrumental passage
+announcing the approach of the great procession. The notes, like atoms,
+are carried forward faster and higher, until they come so thick that you
+can not distinguish them. This cloud of music melts away before the
+mighty chant of the Brahmins as they march to the pagoda. Their weird
+incantation fills the air like a trumpet-blast. The greater part of this
+processional music greets our ears familiarly, because it was given in
+the overture. Upon this somber background of Hindu harmonies the
+composer delights in casting gleams of Sullivanesque music in the form
+of passing remarks from the English onlookers. The contrast is startling
+as<a name="page_333" id="page_333"></a> magic-lantern pictures thrown upon the pyramids.</p>
+
+<p>As the procession marches on, we see Nilikanthe point out Gerald to the
+other conspirators. They cautiously surround him, and at the bidden
+moment he is stabbed by Nilikanthe, who then disappears in the crowd. On
+hearing the victim's cry, Lakme rushes forward. The stage is darkened,
+for it is evening, and the lights of the procession are gone. The Hindu
+maiden finds Gerald but slightly wounded. She calls Hadji, the slave,
+and then, without further explanation on her part, the instruments
+whisper to us her intention. We hear the soothing harmonies of that
+lovely song about "a little cabin hidden in the forest quite near by."</p>
+
+<p>The second <i>entr'acte</i> is performed after the rising of the curtain. We
+see an Indian forest, dense of foliage and brilliant with flowers. At
+one side is a hut, half concealed by the shrubbery, and near it are
+Lakme and Gerald, the latter reclining upon<a name="page_334" id="page_334"></a> a bank, while she watches
+over him as he slumbers. No sound or movement mars the effect of a
+perfect picture, and beneath it all, like gold letters spelling out the
+subject, come the tones of that sweet melody of the Cabin Song. The
+conductor at his desk reminds us of an artist at his easel who, with a
+magic brush, traces in tone-colors this beautiful inscription.</p>
+
+<p>After the <i>entr'acte</i> Lakme softly sings a slumber-song, simple as a
+child's prayer and as beautiful. There are only two phrases in it, but
+they come and go like wandering thoughts. When Gerald awakes he recalls
+how he was brought here, while Lakme relates how with wild herbs and the
+juice of flowers he has been restored. Their rapturous conversation is
+interrupted by a chorus from without, the voices of young men and
+maidens on their way to a fountain in the forest from whence, it is
+said, if two lovers drink they will always be united. Lakme solemnly
+explains this beautiful belief and at once proposes to bring a cup of<a name="page_335" id="page_335"></a>
+the water. "Wait for me," she admonishes as she runs out, and we hear
+her voice mingle with the far-away chorus of the other lovers.</p>
+
+<p>During her absence a comrade of Gerald's discovers his retreat. The
+newcomer announces that their regiment has orders to move on, and that
+if Gerald does not join them he will be dishonored. This visit passes
+over like a modern railroad through an Arcadian temple. Poor Lakme soon
+discovers the devastation. With charming faith she extends her cup of
+water to Gerald, but at this moment he hears the fifes and drums of his
+regiment. Lakme still offers the cup. "Drink and vow to be mine!" But
+Gerald does not heed her words, for he is distracted with thoughts of
+duty and honor. She also hears this English music.</p>
+
+<p>"His love is faltering!" she piteously cries; and then with a decision
+as impulsive as her nature she plucks a flower of the deadly Datura and
+eats it without being observed by Gerald.<a name="page_336" id="page_336"></a></p>
+
+<p>She turns to him tenderly and sings of their love,&mdash;a melody so gentle
+and pathetic that he can no longer resist. He picks up the fallen
+goblet, and touching it to his lips vows to love forever. They sing
+together a song of exaltation.</p>
+
+<p>Suddenly Nilikanthe breaks in upon them. He brings his followers and
+would kill Gerald at once, did not Lakme rush between them: "If a victim
+to the gods must be offered, let them claim one in me!" In tones of
+ecstasy she repeats the final phrase of her love-song; but her voice
+soon fails, and with a sudden gasp she falls at the Brahmin's
+feet&mdash;dead.</p>
+
+<p>Like hot flames reaching up at him from the orchestra come the tones of
+his terrible vow-theme. The victim has been offered, but instead of
+glory, only ashes fall upon him.<a name="page_337" id="page_337"></a></p>
+
+<div class="rt">
+<p class="nind">
+"I Pagliacci"
+</p>
+</div>
+
+<p><a name="page_338" id="page_338"></a></p>
+
+<p><a name="page_339" id="page_339"></a></p>
+
+<h2><a name="I_PAGLIACCI" id="I_PAGLIACCI"></a>"I PAGLIACCI"</h2>
+
+<p>Pagliacci is the Italian word for clowns, a decidedly unique subject for
+grand opera. Novelty is one of the characteristics of this work. It has
+already achieved fame, altho but a child in age and size, being only a
+few years old and two acts long. Leoncavallo, the composer and
+librettist, has since written another opera, "I Medici," which has found
+favor in Europe, but is still unheard in America.</p>
+
+<p>Pagliacci is startling and intense from the entrance of the Prologue to
+the clown's last word, "<i>finita</i>." The music abounds in surprises, and
+altho Leoncavallo has been charged with some plagiarism, his work but
+reflects the influence of such recent composers as Wagner and Mascagni.</p>
+
+<p>The opening orchestral measures are of peculiar rhythm, and suggest the
+spasmodic<a name="page_340" id="page_340"></a> movement of puppets on a string; but this implies no lack of
+dignity to the composition. There are passages that recall the "Flying
+Dutchman," and Leoncavallo adopts the Wagnerian method of handling his
+themes; in other words, each one has a meaning that is adhered to
+throughout the opera. In this introduction we hear the warm and sunny
+love-music, followed by the somber theme of revenge like a shadow after
+light. Then the puppet-music is hastily resumed, to remind us that a
+clown must laugh and dance, however bitter his feelings.</p>
+
+<p>During the overture a painted and grotesque personage steps before the
+curtain and announces himself as the Prologue. This innovation has
+prompted some wag to remark that "the opera commences before it begins!"
+Mascagni, in his "Cavalleria Rusticana," was the first to present an
+unconventional opening, by having a serenade behind the curtain, but
+Leoncavallo has outdone his rival by having a prologue in front<a name="page_341" id="page_341"></a> of the
+curtain. He tells us that the play is taken from life, and that in spite
+of their motley and tinsel the actors have human hearts. This satisfying
+song, with its appealing melody and large, resounding accompaniment, has
+never yet failed to arouse an encore. With a final signal for the play
+to begin, the Prologue skips out as the curtain goes up.</p>
+
+<p>The scene represents an Italian village gaily decorated for the "Feast
+of the Assumption," an annual fête that lasts a week. We see at one side
+a rough mimic theater, with stage and curtain, a temporary structure
+erected for a troupe of players who are just entering the town. There
+are shouting and laughter behind the scenes, sounds of a discordant
+trumpet and a terrible drum, and soon the villagers enter, vociferously
+greeting and surrounding a donkey-cart in which are the players. It is a
+meager troupe, consisting of Canio, the master, Nedda, his wife, Beppo,
+the harlequin, and Tonio, the fool. They wear fantastic costumes. Canio<a name="page_342" id="page_342"></a>
+beats his big drum, while Nedda scatters play-bills, and the villagers
+think the troupe quite wonderful. They are welcomed with an impulsive
+sweeping chorus that seems to disregard all precedent in the matter of
+keys. These peasants apparently sing in an ungoverned, unrestrained way
+of their own; but as an Italian's tattered costume is always
+picturesque, so is this artless music most graceful and charming. Canio
+bows grotesquely on all sides, and again thumps his drum to make the
+people listen as he tells them that at seven o'clock the play will
+begin:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="poetry">
+<tr><td align="left"><span style="margin-left: 3em;">"You all are invited,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 3.25em;">And will be delighted</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">As you witness the woes of poor Punchinello,</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0em;">Who revenges himself on a rascally fellow."</span></td></tr>
+</table>
+
+<p>Canio's professional music, such as the foregoing speech, is made
+admirably artificial, thin and cheap as tissue paper, with uncertain
+accompaniment and flimsy melodies.</p>
+
+<p>When the excitement has subsided, Tonio, the fool, offers to lift Nedda
+from the cart,<a name="page_343" id="page_343"></a> but Canio boxes his ears and helps his own wife down.
+The people laugh at Tonio's discomfort, and he goes off grumbling. This
+pantomime action and the succeeding bit of dialog are accompanied by a
+rollicking, hurdy-gurdy sort of motif in the orchestra. A villager
+invites the players to a drink in the tavern. Canio and Beppo accept,
+and they call Tonio to come along, but he replies from behind the mimic
+theater, "I am cleaning the donkey, and can't come." The villager
+laughingly suggests that Tonio is only waiting for a chance to court
+Nedda. Canio takes this joke rather seriously, and sings an earnest
+cantabile to the effect that such a game would be dangerous: "On the
+stage, when I find her with a lover I make a funny speech and every one
+applauds; but in life&mdash;believe me, it would end differently." This last
+phrase is adapted to the dismal, menacing theme of revenge that was
+started like a germ in the overture. It is still deeply buried among the
+instruments, but its growth is steady from the beginning<a name="page_344" id="page_344"></a> of the opera
+to the end. Canio closes his song by assuring all that there is no
+ground for suspicion. He embraces Nedda, and declares that he loves and
+respects her. The hurdy-gurdy music is resumed, and distant bagpipes are
+heard,&mdash;noises peculiar to a village fête. The chorus sing with much
+good humor, and are accompanied by a charming violin obligato. Then
+comes the Bell Chorus, so named because the church bell calls them to
+vespers. "Prayers first, and then the play!" exclaim the young people as
+they go out. The delightful turns and curves of this bell-song are
+continued until quite in the distance.</p>
+
+<p>Nedda is left alone, and the orchestra, like a merciless conscience,
+repeats to her Canio's threatening theme. She has a secret that causes
+her to tremble as she recalls her husband's dark looks and words; but
+her fears are momentary, for the day is bright and so is her heart. She
+sings to the sunshine and the birds in the sky. A gay tremolo of the
+stringed instruments<a name="page_345" id="page_345"></a> seems to fill the air with feathered songsters,
+and they remind Nedda of a little ballad her mother used to croon. This
+popular ballatella is generally referred to as the Bird Song. There is a
+busy, buzzing string accompaniment, and the melody is a gentle, legato
+waltz movement. The last notes are descriptive of a bird's flight "away,
+away!" so high that the tone seems to soar out of sound as a bird out of
+sight.</p>
+
+<p>Nedda turns around, and is surprised to find Tonio listening with rapt
+adoration. He is only a jester, and quite ridiculous to look upon; but
+he nevertheless loves Nedda, and tells her so. In this aria, Tonio
+reveals a depth of feeling that is in touching contrast to his painted
+face and comical clothes. Nedda laughs uproariously at his confession,
+and with heartless sarcasm she quotes the scherzando music of the
+prospective play-scene, and says he must save his fine love-making for
+the stage. In vain Tonio pleads and falls on his knees. She threatens to
+call her husband, and finally snatching up<a name="page_346" id="page_346"></a> a whip, gives Tonio a smart
+blow on the face. His love is turned to hatred, and he vows vengeance
+for this insult. He is very much in earnest, and indeed the composer has
+given him quite a fine vengeance-theme, all his own. It is heard
+groveling and growling among the bass instruments, like some disturbed
+animal. Tonio goes off with frowns and threats, but Nedda forgets these
+in the joy of seeing Silvio. As he cautiously enters, the orchestra
+announces in the plainest musical phrases that this newcomer is the
+lover. That theme amoroso is unmistakable even had we not been
+introduced to it in the prologue. Throughout this love-scene it is the
+leading spirit, sporting around from treble to bass, now in the
+orchestra, then in the voice; sometimes veiled in a minor key or
+suppressed by top-heavy chords; again, it will start to materialize but
+at once disappear, or when most unexpected will push itself forward with
+impish delight.</p>
+
+<p>The witchery of this music undermines<a name="page_347" id="page_347"></a> fear and caution. The lovers do
+not notice Tonio's leering face as he overhears their vows and then goes
+off to bring Canio; nor do they hear the stealthy approach of Tonio's
+revenge in the orchestra. Nedda agrees to elope with Silvio, "to forget
+the past and love forever!" He has climbed the wall and sings these
+farewell words with Nedda, just in time for Canio to hear them. The
+husband rushes forward with a cry of rage, but he fails to recognize the
+lover. Nedda has warned Silvio to flee, and Canio scales the wall in
+pursuit. She is left for a moment with Tonio, who gloats over his
+revenge. With bitter irony Nedda cries "Bravo!" to his success. She
+calls him a coward and other terrible names, but the despised jester
+only shrugs his shoulders.</p>
+
+<p>When Canio returns from his futile chase, he grasps Nedda, tortures her
+and threatens her, but she will not tell her lover's name. He declares
+she shall die, and with these words that bitter revenge-theme for the
+first time blossoms out in the voice part. It is<a name="page_348" id="page_348"></a> sung and shouted by
+the maddened Canio, while the director's baton swings over the orchestra
+like a reaper's sickle, gathering in this full-grown theme. Canio draws
+his dagger, but is forcibly restrained by Beppo, who tries to reason
+with his master. "It is time for the play to begin. The people pay their
+money and must be entertained." Nedda is told to go and dress for her
+part, while Canio is advised to restrain his anger until after the play.
+He allows himself to be persuaded. The others go off to make ready, and
+he too must soon don the paint and powder. He looks sadly at the little
+theater, and sings a magnificent aria that attains the uttermost heights
+of pathos. He must amuse the people while his heart is breaking. He dare
+not weep as other men, for "I am only a clown." Canio goes off sobbing
+as the curtain descends.</p>
+
+<p>An intermezzo of much beauty and deep feeling is performed by the
+orchestra between the acts. Its opening measures recall the funeral
+march of the "Götterdämmerung"<a name="page_349" id="page_349"></a>&mdash;dolorous, heart-weary passages that
+presently break away with a nervous energy into the cantabile theme of
+the prologue. This intermezzo is not long, and we are again enlivened by
+the scene on the stage.</p>
+
+<p>It is evening, "at seven o'clock," and the mimic theater is illuminated
+by gay lanterns. The people are flocking to the performance, and they
+drag forward benches and chairs to sit upon. Tonio stands at one side of
+the little stage beating a drum, while Beppo blows the trumpet which is
+still out of tune, and therefore the opening bars of this act are
+exactly like the first. These good people make a great rush and fuss in
+getting their seats, and they sing a simple, hearty refrain about the
+great event of seeing a play. The original and refreshing chorus that
+delighted us in the first act is repeated, and we become as excited and
+eager as the villagers to witness the performance about to take place on
+that little wooden stage with its cheap red curtain.<a name="page_350" id="page_350"></a> Silvio is among
+the crowd, and he finds a chance to speak with Nedda as she passes the
+money-box. He arranges to meet her after the play, and she admonishes
+him to be careful. After she has collected the money the players go back
+of the scenes. A little bell is rung, and the wonderful red curtain goes
+up.</p>
+
+<p>The comedy is called "Columbine and Punchinello," and Nedda, who plays
+the part of Columbine, is discovered sitting by a table. The room is
+roughly painted and Nedda wears some cheap finery, but the people
+applaud and think it beautiful. The play-music is all angular and
+grotesque, glaring effects thrown on in splashes like an impressionist
+painting. It is admirably appropriate, and perhaps the most unique
+stroke in the opera.</p>
+
+<p>To return to the action of the mimic play. Columbine soliloquizes for a
+moment about her husband Punchinello, whom she does not expect home
+until morning. She looks toward the window and evidently expects<a name="page_351" id="page_351"></a> some
+one else. The pizzicato tuning of a violin is heard through the window.
+The player gets his instrument to the right pitch and then sings a
+serenade to the "fair Columbine." She would fain receive her adorer, but
+at this moment the servant (Tonio) enters. He looks at Columbine, and
+with exaggerated music and ridiculous sighs informs the hearers that he
+loves her, and now that the husband is away he finds courage to get
+abruptly on his knees. Columbine pays no attention to his love-making,
+but she accepts the property chicken that he takes from his basket. The
+village spectators laugh and applaud. The scene on the mimic stage is
+next enlivened by the lover (Beppo), who climbs in through the window,
+and on seeing the servant promptly takes hold of his ear and shows him
+out of the room. The spectators, of course, laugh at this and think the
+whole play very funny. Columbine entertains her lover by giving him a
+good supper. Their harmonious conversation includes a charming and
+graceful<a name="page_352" id="page_352"></a> gavotte melody that is decidedly the gem of this play-music.
+Its dainty elegance and classic simplicity are worthy of Bach himself.</p>
+
+<p>The servant rushes in upon the supper-scene, and with mock agitation
+announces that Punchinello is coming. The lover hurries out of the
+window as the husband enters. It is Canio, the real husband, who acts
+this part, and as he sees Nedda at the window he is struck with the
+similarity of the play to the reality. For a moment the play-music is
+dropped and we hear the serious love-theme of the opera closely pursued
+by that bitter wail of revenge that clings and creeps around it like a
+poison-vine. Canio chokes down his grief and bravely tries to go through
+his burlesque part. A new, jerky little melody accompanies the remarks
+of Punchinello, and it would be very gay were it not written in the
+minor, which gives it a touching effect of faint-heartedness.
+Punchinello asks Columbine who has been with her, and she replies, "Only
+the servant." But Punchinello again<a name="page_353" id="page_353"></a> asks who was the man&mdash;"tell me his
+name." The last words are real, and Canio no longer acts a part. Nedda
+tries to keep up the farce, and the serious themes and play-music
+alternate as the scene goes on. With curses, threats, and entreaties
+Canio tries to learn the name of Nedda's lover, and Silvio in the
+audience becomes uneasy; but the other villagers only think it is fine
+acting. When Canio at last buries his face in sobs as he recalls how
+much he loved his wife, the people shout "Bravo!"</p>
+
+<p>Nedda again tries to resume the play. She forces herself to smile and
+sing the gay gavotte; but this only maddens Canio the more. With tones
+of fury he declares that she shall either die or tell her lover's name.
+Nedda defies him, and her words are sustained by a distorted arrangement
+of the love-theme, which effect is like seeking concealment behind a
+skeleton. The music has become as breathless as the situation. Nedda
+tries to escape toward the spectators, but Canio holds her, and there
+follows a<a name="page_354" id="page_354"></a> piercing shriek. Nedda has been stabbed. She falls, and with
+her dying breath calls "Silvio!" Canio turns upon her lover and
+completes vengeance with a single stroke. The orchestra now trumpets
+forth, like the expounding of a moral, that poignant theme whose growth
+and supremacy we have watched. The village spectators are still puzzled,
+and can hardly believe that the tragedy is real. Tonio comes forward and
+announces in parlando voice that "the comedy is finished!"</p>
+
+<hr style="width: 5%;" />
+
+<p>"Pagliacci" only occupies half an evening, and even with the "Australian
+Nightingale" and a great tenor in the cast the public still expect "some
+more." New Yorkers have become spoiled by the great performances lately
+given at the opera-house. We take it as a matter of course that "Don
+Giovanni" should be given with Lehmann, Sembrich, Nordica, Edouard de
+Reszke and Maurel, and quite expect "The Huguenots" to have in its cast
+two great sopranos and<a name="page_355" id="page_355"></a> the two de Reszkes. We have an idea that a large
+city like New York should expect nothing less, and are not sure but the
+European capitals do better. In point of fact, however, when Madame
+Sembrich sings in Berlin the royal opera-house is crowded by the
+attraction of her name alone; and the same may be said of Madame Melba
+in Paris, or Calvé, or any of them. There are never more than six or
+seven great prima donnas in the world at one time, and when one of these
+sings in Europe the rest of the company is often mediocre. But not so in
+New York. After "Pagliacci" with Melba, "Cavalleria" with Calvé is the
+usual program&mdash;a rather unfortunate combination of operas, for they are
+both so feverishly intense. After the "beautiful horror" of
+"Pagliacci's" finale, a contrast might be welcome. Glück's "Orpheus and
+Eurydice" is a short opera that alongside of Leoncavallo's work would
+delight the musical epicure. Such an opportunity to study the new and
+the old would surely be beneficial.</p>
+
+<p><a name="page_356" id="page_356"></a></p>
+
+<p><a name="page_357" id="page_357"></a></p>
+
+<div class="rt">
+<p class="nind">
+"Orpheus<br />
+and Eurydice"
+</p>
+</div>
+
+<p><a name="page_358" id="page_358"></a></p>
+
+<p><a name="page_359" id="page_359"></a></p>
+
+<h2><a name="ORPHEUS_AND_EURYDICE" id="ORPHEUS_AND_EURYDICE"></a>"ORPHEUS AND EURYDICE"</h2>
+
+<p>Classic myth and classic music are in this opera happily united. The
+beautiful legend belongs to the past, but Glück the composer, like
+Orpheus the musician, has brought the departed to life. With gentle
+harmonies he pacified those surrounding Furies, the critics, and his
+creation has attained a lasting place in the musical world. Simplicity
+and sincerity stamp the entire composition. The musical thoughts are put
+down in the plainest, straightest way, in strong contrast to the old
+Italian style, whose profuse embellishments remind one of ornate
+penmanship. Glück lived more than a century ago, but his ideas
+anticipated many of our modern formulas. He succeeded in imparting a
+musical individuality to all his characters.</p>
+
+<p>To properly enjoy Glück's masterpiece<a name="page_360" id="page_360"></a> the listener should present
+himself with a spirit as gentle as the composer. The opera is more
+idyllic than overpowering. Enjoy it as you would a perfect day in some
+peaceful valley.</p>
+
+<p>The overture to "Orpheus and Eurydice" is not remarkable. It bears no
+theme-feature in common with the opera, and its kinship is only
+discernible in name and nature, both opera and overture being devoid of
+ostentation.</p>
+
+<p>The curtain rises upon a Grecian landscape that is beautiful but sad,
+for amid drooping willows and solemn pines stands the tomb of Eurydice.
+Orpheus, the disconsolate husband, is leaning upon the shrine. Not even
+his lute can solace him in this hour of grief. A dirge of unrivaled
+beauty arises from the orchestra like a flower from the earth. It is
+taken up by the chorus and given as an offering to the departed. There
+is something mythical about the music as well as the scene. All nature
+seems to join in this lament over<a name="page_361" id="page_361"></a> Eurydice. Ever and anon Orpheus
+proclaims her name in tones so pitiful that&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="poetry">
+<tr><td align="left"><span style="margin-left: 0em;">"The rocks and rills and surrounding hills</span></td></tr>
+<tr><td align="left"><span style="margin-left: 0.25em;">Feel pity, and are touched."</span></td></tr>
+</table>
+
+<p>He asks the chorus to scatter flowers upon her grave and then leave him
+alone, for their song but adds to his grief. Accompanied by an
+orchestral ritornelle of Arcadian simplicity, they strew their garlands
+and then retire.</p>
+
+<p>The wood-wind and viol follow Orpheus in his solitary plaint that again
+reminds us of the voice of nature. It is a feminine voice, too, a fact
+worth mentioning, for Orpheus is now considered the contralto <i>rôle de
+résistance</i>. After vainly beseeching high heaven and all the gods to
+restore his lost Eurydice, Orpheus decides to brave the realms of Pluto.
+He will himself wrest her from death's power. The gods help those that
+help themselves, and now Amor, the god of love, comes to his assistance.
+Amor says he shall descend in safety to the lower world, and will find
+his Eurydice among the<a name="page_362" id="page_362"></a> peaceful shades. He must take his lute, and
+perchance by the power of music he can induce Pluto to release her. Was
+there ever a more charming story for an opera! Amor further dictates
+that while leading Eurydice to the upper world he must not look upon
+her, else all endeavor will have been in vain, and death will at once
+claim his own. After promising to obey, Orpheus sings a song full of
+gratitude, with here and there a gleam of gladness like flecks of
+sunlight after rain. His final aria is the very noontide of joy,
+dignified always but none the less radiant. Glück here finds use for
+colorature&mdash;plain, classical scales and broken thirds without any
+appoggiaturas or even staccatos; but his even-tempoed sixteenth notes
+seem as gay as Rossini's breathless sixty-fourths.</p>
+
+<p>The second act is the most interesting. It pictures the nether world of
+Hades. There are vistas of receding caverns full of smoke and flames.
+Furies and Demons occupy the stage. According to Glück, the<a name="page_363" id="page_363"></a> brass
+instruments furnish the music of Hades, in opposition to the harps,
+which belong to heaven. The first tones are hurled up by the trumpets
+like a blast of molten rocks. Then like a balm to all the senses, nectar
+after poison, incense after sulfur, day after night, come the next
+celestial harmonies. It is Orpheus with his lute, whose harp-tones reach
+us from afar, as this musician of the gods plays his way through the
+gates of Hades. For a moment the Furies cease their revel, as they
+wonder what mortal dares to enter here. When they resume their dance the
+orchestra renders a reeling, demoniacal medley of scales and staccatos.
+Again the Furies stop as they see Orpheus approaching, and they sing a
+malediction upon this mortal so audacious. They try to frighten him with
+howls from the watch-dog Cerberus, an effect admirably represented by
+the instruments. The music is all fearful and threatening, with creeping
+chromatics shrouded in a minor key.<a name="page_364" id="page_364"></a></p>
+
+<p>Orpheus is undaunted; and with enduring faith in the power of his music
+he takes up his harp and sings to them of his love for Eurydice.
+Entreating their pity, he begs them to let him pass; but Cerberus still
+howls and the Furies shout "No!" They threaten him with eternal torture,
+but the inspired youth sings on. No punishment they can devise could
+exceed the grief he already suffers&mdash;such is the burden of his song.
+Even the Demons and Furies can not long resist such tender strains. With
+bated breath they wonder what strange feeling steals o'er them, for pity
+is a new sensation: "The cheeks of the Furies were wet with tears; all
+Hades held its breath." Three times the wondrous song and accompaniment
+still the shrieks of Pluto's realm. Orpheus is finally allowed to pass.
+The Furies and Demons hasten to drown their recent emotion in a mad
+revel that surpasses the first one. This demon-dance is admirably
+characterized by the music. It has a rapid tempo and a perpetual motion
+that<a name="page_365" id="page_365"></a> suggest dancing on hot iron. Tremolos rise and fall like puffs of
+smoke, while scales like coiling snakes and staccatos like skipping imps
+add to the effect of pandemonium.</p>
+
+<p>Act III. pictures the Elysian fields, the abode of the blest where "calm
+and eternal rest" pervade even the music. The orchestral introduction is
+saintly, with its religious harmonies and classic purity. It is simple,
+but yet so interesting that we can imagine the immortal spirits hearing
+forever and never weary, for classical music is always new and always
+beautiful. The flute and stringed instruments perform the great part of
+this Elysian music. White-robed spirits glide about, and one soprano
+voice starts up a happy, flowing melody that inspires a chorus of
+others. It is Eurydice who leads this singing of the blest.</p>
+
+<p>There is dancing as well as singing, and during this divertisement the
+instruments weave out a new musical fabric. The steady accompaniment and
+firm legato theme are<a name="page_366" id="page_366"></a> the woof and warp through which, around which,
+and over which a little five-note appoggiatura sports like a weaver's
+shuttle. It appears four times in every measure, but never twice in the
+same place.</p>
+
+<p>With wonder and admiration comes Orpheus upon the scene. The orchestra
+continues its blithe harmonies while Orpheus sings of the beauteous
+sight. But not even such surroundings can quell his longing for
+Eurydice. Unlike the Furies, who only granted his prayer because
+compelled by his wondrous music, the spirits of the blest can not see
+any one suffer. With one voice and immediately they tell him to take
+Eurydice. To the strains of softest music Orpheus approaches the various
+spirits. He harkens to their heart-beats, and finally recognizes his
+loved one without seeing her.</p>
+
+<p>The scene changes to another part of the nether world, a forest through
+which Orpheus is leading Eurydice back to earth. A nervous, anxious
+instrumental passage precedes the opening recitative dialogue. Eurydice<a name="page_367" id="page_367"></a>
+at first rejoices over her new-found life, but then forgets all else in
+surprise and grief because Orpheus will not look at her. She questions
+him, entreats him, fears she is no longer beautiful, or that his heart
+has changed. Orpheus explains that he dare not look at her, but Eurydice
+is not satisfied. She refuses to go farther, for if he can not look at
+her she does not wish to live. The ensuing duet is intense and full of
+climacteric effects. The voices chase each other like clouds before a
+storm, low down and hovering near that sea of sound, the orchestra, over
+which the conductor rules with his wand like Neptune with his trident.</p>
+
+<p>Orpheus firmly resists the pleadings of Eurydice until she declares that
+his coldness will break her heart,&mdash;she will die of grief if he does not
+look at her. Little wonder that he flings prudence to the winds and
+impulsively turns to embrace her.</p>
+
+<p>But no sooner has he looked upon Eurydice than she droops and sinks from
+his arms like a blighted flower. Death has again<a name="page_368" id="page_368"></a> come between them.
+Orpheus cries aloud his grief, and there springs from his heart a song
+of lamentation surpassing any other as a geyser does a fountain. "Ach,
+ich habe sie verloren!" is the German and "Che in faro" the Italian name
+of this great song that is the standard classical contralto program
+piece. It is full of sobbing cadenzas and sighing intervals that express
+more than words or deeds.</p>
+
+<p>Grief at last gives place to desperation: He is on the point of killing
+himself when Amor reappears. The gods are again moved to pity by his
+enduring love, and Amor with a touch of her wand revives Eurydice.</p>
+
+<p>The opera closes with a trio between Amor and the reunited pair, an ode
+to the power of love. It is a sort of musical apotheosis. The orchestral
+accompaniment has a steady, revolving movement that might suggest the
+wheel of time tuned and turned in harmony with the voice of love.<a name="page_369" id="page_369"></a></p>
+
+<div class="rt">
+<p class="nind">
+The Genius<br />
+of<br />
+Geraldine Farrar
+</p>
+</div>
+
+<p><a name="page_370" id="page_370"></a></p>
+
+<p><a name="page_371" id="page_371"></a></p>
+
+<p class="figcenter">
+<a href="images/ill_369_lg.jpg">
+<img src="images/ill_369_sml.jpg" width="398" height="550" alt="Copyright by Aimé Dupont.
+
+Geraldine Farrar." title="" /></a>
+<br />
+<span class="caption">Copyright by Aimé Dupont.<br />
+
+Geraldine Farrar.</span>
+</p>
+
+<h2><a name="THE_GENIUS_OF_GERALDINE_FARRAR" id="THE_GENIUS_OF_GERALDINE_FARRAR"></a>THE GENIUS OF GERALDINE FARRAR</h2>
+
+<p>Some half-dozen years ago rumors, vague as perfume from an unfolding
+flower, began to reach America about a new prima-donna; a Boston girl,
+very young and very beautiful; singing at the Berlin Royal Opera-house.
+No American before had ever held such a position&mdash;life-member of the
+opera company which Kaiser Wilhelm supervises, and the Great Frederick
+founded.</p>
+
+<p>Years went by and still the name of Geraldine Farrar was wafted across
+the waters&mdash;and still she was spoken of as "very young."</p>
+
+<p>American critics grew somewhat incredulous; Germany, of course, is
+musical and deep-rooted in the science of the art, but New York holds a
+record of her own in matters operatic, and is not disposed to accept
+unchallenged a verdict from the land of beer and thorough-bass.</p>
+
+<p>At last the hour came when Geraldine Farrar appeared as a star in her
+native land. It was<a name="page_372" id="page_372"></a> a momentous occasion&mdash;the opening of the season; a
+brilliant audience, diamond-glinting and decollete; an audience familiar
+with the value of Tiffany tiaras, but inclined to be dubious about
+Berlin laurels.</p>
+
+<p>The curtain arose upon the first act of Romeo and Juliet; a blaze of
+color and a whirl of gay music. Soon the dancers dispersed, and a
+slender figure in saphire satin sauntered down the Capulet stairs, came
+forward with quiet confidence, and commenced the famous Waltz
+Song&mdash;slowly&mdash;dreamily.</p>
+
+<p>With these very first notes Geraldine Farrar revealed originality; she
+sang them as tho thinking aloud; the words fell from her lips like a
+tender caress&mdash;</p>
+
+<p class="c">"I would linger in this dream that enthralls me."</p>
+
+<p>She closed the aria with brilliant tones, a high note&mdash;and a smile.
+Geraldine Farrar's smile is something to drive a poet to sonnets&mdash;and a
+prince to sighs!</p>
+
+<p>One paper the next morning declared: "From that moment she could have
+wrapped the whole audience around her little finger."</p>
+
+<p>There followed a "Farrar furor," tho cautious<a name="page_373" id="page_373"></a> critics were careful to
+point out that her performance as yet evinced nothing more than "a
+lovely voice, a peculiarly gifted dramatic temperament, youth, beauty,
+and considerable experience!" That's all!</p>
+
+<p>"She is not yet a finished artist," these critics say, but at
+four-and-twenty what would you? Her voice is "golden," and no one denies
+that her histrionic gifts are phenomenal.</p>
+
+<p>It is strange&mdash;this quality of native <i>greatness</i>. In the case of these
+famous singers, one almost feels that the <i>greatness</i> makes the voice.
+The <i>mind</i> is what counts, after all. Geraldine Farrar impresses one
+forcibly with this fact. Her mind is alert, keen, observant, thoughtful,
+quick at reaching conclusions, widely interested, eager to learn, but at
+the same time self-contained and firmly poised.</p>
+
+<p>When talking about music her face lights up. She has much to say; she
+has thought and studied deeply; she is intense, enthusiastic, full of
+her subject, aglow with earnestness and vitality.</p>
+
+<p>From early childhood she was always singing, always acting, and always
+<i>intending to be a prima-donna</i>.<a name="page_374" id="page_374"></a></p>
+
+<p>"I began voice-study when I was twelve, but before that had sung all of
+Faust in Italian, and acted it according to my own imagination."</p>
+
+<p>When asked if she had not run some risk of harming the vocal cords by
+beginning so young, she explained that her voice at this age was
+remarkably mature and full. She was possessed, besides, with an
+irresistible desire to sing, so it seemed both prudent and wise to
+commence serious study thus early.</p>
+
+<p>"A born singer is <i>instinctive</i>, and selects, almost instinctively, her
+individual means of expression, avoiding, in the main, what is
+distinctly harmful. But practice and study are continuously and always
+necessary. I work faithfully every day with scales and trills and
+intervals. Before a performance I go over my part, mentally, from
+beginning to end."</p>
+
+<p>In reply to a question about her ambition, she answered promptly and
+impressively:</p>
+
+<p>"Yes, I have one very decided ambition: I wish to develop my powers to
+the fullest extent and most complete beauty, and then&mdash;I wish to have
+the <i>courage</i>, when physical strength no longer responds to the creative
+demands, to <i>abdicate in favor of Youth</i>! Youth must be<a name="page_375" id="page_375"></a> recognized,
+enjoyed, encouraged! We should have more of this God-given fragrance in
+our mimic world, and less of hard-earned, middle-aged experience."</p>
+
+<p>Miss Farrar's favorite recreation is "<i>sleep</i>&mdash;and much of it!"</p>
+
+<p>As for books, she likes "everything."</p>
+
+<p>"I read a great deal," she commented. "When I was studying 'Madame
+Butterfly,' I read everything I could find about the Japanese. I tried
+to imbue myself with their spirit. I bought up old prints, and pictures,
+and costumes; I learned how they eat, and sleep, and walk, and talk, and
+think, and feel. I read books on the subject in French and German, as
+well as in English."</p>
+
+<p>Incidentally it came out that she memorized this most difficult of
+operas in fifteen days.</p>
+
+<p>"No, I am never afraid of forgetting my lines." Then, tapping her
+forehead lightly, she added: "When a thing is once learned, it seems to
+stick in a certain corner of your brain and stay there."</p>
+
+<p>There was youth and girlishness in her off-hand manner of making this
+remark. In fact, the artist and girl are constantly alternating in<a name="page_376" id="page_376"></a> the
+play of her features, and it is fascinating to watch this hide-and-seek
+of youth and maturity.</p>
+
+<p>The girl-spirit was uppermost now, as she sank back comfortably in her
+big arm-chair, drew her Frenchy peignoire more snugly about her, and
+related some of the droll <i>contretemps</i> that occur on the opera-house
+stage.</p>
+
+<p>"The audience never seems to see them, but the most ridiculous things
+happen, and then it is terrible when you want to laugh, but dare not."</p>
+
+<p>A mention of Lilli Lehmann suddenly sobered the conversation. Lilli
+Lehmann is Geraldine Farrar's teacher&mdash;"and a very severe one"&mdash;her
+pupil asserts.</p>
+
+<p>"But she&mdash;and all Germans&mdash;appreciate <i>personality</i>. That is why I have
+been allowed to develop my own ideas&mdash;to be individual. That is, to me,
+the most interesting part of the art. I am keenly interested in
+observing life&mdash;the expression of people's faces, their way of saying
+and doing things. Wherever I am, whatever I see, I am always finding
+something to use in my art.</p>
+
+<p>"I once saw a death&mdash;it sounds unfeeling to<a name="page_377" id="page_377"></a> say it, but I now use the
+very expression I saw then in the finale of 'Boheme.'"</p>
+
+<p>Geraldine Farrar's realism is a well-known phase of her art. A striking
+instance is her performance in the last act of Romeo and Juliet: she
+sings almost the entire scene <i>lying down</i>! An amazing innovation.</p>
+
+<p>"Perhaps it is unusual," she commented, "but the simple repose seems to
+me more fully to accentuate the sublime and lyric climax of the
+tragedy."</p>
+
+<p>This is a little rift into the prima-donna's viewpoint. She believes
+that "vocal intensity and dramatic value should so merge one into the
+other that they produce equalized sincerity of expression and constant
+changing of color, movement, and sentiment."</p>
+
+<p>"Give your best always; take <i>Sincerity</i> for your guide, and <i>Work</i>,
+never-ending, for your master."</p>
+
+<p>This is Geraldine Farrar's creed.</p>
+
+<p><a name="page_378" id="page_378"></a></p>
+
+<p><a name="page_379" id="page_379"></a></p>
+
+<div class="rt">
+<p class="nind">
+"Madame Butterfly"
+</p>
+</div>
+
+<p><a name="page_380" id="page_380"></a></p>
+
+<p><a name="page_381" id="page_381"></a></p>
+
+<h2><a name="MADAME_BUTTERFLY" id="MADAME_BUTTERFLY"></a>MADAME BUTTERFLY</h2>
+
+<p>Beauty of plot and great music are to an opera what fair features and a
+noble soul are to woman. "Madame Butterfly" possesses these attributes,
+and has consequently won that instant success which only true beauty, in
+either art or nature, calls forth.</p>
+
+<p>Very seldom is the story of an opera so intensely thrilling that the
+original author is borne in mind; but it may be stated as a fact that no
+one applauds Giacomo Puccini's splendid music without also thinking "All
+Hail!" to John Luther Long, who wrote this strangely tender tragedy.</p>
+
+<p>Distinctly unique as a grand opera setting is the Land of
+Cherry-blossoms. Never before have the higher harmonies been blended in
+with embroidered kimonas and chrysanthemum screens. The innovation is
+delightful, however; refreshing, uplifting, enlarging. By means of great
+music we are enabled to understand great emotion in the Little Land.<a name="page_382" id="page_382"></a></p>
+
+<p>In this opera the hero is the villain, if one may so express it. He is
+also an American; a lieutenant in the U. S. Navy, and from first to last
+he seems blandly unconscious of his villainy. This is distressing
+morally, but musically one could wish it no different. As the
+rainbow-mist rises out of the whirlpool, so the beautiful in art is most
+often evolved from a maelstrom of sin and tragedy.</p>
+
+<p>A flowered veranda to a tiny house, a lilac-garden that overlooks a far,
+fair view of Nagasaki, the bright blue bay and azure sky&mdash;this is the
+opening scene of Puccini's opera.</p>
+
+<p>The brief orchestral prelude is a pretty piece of fugue work,
+four-voiced and accurately constructed. A fugue is unusual in grand
+opera, but Puccini has a purpose in everything, and his music is
+essentially descriptive. The opening conversation in this opera concerns
+the construction of the tiny villa, and as a fugue is the one music-form
+suggestive of rules and measurements&mdash;a secure foundation and precise
+superstructure&mdash;it is clear that this bit of musical masonry, with its
+themes overlapping but carefully joined, is intended to represent the
+house.<a name="page_383" id="page_383"></a></p>
+
+<p>On the stage the dainty dwelling is glowingly described by Goro, a
+Japanese marriage-broker; very obsequious in manners, but characterized
+in the orchestra by a most energetic, business-like theme that follows
+him around like a shadow.</p>
+
+<p>A wedding of his arranging is soon to take place, and this house has
+been rented for the honeymoon. The bridegroom, Lieutenant Pinkerton, of
+the U. S. Navy, is viewing the abode for the first time. He wears a
+handsome uniform, and serves the opera as tenor, hero, lover,
+villain&mdash;all in one.</p>
+
+<p>Goro makes him acquainted also with the house-servant, Susuki, a
+solemn-faced, saffron-colored maiden, whose name means
+"Gentle-breeze-of-the-morning." Pinkerton prefers to call her
+"Scare-crow."</p>
+
+<p>The first invited guest to arrive is the U. S. Consul. A sympathetic and
+genuinely tender theme announces this character's approach. Always
+listen to the orchestra if you would know the real nature of these
+people of the play. In grand opera, as in real life, <i>words</i> very often
+conceal thought; but by the power<a name="page_384" id="page_384"></a> of music the listener is endowed with
+a temporary sense of omniscience; he can read the hearts and motives of
+the creatures he observes.</p>
+
+<p>It being still early, Pinkerton and the Consul seat themselves while the
+hero explains this marriage he is entering upon. But first he orders a
+"whisky and soda."</p>
+
+<p>There is apparently no translation for this barroom barbarism, so the
+English words are used, and their effect is noticeably jarring. No
+critic has failed to remark this surprising debut of fire-water on the
+lyric stage! There is charm and poetry in the Italian wine-glass, and we
+have grown accustomed to see that mingled with melody&mdash;but the American
+whisky-bottle stands remote from music as a pig from Paradise. Puccini
+seems to realize this, for he accompanies the obnoxious word with a
+discord!</p>
+
+<p>There is nothing discordant, however, in Pinkerton's description of his
+bride&mdash;the lovely lady Butterfly&mdash;"dainty in stature&mdash;quaint little
+figure&mdash;seems to have stepped down, straight from a screen."</p>
+
+<p>The music here is delicate and frail, like an exquisite tracery of gold
+lacquer.<a name="page_385" id="page_385"></a></p>
+
+<p class="figcenter">
+<a href="images/ill_384_lg.jpg">
+<img src="images/ill_384_sml.jpg" width="399" height="550" alt="Copyright by Aimé Dupont.
+
+Miss Farrar as &quot;Madame Butterfly&quot;" title="" /></a>
+<br />
+<span class="caption">Copyright by Aimé Dupont.<br />
+
+Miss Farrar as &quot;Madame Butterfly&quot;</span>
+</p>
+
+<p>He intends to marry this Japanese bride in Japanese fashion, thereby
+making the tie unbinding in America&mdash;a slip-knot adjustment that she,
+poor thing, is unaware of.</p>
+
+<p>The Consul remonstrates with Pinkerton over his "easy-going gospel" of
+free love, but this light-hearted villain will not listen. He holds up
+his glass instead, and to a buried accompaniment of the "Star-spangled
+Banner," he proposes a toast to America&mdash;and also to the day on which he
+shall wed in <i>real</i> marriage a <i>real</i> wife of his own nationality.</p>
+
+<p>With this atrocious toast scarcely uttered, poor little trusting
+Butterfly is heard in the distance with her bridesmaids, singing as they
+approach. A delirium of joy breathes through this song, which is a weird
+succession of Oriental intervals, strange as an opium dream. As the
+harmonies grow firmer, Butterfly's voice rings out above the others,
+while in the orchestra the conductor with his baton slowly unearths,
+like a buried diamond, the great love-theme of the opera. It beams forth
+in sultry splendor, a cluster of chords with imprisoned tones that flash
+forth unlooked-for harmonies.<a name="page_386" id="page_386"></a></p>
+
+<p>At last she enters&mdash;this Japanese heroine, her brilliant draperies as
+bright as her name. Her maidens all carry huge paper parasols and
+fluttering fans&mdash;a merry group of girls, filled with varied emotions of
+timidity, envy, curiosity, and fun. They courtesy, and smile, and sing,
+and sigh, and lower their eyes with knowing charm.</p>
+
+<p>Throughout this scene it is interesting to note the different themes and
+their consistent use. A phrase of the opening fugue invariably appears
+whenever the <i>house</i> is mentioned; still another architectural motif
+protrudes into prominence every time the town Nagasaki is referred to.
+Susuki has a theme of her own; so has the Consul. When the relations of
+the bride troop in, we recognize the fact that they, too, have a theme;
+we learned it when Goro, some time back, was enumerating the expected
+guests.</p>
+
+<p>This theme now asserts itself in the orchestra as the grotesque company
+assembles. There is nothing great about this melody: it is a mincing,
+thin-bodied affair, but disports itself with much confidence during its
+little hour of importance;<a name="page_387" id="page_387"></a> it shoves out every other theme from the
+orchestra and demands undivided attention. But at last the director's
+stick chases it out of the enclosure.</p>
+
+<p>The guests in the meantime have been gossiping among themselves,
+disparaging the bride, criticizing the groom&mdash;and partaking of his
+refreshments.</p>
+
+<p>All flats and sharps and accidentals are suddenly dropt from the score
+when the official registrar reads in monotone voice, and plain C major,
+the simple marriage form.</p>
+
+<p>The ceremony is soon over, but the guests linger on. Pinkerton plies
+them with wine, but makes little headway in hurrying the festivities to
+an end. He has grown heartily tired of these new relations, and longs to
+see them go, but, instead of any one leaving, another one suddenly
+arrives, an absent uncle, who plunges amongst them in a frenzy of wrath
+and excitement. He has learned at the American Mission that Butterfly,
+without telling her family, has changed her religion and cast off the
+faith of her fathers.</p>
+
+<p>Cries of horror, moans, and execrations follow<a name="page_388" id="page_388"></a> this announcement.
+Butterfly is denounced by her family&mdash;abjured and disowned. She cowers
+before them, distressed, but not utterly crushed, for love remains to
+console her.</p>
+
+<p>The tragic theme of the opera; a gruesome sequence of minor thirds,
+takes this opportunity to stalk into the orchestra and reconnoiter, like
+an undertaker looking over the premises before he is really needed. This
+theme has active work to do later on, but as yet does not seem very
+terrifying.</p>
+
+<p>When the relations and guests are gone, Butterfly is soon persuaded to
+forget the "stupid tribe."</p>
+
+<p>Evening has come; there is a twilight tinge to the music; it is
+"<i>dolce</i>," "<i>expressione</i>," and "<i>rallentando</i>."</p>
+
+<p>Puccini is a master of modulations. He employs large, full harmonies,
+soul-asserting, all-engulfing chords, that feel their way from one key
+to another, and burst forth in new glory with every transition. This
+persistent progress through varying keys has an effect of leading the
+listener through different rooms in some palatial edifice. In the hands
+of a great composer,<a name="page_389" id="page_389"></a> each key of the scale unlocks a new vista in the
+enchanted palace of music.</p>
+
+<p>Behind a screen on the veranda, Butterfly changes her chromatic kimona
+to one of white silk. She emerges with garments all soft and fluttering,
+like the trembling white wings of a night-moth.</p>
+
+<p>Pinkerton leads her into the garden, and there, under the spell of the
+silent stars, they sing of love and of the glorious mystic night, with
+its gentle breeze that passes like a benediction over the bending
+lilacs. Fire-flies (cleverly imitated) hover in the air and flicker
+faintly, like candles in a distant chancel. The conductor waving his
+wand, like a priest the swinging censor, evokes a wreathing mist of
+music that enwraps the lovers in a drapery of dreams.</p>
+
+<p>Melodies and harmonies rise into being and pass away like phantoms
+floating by, until at last the great love-theme of the opera once again
+is flashed upon us. The <i>diamond</i>, scarce revealed before, is now in its
+proper setting. It is displayed in solemn glory by the dignitary at the
+desk, who, with upraised, swaying<a name="page_390" id="page_390"></a> hands, holds aloft this precious
+theme, as a priest does the sacred emblem.</p>
+
+<p>Act II. pictures the interior of Butterfly's house.</p>
+
+<p>There is desolation in the home; the orchestra tells us this, for the
+tragic theme possesses the instruments, creeping around among them,
+serpent-like, and enfolding them in its coils.</p>
+
+<p>The rising curtain reveals Susuki kneeling before a shrine; she is
+praying that Pinkerton may return.</p>
+
+<p>Three times have the dragon-kites swelled in the breeze and the peach
+trees flushed into bloom since the day he sailed away.</p>
+
+<p>Her prayer abounds in strange and uncouth harmonies that wail themselves
+into silence. When the incantation is finished, an orchestral phrase of
+keen despair and tortured hope accompanies Butterfly as she asks: "How
+soon shall we be starving?"</p>
+
+<p>Susuki counts over the few remaining yen, and expresses doubt about
+Pinkerton's return. Again that same theme of anguish pierces the air
+like a knife as Butterfly shrieks out: "Silence!" She will not listen to
+doubt. She<a name="page_391" id="page_391"></a> insists that he will return, and she fondly adds, "he will
+call me again his tiny child-wife, his little Butterfly!"</p>
+
+<p>With this memory there is a momentary return of the great Love-theme in
+the orchestra; tender and fleeting, like a smile on the face of the
+dying.</p>
+
+<p>Butterfly sings of the radiant hour, some day, when they shall see "in
+the distance a little thread of smoke," and then "a trim, white vessel,"
+flying the American flag!</p>
+
+<p>The music of this aria has a confident ring and a forward swing, like a
+great ship nearing shore. Large and splendid is the final climax:</p>
+
+<p>"He will return&mdash;I know!"</p>
+
+<p>A familiar theme in the orchestra heralds the approach of the U. S.
+Consul. He brings a letter from Pinkerton which he wishes Butterfly to
+hear, but Japanese politeness interferes for some time. He must first
+accept tea and wine, a pipe to smoke, and a cushion to sit on. He is
+questioned about his health and the health of his honorable ancestors.
+His own "Augustness" is profusely welcomed.</p>
+
+<p>Scarcely have these formalities been accomplished<a name="page_392" id="page_392"></a> when another visitor
+arrives&mdash;a pompous personage, accompanied by servants who bring presents
+and flowers. He comes to persuade Madame Butterfly that her husband's
+absence amounts to a divorce, and that he, Prince Yamadori, should be
+accepted as Pinkerton's successor.</p>
+
+<p>This energetic wooer, lemon-faced and almond-eyed, imparts to the music
+a spicy flavor, grotesque and Japanese. His brief, breezy phrases have a
+turn and tang that belongs entirely to the Land of Nippon; staccato
+suggestions of chop-sticks and Oolong.</p>
+
+<p>The hostess politely declines to listen to her elaborate suitor.</p>
+
+<p>She busies herself pouring tea, while in the orchestra a delightfully
+tender, untroubled waltz-theme reflects her tranquil spirit, which is
+like some quiet mountain pool in the path of a coming avalanche.</p>
+
+<p>Impending disaster is near. Pinkerton's letter contains news that will
+bring devastation to the little Japanese home. He is coming back&mdash;but
+not to see Butterfly; a new wife comes with him.<a name="page_393" id="page_393"></a></p>
+
+<p>The Consul waits until Yamadori has gone, then bravely tries to read the
+letter, but his eager listener is too excited to hear to the end.</p>
+
+<p>"He is coming!" That is enough! Her joy is unbounded. She speeds from
+the room and in a moment returns with a sunny-haired child on her
+shoulders&mdash;her "baby-boy!"&mdash;her "noble little American!"&mdash;to whom she
+tells the glad news that his father soon will return.</p>
+
+<p>The distressed Consul has not the heart to enlighten her further. He
+leaves rather abruptly.</p>
+
+<p>A moment later a signal gun is heard in the distance.</p>
+
+<p>Susuki plunges in, breathless;&mdash;"The harbor cannon!" Both women rush to
+the window. They can see the ship! A man-of-war! The Stars and Stripes!</p>
+
+<p>Oh, the pain of this joy! The audience, knowing all, is torn and racked
+with emotion as the orchestra reiterates Butterfly's recent song of
+confidence about "his sure return."</p>
+
+<p>Now is her "hour of triumph!" She proclaims it to high heaven&mdash;to
+Susuki&mdash;and to all<a name="page_394" id="page_394"></a> "the eight hundred thousand gods and goddesses of
+Japan."</p>
+
+<p>All the world had told her he would forget and never return&mdash;but she
+knew!&mdash;she knew! Now, at last, her faith triumphs&mdash;he is here!</p>
+
+<p>Superb is the crescendo now sweeping upward on the crest of America's
+martial theme. The Star-Spangled Banner is bugled by the instruments,
+while Butterfly's voice, in high and jubilant accord, sings again the
+glad words: "He is here!&mdash;he loves me!"</p>
+
+<p>In the orchestra the love-theme&mdash;the great theme&mdash;arises slowly and
+passes by like a spirit of the past, a soul long dead, a memory faded.</p>
+
+<p>Now follows a poetic scene unsurpassed for picturesque charm and grace.</p>
+
+<p>In accordance with Japanese custom, the two women sprinkle the room with
+flowers, in honor of his home-coming.</p>
+
+<p>Great baskets full of blossoms are brought in by Susuki, while
+Butterfly, always singing, showers the room with petals. She sways with
+the rhythm of joy and music, flinging the flowers in reckless profusion,
+her voice seeming to<a name="page_395" id="page_395"></a> follow their flight&mdash;up in the air&mdash;and down
+again.</p>
+
+<p>Susuki, too, scatters rainbow-clouds of jasmine, peach-blooms, and
+violets; her contralto voice at the same time giving depth of color to
+the music. In the orchestra dainty, fluttering phrases are lightly
+tossed about, as tho shaken from the instruments by a passing breeze.</p>
+
+<p>Full of strange involutions and harmonies, the music of this
+"flower-duet" possesses the essential quality of all that is lasting and
+classic&mdash;hidden beauty beneath the obvious. With the choicest "mixing"
+of harmony, orchestra and voice, Puccini has brewed a "blend" most rare,
+and sugared it with melody.</p>
+
+<p>When the baskets are emptied and the last flower fallen, a few final
+notes of the refrain still left in the orchestra are hurriedly brushed
+out by the conductor's baton.</p>
+
+<p>On the stage, as the daylight melts into dusk, Butterfly, all in a
+flurry, is decking herself in her wedding gown, while the orchestra
+calls up memories of the lilac-garden and the fire-flies.</p>
+
+<p>When all is ready, Butterfly, Susuki, and the little one take positions
+at the window.<a name="page_396" id="page_396"></a></p>
+
+<p>Long and patiently they watch and wait.</p>
+
+<p>The orchestra plays a soft, unchanging staccato accompaniment. The
+moonlight finds its way into the room.</p>
+
+<p>At last the maid and the child fall asleep. Not so with Butterfly; rigid
+and still she stands at the window, her eyes on the distant
+harbor-lights.</p>
+
+<p>A sound of far-away voices softly humming a sad, weird refrain, fills
+the scene with mystery, suggesting the moan of guardian spirits. All
+this while the gentle staccato harmonies in the orchestra continue to
+flit back and forth, like the changing lights of swinging lanterns.</p>
+
+<p>Butterfly does not move. The curtain slowly descends.</p>
+
+<p>The prelude to the last act opens with a theme that crashes and tears
+its way into prominence: a pitiless, gruesome group of notes, that
+sounds vaguely familiar, tho it has never been emphasized like the
+tragic-theme and others gone before. In the first act this dire phrase
+was heard for a moment, buried softly among the harmonies that
+accompanied Butterfly'<a name="page_397" id="page_397"></a>s first entrance song. She was happy then, but,
+nevertheless, this germ of agony was lurking near, as tho to suggest
+that we, each one, carry within our own temperament the weakness or
+fault that will eventually lead us to grief.</p>
+
+<p>The orchestra is kept very active during this prelude or intermission.
+The past is presented in flashes of old themes, and the coming day is
+presaged by new phrases of potent meaning. Sounds of the harbor life
+beginning to stir, distant voices of sailors chanting, are heard even
+before the curtain rises. When this is lifted, behold poor Butterfly
+still at her post! All night she has watched and waited, never moving,
+never doubting.</p>
+
+<p>Now the dawn, cruel, cold-eyed and leering, begins to peer through the
+window. The pale, frail figure in her wedding gown still does not move;
+she still hopes on, counting the stars as they disappear; measuring each
+moment by her heart's wild beating.</p>
+
+<p>The dawn grows rosy, the music in the orchestra tells of the world's
+awakening. The sun's glad welcome is proclaimed in a resounding<a name="page_398" id="page_398"></a> pean of
+harmonies, pierced with sharp, bright strokes from the triangle.</p>
+
+<p>But all this brilliant daybreak music fails to modify the tragedy of the
+dawn.</p>
+
+<p>Susuki awakens to despair, but poor little Butterfly still asserts,
+"He'll come! he'll come!"</p>
+
+<p>When urged by the maid to rest, she takes the little one up in her arms,
+soothing him gently with a quiet song as she mounts the stairs to her
+sleeping-room.</p>
+
+<p>Scarcely has she gone, when Susuki is startled by a knock at the door.
+Pinkerton has come&mdash;and the Consul with him, but they tell the maid not
+to summon her mistress&mdash;not yet.</p>
+
+<p>The music of the flower-duet fills the air like a faint perfume as
+Pinkerton observes the withered blossoms, and Susuki explains the
+decorations and tells of Butterfly's weary vigil. A moment later she
+sees through the window a lady waiting in the garden.</p>
+
+<p>It is Pinkerton's wife.</p>
+
+<p>"Hallowed souls of our fathers! The world is plunged in gloom!"</p>
+
+<p>Susuki falls prostrate on her knees.<a name="page_399" id="page_399"></a></p>
+
+<p>The ensuing trio is a magnificent musical unfoldment of sympathy from
+the Consul, remorse from Pinkerton, and consternation from Susuki. It is
+a splendid mingling of emotion and melody.</p>
+
+<p>The two men are left alone as the maid goes out to speak with the new
+wife. Pinkerton acts properly distressed over the situation, and his
+friend, being only human, cannot refrain from saying, "I told you so,"
+whereupon the music of his warning remonstrance in the first act is
+plainly marked in the orchestra, like an underscoring to written words.</p>
+
+<p>Pinkerton sighs over the room and its associations, sheds a few tears,
+and then decides the strain is too great for him. As he leaves the
+house, his wife and Susuki walk into view at the window.</p>
+
+<p>At this moment Butterfly comes rushing down the stairs; she has heard
+voices&mdash;"he is here!"</p>
+
+<p>Susuki tries to ward off the evil moment, but the <i>hour has struck</i>. The
+tragic theme rises up supreme&mdash;revealing itself in unclothed
+hideousness: all the other themes have fallen<a name="page_400" id="page_400"></a> away; they were as mere
+empty masks over the face of truth&mdash;behind life is always death&mdash;back of
+the smile is a skeleton.</p>
+
+<p>Through the open window Butterfly sees the "other woman."</p>
+
+<p>"Who are you?" Mechanically her lips frame the words, as she stands
+there, paralyzed&mdash;stunned. But the question was perfunctory; the
+explanations that follow only confirm what she knew at first sight.</p>
+
+<p>Very gently the American wife proposes to Butterfly to adopt her child
+and bring him up as her own.</p>
+
+<p>The Japanese mother listens dumbly&mdash;then slowly realizes that unless she
+consents to this plan her boy will have no name.</p>
+
+<p>Butterfly says very little&mdash;but she accedes. She asks, however, that Mr.
+Pinkerton himself shall come for the child. "Come in half an hour&mdash;in
+half an hour."</p>
+
+<p>Agreed to this, the Consul and the American lady go away.</p>
+
+<p>Susuki is now quietly ordered to leave the room. She protests, but her
+mistress is firm; she wishes to be alone.<a name="page_401" id="page_401"></a></p>
+
+<p>When the weeping maid has gone, Butterfly lights a lamp at the little
+shrine and bows before it. Then she takes from the wall a dagger, but
+drops this as the baby suddenly enters, shoved in by Susuki&mdash;faithful
+slave! who, forbidden to enter herself, thus blindly tries to frustrate
+Butterfly's ominous wish to be alone.</p>
+
+<p>The child rushes to its mother's arms, and Butterfly clasps it wildly,
+calling it all the extravagant love-names Japanese fancy can devise.</p>
+
+<p>"'Tis for you, my love, that I am dying!"</p>
+
+<p>She holds him at arm's-length and bids him look long and well upon her
+face. The baby tosses his head and laughs; he little recks what she is
+saying:</p>
+
+<p>"<i>Take one last look on your mother's face, that the memory may
+linger.</i>"</p>
+
+<p>The tragic theme attains a grandeur now that makes it seem the
+apotheosis of human heartache. Through the alembic of the composer's art
+this gruesome theme emerges ablaze with a terrible glory. It sweeps
+apast like a fiery chariot, bearing poor little Butterfly's soul to
+heaven.</p>
+
+<p><a name="page_402" id="page_402"></a></p>
+
+<p>There is little more to record; the moment of death seems already gone
+through in bidding the child good-bye. What follows is done very
+quietly; every movement is lifeless and spiritless. She ties a bandage
+about the little one's eyes, and she puts in his hand an American flag;
+the Japanese mother's token of surrender.</p>
+
+<p>Then Butterfly picks up the dagger. The deed is soon done; she totters
+to the floor, and with her last breath tries to reach for her baby's
+hand.<a name="page_403" id="page_403"></a></p>
+
+<hr />
+
+<div class="rt">
+<p class="nind">
+Advertisements
+</p>
+</div>
+
+<p><a name="page_404" id="page_404"></a></p>
+
+<p class="cb"><big><big>The Palace of Danger</big></big></p>
+
+<p class="c">A Story of La Pompadour</p>
+
+<p class="c">By MABEL WAGNALLS</p>
+
+<p>A story possessing the five essential qualities that constitute
+greatness in a novel:&mdash;a plot "keenly dramatic" (<i>Review of Reviews</i>);
+"a wealth of charm of style," (<i>N. Y. Press</i>); such sustained interest
+that it has "not a dull line from beginning to end." (<i>Pioneer Press</i>,
+St. Paul); a pervading spirituality which makes it "clean and sweet"
+(<i>Unity</i>, Chicago); and an irrefutable accuracy of historic information
+whereby "the book has value" (<i>Republican</i>, Denver).</p>
+
+<p>"It is many a long day since such an engaging little French heroine
+of fiction has been presented to the public as the reader finds in
+Destine, ... an innocent convent-bred girl who attends Pompadour as
+one of her ladies-in-waiting."&mdash;<i>Sun</i>, Baltimore.</p>
+
+<p>"A splendid picture of that magnificent court.... It is made very
+real by the author."&mdash;<i>Globe-Democrat</i>, St. Louis.</p>
+
+<p>"Rapid action, ... truthful and interesting pictures of the
+times."&mdash;<i>Times</i>, N. Y.</p>
+
+<p>"It is not often in these piping times of publishing that the tired
+reader comes to such a delightful stopping-place on the
+book-littered path of fiction as 'The Palace of
+Danger.'"&mdash;<i>Bulletin</i>, San Francisco.</p>
+
+<p class="c"><i>12mo, 311 pages. Four splendid illustrations by John Ward Dunsmore.</i><br />
+<i>Price, $1.50.</i></p>
+
+<p class="c">FUNK &amp; WAGNALLS COMPANY, Pubs., New York<a name="page_405" id="page_405"></a></p>
+
+<hr />
+
+<p class="c"><i>JUST RE-PUBLISHED</i></p>
+
+<p class="cb"><big><big>MISERERE</big></big></p>
+
+<p class="cb">By MABEL WAGNALLS</p>
+
+<p class="c"><i>Author of "Stars of the Opera," &amp;c.</i></p>
+
+<p>A brief, but beautiful romance in which the discovery of a rich and
+powerful voice leads ultimately to a climax as thrilling as the death
+scene in "Romeo and Juliet." The story is told with simple grace and
+directness, and is singularly pathetic and forceful.</p>
+
+<p>"It is perfectly delightful. The theme is new and
+interesting."&mdash;<i>Ella Wheeler Wilcox.</i></p>
+
+<p>"It is a story of tender and pathetic interest&mdash;the story of a
+woman with a wonderfully beautiful voice. A dainty and fascinating
+romance which will appeal to music lovers."&mdash;<i>Chicago News.</i></p>
+
+<p>"It vibrates with musical sentiment. There is a good deal of
+artistic skill displayed in its description."&mdash;<i>Boston Watchman.</i></p>
+
+<p>"A story unique in theme, delightfully told with many delicate
+touches."&mdash;<i>The Arena</i>, Boston.</p>
+
+<p class="c"><i>Small 12mo, Cloth. Illustrated. 40 Cents, net</i></p>
+
+<p class="c">FUNK &amp; WAGNALLS COMPANY, Pubs., New York<a name="page_406" id="page_406"></a></p>
+
+<hr />
+
+<p class="cb"><big><big>Selma, the Soprano</big></big></p>
+
+<p class="cb">By MABEL WAGNALLS</p>
+
+<p>Forms one of the chapters in the book entitled "One of Those
+Coincidences." It is the tragical story of a journalist and his talented
+sweetheart and wife, who are at first separated, and then reunited by
+strange fortunes. The story is filled with music and feeling, and holds
+the reader's intense interest to the very end.</p>
+
+<p class="cs">OTHER ENTERTAINING STORIES BOUND IN THE SAME VOLUME<br />&nbsp; </p>
+
+<table border="0" cellpadding="1" cellspacing="0" summary=""
+style="font-size:75%;">
+<tr><td><span style="margin-left: 2em;"><span class="smcap">One of Those Coincidences</span></span></td><td><span style="margin-left: 2em;"><span class="smcap">Jacob City</span></span></td></tr>
+<tr><td align='left'><span style="margin-left: 4em;">By Julian Hawthorne</span></td><td><span style="margin-left: 4em;">By A. Stewart Clarke</span></td></tr>
+<tr><td align='left'><span style="margin-left: 2em;"><span class="smcap">The Taper</span></span></td><td><span style="margin-left: 2em;"><span class="smcap">At the End of His Rope</span></span></td></tr>
+<tr><td align='left'><span style="margin-left: 4em;">By Count Leo Tolstoi</span></td><td><span style="margin-left: 4em;">By Florence M. Kingsley</span></td></tr>
+<tr><td align='left'><span style="margin-left: 2em;"><span class="smcap">How Viardeau Obeyed the Black Abbe</span></span></td><td><span style="margin-left: 2em;"><span class="smcap">The Strange Case of Esther Atkins</span></span></td></tr>
+<tr><td align='left'><span style="margin-left: 4em;">By Charles G. D. Roberts</span></td><td><span style="margin-left: 4em;">By Mrs. L. E. L. Hardenbrook</span></td></tr>
+<tr><td align='left'><span style="margin-left: 2em;"><span class="smcap">John Merril's Experiments in Palmistry</span></span></td><td><span style="margin-left: 2em;"><span class="smcap">The Easter of La Mercedes</span></span></td></tr>
+<tr><td align='left'><span style="margin-left: 4em;">By Florence M. Kingsley</span></td><td><span style="margin-left: 4em;">By Mary C. Francis</span></td></tr>
+<tr><td align='left'><span style="margin-left: 2em;"><span class="smcap">Francisco</span></span></td><td><span style="margin-left: 2em;"><span class="smcap">The Romance of a Tin Roof and a Fire Escape</span></span></td></tr>
+<tr><td align='left'><span style="margin-left: 4em;">By Walcott Le Clear Beard</span></td><td><span style="margin-left: 4em;">By Myra L. Avery</span></td></tr>
+</table>
+
+<p class="cs">ONE OF THOSE COINCIDENCES&nbsp;<br />&nbsp;</p>
+
+<p class="c"><i>12mo, Cloth. Profusely Illustrated. Price, $1.00</i><br />&nbsp;</p>
+
+<p class="c">FUNK &amp; WAGNALLS COMPANY, Pubs., New York</p>
+
+<hr class="full" />
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Stars of the Opera, by Mabel Wagnalls
+
+*** END OF THIS PROJECT GUTENBERG EBOOK STARS OF THE OPERA ***
+
+***** This file should be named 38153-h.htm or 38153-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/8/1/5/38153/
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This book was
+produced from scanned images of public domain material
+from the Google Print project.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/38153-h/images/cover.jpg b/38153-h/images/cover.jpg
new file mode 100644
index 0000000..3a4f06b
--- /dev/null
+++ b/38153-h/images/cover.jpg
diff --git a/38153-h/images/frontispiece_lg.jpg b/38153-h/images/frontispiece_lg.jpg
new file mode 100644
index 0000000..f6f5bca
--- /dev/null
+++ b/38153-h/images/frontispiece_lg.jpg
diff --git a/38153-h/images/frontispiece_sml.jpg b/38153-h/images/frontispiece_sml.jpg
new file mode 100644
index 0000000..491e67b
--- /dev/null
+++ b/38153-h/images/frontispiece_sml.jpg
diff --git a/38153-h/images/ill_015_lg.jpg b/38153-h/images/ill_015_lg.jpg
new file mode 100644
index 0000000..2a3fb4d
--- /dev/null
+++ b/38153-h/images/ill_015_lg.jpg
diff --git a/38153-h/images/ill_015_sml.jpg b/38153-h/images/ill_015_sml.jpg
new file mode 100644
index 0000000..f437f0f
--- /dev/null
+++ b/38153-h/images/ill_015_sml.jpg
diff --git a/38153-h/images/ill_022_lg.jpg b/38153-h/images/ill_022_lg.jpg
new file mode 100644
index 0000000..3f2b20f
--- /dev/null
+++ b/38153-h/images/ill_022_lg.jpg
diff --git a/38153-h/images/ill_022_sml.jpg b/38153-h/images/ill_022_sml.jpg
new file mode 100644
index 0000000..8e1ee0d
--- /dev/null
+++ b/38153-h/images/ill_022_sml.jpg
diff --git a/38153-h/images/ill_045_lg.jpg b/38153-h/images/ill_045_lg.jpg
new file mode 100644
index 0000000..36a17f4
--- /dev/null
+++ b/38153-h/images/ill_045_lg.jpg
diff --git a/38153-h/images/ill_045_sml.jpg b/38153-h/images/ill_045_sml.jpg
new file mode 100644
index 0000000..7751547
--- /dev/null
+++ b/38153-h/images/ill_045_sml.jpg
diff --git a/38153-h/images/ill_064_lg.jpg b/38153-h/images/ill_064_lg.jpg
new file mode 100644
index 0000000..2fcb7ab
--- /dev/null
+++ b/38153-h/images/ill_064_lg.jpg
diff --git a/38153-h/images/ill_064_sml.jpg b/38153-h/images/ill_064_sml.jpg
new file mode 100644
index 0000000..cb8d60a
--- /dev/null
+++ b/38153-h/images/ill_064_sml.jpg
diff --git a/38153-h/images/ill_107_lg.jpg b/38153-h/images/ill_107_lg.jpg
new file mode 100644
index 0000000..0b99a04
--- /dev/null
+++ b/38153-h/images/ill_107_lg.jpg
diff --git a/38153-h/images/ill_107_sml.jpg b/38153-h/images/ill_107_sml.jpg
new file mode 100644
index 0000000..fcd9e1f
--- /dev/null
+++ b/38153-h/images/ill_107_sml.jpg
diff --git a/38153-h/images/ill_128_lg.jpg b/38153-h/images/ill_128_lg.jpg
new file mode 100644
index 0000000..43bfbc1
--- /dev/null
+++ b/38153-h/images/ill_128_lg.jpg
diff --git a/38153-h/images/ill_128_sml.jpg b/38153-h/images/ill_128_sml.jpg
new file mode 100644
index 0000000..91bfc74
--- /dev/null
+++ b/38153-h/images/ill_128_sml.jpg
diff --git a/38153-h/images/ill_164_lg.jpg b/38153-h/images/ill_164_lg.jpg
new file mode 100644
index 0000000..be9fba9
--- /dev/null
+++ b/38153-h/images/ill_164_lg.jpg
diff --git a/38153-h/images/ill_164_sml.jpg b/38153-h/images/ill_164_sml.jpg
new file mode 100644
index 0000000..820ab30
--- /dev/null
+++ b/38153-h/images/ill_164_sml.jpg
diff --git a/38153-h/images/ill_171_lg.jpg b/38153-h/images/ill_171_lg.jpg
new file mode 100644
index 0000000..6142cac
--- /dev/null
+++ b/38153-h/images/ill_171_lg.jpg
diff --git a/38153-h/images/ill_171_sml.jpg b/38153-h/images/ill_171_sml.jpg
new file mode 100644
index 0000000..1fb71e9
--- /dev/null
+++ b/38153-h/images/ill_171_sml.jpg
diff --git a/38153-h/images/ill_182_lg.jpg b/38153-h/images/ill_182_lg.jpg
new file mode 100644
index 0000000..0aca0b1
--- /dev/null
+++ b/38153-h/images/ill_182_lg.jpg
diff --git a/38153-h/images/ill_182_sml.jpg b/38153-h/images/ill_182_sml.jpg
new file mode 100644
index 0000000..7f7ad62
--- /dev/null
+++ b/38153-h/images/ill_182_sml.jpg
diff --git a/38153-h/images/ill_202_lg.jpg b/38153-h/images/ill_202_lg.jpg
new file mode 100644
index 0000000..d7c3993
--- /dev/null
+++ b/38153-h/images/ill_202_lg.jpg
diff --git a/38153-h/images/ill_202_sml.jpg b/38153-h/images/ill_202_sml.jpg
new file mode 100644
index 0000000..a2f06b8
--- /dev/null
+++ b/38153-h/images/ill_202_sml.jpg
diff --git a/38153-h/images/ill_220_lg.jpg b/38153-h/images/ill_220_lg.jpg
new file mode 100644
index 0000000..f031fda
--- /dev/null
+++ b/38153-h/images/ill_220_lg.jpg
diff --git a/38153-h/images/ill_220_sml.jpg b/38153-h/images/ill_220_sml.jpg
new file mode 100644
index 0000000..a513da7
--- /dev/null
+++ b/38153-h/images/ill_220_sml.jpg
diff --git a/38153-h/images/ill_267_lg.jpg b/38153-h/images/ill_267_lg.jpg
new file mode 100644
index 0000000..a2f2b9f
--- /dev/null
+++ b/38153-h/images/ill_267_lg.jpg
diff --git a/38153-h/images/ill_267_sml.jpg b/38153-h/images/ill_267_sml.jpg
new file mode 100644
index 0000000..ba9a244
--- /dev/null
+++ b/38153-h/images/ill_267_sml.jpg
diff --git a/38153-h/images/ill_270_lg.jpg b/38153-h/images/ill_270_lg.jpg
new file mode 100644
index 0000000..36382d7
--- /dev/null
+++ b/38153-h/images/ill_270_lg.jpg
diff --git a/38153-h/images/ill_270_sml.jpg b/38153-h/images/ill_270_sml.jpg
new file mode 100644
index 0000000..fa93b87
--- /dev/null
+++ b/38153-h/images/ill_270_sml.jpg
diff --git a/38153-h/images/ill_276_lg.jpg b/38153-h/images/ill_276_lg.jpg
new file mode 100644
index 0000000..5d8de5d
--- /dev/null
+++ b/38153-h/images/ill_276_lg.jpg
diff --git a/38153-h/images/ill_276_sml.jpg b/38153-h/images/ill_276_sml.jpg
new file mode 100644
index 0000000..939940f
--- /dev/null
+++ b/38153-h/images/ill_276_sml.jpg
diff --git a/38153-h/images/ill_305_lg.jpg b/38153-h/images/ill_305_lg.jpg
new file mode 100644
index 0000000..eff59de
--- /dev/null
+++ b/38153-h/images/ill_305_lg.jpg
diff --git a/38153-h/images/ill_305_sml.jpg b/38153-h/images/ill_305_sml.jpg
new file mode 100644
index 0000000..ccf9021
--- /dev/null
+++ b/38153-h/images/ill_305_sml.jpg
diff --git a/38153-h/images/ill_312_lg.jpg b/38153-h/images/ill_312_lg.jpg
new file mode 100644
index 0000000..3367004
--- /dev/null
+++ b/38153-h/images/ill_312_lg.jpg
diff --git a/38153-h/images/ill_312_sml.jpg b/38153-h/images/ill_312_sml.jpg
new file mode 100644
index 0000000..2000e18
--- /dev/null
+++ b/38153-h/images/ill_312_sml.jpg
diff --git a/38153-h/images/ill_369_lg.jpg b/38153-h/images/ill_369_lg.jpg
new file mode 100644
index 0000000..ea47557
--- /dev/null
+++ b/38153-h/images/ill_369_lg.jpg
diff --git a/38153-h/images/ill_369_sml.jpg b/38153-h/images/ill_369_sml.jpg
new file mode 100644
index 0000000..80dd9cd
--- /dev/null
+++ b/38153-h/images/ill_369_sml.jpg
diff --git a/38153-h/images/ill_384_lg.jpg b/38153-h/images/ill_384_lg.jpg
new file mode 100644
index 0000000..9f04adb
--- /dev/null
+++ b/38153-h/images/ill_384_lg.jpg
diff --git a/38153-h/images/ill_384_sml.jpg b/38153-h/images/ill_384_sml.jpg
new file mode 100644
index 0000000..c4d92d5
--- /dev/null
+++ b/38153-h/images/ill_384_sml.jpg
diff --git a/38153-h/images/ill_cover_lg.jpg b/38153-h/images/ill_cover_lg.jpg
new file mode 100644
index 0000000..d46055a
--- /dev/null
+++ b/38153-h/images/ill_cover_lg.jpg
diff --git a/38153.txt b/38153.txt
new file mode 100644
index 0000000..2de9d6c
--- /dev/null
+++ b/38153.txt
@@ -0,0 +1,6578 @@
+The Project Gutenberg EBook of Stars of the Opera, by Mabel Wagnalls
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Stars of the Opera
+
+Author: Mabel Wagnalls
+
+Release Date: November 27, 2011 [EBook #38153]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STARS OF THE OPERA ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This book was
+produced from scanned images of public domain material
+from the Google Print project.)
+
+
+
+
+
+
+
+
+
+STARS OF THE OPERA
+
+BY
+
+MABEL WAGNALLS
+
+[Illustration: Photographs Copyright by Aime Dupont and Falk, New York.
+
+"STARS OF THE OPERA."]
+
+STARS OF THE OPERA
+
+A Description of Operas & a Series of Personal Interviews
+with Marcela Sembrich, Emma Eames, Emma Calve,
+Lillian Nordica, Lilli Lehmann, Geraldine Farrar
+&
+Nellie Melba
+
+BY
+MABEL WAGNALLS
+Author of "Miserere," "Selma, the Soprano," etc.
+
+REVISED AND ENLARGED EDITION
+
+FUNK & WAGNALLS COMPANY
+NEW YORK & LONDON
+1909
+
+Copyright, 1899, and 1907
+
+BY
+FUNK & WAGNALLS COMPANY
+
+Registered at Stationers' Hall, London
+[Printed in the United States]
+
+AUTHOR'S NOTE
+
+_All the interviews in this book have been
+proof-read by the singers_
+
+Published, September, 1907
+
+To those who love music but have
+no opportunity to familiarize themselves
+with grand opera this
+book is respectfully
+dedicated
+
+
+
+
+TABLE OF CONTENTS
+
+
+                                                                    PAGE
+
+AN INTERVIEW WITH MARCELLA SEMBRICH                                   13
+
+"SEMIRAMIDE"                                                          25
+
+A CALL ON EMMA EAMES                                                  43
+
+"FAUST"                                                               57
+
+"WERTHER"                                                             79
+
+CALVE AND "CARMEN"                                                   105
+
+"CARMEN"                                                             117
+
+"HAMLET"                                                             143
+
+A TALK WITH LILLIAN NORDICA                                          169
+
+"LOHENGRIN"                                                          185
+
+"AIDA"                                                               215
+
+"THE HUGUENOTS"                                                      239
+
+AN HOUR WITH LILLI LEHMANN                                           265
+
+"THE FLYING DUTCHMAN"                                                279
+
+MELBA, THE AUSTRALIAN NIGHTINGALE                                    303
+
+"LAKME"                                                              315
+
+"I PAGLIACCI"                                                        337
+
+"ORPHEUS AND EURYDICE"                                               357
+
+THE GENIUS OF GERALDINE FARRAR                                       369
+
+"MADAME BUTTERFLY"                                                   379
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+                                                                  FACING
+                                                                    PAGE
+
+Group of Miniature Portraits, "Stars of the Opera"         _Frontispiece_
+
+Marcella Sembrich                                                     15
+
+Sembrich as Rosina in "The Barber of Seville"                         22
+
+Emma Eames                                                            45
+
+Melba as Marguerite in "Faust"                                        64
+
+Emma Calve                                                           107
+
+Calve as Carmen                                                      128
+
+Calve as Ophelia in "Hamlet"                                         164
+
+Lillian Nordica                                                      171
+
+Nordica as Brunhilde in "Siegfried"                                  182
+
+Eames as Elsa in "Lohengrin"                                         202
+
+Nordica as Aida                                                      220
+
+Lilli Lehmann                                                        267
+
+Lehmann as Isolde in "Tristan and Isolde"                            270
+
+Lehmann as Venus in "Tannhaeuser"                                     276
+
+Nellie Melba                                                         305
+
+Melba as Elizabeth in "Tannhaeuser"                                   312
+
+Geraldine Farrar                                                     371
+
+Miss Farrar as "Madame Butterfly"                                    384
+
+
+
+
+An Interview
+with
+
+Marcella Sembrich
+
+[Illustration: Copyright by Aime Dupont, N. Y.
+
+MARCELLA SEMBRICH.]
+
+
+
+
+STARS OF THE OPERA
+
+
+
+
+AN INTERVIEW WITH MARCELLA SEMBRICH
+
+
+Early in the season of 1898-99 there was a performance of "Traviata" in
+the Metropolitan Opera-House which might be described as "an occasion of
+superlatives"--including the largest auditorium, the biggest audience,
+the finest singers.
+
+Grand opera in itself is a culmination and combination of the greatest
+efforts of the greatest minds. There is, in the first place, the plot of
+the libretto, which in the case of "Traviata" was the masterpiece of
+Dumas, France's greatest dramatist--a man who labored all his life as
+tho achievement required only work, and who yet possessed such mental
+power as no amount of work could achieve.
+
+After Dumas comes the librettist who transposed the story into suitable
+Italian verse to be set to music. And then we have the work, the inmost
+thoughts, of Giuseppe Verdi, Italy's greatest living composer. There was
+a day when each of these sparkling melodies that now delight the whole
+world was born in the soul of Verdi, and heard by him alone. But he
+patiently put upon paper every note that his years of study and his
+gifted soul impelled.
+
+The work of the composer, the dramatist, and the librettist belongs to
+the past, however, and that audience of five thousand people did not
+bestow much thought on them. Nor did they think very often of the
+orchestra, composed of fifty thorough musicians, who really worked more
+during the performance than any of the other participants.
+
+It may be mentioned here that in all grand operas the orchestra plays
+continually; it is the wall upon which the picture is hung. There may
+be pauses in the singing, but the conductor's baton never rests.
+
+People seldom appreciate the vast knowledge of music and the remarkable
+ability in sight-reading which these orchestra players possess. Not one
+of them but has worked at his art from childhood; most of them play
+several different instruments; and they all hold as a creed that a false
+note is a sin, and a variation in rhythm is a fall from grace. The
+director is their temporary deity who commands the orchestra beneath and
+the stage above--a little universe of music. He holds all together and
+dictates the tempo, the expression, and the phrasing. His commands are
+for the time being immutable as the laws of nature, for any serious
+disobedience would cause the whole structure to fall to pieces.
+
+The five thousand listeners gave some applause to the director after the
+playing of the introduction, and they gave a little more to the
+chorus--those earnest workers who serve grand opera as the stokers do a
+ship. Then the tenor received a good deal of applause--his reward for
+training his voice, studying music, memorizing operas, overcoming
+nervousness, and singing in public twenty years.
+
+But the great applause, the "bravos," the cheering, the excitement, were
+reserved for the star, the soprano--Marcella Sembrich! It is always
+impressive to witness such a success. It is inspiring to know that one
+woman can so stir the hearts of the people.
+
+Madame Sembrich's voice is as perfect a voice as the world has ever
+heard. Yet her greatness consists more in her art than in her voice. She
+has not been satisfied merely to use her gift as nature gave it, but she
+has acquired a mastery of tone-coloring so that every tone has a meaning
+of its own, and seems to express a distinct emotion. In the last act of
+"Traviata" the quality of her tones, always beautiful, but ever varying
+as her art dictates, conveys to the listener surely and truly the
+approach of death and the hope of heaven. This is great art indeed. No
+wonder the audience fairly gasps as the last sweet tone leaves the lips
+of the pale Violetta and soars away into infinite space.
+
+It was the day after "Traviata," when, in response to a knock at Madame
+Sembrich's door in the Hotel Savoy, a mellow voice said, "Come in."
+
+On my obeying this summons, the singer was "discovered"--as the
+librettos have it--standing near her grand piano, alone, and as
+unostentatious as your own sister.
+
+There was no effect of the impressive prima donna, all flowers and
+frills and _frou-frou_. She was quite alone, just as lesser mortals
+sometimes are; and she furthermore spared her visitor from any sense of
+interrupted work, or great haste, or the magnitude of the occasion.
+
+She was just a courteous, quiet lady who seated herself beside the
+visitor and talked earnestly about music and work.
+
+When asked how early she began to study the art seriously, she replied:
+"When I was six years old. My father taught me the piano until I was
+ten. He was a very gifted man. Then I also studied for a while with Dr.
+Stengel, who is now my husband, and with Epstein in Vienna."
+
+On learning that her visitor was acquainted with Vienna, Madame
+Sembrich's face lighted up (she has a radiant smile): "Ach! then you
+speak German?" And from this point she talked altogether in German,
+which is more akin to her native Polish.
+
+She is fluent, however, in all the continental languages. "We have to
+know them all, for we need them constantly," she explained. In reply to
+other questions, the singer told enthusiastically of her early work.
+
+"I can not say I was ever discouraged, for I so enjoyed my art that it
+was always of absorbing interest; but my whole life has been made up of
+hard work, always work. I also studied the violin and composition, and I
+used to rise early and go to bed late, for I worked six and seven hours
+a day."
+
+Madame Sembrich is one of the most thorough, all-round musicians on the
+lyric stage to-day, for she is not only a singer, but has played
+successfully in public on piano and violin. Her rare gift of voice was
+not discovered until she was seventeen. Then her great knowledge of
+music enabled her quickly to develop the voice, and it was not long
+before she appeared in opera and made her first great success in London.
+When asked if she was ever nervous, the answer came promptly:
+
+"Oh, yes, very nervous! _Now_ I am always nervous. But in the early days
+it was not so bad. When you are young and have a beautiful voice, you
+think it is all that is necessary, and are not nervous, because you do
+not realize the depth and extent of art. But as you grow older you
+appreciate the possibilities of art--you know what it implies, and how
+perfect you wish to make it; and then you are nervous. It is more
+nervous work, too, for such artists as Madame Patti, Madame Melba, or
+myself, who travel about and sing first in one place and then in
+another, because each time we have to win our audience and make a new
+conquest. In Europe, at the great opera-houses such as are in Vienna or
+Berlin, it is different, for there the singers are engaged permanently.
+The public knows how well they can do, and if sometimes they are not at
+their best, they know the public will excuse them. I find I am more
+nervous, too, as my reputation increases, for more is expected of me."
+
+Referring again to her studies, Madame Sembrich counted over
+thirty-seven full operas that she has learned. It is well to consider
+for a moment what this implies. Aside from the native gifts of voice,
+musical talent, and dramatic temperament, there must be years of
+practise in singing and acting; then the words of each opera must be
+memorized, sometimes in three languages. After studying, originating,
+and mastering the action, the music must be learned, and every word
+wedded to a certain tone, and every tone to a certain beat of time.
+Herein the actress has but a slight task compared to the opera singer,
+for in the drama it matters not if a word comes a moment sooner or
+later; but in grand opera a second's deviation might cause a discord.
+
+[Illustration: Copyright by Aime Dupont, N. Y.
+
+Sembrich as Rosina in "The Barber of Seville."]
+
+Madame Sembrich delights in the opera "Traviata" because of its intense
+action.
+
+"But I like, too, the lighter operas. The merriment of 'Rosina' amuses
+me as I act it."
+
+One more question was asked as her visitor arose to go.
+
+"Is it true, Madame Sembrich, that you walk two hours every day?"
+
+"Yes," she answered good-humoredly. "I had just returned to-day when you
+came. I started at eleven and got home at one."
+
+Regular and rigorous in her daily life even yet! Upon meeting Madame
+Sembrich, one receives an impression of graciousness and greatness not
+to be forgotten.
+
+
+
+
+"Semiramide"
+
+
+
+
+"SEMIRAMIDE"
+
+
+All great prima donnas have in their repertoire the majority of famous
+operas, but through fitness of physique or temperament or quality of
+voice they become associated with certain roles more than others.
+Sometimes it is merely a caprice of the public that holds them to a
+particular line of operas. At present Madame Sembrich is regarded as the
+great exponent of the old Italian school. Among her thirty-seven operas
+"Semiramide" is one in which New Yorkers have not yet heard her; but it
+is in some respects the most typical of its kind.
+
+"Semiramide" belongs to the old style of Italian operas. It is light in
+substance, but glistening with scales and cadenzas that are scattered
+over it like spangles upon tulle. Rossini's music is always beautiful
+but conveys little meaning, and it impresses the modern musical taste
+like a meal of bonbons. Although Semiramis lived hundreds of years
+before the Christian era, we listen in vain for any ancient atmosphere
+to the composition or for the "_melodrame tragico_," as designated by
+the libretto. This music would be as suitable to the "Barber of Seville"
+as to the "Queen of Babylon." In other words, the old operas were a
+series of separate songs adapted to a connected story, whereas we now
+expect the score so thoroughly to embody the text that the two are
+inseparable.
+
+"Semiramide," however, bears several claims to distinction that prevent
+the possibility of extinction. It is the opera _par excellence_ of
+duets. They are the delightful, old-fashioned kind, wherein the two
+voices are side by side, only separated by a perfect third; and when the
+conductor has whipped up a good tempo away they go like a span of
+horses, over hills and valleys of scales and arpeggios, bridged-over
+intervals, and clumps of trills. Differing from all other operas, this
+one gives as much prominence to the contralto as to the soprano. They
+must have equal facility of execution; and, indeed, none of the roles
+are exempt from this demand. Tenor, contralto, baritone, and bass vie
+with each other in performing dangerous feats of vocal agility. There
+are passages where they all, one after another, run up a scale and land
+on a certain note, like athletes jumping from a spring-board. We smile
+at such display, and are inclined to regard the opera as one big
+solfeggio; but let it not be forgotten that this is the old Italian
+style, and interesting from this point of view.
+
+Another claim to lasting fame is its overture--one of the prettiest,
+happiest, showiest orchestral compositions extant. It is a stock program
+piece, being simple enough for any orchestra to perform and yet rousing
+enough always to elicit applause.
+
+The opening scene represents a temple wherein Oroe, the chief of the
+Magi, is discovered kneeling before an altar. He has received a
+celestial revelation of some dark crime that is awaiting vengeance, and
+his first short recitative refers to this secret. Arising from his
+knees, Oroe orders the gates of the temple to be opened. The Assyrian
+multitude enter bearing offerings and garlands, while they sing a light
+melody that would do for a modern topical song. Idrenus, an Indian
+prince, also comes in with his attendants, bearing incense and
+offerings. He is the tenor, but unimportant, because this opera has no
+love-scene, and consequently little use for a tenor. Assur, an Assyrian
+potentate, is another devout supplicant at the altar of Belus. We soon
+learn the occasion of these earnest efforts to propitiate the gods:
+Semiramis, the queen, will to-day select a successor to the late King
+Ninus.
+
+A very good example of what we consider the incongruities of the old
+school is found in these first two arias of Idrenus and Assur. The tenor
+comes in alone and delivers a flourishing solo, ornate as his costume.
+Then Assur, the basso, makes his entrance and sings in a lower key the
+same remarkable pyrotechnics. This antagonizes the fundamental rule of
+modern opera, which requires each character to maintain a musical
+individuality. There is some further conversation in the form of a
+terzetto between Idrenus, Assur, and Oroe, and the fact is disclosed
+that Assur expects the queen's choice to fall on him.
+
+Another light and bright chorus announces the entrance of Semiramis. She
+is represented as young and beautiful, altho she is a widow and the
+mother of a son who mysteriously disappeared years before the story
+opens. But radiant as is her appearance, Semiramis opens the ceremonies
+with uneasiness, for she has determined to make Arsaces the future king.
+He is a young army officer, and there is no just reason why he should be
+favored; but the queen has become enamored of him. Arsaces, however, is
+unconscious of her infatuation. She has summoned him to this ceremony;
+but he has not yet arrived, and for this reason she hesitates. In a
+quartet that is worked up like a rondo upon a very pleasing theme, the
+others urge her to begin. She reluctantly steps forward, but at her
+first mention of the dead king there is a flash of lightning and the
+sacred fires are extinguished. The people regard this as a dire omen.
+Oroe glances knowingly at both Semiramis and Assur as he again refers to
+a crime that has aroused the wrath of the gods. He orders the ceremonies
+to be postponed pending the arrival of a sacred oracle from Memphis. The
+queen and her attendants withdraw, and the temple is vacated.
+
+The orchestra plays through several pages of sixty-fourth and
+thirty-second notes, after which the interesting and important Arsaces
+enters with two slaves who bring a casket. Arsaces is always a very
+youthful and impossible-looking general, in spite of his glittering
+cuirass, for be it known this is the contralto role, and, musically
+speaking, a very great one.
+
+We learn from his first recitative that this casket contains precious
+documents and relics of the late king which have been guarded and
+concealed by Phradates, the supposed father of Arsaces. Phradates has
+recently died, and in compliance with his request Arsaces brings these
+treasures to the high priest. We also learn that the young general is
+puzzled over the queen's summons; and last, but not least, we learn that
+he is in love with the beautiful Princess Azema. The mere mention of her
+name starts him to singing a rapturous song, bubbling over with
+brilliant roulades. After presenting his casket to the high priest,
+Arsaces encounters Assur, who soon makes it known that he also loves the
+fair Azema. This so maddens Arsaces that he resolves at once to ask
+Semiramis for the hand of the princess. These rivals cordially hate each
+other, but Rossini inspires them to sing the same melodies, and their
+voices mingle in beautiful harmony of tone and rhythm.
+
+The second rising of the curtain reveals Semiramis reclining under a
+bower in her palace garden. She is surrounded by maidens and slaves who
+sing languid, luxuriant melodies for her diversion. Rossini's style is
+well suited to this scene. As the arias are presented one by one, it is
+like unfolding the contents of an Assyrian treasure-chest full of
+shimmering silks and glittering jewels. Among this collection there is
+one gem called the "Bel Raggio," a name as famous in its way as the
+Koh-i-noor. This musical brilliant belongs to Queen Semiramis, who
+displays its scintillating beauty with evident pride. The "Bel Raggio"
+is one of the four great corner-stones of the bravura singer's
+repertoire, of which the remaining three are: "Una voce poco fa," also
+by Rossini; the Dinorah "Shadow Song," and Eckert's "Echo Song." When
+listening to "Bel Raggio" one should never try to follow the words or
+even wonder what she is saying. Just listen to the music. Those radiant,
+ravishing, intoxicating warbles and runs tell one plainly enough that
+she is happy, and this is sufficient.
+
+Semiramis is awaiting Arsaces and the oracle from Memphis. The latter is
+received first, and bears the cheering words, "Thy peace shall be
+restored with the return of Arsaces." True to the nature of oracles,
+this one has a double meaning, and Semiramis construes it in the wrong
+way. When Arsaces enters there follows a bevy of famous duets. But the
+conversation is quite at cross purposes. Arsaces tells of a
+long-cherished love, which Semiramis thinks is for herself. She promises
+that all his hopes shall be realized, whereupon the two wander off side
+by side through a forest of cadences, roulades, and scales. They
+sometimes become separated, when the soprano pauses to run up the
+scale-ladder and pluck a brilliant high note, or the contralto lingers
+to pick up tones that are rich and full as fallen fruit; but they
+finally emerge together, trilling high and low like birds from a
+thicket.
+
+The third scene represents a magnificent hall in the palace. There are,
+of course, a throne and other "properties," but most conspicuous is the
+tomb or mausoleum of Ninus. For a second time the Assyrian noblemen and
+people gather to hear the appointment of a new king. As they sing a
+sweeping march, Semiramis enters more gorgeously arrayed than ever. She
+takes her place at the throne, and with an imperious gesture commands
+allegiance to the king of her choice. These regal phrases contain such a
+prodigality of dazzling colorature that we are reminded of the far-famed
+hanging gardens devised by this same extravagant queen. In the matter of
+lavish display the music of "Semiramide" is strikingly appropriate.
+Assur, Arsaces, Idrenus, and Oroe vow obedience, and their hymn-like
+ensemble is one of the grandest themes Rossini ever composed. Like the
+prayer from Weber's "Freischuetz," this quintet has long held a place in
+church choir-books, and a more religious and inspiring melody could
+hardly be imagined. The soprano scatters delicious appoggiaturas and
+cadenzas above the steady and noble ensemble like flowers upon an altar.
+The "Semiramide Quintet" is another one of its claims to lasting fame.
+
+In a lighter vein is the queen's next proclamation, to the effect that
+the future king shall also be her husband. This arouses general
+surprise. But when she finally designates Arsaces, the amazement on all
+sides is loud. Assur demands justice from the queen, insinuating some
+secret compact that she dare not disregard. He is haughtily silenced by
+Semiramis, who at the same time bestows upon him the hand of fair Azema.
+
+Poor Arsaces is beside himself. He tries to explain, but the queen will
+listen to no remonstrances. An altar is brought forward, and the priests
+are about to pronounce the marriage bans when a hollow, subterranean
+sound and distant thunder cause consternation. The people are horrified
+to behold the tomb of Ninus slowly open and its occupant step forth.
+Turning to Arsaces, the ghost bids him avenge a terrible crime: "With
+courage into my tomb descend; there to my ashes a victim thou shalt
+offer. But first obey the counsel of the priest." The ghost disappears,
+and the act closes with a strong chorus of dismay. Semiramis leads the
+singing, and for once her music has only prim quarter-notes and
+half-notes: her colorature is all frightened away.
+
+The next act contains an interview between Assur and Semiramis, wherein
+we learn about the crime so often referred to. The late King Ninus was
+poisoned by Assur, who had been promised the throne. But the guilty
+queen has since preferred Arsaces, and this explains Assur's great
+anger. He threatens to kill the young favorite; but Semiramis has
+resumed her ostentatious manner and music, and will not heed his words.
+
+There follows a scene in the queen's apartment. She is still striving to
+win Arsaces, but her overtures repel him more than ever. He has just
+returned from an interview with the priest. The contents of the casket
+have been revealed to him, and he shows Semiramis a paper proving the
+startling fact that Arsaces himself is her long-lost son. He has also
+learned that Ninus, his father, was murdered. Remorse promptly overtakes
+the queen. She weeps and wails in chromatics and scales that quite touch
+Arsaces. They sing a glorious duet that is like a benediction, so noble
+and pure are its harmonies. It is called "Giorno d'orrore" (day of
+horror). Arsaces bids his mother adieu. He is going to the tomb to
+avenge his father's death, tho he knows not how nor whom he shall
+strike. It rests with the gods to guide him; he only obeys the command.
+There follows another smoothly flowing duet resembling all the others in
+its simple structure, unmistakable rhythm, and prominent melody.
+
+The finale of "Semiramide" has little to commend it, being absurd in
+action and presenting only one pleasing or noticeable theme. This is a
+dainty, quaint violin passage that delighted us in the overture, but
+which we never thought of connecting with a tragic climax. How different
+is this tomb music from that of Gounod's "Romeo and Juliet!" There the
+marvelous harmonies are like sweet dreams accompanying the sleep of
+death, but here we are only conscious of the "deep, damp vault, the
+darkness and the worm."
+
+The chief absurdity of this scene lies in the fact that it should be too
+dark for the characters to see each other and yet it must be light
+enough for the audience to see everything. Another incongruity is the
+assembling of all the principals and a good-sized chorus in this tomb
+where we expected Arsaces alone. But it is explained that Assur heard of
+the hero's coming and planned to follow with the intention of killing
+him; Oroe heard of Assur's plan and brings an armed guard to protect
+Arsaces; and, finally, Semiramis follows because she is anxious about
+everybody and everything.
+
+They enter at different times; grope around among tombs, and pretend not
+to see each other. Arsaces finally hears and recognizes the voice of
+Assur. He has no doubt that the gods have sent Assur to be the victim.
+The hero promptly stabs in the direction of the voice, but because it is
+so very dark he happens to kill Semiramis instead of Assur. But this
+mistake does not much affect either the music or the action. The final
+chorus of the opera is as light and bright as the first.
+
+
+
+
+A Call on Emma Eames
+
+[Illustration: Copyright by Falk, N. Y.
+
+EMMA EAMES.]
+
+
+
+
+A CALL ON EMMA EAMES
+
+
+A call at the Hotel Marie Antoinette is a veritable eighteenth-century
+dream. A powdered footman in satin knee-breeches and the full court
+costume of that period flings open the great glass doors as you enter,
+and another one escorts you around some columns, and through some
+curtains, and down some steps to the main reception-room, where you wait
+while your name is announced.
+
+The Hotel Marie Antoinette is very exclusive, so you happen to be alone
+in this great apartment, with its stained-glass dome and carved-oak
+walls; alone, excepting for the pretty soft-voiced maid who is arrayed
+as were the ladies-in-waiting of the Trianon. She assists you in
+removing your wraps, and at the same time talks enthusiastically about
+the great personage you have come to see.
+
+"We all here just love her, she is so gracious and appreciative of
+everything we do, and so kind to us. She gives us tickets to the opera,
+and she isn't at all proud or haughty. She often comes in here of an
+afternoon to have tea. There is her corner where she always sits"--and
+the maid points quite reverentially to a dainty recess curtained with
+tapestries and dreamily illumined by a huge pendant red globe. As your
+glance roams on, you find many objects that hold your attention. There
+are historic cabinets of rare value and workmanship, little tea-tables
+beside the various couches, bearing trays of antique china and tiny
+spoons of old silver, all sought and selected from the castles and
+treasure-rooms of Europe. There is one dainty solid gold clock that
+belonged to Marie Antoinette and was used in her boudoir. Another one
+which she also owned is jeweled with turquoise and garnets. Many
+valuable miniatures of the unfortunate queen and her family are on the
+desks and writing-tables. In one enticing alcove are two rows of
+sumptuous volumes bound in red and gold whose mere titles set one to
+dreaming of court intrigues and palace revels. "The Secret Memoirs of
+the Court" comprise one set of ten books; ten more are devoted to
+Napoleon, and "The Life and Times of Louis XV." also occupies much
+shelf-room; while on the center-table is a collection of engravings
+portraying the life of Marie Antoinette.
+
+You quite feel yourself a court lady by this time; and when the powdered
+dignitary again appears and calls out your name in stately tones, you
+follow him with a sense of importance quite pleasant and unusual. You
+are led past more columns and through more curtains, until finally he
+leaves you in a moderate-sized ante-room. Here you wait for some
+moments, expectantly watching the doorway by which you entered, when
+suddenly, on the opposite side of the room, some folding-doors which you
+had not noticed are flung wide open by unseen hands, and behold the
+queen--of grand opera, Madame Emma Eames!
+
+It was indeed a right royal vision I beheld: a beautiful woman, in every
+sense of the term, clad in a fawn-colored gown of rich design, and
+bejeweled with chains of pearls and a brooch of diamonds. She was seated
+on a pale satin divan, but came forward to greet her visitor, and shook
+hands cordially. Madame Eames is more than beautiful, for together with
+regular features and soft curves she has a strong face and a pose of the
+head that is all determination and force. She is tall and full-figured,
+her hair is dark, and her eyes are very blue.
+
+She displayed a charming smile as she motioned her visitor to a seat
+near by, and then followed a rapid sequence of questions and answers.
+Madame Eames showed a kindly response to her visitor's spirit of
+earnestness, and tried to tell as much as possible in every reply she
+made.
+
+First in order of interest is the fact that she was born, August 13,
+1867, in Shanghai, China. There's a beginning for you!--enough to crush
+an ordinary mortal. But Emma Eames took it otherwise; and all who know
+of her now must admit that to be born under the star of the East on the
+thirteenth day of the month is after all not bad. As soon as she was old
+enough to walk she left the land of her birth and came with her mother
+and father (who was a lawyer of the international courts) to their
+native home, the city of Bath, in Maine.
+
+Here she studied music with her mother, going later on to Boston and
+finally to Paris, where she worked with indomitable will studying
+operas, dramatic action, voice culture, and especially French. This last
+is very important for those aiming to sing publicly in Paris, for the
+people there will not tolerate any weakness of pronunciation.
+
+When asked if she ever had time for any social pleasures, Madame Eames
+answered very earnestly: "I have never done anything in my life but
+work. I cared for other pleasures just as any girl does, but have
+always foregone them."
+
+As a result of this ceaseless work she was fitted for the operatic stage
+in two years' time.
+
+"It was Gounod himself who selected me to sing in his opera 'Romeo and
+Juliet.' He taught me that music, and also 'Faust.' He was a most
+lovable old man, so modest, and above all sincere and truth-loving in
+his music. He often said to me, 'Never degrade music, the one divine
+language on earth, to express a lie.' When teaching a phrase, instead of
+dictating, as you would expect so great a man to do, he always asked,
+'How do you _feel_ when you hear that? Sing it as _you feel it_, not
+what I feel or tell you.' And he could sing so exquisitely! Yes, old as
+he was, and he had just the smallest possible voice, yet it was
+delightful to hear."
+
+Madame Eames's tones were tender and thoughtful as she recalled these
+reminiscences of her beloved master.
+
+The number thirteen looms up again in Madame Eames's history as the date
+of her great debut. It was the evening of March 13, 1889, in the world's
+most beautiful opera-house, that the swaying pendants of its great
+chandelier vibrated to the sound of a new voice and the marble walls of
+its ornate halls reverberated to the sound of a new name--"Emma Eames,
+la jeune Americaine."
+
+No wonder she made a sensation; she is the ideal Juliet, youthful,
+beautiful, and with a voice of golden timbre.
+
+A more lovely scene and more tender tragedy has never been depicted in
+music than is the last act of this opera. The beholder sees in the
+somber setting of an iron-barred tomb the white-clad form of Juliet
+lying upon a bier that is raised like an altar above several steps.
+There are loose flowers still unwithered scattered near the silent
+sleeper, and one pale torch burns restlessly in a brazier at her head.
+No other movement; no change on the stage for many minutes.
+
+But the listeners, in this pause, are brought heart to heart with the
+gentle composer, who sleeps himself now in the Pantheon of Paris. Gounod
+has enwrapped this scene in ethereal harmonies that make one think of
+Death not as the King of Terrors, but as the Queen of Repose. The
+principal melody is a lulling, loving strain that floats and fades away
+like a final "hush" to rest.
+
+The classic purity of Madame Eames's beauty impresses itself in these
+moments perhaps more than any other, and the nobility of her voice
+reveals itself, in the succeeding dramatic climax of the opera, to the
+fullest.
+
+In speaking now of her debut, the singer says that she was very nervous,
+"for, before the public has approved, you don't feel sure that you know
+anything. After this, there is some foundation for your nerves to rest
+on, altho you realize how much there is still to learn. But I am always
+nervous even yet, never knowing what trick my nerves may play on me. No,
+my memory gives me no anxiety, for I fortunately have a very reliable
+one. If by any chance I forget a word on the stage, I know my health is
+run down, and I then at once take a rest for several days."
+
+But Emma Eames does not take many such rests. Young as she is, she has
+already sung in twenty-one different operas with unvarying success, in
+England, France, and Italy as well as her own country. When studying a
+new role she makes every effort to be accurate in all details.
+
+"I always give great thought to my costumes, but when once I have
+studied thoroughly into the period represented and feel convinced that
+my designs are correct, I never change them. When one set is shabby I
+merely have it duplicated."
+
+Little wonder a prima donna has no time for social gayety when you
+consider all the accessories to her art. Aside from the study and actual
+performing, she must take proper exercise for her health, must attend
+rehearsals, give time to the costumer--and, also, to the many
+interviewers. Madame Eames smiled at this suggestion, and said:
+
+"I don't mind any of these, but I do dread having my photograph taken.
+We have to put on the entire costumes of different operas: wigs,
+stockings, gloves, slippers--everything as tho ready to go on with our
+lines, and all just to stand around in a studio and pose. It is
+terrible; it takes a whole day sometimes."
+
+A question about her method of study brought forth the fact that at one
+time she was quite misdirected in the use of her voice.
+
+"I was turned entirely in the wrong direction, and it is no exaggeration
+to say that I have fought the battle out step by step and note by note
+all alone--or, rather, in the very presence of the public. When I first
+appeared my voice-control was uncertain; I did not dare take any
+liberties with my tones. I was in constant anxiety, and miserable
+because I had not the power of voice-emission that I wanted. I assure
+you in those days I was sometimes so discouraged that I thought
+seriously of giving up my profession."
+
+An astounding assertion this will seem to the thousands of listeners
+enthralled by her voice to-day. But Madame Eames was very serious, and
+she added philosophically: "After all, I don't think one can attain
+anything worth having unless one has suffered deeply."
+
+Every summer Madame Eames takes a six-weeks' vacation in her Italian
+castle near Florence. I was shown a description of this edifice, which
+reads like a page of old history. The sullen gray stone walls are six
+feet thick, and the heavy doors with their great iron hinges are all
+carved by hand, as indeed is all the workmanship on the place. The main
+hall of the castle is sixty feet long and twenty-five feet wide. There
+are four massive fireplaces in this one apartment, and a wooden balcony
+reached by a broad stairway runs all around the second story of the
+hall. The ceiling is of carved oak, and a reproduction of a famous one
+in Florence. Everything is in accord with the traditions of the Middle
+Ages. Madame Eames takes great delight in this castle, and she has with
+her numerous photographs of it.
+
+There will probably be many guests in those halls; but even if the
+gifted owner lived there alone it would always seem peopled by a large
+assemblage, for Madame Eames studies much during these vacations, and
+the mystic characters of her repertoire may be said to hover ever near.
+The castle is to be furnished with rich hangings and historic trophies;
+but most priceless of all should be counted the music furnished by her
+own rare voice. This will soar out and reecho at all hours; sometimes a
+memory of Elsa, and again a thought of Sieglinde.
+
+It were indeed a pity to fling the stray tones of a great voice upon
+crude walls and cramped quarters; let them rather resound and
+reverberate, and perchance be preserved, by the listening atoms of
+carved wood and chiseled stone.
+
+If the earth is God's garden and we are the plants that grow, then
+Madame Eames must be likened to a rare orchid, radiant in the sunshine
+of great success, and showered with all possible blessings.
+
+
+
+
+"Faust"
+
+
+
+
+"FAUST"
+
+
+Faust is the opera in which Madame Eames has appeared most often in this
+country. No less than sixteen composers have used Goethe's poem as a
+libretto. Many of these works are excellent, and frequently we hear
+excerpts from them in our concerts. But Gounod has clad the words in
+musical raiment of such surpassing loveliness that he has almost robbed
+Goethe of his masterpiece. At this day, on hearing the name Faust we
+think of the opera simultaneously with, if not before, the poem. He has
+made of it a "grand opera" in every sense; and yet so abounding in
+melody that even an untrained ear is captured.
+
+There is no overture. It is a fact without a cause that some operas have
+overtures and some have not. "Faust" opens with a short orchestral
+prelude that is somber and subdued--quite suggestive of the doubt and
+darkness that characterize the scene upon which the curtain rises.
+
+Faust, the philosopher, the student, is seated in his cell, surrounded
+by books, parchments, chemicals, skulls, and hour-glasses. He has grown
+old in his delving after the mysteries, and even now he has devoted the
+whole night to study. The lamp burns low, and all about him is dark and
+gloomy. He closes his book sadly, and exclaims in tones that seem
+spontaneous, but are, nevertheless, in accurate rhythm with the
+orchestra, "In vain!" He does not find the knowledge he seeks; his
+investigations are without avail. It seems strange to hear these laments
+sounded by a tenor voice; but this trifling incongruity of high tones
+and old age does not last long. The character Faust is one of the
+greatest tenor roles.
+
+His soliloquy is presently broken in upon by a chorus behind the scenes.
+It is the song of reapers going to their daily work. The morning light
+streams in at the window which Faust throws open as he listens. But
+sunshine itself is not brighter than that song. It is so joyous and
+light-hearted that the listener fairly inhales the dew-laden air of the
+fields. This first melody in the opera is as perfect a morceau for its
+size as was ever written. The solitaire in his cell is also affected by
+the radiant song, and he envies the reapers for their contentment and
+for their youth. Yes, _youth_ is what he longs for.
+
+Altho Faust has declared his study to be "in vain," he has,
+nevertheless, acquired the accomplishment of being able to call up
+Mephistopheles (this is the operatic name for the great demon), and in
+his present despair he resorts to this power. Mephisto appears without
+delay. Flaming colors and a bass voice are the essential attributes of
+this great character. It seems rather hard on our artists who sing to
+low G that a bass voice is so often chosen to represent iniquity; but
+such happens to be the case. Mephisto is invariably clad in red from
+head to toe; exaggerated eyebrows and a fantastic cap with unobtrusive
+horns complete his diabolical appearance.
+
+In a continuous flow of harmony, Faust informs his visitor of his wants,
+and Mephisto promptly states his conditions: for the price of his soul
+after death the philosopher shall now be granted his youth. Faust
+hesitates at this, whereupon the wily demon causes him to behold a
+vision. A bright light at the back of the stage suddenly reveals the
+lovely Marguerite at her spinning-wheel. While the picture lasts there
+is heard in the orchestra a suggestion of one of the themes that come
+afterward in the love-scene of the opera; this is accompanied by a soft
+tremolo on the violins. Forest scenes, moonlight, and dreams are very
+often represented in music by a violin tremolo. When the vision passes
+away, Faust is decided, and he drinks the potion Mephistopheles
+prescribes. Presto! The gray hair and beard disappear; the long robe
+falls off, and Faust is a young man--tall and handsome, as a tenor
+should be. He comes forward with an elastic step and sings of youth and
+its joys, which now are his. The music has undergone a metamorphosis
+like the singer. It throbs with a life and vigor which were lacking
+before; and this final song of the first act is one of the best tenor
+solos in the opera.
+
+The second act is chiefly remarkable for its choruses. It is called the
+Kyrmess, and represents a street thronged with villagers in festive
+array and mood. They dance and sing in honor of their soldiers, who
+start this day to war. The opening chorus is divided among the students,
+girls, soldiers, and citizens, the latter being represented by old men,
+who come forward and sing their delightful refrain in thin, piping
+voices. Every phrase of this first chorus is a surprise, and each one
+seems more fascinating than the preceding. It is all in a rapid,
+tripping tempo, and fairly bubbles over with good humor.
+
+In this act we are introduced to all the principal characters. Siebel,
+the village youth who loves Marguerite, is already on the scene, and
+very soon her soldier-brother, Valentine, appears. This is the baritone
+role, and, while not a long one, is still important, and requires a
+great artist, for he has a splendid death-scene in the fourth act. His
+first solo begins with the words "O santa medaglia!" ("O blessed
+medallion!"). He sings to the token which his sister has just given him
+at parting. He is depressed at the thought of leaving Marguerite alone,
+for she is an orphan; but Siebel consoles him with promises to protect
+and watch over her.
+
+Mephisto is the next one to come upon the scene, and, in spite of his
+satanic make-up, the villagers do not recognize his "name and station."
+He joins in their merry-making, and soon astounds them with his wizard
+tricks and actions. He sings a song about "Gold--the lord of the earth."
+It is one of the three important solos of this role, and is a most
+characteristic piece. One has not the least doubt that he learned it at
+home! Such eccentric, sardonic intervals and rhythm at once suggest an
+unholy origin.
+
+[Illustration: Copyright by Aime Dupont, N. Y.
+
+Melba as Marguerite in "Faust."]
+
+The peasants soon become so convinced of this stranger's evil power that
+they unanimously hold up the hilts of their swords, which are formed
+like a cross, and before this emblem Mephisto trembles. A very strong
+and inspiring chorus accompanies this move on the part of the peasants.
+
+Faust, the handsome cavalier, now comes forward. After a short dialog
+between this master and servant--who we know are under compact to change
+places in the hereafter--the chorus again take possession of the stage.
+They sing first a charming waltz song, which of itself seems to start
+them all to dancing. And then comes the celebrated "Faust Waltz," during
+which the listener should pay most attention to the orchestra. There is
+some singing and much dancing on the stage, but the instruments have the
+most important part. Of this well-known composition it is unnecessary
+to say more than that it is a splendid waltz.
+
+Its brilliant rhythm is temporarily diverted by the entrance of
+Marguerite, who is on her way home from church. She carries a
+prayer-book in her hand, and is dressed in white, which betokens
+innocence. This costume of the heroine has been considered as imperative
+as the make-up of Mephisto; but Madame Eames carefully studied old
+Nuremburg pictures and resurrected the correct style of that period,
+which somewhat departs from operatic tradition.
+
+On seeing Marguerite, Faust addresses her as "My charming lady," and
+begs permission to walk home with her. To which Marguerite very properly
+replies that she is neither "charming" nor a "lady," and can go home
+"alone." The question and response last only a moment, but the two
+themes are most exquisitely adapted to the words, and should be noted,
+as they recur later on in the opera. Especially lovely are these first
+notes of the soprano; and after so much chorus and bass and orchestra,
+they soar out like strokes from a silver bell.
+
+Marguerite goes on her homeward way, and leaves Faust more in love than
+before. Mephisto rejoices, and the waltz is resumed. Thus ends Act II.
+
+And now for the Garden Scene--a veritable bouquet of melodies, flowers
+that never fade! The first aria is, indeed, called the "Flower Song,"
+but only because Siebel sings to the flowers he has brought for
+Marguerite. Siebel is the contralto role, and therefore always taken by
+a woman. It is a very short part, but as two of the sweetest songs in
+the opera belong to Siebel, great artists are glad to take the
+character. The short prelude by the orchestra before the "Flower Song"
+is as artistic as any other part. It seems to smooth the brow and quiet
+the mind, and coax the hearer into just the right mood "to be lulled by
+sounds of sweetest melody." Siebel's song is indeed "sweetest
+melody"--so much so that a poor singer can hardly spoil it. That gentle
+and caressing theme captures the heart every time.
+
+After Siebel has gone, there enter Faust and Mephistopheles (who gains
+admission everywhere). The latter is in high spirits, and Faust is in
+love. They look upon the garden with different emotions. Faust
+rhapsodizes and is lost in romance; but Mephisto's more practical vision
+perceives the flowers which Siebel has left at Marguerite's door. He
+goes off at once to procure a present that shall outshine these. During
+his absence Faust sings the "Salve Dimore." These are the first words of
+the song, which mean "Hail! dwelling pure and simple;" but this
+composition is always given its Italian name. It is interesting to note
+the names by which celebrated arias are known. Some are designated by
+the subject, as the "Jewel Song," "Flower Song." Then, again, some are
+known by the rhythm, as the "Waltz Song" from "Romeo and Juliet," or the
+"Polacca from 'Mignon.'" Then, there are others whose names only
+indicate the number of voices, as the "Sextet from 'Lucia,'" the
+"Quartet from 'Rigoletto';" while many are spoken of by their Italian
+names. The "Salve Dimore" belongs to this class, and, like the "Jewel
+Song," is so celebrated that many people who have not heard the music
+are still familiar with the name. The tenor who does not receive
+abundant applause after this aria may feel that he has lost his best
+chance in the opera.
+
+After the solo Mephisto reenters with a jewel-casket under his arm. He
+places this where Marguerite will surely find it, and then the two
+retire. Now is an expectant moment, for the soprano holds the stage
+alone for some time, and has in this scene her finest solos. She comes
+in through the garden gate and walks very slowly, for she is thinking
+about the handsome stranger who spoke to her in the street. She tries,
+however, to forget the occurrence, and resolutely sits down to her
+spinning. As she spins she sings a ballad called "The King of Thule."
+It is a sad little song, with strange minor intervals that make one feel
+"teary 'round the heart." Marguerite interrupts her ballad to
+soliloquize again, in pretty recitative tones, about that "fine
+stranger," but she soon recalls herself and resumes the song. At last
+she gives up trying to spin, and starts for the house; whereupon she
+sees Siebel's flowers, which are admired, but dropped in amazement when
+her eyes rest upon the jewel-box. After some misgivings she opens it and
+discovers jewels so beautiful that from sheer joy and delight she starts
+to trilling like a bird. This trill is the opening of the great aria,
+which seems to thus poise for a moment and then fly away in the
+ascending scale which commences the brilliant theme. The "Jewel Song" is
+as difficult as it is beautiful, and the artist who renders it well
+deserves unstinted praise.
+
+Before the song is ended, Martha, the matron in whose care Marguerite
+has been entrusted, comes into the garden, and soon is followed by
+Faust and Mephistopheles. Hers is a necessary but unimportant character,
+as she has no solo and is merely a foil for Mephistopheles. She is
+represented as a very susceptible widow, and he takes upon himself the
+uninviting task of making love to her in order that Faust and Marguerite
+may have a chance. The two couples walk back and forth in the garden,
+which is supposed to extend beyond the limits of the stage. The courting
+as done by Mephistopheles is highly absurd, and is, in fact, the only
+touch of humor in the opera.
+
+But very different are the scenes between Faust and Marguerite. Every
+phrase is full of charming sincerity. But it is after the quartet, after
+the second exit and reappearance, that we hear their great love duet.
+The evening shadows have lengthened, and "Tardi si fa" ("It groweth
+late") are the first words of this superb composition, which is indeed
+like pure gold. It stands alone in musical literature as the ideal love
+music. The only work that is ever compared to it is Wagner's duet in
+the "Walkuere." Some writer has ventured the statement that in this
+"Faust" duo Gounod has "actually discovered the intervals of the scale
+which express the love passion." The idea is not a wild one nor a new
+one, for it is known that the Greeks held a similar belief, and even
+prohibited certain harmonies and intervals as being too sensuous. Be
+that as it may, there is a subtle charm about Gounod's music that eludes
+description. When we hear that final ecstatic leap from C sharp to high
+A, a mystic hush and spell steals over us.
+
+There is little more after the duo. Marguerite rushes into the house,
+and Faust is aroused by the unwelcome voice of Mephistopheles. The
+latter's jesting tone is most irritating to the lover. But this dialog
+is soon interrupted by one of the loveliest scenes in the opera.
+Marguerite throws open the blinds of her window and looks into the
+garden, which she believes is now vacant. The moonlight falls upon her,
+and she suddenly begins singing. It is a burst of melody as spontaneous
+and free as the song of a nightingale. The song is not long, and soon
+the curtain descends; but the picture leaves a lasting impression.
+
+Act IV. comprises three scenes. The first one is short, and depicts
+Marguerite's grief and remorse. Faust has forsaken her, and the faithful
+Siebel tries to comfort and console. This second solo of Siebel's is a
+melody of noble simplicity. The beautiful cadence given to the
+twice-repeated name, "Marguerita," reveals a heart full of unselfish
+love.
+
+The next scene represents a street in front of Marguerite's house. There
+is general excitement and anticipation among the villagers, for to-day
+the soldiers return from war. They presently enter, amid much rejoicing,
+and sing their great chorus, called the "Faust March." This march is so
+popular and well known that people who believe they have never heard a
+note of the opera will be surprised to find that they recognize this
+march. It is played by every military band in the country. After the
+chorus the soldiers disperse to their homes and friends. Valentine is
+greeted by Siebel, but the brother inquires about his sister, and
+hastens into the house.
+
+The stage now is darkened, for the hour is late. Presently Faust and
+Mephisto appear. The latter has brought his guitar, and he assumes the
+privilege of singing a serenade to Marguerite, while Faust stands to one
+side in melancholy meditation. Mephisto's song is more insulting than
+complimentary. As a musical expression of irony, sarcasm, and insolence,
+this composition is certainly a success. The last three notes of the
+first phrase are a veritable leer. This is the second important bass
+solo, and, when well given, is highly effective, as it admits of great
+variety of expression. But instead of bringing forth the object of the
+serenade, Marguerite's brother appears at the door, and with drawn
+sword. He seeks out Faust and challenges him to a duel. The challenge
+is accepted, and they are soon fighting; but the result is inevitable,
+for Mephisto uses his demoniac power to protect Faust, and so Valentine
+is wounded. The noise of the scuffle has aroused the villagers, who
+hurry in with lanterns and find Valentine dying. Marguerite rushes
+forward and falls on her knees beside him, but Valentine motions her
+away. He rises up in his death agony and curses her in tones that are
+like balls of fire. The villagers look on with awe, while poor
+Marguerite is stunned by these terrible words from her dying brother. It
+is the most tragic moment of the opera. When Valentine expires, every
+one kneels as they sing a solemn prayer, and the curtain falls.
+
+We have next the Church Scene, whose sublime music displays Gounod's
+special forte. He is perhaps greater as a composer of ecclesiastical
+music than anything else. His genius finds most congenial soil in
+religious themes, and therefore is this church scene with its mighty
+choruses and organ interludes truly grand. We hear the organ tones even
+before the curtain rises, and when it does Marguerite is discovered
+kneeling on a prayer-chair, apart from the other worshipers. She tries
+to pray and find comfort in her despair, but an awful voice mocks her
+endeavors, and that voice is Mephistopheles, who comes to her now in his
+true character. He is near her, but she can not see him, while he
+terrifies and tortures her with fearful prophecies. Vainly and
+desperately she strives to follow the familiar service, but she can hear
+only the demon's voice. It draws ever nearer, and its words increase her
+terror. At last with a cry of anguish Marguerite falls down unconscious.
+Mephistopheles stands over her, and his face beams with satanic glee.
+
+True to Goethe's story, Marguerite becomes insane from grief and kills
+her child. The last act finds her in prison. Once again she is clad in
+white. Her hair hangs loose upon her shoulders, and chains bind her
+wrists. She is sleeping on a straw pallet as the curtain rises, and
+Faust enters with his companion. They have come to release the prisoner.
+But when she is aroused and urged to flee she pays little heed to their
+request, for she does not recognize them. But the sound of Faust's voice
+recalls to her that first meeting so long ago, when he said, "My fair
+lady, may I walk with you?" She sings again the charming phrase as we
+heard it in the second act; but it is now rendered with a certain pathos
+and simplicity that bring tears to our eyes.
+
+She presently perceives Mephistopheles, and the sight fills her with
+terror. She falls on her knees and invokes the angels of heaven to
+pardon and receive her soul. The fervor of this prayer knows no bounds.
+A veritable religious ecstasy throbs through the music. The theme is
+broad and free, and seems to burst asunder every bond. It suggests a
+glory and splendor that are celestial. Ever higher and grander it grows.
+Marguerite is now standing with upraised arms; and altho Faust and
+Mephisto join in the singing, our attention is entirely riveted by that
+white-robed supplicant. The peerless theme is repeated three times, and
+always higher than before. Those soprano tones finally reach an
+atmosphere so clear and rare that they seem to carry the soul of
+Marguerite with them. The last high B soars up to heaven like a
+disembodied spirit.
+
+It matters not what occurs after this. We have a dim consciousness of
+Marguerite falling down, of some words of lament from Faust; but for us
+the opera was ended with that last supernal note.
+
+
+
+
+"Werther"
+
+
+
+
+"WERTHER"
+
+
+Madame Eames is the only prima donna whom America has heard in
+"Werther"--a work which in Paris ranks as Massenet's best. But she does
+not sing it often, because, as she says, "It all lies in such a low key;
+and to sing always in one place is hard on the voice." Then she adds,
+"But the love-music of Werther is beautiful."
+
+Goethe's love-stories find favor with French composers. Massenet has
+accomplished with "Werther" what his predecessors have done with
+"Mignon" and "Faust." His work is very recent and altogether unique. The
+story is not dramatic, and there are no regulation operatic
+characters,--no gods, no kings, no peasants, gypsies, fairies, demons,
+villains, slaves, soldiers, and not even a chorus. The scenery is also
+unconventional; not a palace, nor a mountain, nor a dungeon in the whole
+play.
+
+The _dramatis personae_ of "Werther" are taken from "ye lower middle
+classes," and they are graced with such names as Schmidt, Johann,
+Sophia, and Katie. We find it agreeable and gratifying to see our own
+common selves and everyday emotions elevated to the regions of classic
+music.
+
+It is easy to understand why Massenet was attracted by the story, in
+spite of its dramatic weakness and lack of stage effects. It offers
+unbounded opportunities for love-music. Most opera composers must
+content themselves with one rousing duet and perhaps a solo or two; but
+in this story the hero sings of love from first to last.
+
+The prelude to this homely opera is like the blessing before a meal. It
+is peaceful and soothing, and might be called a pastorale.
+
+As the curtain rises we are greeted with the chatter and laughter of
+childish voices: two innovations at one stroke, for real children and
+real laughter have never before held a place in grand opera. This first
+scene of "Werther" forms a pleasing summer picture. We see the garden
+and terrace of a simple country house, whose owner, the town bailiff, is
+seated upon the veranda surrounded by his six children, to whom he is
+teaching a Christmas carol. He seems to be teaching them, but in point
+of fact he is teaching the audience this charming melody, which must be
+kept in mind, for it recurs at various intervals during the opera. So
+the children sing at first very loud and badly. The good-natured bailiff
+shakes his head and stops his ears. After a second attempt the song goes
+smoothly, and during this performance Schmidt and Johann enter the
+garden. These are some tavern friends of the bailiff, who lend variety
+to the music by giving occasion for the inevitable drinking-song. They
+compliment the children and inquire after Charlotte. "She is dressing
+for a ball," answers Sophia, the bailiff's second daughter.
+
+We might tire of this plain conversation and the buffoon manners of
+Schmidt and Johann, but the accompanying music is of absorbing
+interest. Massenet makes much use of counterpoint, which has been
+broadly defined as the art of combining melodies. A crude but familiar
+example is that wonder-inspiring piano performance of "Yankee Doodle" in
+one hand with "Fisher's Hornpipe" in the other. It is interesting to
+follow the various themes in Massenet's orchestra. Sometimes a bit of
+the Christmas carol combines with the gruff, reeling song of Bacchus,
+which, in turn, is blended with a broad and noble theme that always
+appears in connection with the name of Charlotte. Another theme, that
+might be characterized as severely intellectual, asserts itself whenever
+the conversation turns upon Albert, her absent fiance.
+
+Schmidt and Johann go off arm in arm, lustily singing, "Vivat Bacchus."
+
+Sophia enters the house, while the bailiff retires with the children to
+an alcove on the veranda, where we see him patiently rehearsing that
+Christmas carol, word for word.
+
+The music now undergoes a transition, like a dreamer turning in his
+sleep. There are harp-chords, arpeggios, and trills written soft and
+"dim."
+
+A richly clad traveler enters the garden, looking about him with evident
+emotion. It is Werther, returned after years of absence to his native
+village.
+
+"I know not if I dream or wake," are his first words, while the
+instruments recall that pastoral motif of the prelude. Birds and trees
+and the limpid brook are all apostrophized in word and tone, until, with
+a sunburst of rising chords, there is introduced a new and radiant
+theme, eulogizing--
+
+"All nature, full of grace,
+ Queen over time and space;"
+
+while under the spell of his emotions--for Werther is a poet and a
+dreamer--there comes to him, like the song of angels, that blessed
+Christmas carol which the children are singing softly and with perfect
+rhythm.
+
+The already familiar Charlotte-theme announces the heroine's entrance.
+The girlish costumes of this bourgeoise character are unusually
+becoming to Madame Eames; they present her in quite a new light, and her
+first entrance gives a pleasing surprise to the audience.
+
+She is embraced by the children, who love Charlotte dearly, for she is
+to them both a sister and a mother. Regardless of her best gown, she now
+goes to a buffet on the veranda and distributes slices of bread and
+butter. This scene has prompted the epithet, "bread-and-butter opera."
+
+In the mean time Werther is welcomed by the bailiff and introduced to
+Charlotte. Sounds of gay music accompany the arrival of guests who will
+take Charlotte to the ball. This festive music is unique. The bass
+presents a defiant repetition of one chord that is stubbornly out of
+harmony with the bright melody above, like old age shaking his head at
+youthful gaiety.
+
+It is decided that Werther shall go along to the ball. The dance-theme
+is resumed, and the merry party go out. Sophia takes the children into
+the house, and the bailiff goes off to the tavern, humming on the way
+that comical drinking-song.
+
+The stage grows darker, the music softer, and we hear a fragment of the
+Albert-theme. It is like seeing the shadow before the person, for Albert
+soon enters. He has returned unexpectedly. Sophia rushes out to greet
+him, and she regrets that Charlotte is absent.
+
+Before going into the house Albert sings to the night winds of his love,
+and hopes that Charlotte on entering the garden will discover the
+thoughts that he leaves.
+
+The orchestra toys with this melody for a time, but then is diverted by
+memories of the ball music. Snatches of the bewitching strain flit by in
+different keys, like belated guests in vari-colored dominoes. They are
+faint as phantoms--a gentle swaying of the violins, a touch of the harp,
+and then they vanish. There is a pause. The moon has appeared, and the
+humble garden seems transformed into a fairy bower.
+
+Like the spirit of a dream is the melody now arising. Ethereal in its
+beauty but supreme in power, it rules over the entire opera. This is the
+love-theme. We are not surprised to see Werther and Charlotte enter arm
+in arm. It is a familiar situation: he is "seeing her home" from the
+ball. And arrived at their destination, they linger at the gate as
+couples have done before and since.
+
+Charlotte is of a serious nature, and their talk is never light. She
+tells of her mother and the terrible experience of losing one so dear.
+"I believe that she watches over me and knows when I do her bidding."
+Charlotte's tones are full of pathos, and she becomes abstracted in her
+memories, while Werther, enraptured by her goodness and beauty, gives
+utterance to the feelings that enthrall him. The music grows stronger
+and higher, until it breaks forth in a resounding reality of the
+love-theme. Over an accompaniment of throbbing chords this superb melody
+sweeps by like a meteor passing the earth; and during this luminous
+transition we hear the voice of Werther, "Charlotte, I love thee!" There
+follows a hush, and then a chilling, awful discord. Some one is calling
+from the house, "Albert has come home!" Charlotte staggers at this news.
+She explains that Albert is her betrothed--it was her mother's wish.
+"May she forgive me, that for one moment at your side I forgot my vow."
+Charlotte goes up the steps; she turns once, but then hastens inside.
+Werther buries his face in anguish at the thought of her wedding
+another.
+
+Several months have elapsed since the events of the first act. The
+elm-tree foliage is denser and the situations of the drama have changed,
+but love and music remain the same.
+
+Schmidt and Johann are discovered sitting before the tavern "of a Sunday
+afternoon." Their good-natured song of Bacchus greets us like an old
+friend. The church and parsonage are in plain view, and a solemn choral
+from within alternates with the drinking-song without. The village is
+to-day _en fete_ in honor of the pastor's golden wedding.
+
+The serious and thoughtful Albert-theme marks the entrance of Charlotte
+and Albert, who are married. They loiter on their way to church and sit
+down on a bench under the trees. Very calm and tender is the music of
+this little scene between husband and wife. The organ resounds the
+chords of a beautiful hymn, at which summons Charlotte and Albert join
+the other worshipers.
+
+Werther has been observing the pair from a distance. When they are gone
+he comes forward, exclaiming with grief and bitterness, "Wedded to
+another!" The tempestuous chords of the orchestra clash into the holy
+harmonies of the organ. Jagged fragments of Werther's first song of
+admiration depict his shattered joy. As one holds together the pieces of
+a broken vase, sadly recalling its lost loveliness, so does the
+orchestra again build up that old theme in all its beauty while Werther
+sings of what might have been. Rebellious at fate, he cries out: "It is
+I--I alone whom she could have loved!" The succeeding aria is reckless
+as a steed galloping to his death. It plunges from high tones to a sob,
+and the singer, flinging himself upon a bench, buries his face in his
+arms.
+
+Albert discovers Werther thus despondent, and, suspecting the cause, he
+questions him; but Werther desperately disclaims his love for Charlotte.
+This interview is musically serious and sad. But suddenly the orchestra
+gives us a new key, a new melody, a sprinkling of lithesome staccatos
+falling like a shower of apple-blossoms. With a smile on her lips and
+flowers in her hands, Sophia enters, unconscious of the surrounding
+turbulent emotions. She gaily announces that they intend to dance, and
+that Werther must join her in the minuet. Observing his somber
+expression, she bids him cheer up, for to-day--
+
+    "All the world is gay!
+     Joy is in the air!"
+
+This song is the most popular one of the opera. It is bright and light,
+and full of fluttering phrases--a veritable song of spring.
+
+When Albert and Sophia are gone, Werther cries out with explosive
+candor, "I told a falsehood!" He is wretched beyond compare. He can not
+cease loving, and he dare not cease lying.
+
+Charlotte comes from the church, and, greeting him kindly, asks if he,
+too, is going to the parsonage. They speak lightly but feel deeply, as
+is evidenced by the music. That wondrous love-theme softly surrounds
+them like the magic fire of the Walkuere. The harmonies mount up from the
+instruments like flames from living embers. A spell is upon them.
+Charlotte stands mute, while Werther sings of that evening when he
+touched her hand and looked into her eyes for the first time. Softly and
+slowly the beautiful melody disappears, giving place to a different
+chord and motif: "Albert loves me--and I am his wife!" Charlotte has
+recovered herself. She entreats Werther to turn his heart elsewhere:
+"Why do you love me?" This hero seems to understand himself, for he
+answers: "Ask a madman why he has lost his reason!" Then Charlotte urges
+him to go away for a time, say until Christmas. "Yes, until
+Christmas--good-by, my friend!" She leaves before he has time to refuse.
+
+Now follows a musical adaptation of Goethe's very poetical and ingenious
+plea for suicide.
+
+     "Do we offend Heaven in ceasing to suffer? When a son returns from
+     his journey before the expected time, far from feeling resentment,
+     the father hastens to greet him; and can it be that our heavenly
+     Father is less clement?"
+
+During this soliloquy we encounter strange chords in the orchestra.
+Strains of a gay minuet play upon these tragic tones like rainbow colors
+on the angles of a glacier.
+
+The dance has begun, and Sophia, appearing at the parsonage door, tells
+Werther that she is waiting. He walks away.
+
+"You are leaving! But you will come back?" cries the disappointed
+Sophia.
+
+"No--never! Good-by!" and Werther turns down the road out of sight.
+Either for the lost dance or the lost partner, Sophia bursts into tears.
+Albert and Charlotte find her thus, and between sobs she tells them how
+Monsieur Werther has gone away forever. Charlotte stands rigid, while
+Albert exclaims to himself: "He loves my wife!" The gay assemblage
+within the parsonage has no knowledge of this brewing tragedy, so the
+minuet continues till the curtain descends.
+
+The prelude to Act III. is somber and depressing. It clings to the
+harmonies of that last scene between Charlotte and Werther--the exile
+motif.
+
+The curtain's rising reveals Charlotte sitting at her work-table, lost
+in thought while her needle plies.
+
+The soft light of the lamp illumines a _petit salon_; the hour hand of
+the clock points to the figure five, and the libretto tells us it is
+the 24th of December. The subject of her thoughts is Werther--always
+Werther! Why can she not banish him from her mind as she did from her
+presence? The question is not hard to answer, for we learn that he has
+been writing to her. As tho drawn by a magnet, Charlotte goes to the
+desk and reads again the letters she fain would forget. Moaning minors
+like a winter wind accompany the perusal of these sad and poetic
+epistles. Werther writes: "If I never return, blame me not, but weep
+instead, for I shall be dead."
+
+Terrifying tremolos accompany the tragic theme that is now let loose in
+the orchestra like a strange, wild animal in the arena. It preys upon
+the emotions, gnawing at the heart of every listener. Massenet delights
+in startling contrasts.
+
+While Charlotte is grieving over these missives, a happy voice greets
+her, "Good day, sweet sister!" It is Sophia, come with an armful of toys
+and a heart full of melody. She is accompanied by the gay staccatos of
+her "Spring Song." Charlotte hastily conceals the letters; but tears are
+not so easily disposed of. Perceiving the reddened eyes, Sophia tries to
+cheer her sister by singing of "Laughter, the light of the heart." The
+gaiety of this music, with its sparkling scales and tripping tempo, is
+infectious. But tears again gather in Charlotte's eyes when Sophia
+mentions the name of Werther. The little sister is very sorry; but
+Charlotte says never mind, weeping does one good. "The tears we do _not_
+shed fall back upon the heart, which, altho it is big, is very frail and
+can break with the weight of a tear."
+
+The music to this sentiment is a tone-poem well worthy of the text. It
+is written in a low key. Joy mounts upward on the scale, but grief
+weighs down.
+
+Sophia goes out, and all the bright music with her. Falling upon her
+knees, Charlotte prays for strength. This supplication is truly grand,
+with superb crescendos and plaintive diminuendos.
+
+The music now swells out with sudden impetus and the parlor door is
+brusquely opened. Charlotte turns around and exclaims--with startled
+tones, "Werther!"
+
+He is leaning against the door as tho wearied in mind and body. "I tried
+not to come--_mais me voici_!"
+
+With forced calm Charlotte bids him welcome. He looks with fond memory
+upon the old piano and familiar books. They talk of casual things, and
+incidentally Charlotte calls his attention to the poems he was
+translating when he left.
+
+The music of this scene has been unnaturally tranquil; the gentle
+Charlotte-theme and another phrase, graceful and simple as a nursery
+rhyme, are used with touching effect. But with the mention of these
+poems sudden emotion breaks through the constraint. Werther turns to the
+unfinished verse and reads aloud.
+
+The ensuing scene is dramatically not a new one. In "Francesca da
+Rimini" the heroine is wooed and won by the reading of a poem; but added
+to the charm of verse we here have the enthralling power of music. In
+both instances the reading ends with--a kiss.
+
+The succeeding aria is a song of soaring ecstasy about "_ce premier
+baiser_." Werther proclaims that "only love is real!" But Charlotte
+suddenly recoils at her weakness, and rushing to a side door, exclaims:
+"We must never meet again! Good-by--for the last time!" and disappears.
+
+The music has assumed a dolorous strain that vividly portrays the pathos
+of her last words. Werther calls for her to come back. He knocks at the
+door, but is only answered by the tragic chords of the orchestra. They
+are furious and fearful, but, strange to say, they adequately express an
+awful silence. "So be it!" at last exclaims the sorrowful Werther.
+Crashing chords whirl riot in the orchestra as the hero hastens away.
+
+The stage is vacated, but the music tells us whom next to expect. The
+Albert-theme, easily recognizable tho a trifle harsher than before,
+comes forward to preside over the finale of this act.
+
+Albert steps into the room, surprised and preoccupied. He has met the
+distracted Werther at the front door, and here finds Charlotte locked in
+her room. In answer to his authoritative call she comes forward looking
+pale and frightened. He questions her, but she answers evasively. At
+this moment a message is handed to Albert by a servant. It is from
+Werther: "I go on a long journey. Kindly lend me your pistols.
+Farewell." Charlotte knows the import of these words, but dare not
+speak. Perhaps Albert also knows. He coldly bids her hand the weapons to
+the servant. Mutely and slowly she goes to the case and delivers the
+contents as she was bid. That theme in the orchestra continues quietly
+to move back and forth like a person keeping the death-watch. When the
+servant has gone, Albert strides angrily out of the room. Charlotte
+stands for a moment immobile. The music also seems to stand still; then
+a sudden impetuous outburst of the instruments coincides with her
+decision. From highest B to lowest F octaves and chords are hurled
+together, as Charlotte, seizing a mantle, rushes to the door. "Pray
+Heaven I may not be too late!"
+
+We follow Charlotte in her flight. The scene changes to a view of the
+village. It is Christmas eve, nearing midnight. The snow is falling in
+wild gusts, but through a rift in the clouds the moon looks down upon
+the peaceful town. Roofs and trees are covered with snow, while from
+some of the windows household lights are gleaming. The church, too, is
+lighted, but the moonlight and the snow are most prominent. Even these
+however are not so important as the music. More chilling than hail or
+snow are those sudden blasts of chords and octaves falling one on top of
+the other, down, down until they join and melt into the steady tremolo
+of the bass. Finally, like Death seated on a tombstone, the terrifying
+tragic theme again looms up.
+
+During this introduction the winter scene on the stage remains the same.
+The snow continues to fall, and we hear it in the orchestra--a steady
+movement of double thirds over which play varying melodies like
+Christmas lights. The musicians turn their leaves once, twice, three
+times, but still that slowly palpitating accompaniment goes on. There is
+something appalling in this persistency. What was at first delightful
+becomes oppressive, for we are somehow reminded that falling snow can
+bury the living and hide the dead.
+
+A distant bell sounds the hour of twelve. Fierce winds arise, and we see
+the muffled figure of a woman struggling her way against the gale. The
+tempest is again heard in the orchestra. Breathlessly we watch the
+heroine's slow progress, and wonder if she will be too late.
+
+The scene changes to a little room strewn with books and papers. A lamp
+on the wooden table casts sickly rays upon the surroundings, but we can
+plainly see a figure reclining on a chair near the open window. It is
+Werther, pale and unconscious. Charlotte rushes in, and at sight of the
+dying man is beside herself with grief. She calls him by name, and the
+sound of her voice revives him. He asks her faintly to stay near him, to
+pardon him and love him. While he speaks there arises from the
+orchestra, like the dim visions of a dying man, that first love-theme so
+full of summer gladness. Charlotte sings to him the words he has longed
+to hear. This last love-song ends in a whisper. The instruments, too,
+seem hushed with that mysterious silence of Christmas night. We can see
+through the window the bright moonlight, for the storm has abated.
+
+Suddenly the dying man looks up as sweet music greets his ear--
+
+    "Noel! Noel! Noel!
+     Proclaim the wondrous birth!
+     Christ the Lord has come to earth!"
+
+It is the happy children's voices singing their Christmas song in the
+church. A merry carillon of the instruments accompanies the familiar
+tones of Sophia's high, bright voice in the distance--
+
+    "All the world is gay!
+     Joy is in the air!"
+
+This startling contrast of life and death has never been more
+beautifully portrayed.
+
+Werther sadly smiles, murmuring that it is his song of deliverance. He
+dies in Charlotte's arms. She cries out, despairing, inconsolable, "It
+is finished!" Death is in the orchestra, in the darkness, in the ensuing
+silence. But suddenly, like "the morning in the bright light," those
+far-away voices again sing--
+
+    "Noel! Noel! Noel!"
+
+
+
+
+Calve and "Carmen"
+
+[Illustration: EMMA CALVE.]
+
+
+
+
+CALVE AND "CARMEN"
+
+
+"Hear Calve in 'Carmen'--and die," is the motto which heralded this
+singer's first visit to America. Our curiosity was greatly aroused, for
+we thought we knew all about "Carmen." We clung to the traditions of our
+own Minnie Hauk who had created the role, and could imagine nothing
+better than a trim, dainty Carmen with high-heeled slippers, short
+skirts, and a Spanish mantilla.
+
+Great was our amazement on that memorable night in 1894 when we beheld
+for the first time a real cigarette girl of modern Spain. Here was a
+daring innovation that at once aroused attention and new interest in the
+opera. This Carmen wore high-heeled slippers, 'tis true, but somewhat
+worn down and scuffed, as they must be if she was in the habit of
+running over the cobblestones of Seville as she ran to the footlights
+on her first entrance. And her skirts, far from being well-setting and
+so short as to reveal shapely ankles and a suspicion of lace petticoats,
+were of that sloppy, half-short length, which even the street girls of
+London wear to-day. But most astounding of all departures was the
+absence of any sign of a mantilla! How could one be Spanish without a
+mantilla--any more than one could be Russian without fur! But this
+Carmen had an eye to color--she could hardly otherwise be a
+coquette--and in her hair at the nape of her neck was deftly tucked a
+large crimson flower. Her hair, however, was carelessly pinned, and even
+tumbled quite down later on--a stroke of realism which was added to by
+the way she coiled it up and jabbed it into place again. A strange
+performance to behold in a grand opera setting; and we might have
+resented such defiance of the code had we not been forced to admit that
+it was all absolutely correct, and this Carmen was more truly Spanish
+than any impersonation we had seen. Even her voice seemed tropical;
+such richness of tone, warmth, and color had never before been combined
+in the singing of Bizet's opera. Had Bizet only lived to this day he
+might have died happily, for Carmen, the child of his brain, found no
+favor with the public when first introduced.
+
+After the surprise of Madame Calve's costume and then of her voice, New
+Yorkers awoke to the fact that Carmen had never before been acted. This
+performance was a revelation, a character study of a creature who
+recklessly holds that it is _right_ to get all the pleasure you can, and
+_wrong_ not to have what you want.
+
+It was the evening after one of these great Carmen performances when a
+knock at the prima-donna's door elicited the Parisian response--"Entrez."
+Mme. Calve's salon was brilliantly lighted and richly furnished, but it
+seemed only a sombre setting to the singer's radiant self. Not that she
+was gaudily gowned; on the contrary, her dress was simple, but her
+personality, her smile, her animation, are a constant delight and
+surprise.
+
+Mme. Calve is thoroughly French, and thoroughly handsome, and appears
+even younger off the stage than on. She is tall and of splendid figure;
+her complexion is fresh and clear, with an interesting tinge of olive,
+and her eyes are black as her hair, which was arranged very pompadour.
+
+Mme. Calve seated herself with a half-serious, half-amused expression,
+as tho to recite a lesson, and announced that she was ready and willing
+to answer "toutes les questions que vous voulez." This seemed a golden
+opportunity to learn all there is to know about singing. It stands to
+reason that the most direct and easy method of acquiring this art is
+simply to ask one of the greatest singers of the day how she does it.
+Some one found out how to play the piano by asking Rubinstein, who
+said--"All you have to do is to select the right keys and strike them at
+the right time."
+
+So, with this idea in view, Mme. Calve was asked first what she thinks
+of when she steps before the public--her voice, her acting, or the
+music?
+
+"I think of Carmen," she answered, "if that is the opera. I try to _be
+Carmen_--that is all."
+
+When asked if she practices her voice much during the day, Mme. Calve
+shook her head.
+
+"No--not now. You see, I must have mercy on my poor voice and save it
+for the evenings when I sing. Formerly, of course, I practiced every
+day, but never more than an hour with full voice. Yes, an hour at one
+time, once a day, that is all. But I studied much besides. At first I
+wanted to be an actress, and for this purpose gave much time to dramatic
+art. My mother was a fine musician; she is the one who urged me to
+sing."
+
+"What did you practice when you first began with the voice?--single
+tones?"
+
+Mme. Calve looked thoughtful--she could hardly recall, until a friend
+who was present suggested--"it was rather intervals and arpeggios, n'est
+ce pas?" then the great Carmen quickly nodded.
+
+"Yes--you are right; intervals at first, and not until later on,
+sustained tones. I do not consider single sustained tones good for the
+beginner."
+
+In reply to a question about breathing, she answered:
+
+"Oh, yes; all singers must practice special exercises for the breath.
+What else did I do? Well, I hardly remember. I never had any trouble
+with my throat or my tongue,--no, I never thought much of these."
+
+She was then asked, by way of suggestion:
+
+"Did you ever _hum_ in your practice?"
+
+Now her face lighted up.
+
+"Yes," she replied, all animation, "and, do you know, that is splendid!
+I do it a great deal even yet, especially for the high tones like
+this"----, and there and then, without moving a muscle, like a conjurer
+materializing a flock of birds, she showered upon us a bevy of
+humming-tones. They were soft, of course, but clear and perfect as tho
+made with full voice, and you wanted to wrap each one in cotton and take
+it home. But--they were gone!--and the singer went on speaking.
+
+"With Mme. Marchese I used to hum a great deal. Yes, it is an excellent
+practice, for it brings the tone forward right here," and she touched
+the bridge of her nose.
+
+Mme. Calve is so genial and vivacious in conversation that you are led
+to forget her position and wonderful attainments. But now and then it
+flashes over you that this is the woman whose manifold art has
+astonished two continents; a singer who makes any role she undertakes so
+distinctly her own that other singers hardly dispute her right to
+monopolize it. Not only is her "Carmen" a creation; Ophelia, too, she
+has imbued with new interest, introducing many startling voice and
+breath effects. Throughout all the mad scene she calls into use an
+"eerie-tone" that is fearful in its pathos and terror.
+
+"I love that role!" she exclaimed, as the subject came up. "The mad
+scene! Ah, it is superb."
+
+Even in Faust, the very Ancient of Days among operas, Mme. Calve has
+surprised us with original touches, altho it is a work that every
+musician of any description has performed in some way or other. The
+pianist flourishes with the waltz, or a general fantasia of the opera on
+every and all occasions. The organist delights in the church-scene
+music, while the violinist rhapsodizes with the love duo or a potpourri
+of all the arias. Concert sopranos never cease to exploit the
+Jewel-song, while the contralto's audience never tires of the famous
+Flower-song. "O Sancta Medaglia" is dear to the heart of the barytone,
+and the tenor has a choice of beautiful solos from the first act to the
+last. Bass singers can find nothing better as a medium for gaining
+public favor than Mephisto's song to the "God of Gold." Even flutist and
+clarinetist resort to "Faust," the Imperishable, when they want
+something sure to please. And last, but not least, the cornet:--ask any
+soloist on this instrument what piece he has played most often, and, I
+warrant you, he will answer, "My Faust fantaisie!" The opera singer who
+does not have in her scrap-book some account of her performance as
+Marguerite can hardly count herself a prima-donna. No other opera is so
+essentially a piece of common property as is this Gounod's "Faust."
+
+So much the more is Mme. Calve's achievement to be wondered at. A very
+stroke of genius is the dropping of Marguerite's prayer-book in the
+excitement of her first meeting with Faust, so symbolical is it of his
+effect on her life. This is more than realism--it is poetry. Again, in
+the spinning-song, she creates an exquisite effect by disentangling a
+knot in the thread on her wheel and at the same time slowing up with her
+song and diminishing it until the wheel turns again and she resumes the
+tempo.
+
+When asked how she ever thinks of these innovations, especially the one
+of inserting ecstatic little laughs in the Jewel-song, she smiled
+prettily and shrugged her shoulders.
+
+"It just comes to me in the acting--I don't know how. But I never change
+the music."
+
+She wished it impressed that, whatever her innovations, she maintains a
+reverence for all of the composer's work.
+
+There is something about Mme. Calve that makes you feel in her presence
+the subtle influence of a large heart and a grand soul. In her own land
+she is famed not only for her singing, but also for her great
+generosity.
+
+
+
+
+"Carmen"
+
+
+
+
+"CARMEN"
+
+
+Every one likes "Carmen." Its popularity has been ascribed to the fact
+that "the action explains itself to the eye." One might also add that
+the music explains itself to the ear, for the themes are all unfurled
+and displayed like so many banners. In choosing Merimee's novel for a
+libretto, Bizet recognized the growing demand for dramatic plots with
+rapid action--a demand which has since evolved such one-hour tragedies
+as "Cavalleria Rusticana" and "I Pagliacci." Aside from the stirring
+romance and fascinating music, "Carmen" also presents very delightful
+stage-pictures. The suburbs of Seville form an interesting setting, and
+the characters all require brilliant costumes. A bull-fighter, two
+smugglers, three gypsies, cigarette girls, and soldiers--not a plain
+individual among them!
+
+Before meeting these unusual personages we are presented with a letter
+of introduction from Bizet, which, because it is written in musical
+notation, the orchestra kindly interprets to us. We herein learn that
+these people take their pleasures, loves, and hates at a breakneck pace.
+There is a feverish excitement about the whole prelude; but at the end
+we hear a tragic minor motif of passion and pain that sends a chill to
+the heart. It is the Carmen-theme--Carmen herself.
+
+A gay plaza in Seville is the first scene of action. At one side is the
+guard-house, near which are a number of soldiers who mingle and converse
+with the other strollers and promenaders. A gossiping, good-natured
+chorus about the square and the people is the opening number. This
+pleasing melody, in spite of its simplicity, has strange intervals and a
+restless tempo that are thoroughly Spanish. A young peasant girl soon
+enters, rather timidly. It is Michaela, the high soprano role, which
+because of its two fine arias is often taken by a great artist, altho
+the part is a subordinate one. It has frequently been sung by Madame
+Eames. Michaela inquires for a brigadier called Don Jose. An officer
+politely informs her that Don Jose belongs to the next guard, which will
+soon arrive. With a musical phrase of dainty and condescending gallantry
+he invites her to tarry with them. Michaela declines the invitation, and
+uses the same musical setting for her own words. With the announcement
+that she will return after a while she escapes from their entreaties.
+The chorus is resumed, and the walking and talking go on as before. Soon
+the fifes and drums of the relief guard are heard in the distance. The
+soldiers in front shoulder arms and stand in file as the approaching
+company appears, followed by a lot of street gamins who keep step and
+sing to the music. This is so lively and inspiriting that we would march
+and sing too if we dared. There is a satisfying quantity of this
+"ta-ta-ta-ra" music. After marching to the foreground the new guards
+change place with the old, who are then led away with the same
+contingent of music and street boys. The soldiers and people at last
+disperse, leaving Don Jose and a superior officer, Zuniga, conversing
+together. The latter points to a large building, which he says is the
+cigarette factory, where are employed many pretty girls. Don Jose
+professes to care little for these, and we soon learn that he loves
+Michaela.
+
+The factory bell now rings, and a crowd of young men and boys at once
+fill the square in eager anticipation of seeing the cigar girls. Jose
+sits down near the guard-house and busies himself with a little chain he
+is mending. The tenors sing a short pianissimo chorus about these
+dark-eyed girls, whom they always court and follow. It closes with a
+drooping, yearning ritardando that quite prepares us for the next
+languishing measures. The factory girls enter, with cigarettes in their
+mouths and a nonchalant manner that is delightful. Between puffs of
+smoke they sing a slumbrous refrain that suggests the effect of
+nicotine. The lingering legato melody seems to rise softly and rest in
+the air until it passes away in tones so faint that Bizet has marked
+them four times pianissimo.
+
+The young men now accost the girls, and soon inquire for Carmen. "Where
+is Carmen?" That tragic cry which ended the prelude is heard again in
+the orchestra, but so disguised by rapid tempo as to be scarcely
+recognizable, and with this theme Carmen rushes upon the scene.
+
+Black-eyed, pearly-teethed Carmen, with cheeks like the red acacia
+flowers at her throat, and her whole appearance like a splash of
+sunshine!
+
+The youths clamor about her and inquire collectively when she will love
+them. Carmen bestows regardlessly some of her dangerous laughing
+glances, and then sings her great song, the "Habenera," so called
+because of its rhythm, which is like a Spanish dance. But no mazy,
+undulating dance could be so fascinating as this song about "Love, the
+child of Bohemia." The compass of its ravishing melody is within a
+single octave. The notes cling lovingly together, for the intervals are
+mostly half-tones; and, indeed, as Carmen sings them each one seems like
+a kiss or a caress. The theme is first given in the minor, and then
+softly taken up by the chorus in the major--an effect as surprising and
+delightful as a sudden breeze on a sultry night. The accompaniment is
+like the soft picking of mandolins, and all things combine to represent
+the warm luxuriance of Spain.
+
+During the song Carmen has perceived Don Jose, who continues his work
+and gives her no attention whatever, which is a new experience for this
+spoiled and petted cigarette girl. She purposely becomes more personal
+in her song, and ends with the audacious words, "if you love me not and
+I love you--beware!" With a sudden dash of impertinent coquetry she
+flings a flower at Don Jose, and then rushes off the stage amid peals
+of laughter from the others, who follow. The young soldier, thus left
+alone, finds himself troubled with mingled feelings of resentment at the
+girl's impudence and admiration for her beauty. He puts the flower in
+his coat, but at once forgets the whole incident as he sees Michaela,
+whom he joyously welcomes.
+
+She has come to town for a day, and she brings a letter from his mother,
+also some money, and still something else, which she hesitates over, but
+finally delivers as it was given her--a kiss from his mother. There is
+nothing of the coquette about Michaela, and her songs are all
+straightforward, simple airs that win by their very artlessness. Her
+message is sung with harp accompaniment, and the harmonies are pure and
+clear. Then follows a duet about the mother and home in the village, and
+the tenderness of this music reveals that Don Jose is a loving and
+devoted son. When the duet is ended Michaela leaves Jose to read his
+letter. Music as peaceful as village church bells comes from the
+orchestra while the young soldier reads. He touches the letter to his
+lips and is prepared to obey his mother, especially in the matter of
+wedding the pretty Michaela.
+
+His thoughts are interrupted by a wild scream from the factory and
+sounds of disputing voices. A number of girls rush from the building,
+all talking at once, and they fairly besiege Zuniga with explanations of
+what has happened. There was a quarrel and Carmen struck another
+girl--some say she did, and some say she didn't. Don Jose, in the mean
+time, has gone into the factory and brings out the struggling Carmen. He
+tells his superior officer about the affair, which ended in one girl's
+being wounded by "this one." Carmen tosses her head, and when the
+officer asks what she has to say in defense she looks into his face and
+sings "la-la-la-la!" Her impertinence would be almost repellent were it
+not that her voice is "like the wooing wind," and even her "la-la-la" is
+bewitching. Further questioning only elicits the same response, and the
+officer angrily declares she may finish her song in prison. He orders
+Don Jose to fetter her hands and keep watch while he goes to make out
+the order of imprisonment. While all are gone a most interesting scene
+occurs between the prisoner and her keeper. The latter ties her hands,
+and says he must take her soon to prison, as his superior has ordered.
+Carmen, in her present attitude of charming helplessness, announces with
+sweetest tones that Don Jose will help her, in spite of the orders,
+because "I know you love me!" This is too much. When Jose recovers from
+his astonishment at her audacity he commands her to sit still and not
+speak to him--"not another word." Carmen nods her head in saucy
+obedience, and talks no more; she only sings! Sings of "an inn near the
+ramparts of Sevilla" where she will go to dance the Seguidilla. The song
+is in the rhythm of that dance, and its sinuous melody is handled by
+Carmen like a toy. She composes words to suit the occasion: "My heart
+is free and willing to love whoever loves me."
+
+Don Jose, who has been trying to ignore her, but without success, tells
+her again to stop. She looks up with a grieved expression and her
+prettiest smile, and says she is not talking, only singing to herself
+and thinking; he surely cannot forbid her thinking! So she goes on
+thinking aloud about a "certain officer, who is not captain, nor even
+lieutenant--he is only a brigadier; but still he is great enough to win
+the heart of Carmen." Such words, music, glances, and smiles are more
+than Don Jose can resist, and it is not long before he succumbs to her
+witchery. He unties her hands and asks desperately, "Carmen, Carmen, do
+you mean it?" And for answer she softly sings to him that rapturous song
+of the Seguidilla.
+
+[Illustration: Copyright by Aime Dupont, N. Y.
+
+Calve as Carmen.]
+
+The orchestra now starts up a lively repetition of the last chattering
+chorus, and with it the superior officer, Zuniga, reenters. He hands
+Jose the order and bids him lead the prisoner to her destination.
+Carmen holds her hands back, as tho still fettered, and she tells Jose
+in an undertone to let her push him as they march off, and during the
+commotion thus aroused she will escape. Then she turns to Zuniga, and
+with the greatest effrontery favors him with a fragment of the
+"Habenera" song, to which refrain she marches away with apparent
+docility. The whole group of cigarette girls and young men follow after.
+Just as they are turning to the bridge, Carmen escapes as she has
+planned. She throws back the rope from her hands and runs off laughing.
+It is fun for all but Don Jose, who for this neglect of duty is himself
+escorted to prison.
+
+Bizet has preceded every act with an orchestral introduction called the
+_entr'acte_, which presents some important theme or portrays the
+character of the scene. Thus before the curtain rises on the second act
+we become familiar with a new and happy melody, which we later on
+recognize and welcome. After the _entr'acte_ the stringed instruments,
+with a touch of the triangle and tambourine, hold the supremacy as they
+breathe forth faint, weird harmonies that flit about like moving
+shadows. The scene presents an interior view of the inn "near the
+ramparts of Sevilla."
+
+It is evening, and amid the glow of soft lights Carmen and her gypsy
+friends are entertaining some officers with their dancing. She further
+enlivens the scene by singing a Bohemian song, whose liquid phrases fall
+upon the air like the soft splashing of a fountain.
+
+After the song and dance it is time for the inn to close, but at this
+moment shouts and hurrahs are heard from without. It is a torchlight
+procession in honor of Escamillo, the bull-fighter, who presently enters
+amid general acclamations. He wears a gorgeous costume, and sings a
+rousing song about the exciting life of a toreador. This baritone aria
+is the most famous of the many popular numbers which comprise this
+opera. Its strongly accented rhythm and pulsating theme immediately
+suggest the blaze of lights and blare of trumpets which belong to the
+arena.
+
+Escamillo soon perceives Carmen, and as quickly falls in love. She
+dismisses him with a coquettish remark that might mean much or little,
+and then all depart excepting Carmen and her two gypsy friends,
+Frasquita and Mercedes. These are soon joined by their comrades, the two
+smugglers, who softly tell of a new enterprise which will require the
+"ladies' assistance." Frasquita and Mercedes consent to leave at once.
+Then follows an exquisite quintet, sung with tempo prestissimo and tones
+pianissimo. Carmen suddenly astounds them with the assertion that she
+can not go, and gives as her reason that she is awaiting Don Jose, who
+to-day is released after two months' imprisonment, and further adds that
+she loves him. They take this at first as a joke; but finding her
+determined, they suggest that she induce Jose to join them. She says
+she will try, and the rest hurry out as they hear the young soldier
+approaching.
+
+He is singing a gay barrack song, and thus comes to Carmen with his
+heart in his voice and soul in his eyes. She welcomes him impulsively,
+and ere long she sings and dances for his amusement. Her song is but an
+accompaniment to the dance--a low, crooning melody without words which
+resembles the contented purring of a magnificent feline as she glides
+and sways with a splendid grace around the infatuated Jose. A bugle-call
+is heard in the distance, a summons the soldier must obey, and he stops
+Carmen in the midst of her dance. She thinks he is joking and commences
+again; but when she actually realizes that he is going to leave her,
+that he finds it _possible_ to leave, a perfect whirlwind succeeds the
+sirocco. She throws him his cap and sword, and bids him go forever if
+such is his love. Poor Don Jose remonstrates, but she will not listen
+until at last he forces her to hear how real and true is his love for
+her. He draws from his coat the little flower she threw at him two
+months ago, and he tells how, during all his days in prison, it was his
+dearest treasure. This music is more like the song of a pilgrim at a
+sacred shrine than a song of love, it is so simple and sincere. Its
+tenderness seems to reach even the heart of Carmen, for she now turns
+and with entreating looks and wooing tones she coaxes him to go with her
+and lead the free life of a bandit.
+
+The accompaniment is like the distant prancing of wild horses and the
+melody like the forest wind, low as a whisper, but sweeping before it
+all the fluttering doubts of a weak conscience. It is desertion,
+disgrace, dishonor, that Carmen asks of him, and Jose recoils. He is
+just on the point of refusing when a knock at the door is heard and
+Zuniga enters. He is himself in love with Carmen, and has presumed thus
+to return after the others have gone, in hopes of finding her alone. On
+discovering the presence of Don Jose he is angry and orders him away;
+but Jose's jealousy is also aroused and he firmly refuses to obey. A
+duel would ensue did not Carmen quickly call her friends. They seize
+Zuniga, and to avoid being denounced must keep him prisoner until they
+have made sure their escape. Carmen turns to Jose and asks once more if
+he will be one of them. As there is now no alternative, he consents,
+whereupon Carmen with light steps and light heart rushes to his arms
+like a sunbeam, dispelling for the moment all clouds of memory and
+doubt. The free, fearless measures of her mountain song are heard again
+as all sing about the gypsies' life of liberty. They all go off as the
+curtain falls.
+
+The next _entr'acte_ is sometimes called the intermezzo, for it divides
+the opera--the comedy from the tragedy--and it contains the first
+premonition of sorrow. As the curtain rises we hear a stealthy,
+shivering theme that well characterizes the scene before us--a wild,
+picturesque ravine, which is the smugglers' retreat. Some gypsies are
+reclining on the rocks; others soon enter, and sing a quite enticing
+chorus about the dangers and pleasures of their profession. Two leaders
+of the band then go off to reconnoiter, while the others rest. Don Jose
+is seen standing on one of the rocks, and when Carmen rather moodily
+inquires his thoughts he tells her of his mother in the village, who
+still believes him to be an honest man. Carmen coldly advises him to go
+back to her. Quick as thought-suggestion the orchestra recalls the
+tragic motif which we had almost forgotten. It causes us to feel with
+Jose the sting of Carmen's words.
+
+Our attention is now directed to Frasquita and Mercedes, who are seated
+on a bale of goods and trying their fortunes. A light staccato
+accompaniment sustains their still lighter song. The dainty measures are
+flung up like bubbles, reflecting the gay colors of the cards, which
+chance to be all diamonds and hearts. Carmen also tries her luck, but
+only the dark cards fall to her--death, always death; and to the
+superstitious gyspy this is like a knell. Again that tragic, mournful
+theme, like the extended hand of fate, feels its way slowly but surely
+through the orchestra, and then Carmen sings a meditative, melancholy
+refrain about the cards whose "decrees are never false." The music is in
+a low key, as tho kept under and depressed by her despair, and it
+touches our sympathy to see the sunny, frivolous Carmen for once
+thoughtful.
+
+The two smugglers presently return and report that three coast-guards
+intercept the way. The girls promise to entertain and divert these while
+the men make off with the booty. To the strains of a rollicking chorus
+they all go out, after stationing Don Jose as watch on one of the
+highest rocks. At this moment Michaela, with a guide, comes timidly
+forward. She has dared to follow the smugglers to this retreat for the
+purpose of seeing Jose and begging him to return. She has tried to be
+brave, but her heart now trembles, and this fact she confesses in her
+beautiful and best aria, "Je dis que rien" ("I say that nothing shall
+terrify me"). As she begs Heaven to strengthen her courage, the soft
+arpeggios of the instruments seem to rise like incense and carry her
+sweet prayer with them. She presently perceives Jose in the distance and
+tries to attract his attention, but he is watching another intruder--on
+whom he now fires. Michaela hides herself in terror as Escamillo enters
+and philosophically studies the newly made bullet-hole in his cap. Don
+Jose also comes down to interrogate this visitor. The toreador
+good-naturedly informs him that he has fallen in love with a gypsy girl,
+Carmen, and comes to find her. He also adds, "It is known that a young
+soldier recently deserted his post for her, but she no longer loves
+him." Jealousy seems but a feeble word to describe the feelings of Don
+Jose on hearing this. He quickly reveals his identity and challenges the
+toreador. After a short duet, which contains chromatic crescendos of
+blind fury for the tenor and insolent intervals for the baritone, they
+fight. Carmen, for the second time, averts a duel by her timely
+entrance. She calls for help, and the whole troupe of gypsies rush in.
+They separate the rivals and order them to suspend their quarrel, as all
+is now arranged for the journey. Before bidding farewell Escamillo
+invites all to his next bull-fight in Seville. "Whoever loves me will
+come,"--this with a tender look to Carmen that maddens Jose.
+
+Escamillo goes off and the others also start, but they suddenly discover
+Michaela in her hiding-place and bring her forward. She is frightened
+and rushes to Jose for protection, begging him to go home with her.
+Carmen cruelly seconds this entreaty, and then Jose turns upon her:
+"Take care, Carmen!" The words are menacing, but not so the music. Jose
+suffers more than he hates, and, instead of the rising tones of anger,
+the harmonies which struggle upward are continually repulsed as they
+reach the top, like a wild bird that beats its wings against prison
+bars. When Michaela finally tells him that his mother is dying, Don Jose
+consents to go. He calls out to Carmen, "We shall meet again!" She pays
+little heed to his words, but a glad smile lights her features as she
+hears in the distance the song of the toreador. And with this melody the
+act ends.
+
+The final scene represents the gates of the arena where occurs the great
+bull-fight, and the preceding _entr'acte_ is like the flaming
+advertisement of a circus, exciting and enthusing from first to last.
+The opening chorus is sung by venders who throng the square and cry
+their wares. After this the arena music announces the entrance of the
+performers. They come in on horseback, and amid enthusiastic greetings
+from the crowd ride into the arena. Escamillo, the hero of the hour,
+enters with Carmen at his ride. The public cry, "Vive, Escamilla!" and
+burst into a vociferous singing of the "Toreador Song." Carmen is
+radiant as the dawn, and the bull-fighter wears colors and spangles
+that quite eclipse any soldier's uniform. Before he enters the ring they
+sing a love-duet that displays more depth of feeling than we should
+expect from a Zingara.
+
+When the toreador has gone and the arena gates are closed, Mercedes and
+Frasquita anxiously inform Carmen that Don Jose has been seen in the
+crowd, and they urge her to leave; but she declares she is not afraid of
+Jose or any one. They leave her alone, and presently the rejected lover
+appears before her. But not in anger or to avenge does Don Jose present
+himself. He is too utterly dejected and broken-hearted for that. He
+comes only to entreat and plead for her love. Before he speaks we are
+warned by the ever-terrible death-theme, which has hung over the whole
+opera like a suspended sword, that the end is near. But Don Jose does
+not know this. Neither does Carmen, else perhaps she would not so
+ruthlessly spurn him when he begs her to go with him and begin a new
+life. When he piteously asks if she no longer loves him, her answer is a
+decisive "Non; je ne t'aime plus." But words have lost their sting for
+poor Jose. In a minor melody, that seems to cry out for pity, he says he
+loves her still. He offers to remain a bandit--anything, all things! And
+then the pathetic minor melody breaks into the major as he desperately
+adds: "Only, Carmen, do not leave me!" At this moment a fanfare and
+applause are heard in the arena, which cause Carmen's face to glow with
+pleasure as she thinks of Escamillo. She tries to rush past Don Jose
+into the amphitheater, but he intercepts her and forces her to confess
+that she loves this man whom they applaud. Once again the gay fanfare is
+heard, and Carmen tries to pass.
+
+It is now that the tragic motif takes possession of the orchestra and
+dominates all else. Fearful and appalling sound those five notes which
+form the theme as they are repeated in various keys. In a frenzy of
+anguish Don Jose asks Carmen for the last time to go with him. She
+refuses, and then, as the toreador's song of triumph announces his
+success, Jose stabs the beautiful gypsy, who falls at his feet like a
+crushed butterfly. The gates of the arena are thrown open and its
+glittering pageant comes forth, while Jose, with insane grief, calls
+out, "I have killed her--Carmen--whom I adored!"
+
+There is no climax more thrilling on the lyric stage than this death of
+Carmen.
+
+
+
+
+"Hamlet"
+
+
+
+
+"HAMLET"
+
+
+Of all Shakespeare's plays, Hamlet is the most difficult to surround
+with music and adapt for the lyric stage. It is more scholastic than
+dramatic, and for this reason composers have passed it by with the
+single exception of Ambroise Thomas. His accomplishment certainly
+deserves more commendation than was bestowed by an irate critic who
+said: "There are four weary, dreary acts before you come to the music."
+This assertion is correct in one way, for the opera is indeed
+long--quite too long; but there is, nevertheless, much that is beautiful
+in those four acts preceding the mad scene. But even were this not the
+case, that last scene is so exquisite that it would atone for any amount
+of previous ennui.
+
+Thomas has given his principal role to the baritone, which seems an
+innovation. Whenever a lower voice has been honored with the leading
+role in a grand opera the reason is found in the character, as the
+jovial Barber of Seville, the deformed Rigoletto, the accursed Flying
+Dutchman; but the tenor has always held undisputed possession of the
+lover's part. It takes us some little time to become reconciled to this
+baritone-voiced young prince. But we finally realize that he is less a
+lover than a philosopher, which probably explains why Thomas turned from
+the tenor.
+
+The opera opens with a short and somber prelude that closely resembles
+the later introduction to the ghost-scene. It is therefore more
+descriptive of the melancholy Dane than of the first act, which is
+brilliant throughout. The curtain rises upon a state hall in the palace,
+where have been celebrated the wedding and coronation of Claudius and
+Gertrude, brother and widow of the late king. A sturdy march that is
+quite Danish in character accompanies the grand entrance of the king and
+queen. That music can express a nationality is clearly evinced by this
+march, which possesses a rugged, North-sea atmosphere that differs from
+all others. The first aria is given by the king, who eulogizes his
+new-made wife, "our sometime sister, now our queen." After this bass
+solo with its pleasing rhythm and satisfying cadences the queen inquires
+for her son Hamlet, who is not among the revelers. But her anxieties are
+drowned by the festive music that recommences and continues until the
+entire court have made their exit.
+
+The music now changes to a meditative, minor mood, which announces the
+entrance of Hamlet. He shares no joy on this occasion of his mother's
+wedding, and his first words are a short recitative about "frailty, thy
+name is woman."
+
+His soliloquy is followed by a phrase in the orchestra--a timid,
+questioning sort of introduction which before the opera is over we learn
+to associate with the gentle Ophelia. She enters and addresses Hamlet,
+her betrothed, with an anxious inquiry about his intended departure from
+Denmark. On learning from his own lips that the report is true, she asks
+why he leaves, and begins to doubt his love. There is a daintiness and a
+delicacy to all of Ophelia's music; and in this short melody, so
+admirably blended with the accompaniment, there is a wooing charm that
+diverts even Hamlet from his grief. He clasps her hands, and with
+thrilling fervor bids her--
+
+    "Doubt that the stars are fire.
+       Doubt that the sun doth move,
+     Doubt Truth to be a liar,
+       But never doubt I love."
+
+This is the great theme of the opera, the center-stone of the musical
+crown that the French composer has given to Shakespeare's Hamlet. Its
+love-laden melody would carry conviction to a less trusting heart than
+Ophelia's. She receives it like truth from heaven. Its memory lingers
+ever, and even in her after madness, when the words have no meaning, we
+hear them again "like sweet bells jangled out of tune." There follows a
+duet based upon Hamlet's vow. The soprano voice occasionally runs up in
+some happy little roulades which seem like the outburst of joy which can
+not confine itself to the prescribed theme. However long the whole
+opera, we certainly could not spare a note from the love-duet; it ends
+only too soon.
+
+Ophelia's brother, Laertes, comes in. He is a soldier, and has just
+received a commission which requires his speedy departure; so he sings a
+farewell to his sister and bids Hamlet be as a brother to her in case he
+never returns. This first and only cavatina of Laertes is well worth a
+good artist. It is melodious and pleasing, even when compared to the
+previous duet. As he finishes, gay music is heard from the inner hall.
+Ophelia asks Hamlet to join the festivities, but he declines and retires
+sorrowfully as some pages and young officers enter. They sing a unique
+and merry chorus without accompaniment, which is interrupted by the
+entrance of Horatio and Marcellus, who inquire for Hamlet. They declare
+they have seen the ghost of the late king, and seek to apprise Hamlet of
+the fact. The merry-makers laugh and call it a delusion; but the two
+friends continue their search for the young prince. The dance music is
+resumed, and so fascinating and emphatic is its rhythm that our pulses
+throb in tempo long after the curtain descends.
+
+The second act represents the esplanade outside of the castle. It is a
+chilly moonlight night--a sharp contrast to the beam of lights from
+within and the blare of dance music which ever and anon reaches our
+ears. But the prelude which opens the act is thoroughly descriptive of
+the scene before us. It has deep, rumbling tremolos and chilling
+chromatic crescendos, with here and there a moaning, wo-weighted theme
+that is piteous to hear. There is much singing without orchestra and
+much orchestra without singing in this scene of the esplanade, which
+accounts for the charge against it of being "rather thin ghost music."
+Horatio and Marcellus are the first to enter. They are soon joined by
+Hamlet, to whom they recount the strange visitation of the previous
+night. As they wait and watch for the specter to reappear, a gay fanfare
+from the palace jars upon the stillness. Strains of the wedding-march
+are heard, and there seems abundant reason for the dead king to rise
+from his grave! Hamlet utters expletives over the mockery of such gaiety
+within, while "here is the shadow of mourning." His words are
+accompanied by an oft-repeated minor phrase of four notes which is
+stealthy and fearful. This ghost-theme alternates with a single
+monotonous tone that represents the twelve strokes of a clock. Hamlet
+hushes his singing; there is a soft, eerie tremolo of the violins; the
+pale moonlight falls upon the castle's turreted towers. Marcellus and
+Horatio speak in whispers, when suddenly the orchestra gives a great
+crash of brass and cymbals that makes your blood freeze. The phantom
+has appeared. Now follows the incantation, so called because Hamlet
+conjures the spirit to speak to him. This music is based entirely upon
+the four-note ghost theme, which is elaborated and carried by the
+orchestra through many forms. At last the specter speaks, and in a deep
+monotone informs Hamlet how he was murdered by the present King. His own
+brother stole his life, his wife, and his throne. He bids Hamlet avenge
+this terrible crime, and then disappears. Hamlet cries out in a theme
+large and grand, "Farewell to fame, love, and happiness!" Revenge shall
+hereafter be the aim of his life.
+
+The peaceful love-music greets our ears as we look upon the next scene,
+which reveals the gardens of the palace. The superb theme of Hamlet's
+vow rings out in clear, untroubled octaves as the fair Ophelia comes
+forward with a book in her hand. She is trying to read, but thoughts of
+Hamlet constantly intrude themselves. "He has not touched my hand for
+quite two days, and seems to avoid my presence." She again turns to her
+book and reads aloud. Ophelia reads very beautifully. Thomas has with
+music conveyed the impression of enunciating words from a book. We would
+know she was reading even if the book were not visible nor the words
+audible, and yet it is not by means of a monotone that this idea is
+conveyed. It is a simple song melody, and the effect is probably due to
+the rhythm rather than the intervals. After reading one stanza, Hamlet's
+vow--that theme so deep and true--is again heard, and the hero himself
+comes thoughtfully upon the scene. He is in the background, but Ophelia
+has seen him, and she quickly makes a pretense of reading. She listens
+for every step as he draws nearer, and believes he will speak. He sees
+her and at first comes forward, but then remembers that he has foresworn
+love; and thinking she has not seen him, he quietly retires. Poor
+Ophelia throws down her book in wildest grief, and a song of despair
+springs from her heart. "Vows have wings and they fly with the dawn;
+the day which gives them birth also sees them die." Every note is like a
+tear, and the harmonies are plaintive and pitiful.
+
+The queen presently enters and is grieved to find Ophelia weeping. The
+latter explains that Hamlet no longer loves her, and she begs permission
+to leave the court; but the queen puts other ideas in her head. She says
+that Hamlet has also acted strangely toward her, and she believes his
+mind is affected. For this reason she asks Ophelia to remain, and hopes
+her presence may restore him. This first song of the queen, who must
+have a mezzo-soprano voice of dramatic quality, combines dignity and
+pathos. Its mood does not contrast, but harmonizes with the previous
+aria. Ophelia accepts the queen's advice, and then goes off as the king
+enters. He confers with his wife about Hamlet's alarming behavior, but
+their conversation is interrupted by the prince himself, who greets them
+moodily and assumes more vagaries than he feels. He is constantly
+seeking to entrap the king into some sign or remark which will verify
+the ghost's charge of murder. He has therefore planned to have a play
+enacted which shall depict the king's crime. His invitation to this
+theatrical entertainment is welcomed by the unsuspecting king and queen,
+who are delighted that he thus seeks diversion. As they go off, Hamlet
+exclaims tragically, "Patience, my father, patience!" and the orchestra
+reveals to us thoughts of revenge, for we hear again that ponderous and
+melancholy theme which ended the ghost scene.
+
+Hamlet is now joined by the actors whom he has engaged for the play.
+They sing a characteristic chorus about their several talents, and then
+Hamlet explains to them the plot they are to enact--how a king whom he
+calls Gonzago shall be poisoned by his brother, who afterward places the
+crown on his own head and marries the widow. After this preliminary,
+Hamlet calls for wine and bids the players make merry. He sings to them
+a drinking-song of dazzling exuberance.
+
+It is strange how universally successful operatic composers are in the
+matter of drinking-songs. You can name off-hand more popular _chansons
+Bacchic_ than any other one style of aria. There are various well-known
+serenades and prayers and spinning-songs, but of drinking-songs there
+are any number. "Lucrezia Borgia," "Rigoletto," "Traviata," "Huguenots,"
+"Cavalleria Rusticana,"--their drinking-songs are heard every day on the
+hand-organs in the street. And so in "Hamlet" its drinking-song is one
+of the most celebrated numbers of the opera. Its bubbling rhythm and
+hilarious melody are continued even after the song is ended and the
+curtain descends. It lingers like the effect of wine.
+
+Act III. is the play scene. There is a small stage erected at one side
+of the spacious palace hall, and opposite this is a throne for the king
+and queen. The orchestra carries everything before it with the rousing
+Danish march which accompanies the ceremonious entrance of the entire
+court. This composition ranks with the drinking-song in popularity. When
+all are assembled, Hamlet places himself in a position to watch the
+king, and as the mimic play proceeds he explains the action, which is
+all in pantomime. The orchestral descriptive music of this play within a
+play is beautiful and interesting. As in Ophelia's reading, the simple
+melody and hesitating rhythm again convey the impression of something
+inserted, something apart from the real action of the play. Hamlet
+becomes more and more excited as the play goes on, for he sees
+unmistakable signs of uneasiness in the king's expression; and when at
+last the mimic murderer pours poison into the ear of his sleeping
+victim, the king rises in anger and orders the players away. Hamlet in a
+delirium of vengeful joy cries out the king's guilt. He pushes his way
+through the surrounding courtiers, and with unbridled fury accuses the
+murderer. He is sustained by a perfect tidal wave of chords from the
+orchestra, which dash and beat and break, but only harm the good ship
+they bear instead of the rock they attack. The people regard Hamlet's
+charge as an outburst of madness, and he presently lends credence to
+this belief by singing with wild hilarity the drinking-song of the
+previous act. The following strong and seething chorus of dismay is
+again interrupted at the very end by Hamlet's mad song--
+
+    "Life is short and death is near;
+     We'll sing and drink while yet we may."
+
+With a wild mocking laugh he falls into Horatio's arms as the king and
+court withdraw.
+
+The great feature of the fourth act is the scene between Hamlet and his
+mother, but there is much besides. The scene represents the queen's
+apartment in the palace, and the first number is Hamlet's soliloquy. He
+blames himself and deems it cowardice that he did not strike the king
+dead when he had the opportunity. Then follows the musical arrangement
+of "To be or not to be," a speech so unsuited to music that Thomas has
+cut it down to a few lines. Hamlet presently sees the king approaching,
+and he conceals himself behind a curtain with the intention of attacking
+him. But the king thinks himself alone, and in agony of mind he kneels
+on the prie-dieu and prays. It is an impressive composition, this prayer
+with its cathedral harmonies and blending accompaniment. Hamlet glides
+softly toward the door, for he can not kill even his father's murderer
+at prayer. The king, who has heard the footsteps, cries out in terror,
+for he fancies it was the ghost of his brother. Polonius, the father of
+Ophelia, quickly enters and reassures the king. They walk out arm in
+arm, and from their few words it is gleaned that Polonius was an
+accomplice to the crime. Hamlet hears them, and is horrified to learn
+this fact about Ophelia's father. At this moment the queen and Ophelia
+enter, and the former announces to Hamlet that it is her wish as well
+as the king's that his marriage shall take place at once. The prince
+blankly refuses to obey in spite of the queen's urging; but his heart
+endures a struggle when the poor Ophelia sings of her grief and returns
+to him his ring. The sweet minor strain in her song implies a sad
+resignation that is more touching than intense lamentation. She goes out
+weeping. The queen then turns to Hamlet and upbraids him for his
+faithlessness. She presently recurs to the terrible scene at the play,
+and utters the famous words, "Thou hast thy father much offended."
+
+The scene which follows demands great dramatic ability of the queen, as
+well as vocal strength. After a sharp and active recitative dialog, in
+which Hamlet announces himself as her judge and no longer her son, she
+sings a fine entreaty that the tenderness of the son may mitigate the
+severity of the judge. It is a strong and powerful theme, but Hamlet is
+obdurate. He contrasts the late king with the present one in words and
+tones that make his mother cower. She again pleads for mercy and
+forgiveness, and finally falls in a swoon as the stage is darkened and
+the ghost appears. Hamlet trembles before this admonisher. The music of
+the incantation is again heard, and the phantom bids Hamlet spare his
+mother, but "fail not to avenge." As the ghost disappears the
+instruments are weighted with that great and gloomy theme of revenge
+which seems to descend and enwrap the whole scene like a dark, heavy
+mist. The queen awakens; but there is little more seen or heard before
+the curtain falls.
+
+Act V. is known as the Mad Scene, one of the most beautiful, most ideal,
+and most difficult creations ever put upon the lyric stage. It is seldom
+performed, merely because there are few artists who can adequately
+render its astonishing music. There are other mad scenes in existence.
+The one from "Lucia di Lammermoor" is very celebrated, but its music no
+more expresses the vagaries of madness than does any other florid aria.
+Of course, lavish colorature seems appropriate and is considered
+imperative; but Donizetti's florid fancies are mere plumes and flounces
+draped upon a melody, whereas with Thomas these form the texture of the
+theme. The French composer well knows the worth of his mad music, and he
+has taken pains to present it most advantageously. You are not ushered
+at once from the grim and gruesome harmonies of the last act to this
+wealth of inspiration, but are first entertained by a ballet of
+shepherds and shepherdesses. During this dance we become accustomed to
+the beautiful rural landscape, the gentle stream at the back and the
+drooping willows. We are also brought under the spell of a different
+kind of music; these pastoral ballet motifs are very charming. They are
+light and fantastic, but at the same time suggest a midsummer peace and
+tranquillity.
+
+At last the dainty dance is ended, and then the rustic group perceive a
+strange figure approaching--a beautiful maid, with her flowing hair
+adorned with bits of straw and wild flowers. Her white dress is torn,
+and her bare arms carry a straggling bunch of flowers which she plays
+with and caresses. That exquisite inquiring little introduction which we
+heard in the first act again announces the entrance of Ophelia. She
+glances a moment at the pretty peasants, and then, with intuitive
+politeness, asks permission to join in their sport. There is a subtle
+pathos about this first little phrase, which is sung without
+accompaniment, and is simple as a child's question. She goes on to tell
+them how she left the palace at dawn and no one has followed. "The tears
+of night were still on the ground and the lark poured forth its morning
+song." A perfect bird-throat warble of trills and fluttering staccatos
+follows this memory of the lark. But her thoughts are varied, and she
+suddenly turns and asks: "Why do you whisper to each other? Don't you
+know me? Hamlet is my betrothed, and I--I am Ophelia." Then she tells
+them, in tones that rest upon the accompaniment like lilies on a lake,
+how Hamlet vowed always to love her and that she has given him her heart
+in exchange. "If any one should tell you that he will leave and forget
+me, do not believe it. Believe nothing they tell you, for Hamlet is my
+betrothed, and I--I am Ophelia." But in spite of this assertion of
+Hamlet's faith, there is throughout all the music a ring of perpetual
+pain. She clasps her hand to her head with terror, and exclaims: "If he
+were false I think I should lose my reason!"
+
+[Illustration: Copyright by Aime Dupont, N. Y.
+
+Calve as Ophelia in "Hamlet."]
+
+The flowers again hold her attention, and she plays with them as the
+orchestra commences a ravishing waltz theme. She at first pays little
+heed to the music, but its gay melody at last drifts to her soul and
+finds immediate expression. The difficult phrases fall from her lips
+like petals from a flower. Gleeful chromatics and happy trills are also
+thrown in, and we would soon forget it was the sad Ophelia did she not
+suddenly tire of this extravagant virtuosity. She turns to the
+shepherds and bids them harken to the song she will sing. Then follows a
+ballad whose moaning, minor harmonies sound like a sighing breeze. It is
+about the sirens beneath the water who lure men to its glassy depths.
+The wearied, worried mind of the mad girl now revels in a wild, merry
+laugh, which is as quickly followed by passionate sobs; but she finally
+remembers to finish her song about the siren. This strange, sad melody
+possesses a weird charm that is irresistible. Again she breaks into
+hilarious laughter and uncontrolled weeping. Grief without hope and joy
+without memory alternate in rapid succession. The music of this portion
+defies description. It is a perfect conflagration of impossible
+staccatos and scales. With one last sweeping chromatic run, that rushes
+like the whistling wind from low D to high E, Ophelia kneels down with
+her flowers and thinks only of them. The peasants retire from the scene,
+and the orchestra take up fragments of the waltz.
+
+They play for some moments, while Ophelia contentedly rearranges her
+bouquet. But presently a wonderful change comes over the music. We hear
+only the string instruments and flute, and soon these, too, are hushed,
+while out of the air a magical song arises. It is the siren's ballad,
+faint as a vision but with full harmonies. Thomas has produced this
+effect of dream-music by having the chorus sing behind the scenes with
+closed mouth. This soft humming of a hidden chorus well resembles the
+buried voices of water-nymphs. Ophelia at once recognizes the song, and
+she is drawn by the music toward the stream, where she hopes to see the
+sirens. All unconscious, she pushes her way through the rushes and reeds
+on the bank. The chorus has ceased, and only the tender, liquid tones of
+the harp now fill the air. Ophelia steps too far and soon falls into the
+"weeping brook." Her dress bears her up for a time, and we hear her
+sweetly singing as she floats down the stream. It is no longer the
+ballad or the gay waltz, but quite another theme to which her memory now
+clings. It is Hamlet's glorious vow--
+
+    "Doubt that the sun doth move.
+       Doubt truth to be a liar,
+     But never doubt I love."
+
+Ophelia ends her song with a lingering high note of such silvery beauty
+that it seems like a far-away star in the dark night of death.
+
+
+
+
+A Talk with Lillian Nordica
+
+[Illustration: Copyright by Aime Dupont, N. Y.
+
+LILLIAN NORDICA.]
+
+
+
+
+A TALK WITH LILLIAN NORDICA
+
+
+It was during one of Patti's farewell seasons at the old Academy of
+Music that a young American girl, by the name of Lillian Norton, first
+appeared as a prima donna. She made a success, but not a sensation, for
+she had not then the halo of a European glory, and people were in those
+days too intent on the passing star to note any rising one.
+
+But later on, when she Italianized her name, they applauded the same
+voice more loudly, tho their attention was still more directed to the
+foreign artists who appeared every year.
+
+The American girl all this time never relaxed her determination, but
+kept on working with a will, learning roles there was no prospect of
+using, and studying all things in her line. At last she was engaged by
+the Metropolitan Opera Company; but her name was not printed at the top
+of the list, and she was not held out as the magnet to fill the house on
+the opening night. In the end, tho, she sang oftener than any of the
+other sopranos, for when they were indisposed she it was that always
+came forward. _There was never a role she could not sing, and never a
+time she was not ready._
+
+The dormant appreciation of her countrymen became at last thoroughly
+aroused. Since then her success has swept onward with unabating force.
+The following season in New York the enthusiasm she inspired was so
+great that one large club of opera-goers presented her with a diamond
+tiara, and the people that year had to stand in line when buying seats
+to hear Madame Lillian Nordica.
+
+The Waldorf-Astoria, where she lives when in New York, is quite a
+contrast to the humble New England home in Farmington, Me., where she
+was born. This hotel is a city in itself, and the visitor who inquires
+for some distinguished resident is conducted personally along the marble
+avenues and carpeted byways and through the beautiful "palm-garden." The
+door of Madame Nordica's apartment was opened by a white-capped maid,
+who seated the caller and then left the room. It was the day of a
+blizzard, and from this sixth-floor elevation the snow-storm without was
+of superb fury. It battered against the window as tho maddened by the
+sight within of the prima donna's cosy parlor, of the shaded electric
+lights, the wide-open grand piano, and the numerous long-stemmed roses,
+in various tall jars, fragrant and peaceful as a summer's day. Through
+the silken draperies of a doorway could be heard the sound of voices, of
+occasional laughter, and then--a scale, a trill, and a soft high note.
+It was an exquisite grand-opera effect with the whistling storm by way
+of orchestral accompaniment.
+
+Soon the curtains were parted and Madame Nordica entered--a woman of
+regal height and figure, but with manners thoroughly American and
+democratic.
+
+"Do you mean to say you came through all this storm to see me! You are
+certainly very brave." These were her first words; then she drew up a
+comfortable chair, and added: "Well, it's just the sort of day to talk
+and take things easy."
+
+Madame Nordica's tones convey even more than her words, for her voice is
+noticeably beautiful in conversation. It is fascinating in its variety,
+its softness, and its purity. Her face is also very expressive, as well
+as beautiful, with a complexion remarkably fine, teeth of absolute
+perfection, and thoughtful blue eyes set well apart.
+
+She wore a house-gown of pale, clinging blue silk, and, with the
+exception of her wedding ring, had on no jewelry.
+
+She told first of her birthplace and home.
+
+"I was the sixth girl, and I think my parents were rather tired out by
+the time I came. I wasn't even baptized!" Then she talked of her work.
+
+"I studied first in Boston, and sang there in church; but I made my
+concert debut here in New York with Gilmore at the old Madison Square
+Garden. He took me with him afterward to Europe. When I returned to
+America I sang in all the Italian operas, especially Verdi's."
+
+Madame Nordica still holds to-day a supreme place as a singer of the
+Italian school, altho her greatest fame has been won in the Wagner
+roles.
+
+When asked if she had ever met Verdi, the singer replied in the
+affirmative.
+
+"I met him in Italy, but only once. I was much better acquainted with
+Gounod, and also the modern composers, Leoncavallo, Mascagni, etc., but
+now I devote my chief time to Wagner."
+
+This led to inquiries about Madame Cosima Wagner.
+
+"Ah, I lived right with her for three months, and it was a great
+privilege for me. Her husband's music is to her like her very eyes. She
+taught me the German and helped me in every way. 'Lohengrin' had never
+been sung in Baireuth, and I was to create there the role of Elsa."
+
+A remarkable honor this was, indeed: to be the first Elsa in Wagner's
+own temple, under the guidance of his own wife, with the grave of the
+great composer fairly in sight, and memories of the "Mad King" on all
+sides--the king whose ears were deaf to the functions of state, but open
+to the art of heaven.
+
+"It was a great opportunity for me, but I sometimes thought I would have
+to give it up. Oh! I have been so discouraged! I have wept _barrels of
+tears_!"
+
+This is a kind message for the great singer to send to the many
+struggling aspirants who may to-day be working under discouragement.
+
+Madame Nordica insists that "work is everything. The voice is but the
+material; it is the stone from which the cathedral is built."
+
+After her great success in Baireuth, the American prima donna sang Elsa
+in New York.
+
+"But I had to sing again in Italian, for the rest of the company had not
+learned the German. It was through my efforts that they have since
+studied these roles in the original, and we now sing all the Wagner
+operas in German."
+
+It was a great musical event when Jean de Reszke and Madame Nordica
+appeared as Tristan and Isolde. This love-tragedy done in music is
+perhaps the most profound of all operas. It is somber with sorrow
+throughout; even the great love-duet in the second act is too intense
+and grand in its motifs ever to be called happy. It is not the joyous
+emotion of youth, but the fervor of maturity, where life itself is
+staked for a mighty love. This second act is a wondrous musical scene.
+It is in the moonlit gardens of the Cornish castle where Tristan and
+Isolde meet clandestinely, while Bragaende, the faithful attendant,
+keeps watch in the tower above. She is not seen, but the calm sustained
+tones of her watch-tower song soar out in contrast to the intense
+love-music like a beacon-light on a turbulent sea.
+
+Another very popular role of Madame Nordica's, tho altogether different
+in style, is Valentine in "The Huguenots." Her sustained and crescendoed
+high C in the third act of this opera is worth a long journey to hear.
+Madame Fursch-Madi in years agone used to sing this role very grandly,
+but she was plain of feature; whereas with Madame Nordica her Valentine
+is so beautiful to behold that the audience is aroused to greatest
+sympathy with the hero's struggle between love and duty.
+
+"Our art is so very legitimate," Madame Nordica thoughtfully remarked.
+"The painter or the writer can take advice, can be assisted, and has
+time to consider his work; but we must face the music alone, at the
+point of the bayonet as it were, for every tone must come at the right
+moment and on the right pitch. The actress has neither of these
+requirements to meet. It is very trying, also, to sing one night in
+German and the next time in some other language. Indeed, every
+performance is a creation. No wonder we are so insistent on the
+applause. A painter or writer can say to himself, if his work is not at
+first well received, 'Just wait till I am dead!' But our fate and fame
+are decided on the spot."
+
+Madame Nordica grew enthusiastic as she talked, and her face was all
+animation.
+
+"It is easy to criticize us, but hard for an outsider to appreciate the
+difficulties of our art. No one is in a place he does not deserve--at
+least not for any length of time. And I believe, too, that no one lacks
+for opportunity. When people say, So-and-so has a beautiful voice, and
+ought to be on the Metropolitan stage, just inquire what that person can
+do. Very likely she only knows one language, and probably can not sing a
+single act of one opera straight through. Why should she be on the
+Metropolitan stage? A girl came to me not long ago who had been singing
+with some English opera company. She had a beautiful voice and said she
+could sing everything, which I found to be true. I asked why she did not
+go to Mr. Grau, and she replied, quite disheartened, that he would do
+nothing for her. Then I asked, 'Are you ready for _anything_? I feel
+quite sure he could use you now as the page in "Romeo and Juliet."' 'Oh,
+I wouldn't sing a secondary role!' she quickly exclaimed. Now that girl
+makes a great mistake. To sing well one beautiful aria on the same stage
+with such artists as the two De Reszkes and Madame Melba would do her
+more good than to sing the first roles in a poor company."
+
+Madame Nordica spoke very earnestly as she related this story of a lost
+opportunity, which so plainly points its own moral. Another incident she
+told gives the reverse side of the same idea:
+
+"I remember one day some singers were discussing another member of their
+company, and claiming that he did not deserve his high position; but I
+protested, and said: 'Just consider what that man can do. He knows
+every language, has a fine stage presence, a good voice, and can sing
+every role in the repertoire. Now where will you get another to fill his
+place?'
+
+"Our art to-day is very different from what it used to be. People wonder
+who will replace Patti or some other retiring singer; but if one should
+appear who adequately filled the vacant place, we would at once hear
+people saying, 'She only sings coloratura roles and nothing but
+Italian!' No, the great artist to-day is the one who has mastered all,
+who does the work of three in former years, and not one who shines forth
+temporarily in a few special roles."
+
+Madame Nordica can certainly speak with authority on this point, for she
+is one whom we may truly say has "mastered all." Her repertoire is
+astonishing in its scope and variety; and when we consider that out of
+eighty-seven million people, which is our present population, including
+the colonies, she is the only one to-day who sings the three
+"Bruenhildes" of Wagner and also his "Isolde," we can then better
+appreciate Madame Nordica's achievement. It needs a very great mind to
+grasp and portray these Wagnerian creations. Bruenhilde, the war goddess,
+must be both tender and heroic--as it were, divinely human. No composer
+but Wagner could have imparted these qualities; but he was himself a
+sort of musical Jove, who wielded the scale like a thunderbolt. If any
+one doubt this, let him hear and behold the wonderful "Ride of the
+Walkuere," those five war maidens, daughters of Wotan, who chase through
+the clouds on their armored steeds, and call one another in tones
+unearthly, to an accompaniment of whizzing strings, and clanging brass,
+and a torrent of intricate chords. The music depicts the fierce clash of
+the elements, the war gods in battle, the clamor of shields, and the
+furious dash of wild horses. Above it all there rings out on the air the
+weird, far-reaching cry of Bruenhilde, the leader of the Walkuere
+maidens, and her call is repeated from the East, from the West, from the
+uttermost mountain-peaks, by her sister spirits, who are sometimes
+hidden and sometimes revealed by the fast-rushing clouds, through which
+their steeds gallop and plunge.
+
+[Illustration: Copyright by Aime Dupont, N. Y.
+
+Nordica as Bruenhilde in "Siegfried."]
+
+Whoever can hear this wonder-work and not bow to Wagner's greatness is
+surely a musical degenerate.
+
+"My progress has not been by leaps and bounds," Madame Nordica presently
+announced; "it has been more tortoise-like; and I have sometimes seen
+others sweep past me with apparently little effort. But in the end
+justice comes around to all. What is it Mrs. Carter says in 'Zaza' about
+success? 'It comes from much misery.' Yes, there is very much of that.
+'And much work,'--ah, a _great deal_ of that. 'And a little luck,'--yes,
+a _very_ little of that; it is not good to have much luck."
+
+As I arose to go, Madame Nordica added with a smile: "You see I could
+talk on this subject all day. The sum of it is, success comes from
+steady daily work. You must work well in the morning, and then work some
+more in the afternoon--and it is well to practise between times too!"
+
+
+
+
+"Lohengrin"
+
+
+
+
+"LOHENGRIN"
+
+
+There seems a very magic about the name of Lohengrin--a mythical
+strength and beauty that at once characterize the whole opera. The fault
+is occasionally found that Wagner's operas are long and at times
+tedious; but this term is never applied to "Lohengrin." One is disarmed
+of this suspicion in the very first prelude. Ah, what a prelude is that!
+It is like the gradual drawing together from empty space all the music
+of the spheres. The two first measures are so pianissimo that we
+scarcely hear them, but the vague and far-away voices come slowly
+nearer. They mingle with each other and weave in and out, until there is
+a crescendo mighty and overpowering. We are now prepared for the
+legendary character of the opera; such music could not represent things
+earthly.
+
+The curtain rises upon a scene of medieval coloring. It is a woodland
+upon the banks of the Scheldt in the province of Brabant. A throne is
+erected on one side, and here the king of Germany is holding court. He
+is visiting this province of his realm to solicit aid in a coming war.
+After this fact is announced by the herald, the king arises and in
+stately phrases greets the people and explains more fully the object of
+his visit. He closes with the observation that it grieves him to find
+this province in a state of discord, and he requests Frederick of
+Telramund, an esteemed nobleman of Brabant, to recount the situation.
+
+Frederick, which is the baritone role, tells a strange and interesting
+story. The province is at present without any ducal ruler, owing to the
+recent mysterious disappearance of the young heir. He was last seen in
+company with his sister Elsa. The two were walking in the forest, but
+she returned alone and declared she had lost her brother. Frederick now
+charges Elsa with murder, and furthermore lays claim to the ducal
+throne in the name of himself and also his wife Ortrud, who bears some
+kinship to the late duke.
+
+On hearing this charge the king summons Elsa, who presently comes
+forward with bowed head and sorrowful mien. This must have been a
+thrilling moment at that first performance in Baireuth when Lillian
+Nordica stepped before the audience. It was not only Elsa challenging
+her accusers, but an American girl challenging German critics under the
+dome of their most hallowed shrine, with their own music and in their
+own language. But whatever a singer's emotions may be, she must give no
+evidence of them. It is wonderful how smoothly these great performances
+always run. Come what may, the play goes on.
+
+Elsa can say no more in her behalf than has already been given; but when
+urged by the king to speak freely all that is on her heart, she tells of
+a wonderful vision which came in her hour of distress. An armored
+knight, more grand than any she had seen, appeared to her and promised
+to be her deliverer and champion. This dream-song of Elsa's is like a
+musical apparition, so ethereal and spirituelle; but one must not seek
+for these wonderful beauties in the voice-part alone. With Wagner the
+orchestra is never a mere accompaniment, but more often the principal
+part. A theme is sometimes begun in the orchestra and finished by the
+voice, or it may be altogether with the instruments. Wagner handles the
+voice like a noble metal which can be fashioned into useful vessels to
+carry and convey the emotions, in contrast to the Italian composers, who
+look upon the voice as a jewel to be displayed and admired for its own
+sake.
+
+To return to Elsa's song. It should be understood from the first that
+each theme in the opera expresses some emotion or idea which is
+consistently adhered to throughout. For instance, when Elsa describes
+the knight in her dream, there is heard in the orchestra a few bars of
+the Lohengrin--or swan-song, a theme which is constantly revealing
+itself in this great kaleidoscope of sound whenever the hero appears or
+is mentioned. Again, when she speaks of his glittering armor, the
+splendid warlike motif which asserts itself is the same one that is
+worked up in the crescendo preceding Lohengrin's arrival.
+
+After this strange recital of Elsa's, Frederick still maintains his
+charge against her, and states as her motive for the crime that she
+hoped to gain the throne. The king decides to settle the question by
+single combat. Frederick must defend himself against whomever may come
+forward as Elsa's champion. This custom is according to the ancient
+belief that "might is right," and that Heaven itself is the awarder of
+victory and defeat. The herald of the king announces, with a
+trumpet-call, the impending combat, and bids "him who will fight for
+Elsa of Brabant to come forth at once." The call dies away, but no one
+presents himself as her defender, and it appears as tho Heaven already
+indicates which side is right. Elsa piteously begs them to call again.
+Her wish is granted, and once more the cry rings forth. She falls on her
+knees, and in tones that vibrate with intense despair prays Heaven to
+send her the hero of her dream. "Elsa's prayer" and "Elsa's dream" are
+two of the most beautiful soprano solos in the opera. The prayer is
+short, but it accomplishes a thrilling crescendo. The final climax is
+such a passionate outcry that we are not surprised to see an immediate
+answer granted.
+
+Wagner is a master of crescendos, and he now commences one for the
+chorus which is truly wonderful in effect. Instead of starting all the
+voices pianissimo, or even part of the chorus, he starts with a single
+voice. One man has perceived a knight floating down the river in a boat
+drawn by a swan. He whispers it to his neighbor, who in turn says,
+"Look!" and then another and another in quick succession join in
+exclamations, until all are singing of the strange sight. They rush to
+the bank, and still the wonder grows. The knight of the swan draws
+nearer, the orchestra crashes out its stupendous theme, the sopranos
+ring out above everything, and the whole chorus seems to have doubled
+its capacity. It is a greeting worthy of the subject, who is Lohengrin
+himself.
+
+No wonder the people subside and look at him with awe as he steps upon
+the bank. He is clad in shining silver, with a helmet, shield, and
+sword. His face is fair and his hair is blonde. Before noticing the
+people, he turns to the swan and sings it a farewell. This song is only
+two lines long, and for the most part without accompaniment. It is
+apparently simple, and differs little from the form of a recitative, and
+yet so rare and strange is this melody that it portrays the legendary
+character of the opera more than any other phrase. It seems as tho
+Lohengrin is still singing in the mystical language and music of that
+other world from which he has come. Every one knows this song by its
+German name, "Mein lieber Schwan," and it is so much admired and so
+famous that it is actually paraphrased. A man must be great indeed to be
+caricatured; how much more is this true of classical music!
+
+Lohengrin soon comes forward and bows before the king, after which he
+announces that he has been sent as champion "for a noble maid who is
+falsely accused." But before entering the combat he speaks to Elsa, who
+has previously offered to bestow her hand and heart upon whomever would
+fight for her. She now reiterates this vow most gladly, and also makes
+another promise which the strange knight requests--she must never ask
+from whence he came, nor what his name. Lest there be any
+misunderstanding, he repeats the impressive phrase in a higher key, and
+Elsa again promises. This short theme is most important. It might be
+described as the dark motif. It is the one most often heard when Ortrud
+and Frederick do their evil plotting, for it is by means of this
+interdiction of Lohengrin's that they eventually succeed in
+accomplishing Elsa's unhappiness.
+
+When the two combatants face each other and all is ready, the herald
+again comes forward and solemnly proclaims the rules governing such
+contests. They are interesting to note: "No one shall interfere with the
+fight under penalty of losing his head or his hand;" and furthermore, no
+sorcery or witchcraft shall be exerted, for Heaven alone must decide who
+is right. After this preliminary the king arises and prays for the just
+judgment of Heaven to show clearly which side is true and which is
+false. Wagner always favored the bass voice when possible, and so he has
+given to the king this splendid and impressive composition, with its
+rich, full chords and stirring rhythm. The chorus takes up the prayer
+and finishes it with inspiring breadth and grandeur. The king strikes
+upon his shield three times and the battle begins. It does not last
+long, for Frederick is soon disarmed and thrown down by Lohengrin, who,
+however, spares his life.
+
+The victory has proven Elsa's innocence and Frederick's falsehood. The
+latter is disgraced utterly, while Lohengrin is regarded as Heaven's
+favorite. Elsa sings forth her joy and gratitude in melodic phrases
+which would need no words. The music of Elsa and Lohengrin is like the
+music of day--it is so clear, so lucid and full of melody in contrast to
+the rugged, weird, and gloomy themes of Ortrud and Frederick.
+
+The great chorus of victory is the last number of this act. It brings in
+with Wagner's inimitable modulations the martial theme of the previous
+chorus and also Elsa's song of praise. All excepting Ortrud and
+Frederick look happy and join in the singing right heartily as the
+curtain descends.
+
+The second act comprises Ortrud's great scene. This role may be sung by
+a contralto, but is better adapted to a mezzo-soprano. Ortrud is often
+called the operatic Lady Macbeth. She is not only as wicked and
+ambitious as Shakespeare's heroine, but is also a sorceress of no mean
+ability, for it is she who made away with Elsa's brother; but this fact
+is not revealed until the last act. She also exerted her power upon
+Frederick with such effect that he believed her to be a prophetess. He
+was sincere in his accusation against Elsa, for Ortrud told him she had
+witnessed the crime herself. But he is now awakened to her wickedness,
+and the scene opens with his maledictions against her and his abject
+wretchedness over his own disgrace. The two are seated upon the church
+steps facing the palace, where jubilant preparations are going on for
+the wedding of Elsa and Lohengrin, which will take place at dawn. It is
+yet night, and the music is deep and ominous. The dark motif and a new
+one which seems to represent Ortrud are the musical heart and soul of
+this scene. They stalk about the orchestra like restless phantoms, and
+are heard in all sorts of keys and instruments. After Frederick's great
+harangue against his wife and fate and everything, she calmly inquires
+the cause of his anger. She declares that she never deceived him, and
+that the recent combat was unfairly influenced by Lohengrin's sorcery.
+Such is her power over Frederick that he again believes and listens to
+her plans. She explains how Lohengrin may yet be robbed of his power and
+Frederick's honor vindicated. Elsa must be induced to ask the hero his
+name, or he must be wounded, be it ever so slightly. Either of these
+methods will annihilate his power. This remarkable scene closes with a
+duet about revenge, which the two voices sing in unison--a point
+indicative of their renewed unity of purpose.
+
+The music now changes to harmonies that charm and soothe, and Elsa
+appears upon the balcony of her palace. The moonlight falls upon her as
+she clasps her hands in rapture and sings to the gentle zephyrs of her
+love. It is a song as peaceful as the night; and in contrast to the
+recent somber and spectral themes, it beams forth like a diamond against
+black velvet. This solo of Elsa's is one of the most difficult to sing
+because of its many sustained pianissimo tones. After the last sweet
+note has died away like a sigh, Ortrud, who is still seated on the steps
+beneath, calls to Elsa in a pleading voice. She appeals to the latter's
+sympathy by announcing herself as "that most unhappy woman, Ortrud,"
+wife to the disgraced Frederick. "We are cursed by God and man, and
+welcomed nowhere." Thus speaks the sorceress; and Elsa, in the goodness
+of her heart, takes pity and impulsively offers to receive the outcast.
+She retires from the balcony and presently opens the door below to
+welcome Ortrud, who in this short interim has sung some splendid phrases
+of gloating animosity. But she kneels like a humble slave before the
+unsuspecting Elsa, who invites her to the wedding and also promises to
+induce Lohengrin to pardon Frederick.
+
+As an expression of gratitude, Ortrud now offers to exert the power of
+prophecy for Elsa's benefit. Prophecy and sorcery are regarded in
+different lights: the latter is wicked and implies collusion with the
+evil one, while the "prophetic eye" is a gift to be coveted. Ortrud
+pretends to possess this power. She forewarns Elsa against too great
+confidence in her hero, and mysteriously hints that he may leave as
+suddenly as he came. These words are accompanied by the threatening dark
+motif, which hovers ever near like a lowering cloud. Elsa recoils at the
+thought--this first seed of suspicion,--but she soon smiles assuredly
+and sings to Ortrud a lovely song about "the faith and trust that knows
+no doubt." Wagner's words are as beautiful as his music, and in this
+composition they seem to mount upward on the "wings of song" like the
+spontaneous utterance of a pure heart. Elsa puts her arms gently about
+Ortrud and leads her into the palace. Frederick, who has kept in the
+background, watches them disappear, and the scene closes with his final
+descant on revenge.
+
+After his exit the orchestra has a solo, so to speak, while the stage is
+occupied in representing the dawn of day. Villagers stroll in one by
+one, garlands are hung in honor of the wedding, and the scene becomes
+constantly brighter and more active. The herald appears above the gates
+of the palace and makes three announcements in the name of the king:
+First, that Frederick of Telramund is banned and shall be befriended by
+no one; second, that the Heaven-favored stranger shall hereafter be
+called the guardian of Brabant; and, third, that this hero shall lead
+them soon to "victorious war." Then follows a chorus about the
+Heaven-sent guardian of Brabant, after which there is a momentary
+commotion caused by Frederick, who, in spite of the ban against him,
+comes forward and asserts that he will defy their much-lauded hero and
+will open their eyes to his duplicity.
+
+But this incident is forgotten in the gorgeous scene which now
+commences. The wedding-guests come slowly from the palace, and wend
+their way in stately procession toward the church. Their course is
+accompanied by a march of pontifical solemnity, which attains its
+grandest beauty when Elsa comes down the great stairway clad in robes of
+regal splendor. All voices join in praise for "Elsa of Brabant."
+
+[Illustration: Copyright by Aime Dupont, N. Y.
+
+Eames as Elsa in "Lohengrin."]
+
+The procession proceeds to the church; the music increases in strength,
+when suddenly there is a discord. Elsa is confronted at the church
+entrance by Ortrud, who fiercely declares she will no longer follow like
+an attendant; that she is the one to whom people should bow instead of
+Elsa, whose future lord comes of a land and family which he dare not
+tell! Elsa is dumbfounded by this sudden onslaught from the woman she
+has befriended. But Ortrud maintains her position, and actually defies
+Elsa to ask the hero his name. This attack is diverted by the
+ceremonious entrance of the king and Lohengrin, to whom Elsa hastens
+with her grievance. Ortrud is promptly ordered aside, and the
+procession resumes its march. But again the solemn cathedral music
+crashes into a discord. Frederick, the despised one, dares to rush
+before the king and bar the way as he begs them to harken to his words.
+There is great indignation over the interruption, but Frederick so
+intensely cries for justice that at last even the king listens as he
+charges Lohengrin with sorcery. He sustains the charge by demanding
+Lohengrin to tell his name, if he be an honest man; if he can not do
+this there must be some dark secret to hide. All turn to the hero
+expectantly, but he only defends himself by saying that he has proven
+his worth in mortal combat, according to ancient usage, and that he will
+not answer Frederick nor even the king--only Elsa shall be answered this
+question. He turns to her and finds her trembling with agitation. The
+orchestra tells us her thoughts, for we hear the Ortrud-theme and dark
+motif writhing in and out like venomous serpents. A murmuring sort of
+chorus about the strange secret which the hero so zealously guards is
+gradually resolved into a song of allegiance and belief. The king
+declares Frederick unworthy of consideration. But during the jubilant
+chorus which follows, that Miserable steals up to Elsa and casts his
+final poison-shaft. He tells her that if Lohengrin were once wounded,
+"merely pricked in the finger," he would then bestow upon her full
+confidence and never leave. Frederick further says he will "linger near
+the coming night," and when she calls will enter and commit the deed
+without harm to Lohengrin. Elsa spurns the tempter away, and Lohengrin,
+who perceives him at her side, bids him forever begone. But finding Elsa
+even more agitated than before, he asks in the presence of all if she
+wishes to be told his name. She remembers her vow, and in tones of
+exultation declares that love is greater than doubt. The magnificent
+march music is again resumed, and they enter the minster without further
+incident, excepting the defiant gaze of Ortrud as Elsa passes; and
+while the curtain descends we hear again, half hidden in the orchestra,
+the terrible dark motif.
+
+There is a brilliant orchestral introduction to the third act, which
+represents the marriage fete. Its tempo and rhythm are positively gay,
+tho this is an adjective seldom appropriate to Wagner. But the hilarity
+has subsided by the time the curtain rises: the trumpets and cymbals are
+hushed, and the gentlest of music greets our ears as we look upon the
+bridal chamber. The voices are at first distant, but gradually approach,
+and the effect of their song steals over us like a potent charm. It is
+the wedding-march--the "Lohengrin Wedding-March"! We all know the power
+of that music. There are some compositions which become absorbed, as it
+were, by the world like important inventions or discoveries. People
+require certain musical forms of expression as they do artificial light,
+and we pity those who did without this "Wedding-March," or Chopin's
+"Funeral March," or the Schubert "Serenade," as we pity our ancestors
+who made shift with tallow candles instead of incandescent lamps. The
+charm of the "Wedding-March" is not diminished because we know it so
+well. With Wagner as with Beethoven, every hearing reveals new beauties.
+When the chorus at last leaves Elsa and Lohengrin alone, we echo his
+first words: "The sweet song now is ended."
+
+But our regrets are quickly appeased by the delicious love-duet which
+follows. It is a scene of rapt delight--of happiness too great to last.
+Not in vain did we have the dark motif jangled in our ears when the
+curtain last descended; it meant trouble in the coming act, as we soon
+perceive. Elsa wishes she knew his name--just to speak it lovingly as he
+does hers. Then Lohengrin points to the open window through which the
+moonlight streams upon them, and he sings of the perfumed air which they
+enjoy without questioning its cause or source; thus, he says, should
+they love. The exquisite melody of this song seems to exhale from his
+heart like fragrance from a flower. It is redolent of tenderest love.
+
+The nobility and beauty of Lohengrin's character so impress themselves,
+that Elsa feels oppressed with her own unworthiness. She wishes she
+might do something heroic to prove her love. For instance, if he would
+confide to her his secret, she would guard it so faithfully that death
+itself could not wrest it from her! Very sweetly and beautifully does
+she coax for this token of trust on his part. Lohengrin replies most
+gently that he has trusted her already by believing that she would keep
+her vow. Then he says she little knows how much she is to him; that no
+earthly honor--not the king's kingdom--could replace what he has left.
+Only Elsa, his bride, can recompense the sacrifice; for not from night
+and grief does he come, but from a home of joy and pride.
+
+Like a flash does this remind Elsa of Ortrud's prophecy that he may
+leave her. The Ortrud-theme swoops down upon the orchestra and settles
+there like an ill-omened bird. The director's baton may send it away for
+a moment, but down it comes again, and the dark motif with it. Poor Elsa
+becomes almost frenzied. She believes Lohengrin will long for his
+beautiful home, which even now he can not forget. She sees in her mind's
+eye the swan-boat approaching to take him away. Lohengrin speaks
+reassuringly; but the spell is upon her, and nothing--nothing can give
+her peace but to know the truth. With mounting tones, the last one of
+which is like an outcry, she asks the fatal question. Lohengrin gives an
+exclamation of grief.
+
+At this moment the door is burst open by Frederick, who with drawn sword
+has come to wound the hero, or, more probably, to kill him. Elsa at once
+recognizes his intention, and frantically bids Lohengrin defend himself.
+With a single thrust he kills his would-be assassin.
+
+This intense and tragic climax is followed by a lull. Elsa has fallen
+half-swooning on the couch, and Lohengrin stands sorrowfully to one
+side. He at last exclaims slowly and sadly: "Now is our sweet joy fled;"
+and then we hear in the orchestra, faint and beautiful as a memory, that
+first love-duet. It is only a fragment, a fleeting thought, but so
+touching and pathetic that we could weep with Lohengrin for the harmony
+that is gone.
+
+The last act is short and almost entirely taken up by Lohengrin's story
+and farewell. The scenery is the same as in the first act, and the
+entire chorus of noblemen and soldiers again assemble before the king.
+They have not yet heard of the tragic event which ended the last act,
+and are therefore surprised when a bier is carried in and placed
+solemnly before them. It bears the body of Frederick. They are still
+more surprised when Elsa enters, pale and dejected, and then their hero,
+who appears equally sad. But surprise reaches its climax when they hear
+him announce that he can not be their leader.
+
+Lohengrin wastes no words. After the first assertion he informs them of
+Frederick's death; whereupon all voices declare his fate to be most
+just, and the body is removed. Lohengrin then announces that Elsa, his
+wife, has broken the vow which they all heard her make, and he has come
+before them to answer her question and dispel the mad suspicion which a
+wily tempter implanted in her heart. They shall all learn his name and
+heritage, and may then judge whether he was worthy of their trust. The
+people wonder with awe-hushed voices what revelation is in store, and
+then there floats in the orchestra the soft tremolo of the swan-music,
+as Lohengrin tells them of a distant land called Montsalvat, where is a
+radiant temple. And in this temple is guarded a sacred vessel which
+possesses wonder-powers. A dove descends from heaven once every year to
+renew its marvelous strength. This treasure-blessing is called the
+"Grail," and to its chosen votaries a matchless power is given. These
+knights of the Grail are sent abroad as champions of innocence and
+truth, and they may tarry so long as their name is unknown. But the
+Grail's blessing is too pure and holy to be regarded by common eyes, and
+if disclosed its champion must leave at once. Lohengrin adds that this
+penalty now falls on him, for he is a knight of the Grail: his father,
+great Parsifal, wears its crown, and "I am Lohengrin."
+
+As in the first prelude and swan-song, the harmonies of this last great
+recital seem not of earth but from another sphere; they linger and abide
+with us like a beautiful blessing. This silver-clad knight of the Grail
+has been singing of a hallowed mystery whose purity and spirituality are
+revealed more in the music than by the words. After bidding farewell to
+the hapless Elsa, from whom he must part in spite of her piteous
+appeals, there comes gliding upon the river the swan-boat. He sings a
+sad welcome to the swan, and then announces to Elsa that could he have
+remained one year, through the mercy of the Grail her brother would have
+returned. He hands her his sword and horn and ring to give this brother
+if ever he comes back. The sword and horn will impart strength and
+victory, and the ring shall remind him of "Lohengrin who loved Elsa and
+was her champion."
+
+A jarring interruption is now created by Ortrud, who cries out with
+reckless triumph that the swan who serves Lohengrin is the bewitched
+brother, and that Elsa has herself to thank for causing the hero's
+departure, which forever prevents the young Duke's return. On hearing
+this mocking invection from the sorceress, Lohengrin clasps his hands in
+a fervent prayer, which is at once answered. A dove descends from heaven
+and touches the swan, which is immediately changed into the young heir.
+He rushes forward to embrace his sister, while Lohengrin steps into the
+boat, which is drawn away by the dove. It floats silently down the
+beautiful river, and the hero stands sorrowfully leaning upon his silver
+shield. This is our last glimpse of Lohengrin, the Knight of the
+Grail.
+
+
+
+
+"Aida"
+
+
+
+
+"AIDA"
+
+
+Madame Nordica's "Aida" is an unsurpassed performance and always draws
+crowded houses, for the strange pathos of the music displays her
+wonderful voice to its fullest beauty.
+
+As in "Carmen" every measure scintillates with the sunshine of Spain, so
+in "Aida" every phrase seems shadowed by the mysteries of Egypt. A
+comparative study of these two operas will forcibly impress one with the
+power of music to express nationality. "Aida" carries one to a distant
+land and centuries back; but this power of breathing the musical life of
+ancient Egypt into the still form of a libretto is the culmination of
+modern art. Giuseppe Verdi, the greatest modern Italian composer, had
+written twenty-six operas before he wrote "Aida."
+
+A tender, wistful strain high up in the violins forms the opening of the
+prelude. With this first faint phrase the composer seems to awaken from
+her long sleep the muse of Egyptian music. Like the hero of fairy lore,
+Verdi, the prince of melody, has penetrated a realm of slumbering
+harmonies. They are at first subdued, dazed, and bewildered with themes
+mingled and woven together like exquisite cobwebs. The conductor's wand
+gently disperses these clinging meshes of sound, the curtain is lifted,
+and we are ushered into the musical life of an ancient civilization.
+
+We see a hall in the palace at Memphis, and Ramphis, the high priest,
+converses with Rhadames, a distinguished soldier. They talk of the
+impending war against Ethiopia, and it is intimated that Rhadames may be
+chosen to lead the Egyptians. But the words and song are of little
+interest compared to the orchestral accompaniment. This is somber and
+subdued; the notes are of equal length, and the intervals seem of
+geometric exactitude like the diagram of an astrologer.
+
+Ramphis goes out leaving Rhadames joyous over the prospect of becoming a
+general. He thinks of his beloved Aida, to whom he will return laden
+with laurels. "Celeste Aida!" is the title of this great romanza. Like
+all love-songs it is legato, andante, and pianissimo, but at the same
+time noticeably original and characteristic. The harmonies are
+constructed with rigid grandeur, but softened and beautified by a tender
+melody that rests upon them like moonlight on the pyramids. While he is
+lost in thoughts of Aida, the Princess Amneris enters. She inquires the
+cause of his radiant expression, and insinuatingly wonders if it is some
+dream of love. Rhadames only replies that he has hopes of martial
+honors, and is therefore happy. The Princess secretly loves Rhadames,
+and her questions are based on jealousy, which is revealed in the
+nervous, agitated theme that accompanies this duet. Her suspicions are
+further aroused by the entrance of Aida. As the heroine approaches we
+hear again the pensive theme that opened the prelude. It takes on a new
+and greater meaning, for Aida is a captive slave, an exile, and the
+music reminds us of some great longing that vainly strives to express
+itself. This effect is due to the fact that the musical cadence is left
+unresolved.
+
+Aida must have the dark complexion of the Ethiopian, and very few prima
+donnas look well under coffee-colored cosmetic; but Madame Nordica's
+appearance does not suffer from the application. This Aida is beautiful,
+and Rhadames can scarce conceal the joy of her presence. The captive
+also looks down to hide her emotion. But Amneris has detected every
+glance, and again that jealous theme sweeps like a flame over the
+orchestra.
+
+[Illustration: Copyright by Aime Dupont, N. Y.
+
+Nordica as Aida.]
+
+The princess addresses her slave by sisterly names, and asks the cause
+of her downcast looks. Aida says she grieves because of the war against
+her native land. There follows a trio wherein Amneris fosters her
+jealousy, while Aida and Rhadames tremble lest their secret be
+discovered.
+
+Sounds of martial music prelude the entrance of the king and his suite.
+When they are assembled a messenger comes forward to announce that the
+Ethiopians are marching toward Egypt's capital under the leadership of
+their king, Amonasro. Upon hearing this name Aida exclaims to herself,
+"My father!" and we thereby learn that she is a princess, but has
+concealed the fact from her captors. The Egyptians impulsively shout "To
+war!" and Rhadames is proclaimed their leader. They sing a war-hymn
+which is so inspiring that even Aida joins in this prayer for victory to
+Rhadames. After a grand climax all go out excepting the heroine.
+
+"Return victorious!" She repeats this last sweeping phrase, and shudders
+at the words, for success to Rhadames implies defeat to her father. This
+distressing thought agitates the music like the passing of a great ship
+over tranquil waters. The ensuing melody rises and falls like waves in
+the wake of a vessel. Aida realizes that she can not pray for either
+lover or father. "Was there ever a heart so oppressed!" Her song is like
+a wail, and the accompaniment introduces a pagan use of the monotone
+that gives startling effects. "Pieta, pieta!" are the final words of
+Aida's great solo.
+
+She goes off, and the scene changes to an interior view of the temple of
+Vulcan. It is a brilliant setting, with solid columns and golden
+statues, mysterious colored lights and fuming incense, priests and
+priestesses in glittering costumes; but the music of this
+consecration-scene reveals more barbaric splendor than the surroundings.
+The first sounds are the full, pulsating chords of a harp, and from an
+inner sanctum the grand priestess sings with rich soprano tones a weird
+refrain that is weighted with mystery. The priests in front answer in
+subdued, awe-hushed voices. Three times the wondrous song and answer
+are repeated, after which the priestesses perform a sacred dance around
+the altar. The music of this dreamy dance has the most astonishing
+progressions, but at the same time maintains an imposing solemnity.
+During the dance Rhadames is led to the altar, where a silver veil is
+placed over his head. Ramphis, the high priest, charges him with the
+welfare of the Egyptian army; and then follows a splendid prayer that
+Ramphis starts like a sacred fire. It reaches Rhadames, who sings in a
+higher key, and then it spreads and fills the great temple; bassos,
+tenors, soloists, and chorus take it up in turn and form one mighty
+rondo. Like a response from heaven comes the chant of the grand
+priestess from within. Her inspired refrain with its harp accompaniment
+alternates with the exalted prayer in front. This consecration-scene has
+little to do with the plot of the story, but it contains some of Verdi's
+finest music.
+
+Several months are supposed to elapse before the second act, which
+opens with a scene in the apartment of Amneris. Maids are robing the
+princess for a festive occasion, and we learn by their chorus that
+Rhadames will to-day return from victorious war. This scene is
+monopolized by the stringed instruments and female voices. A tropical
+indolence characterizes the choruses, with their abundant harp
+accompaniment. Amneris ever and anon breaks forth with an expansive
+theme expressing her unconquered love for Rhadames. To divert their
+mistress a group of Moorish slaves perform a lively, grotesque dance,
+for which Verdi has written music of intoxicating witchery. It is crisp
+as the snapping of fingers and uncivilized as the beating of bamboo
+reeds--a veritable savage revel that is nevertheless graceful and
+delicate. The chorus resume their dreamy praise of the hero, and Amneris
+continues her moody thoughts of love.
+
+Like an electric flash from a sultry sky does the entrance of Aida
+affect the musical atmosphere. At sight of the beautiful captive,
+Amneris again rages with jealousy, as is plainly indicated by the
+conflicting themes in the orchestra. With subtle devices the princess
+seeks to entrap her rival. She pretends a deep sympathy for Aida's grief
+over the vanquished Ethiopians, and adds that "Egypt also has cause to
+mourn, for our brave leader Rhadames is among the slain." This
+treacherous falsehood is foisted so suddenly that Aida loses caution and
+reveals her emotion. Amneris cries out in fury: "Tremble, slave! thy
+secret is discovered!" She informs Aida that Rhadames lives, and that
+she, Pharaoh's daughter, loves the hero and "will not brook the rivalry
+of a slave!" Amneris threatens death as the punishment for such
+audacious love. The proud captive stands for a moment in defiance; but
+realizing the futility of such action, she humbly pleads for pardon. In
+this song the composer admirably simulates a savage dearth of compass
+and harmony--an effect of crude simplicity that is charming and
+touching. The scene is interrupted by a song of victory from the
+streets, a signal for the festivities to begin. After commanding the
+Ethiopian to follow as a menial in the celebration, Amneris goes out.
+Aida closes the scene with the same prayer to Heaven "Pieta!" that ended
+the first act.
+
+A noisy march introduces the next scene, which represents a grand avenue
+in Egypt's capital. At the back of the stage is a triumphal arch and at
+one side a throne. The greater part of this act is spectacular, and
+after an opening chorus the orchestra has for some time entire charge of
+the music. The March from "Aida" is almost as popular as the Faust
+March. Its harmonies never swerve from the Egyptian type, being always
+stately and substantial as their architecture.
+
+While the brass instruments are playing with full force, we witness the
+ceremonial entrance of the court, with innumerable priests and soldiers,
+trumpeters, fan-bearers, standard-bearers, train-bearers, white slaves,
+black slaves, flower girls, and dancing girls. There follows an
+elaborate ballet divertissement, clothed in music of gay pattern and
+gaudy design, but light in substance. Five lines of continuous
+staccatos, like so many strings of beads, form the opening of this dance
+music. The salient points that impart an unmistakable Egyptian
+atmosphere to this composition are as follows: A savage repetition of
+every musical phrase, a wild predilection for the monotone, a limited
+variety of keys, and a preponderant accenting of the rhythm.
+
+After the dance more soldiers enter, some more slaves, more banners,
+chariots, and sacred images. A chorus of welcome to the conquering hero
+is struck up, and it increases in strength and grandeur with the
+pageantry on the stage. It is not merely the crescendo, but the glorious
+swing and rhythm of the melody that so inspires enthusiasm. When at last
+Rhadames is borne in on a golden palanquin, the climax is stupendous.
+With a final "Gloria!" shouted by every voice the hero comes forward to
+be embraced by the king. A group of Ethiopian prisoners are led forward,
+and Aida with a cry of joy recognizes her father. He has disguised
+himself as a common soldier, and does not wish it known that he is the
+defeated king Amonasro. Every one is interested in this reunion of Aida
+with her father, and the princess secretly rejoices to have them both in
+her power. Amonasro makes a noble plea for mercy, and his words are set
+to music that "droppeth as the gentle rain from heaven." It is like a
+tone-translation of Shakespeare's ode to the quality of mercy. Aida and
+the other captives lend their voices to the entreaty. Rhadames, who has
+been observing Aida but dare not address her, is moved by his love to
+ask for the prisoner's release. The king feels bound to grant the hero's
+request, but finally decides to retain Aida and her father as hostages
+of peace. As a final honor the king presents his daughter to Rhadames,
+and adds that by her side he shall some day reign over Egypt. The act
+closes with another grand ensemble. Amneris gloats over her rival's
+subjection, Rhadames longs for Aida but dare not oppose the king, and
+the heroine bemoans her fate. The priests, people, soldiers, and
+prisoners praise the king, the trumpets blare forth the Aida March, and
+the curtain descends.
+
+Act III. is the most beautiful both scenically and dramatically. It
+pictures the banks of the Nile at night. An illuminated temple is at one
+side, and we see the silvery river winding its way amid palms and rushes
+far into the distance. Not only is the landscape bathed in "softened
+light," but also the music imparts an unmistakable effect of moonlight.
+A faint violin pizzicato that vibrates but never changes position is
+maintained throughout the introduction, while the other instruments call
+up weird sounds of the night--the palm-trees rustling together and the
+plaintive cry of some river-bird--then all is still: only that
+fluttering moonbeam holds the senses.
+
+The silence is broken by a solemn chant from within the temple, and one
+soprano voice soars out alone in an incantation, mysterious and imposing
+as an oracle. A royal barge glides to the river's bank, and Amneris with
+her maids and the high priest Ramphis betake themselves to the temple,
+where the princess offers prayers for her coming marriage. The
+sphinx-like song of the grand priestess is again heard, and then every
+sound is hushed excepting the dreamy pizzicato movement in the violins
+that so resembles the flitting of moonbeams.
+
+Ere long the solitary tones of the Aida-theme arise from the stillness
+like a spirit of night. Never before have we realized the full beauty of
+this melody, for amid the blare and brightness of other harmonies it has
+been obscured like a sensitive flower. But here in the solitude and
+darkness it unfolds itself like some glorious night bloom. With cautious
+steps the heroine enters. Rhadames has told her to meet him, and Aida
+wonders what greeting he will have for her. If it is but to say
+farewell, then "Nilus, the mighty river, shall quiet forever the exile's
+grief." For the present she plunges into a flood of memory about her
+native land, a stream of words that gently flows through a forest of
+beautiful harmonies. It is a song of homesickness that soothes tho it
+saddens.
+
+While still under the spell of this music Aida is startled by the
+entrance of her father. He also sings of their distant home, but with an
+underlying purpose. He says they may yet return; that it is in her power
+to save Ethiopia, to regain her throne, her love, and to vanquish her
+rival Amneris. The father has been quick to detect the love between Aida
+and Rhadames. Amonasro announces that his people are prepared to renew
+their attack and that success is assured if they can learn by what path
+the Egyptians will march. He wishes his daughter to win, by fair means
+or false, this secret from Rhadames. Aida at first refuses to act this
+part of treachery, whereupon Amonasro chills her with his curse. He says
+she is no longer his daughter, "No longer princess of Ethiopia, but a
+slave of the Pharaohs!" The proud blood of the captive is aroused by
+this epithet. She entreats her father to recall his words, for "'Patria
+mia' ('my country') is more to me than my love. I will obey." The
+accompaniment presents an unvaried monotone in the treble, while beneath
+it there is a pathetic melody half hidden by the upper octaves like
+romance suppressed by duty. Amonasro conceals himself behind palm-trees
+as Rhadames approaches.
+
+Never has the joy of meeting been more admirably expressed in music than
+in Rhadames's greeting of Aida. It is a flight of song as spontaneous
+and free as the flight of a released bird. He tells her that he will not
+marry the princess, but must start at once on a second war; and if this
+time victorious he will tell the king of his love and will claim Aida
+as the reward of his valor. It is a brave plan, but she quickly
+discovers the weak point. The nervous, inflammatory theme of jealousy
+that accompanied Amneris in the first act again arises like a hot breath
+from the orchestra. Aida well knows that the princess would wreak
+vengeance "like the lightning of heaven." There is only one course that
+will unite the lovers, and this is to fly--"Fugire!"--to fair Ethiopia,
+Aida's native land. She coaxes and entreats in phrases of delirious,
+dream-like beauty descriptive of that wondrous land--"There where the
+virgin forests rise 'mid fragrance softly stealing." A halcyon peace
+pervades the music, and its harmonies are strange and rare like the
+perfume of some exotic flower. Rhadames demurs, but the power of her
+song is irresistible, and he soon consents to leave Egypt for her sake.
+There is nothing half way about his decision when once made. The
+orchestra music rises in emphatic, resolute crescendos that are
+gloriously inspiring, and the singer's voice is carried forward like a
+rider on his steed. The music recurs to the first impulsive theme of
+greeting. It is given in full chords, and the soprano joins with the
+tenor. Every note is accented and the crescendos are augmented. Both
+voices and orchestra mount upward and soar away on one final, sustained
+note.
+
+As the lovers start to go, Aida asks, "By what route do the Egyptians
+march? We must avoid them in our flight." Rhadames names the path,
+whereupon Amonasro steps forward announcing that "the king of Ethiopia"
+has overheard this important secret. He promises royal honors to
+Rhadames; but the hero is overwhelmed with the realization that he has
+betrayed his country. Vengeance falls upon him at once, for Amneris and
+the high priest have also overheard. They come from the temple and
+denounce Rhadames as a traitor. He is seized, but Amonasro and Aida
+escape.
+
+The first scene of the fourth act reveals a hall in the palace. At the
+back is a large portal leading to the subterranean court of justice.
+Amneris holds the stage alone during the greater part of this scene. The
+orchestra preludes it with the familiar theme of jealousy that indicates
+the ensuing action as clearly as the title to a chapter. Rhadames is
+to-day awaiting judgment, and the princess, as a last resort, offers to
+secure his pardon if he will promise to forget Aida. The hero firmly
+refuses the proffered love of Amneris. He believes Aida is dead and
+prefers to die also. Very grandly does the music depict Amneris's
+outraged feelings. She flings a fusilade of wrathful tones, every one
+bearing the sting of sharp accent. But when he is gone her pride and
+jealousy wilt under the warmth of genuine love. She sees him led to his
+doom in the underground courts and hears the priests and judges chanting
+his name as traitor. This scene resembles the "Miserere" in "Il
+Trovatore." Three times the unseen chorus is followed by the soprano in
+front, who sings an anguished phrase that starts with a high note and
+ends with a palpitating, gasping decrescendo that is almost identical
+with the music of Leonore. The priests condemn Rhadames to be buried
+alive. As they again pass through the hall, Amneris pleads and implores
+for mercy, but it is now too late. No power can save the hero.
+
+The last scene of the opera is very short, but it is the most important.
+It represents two floors, the upper one being a splendid and brilliant
+temple interior, while beneath it is the crypt--gloomy and terrible.
+This is the tomb of Rhadames, who has just been immured. The priests
+above are placing the final stone as the curtain rises and the hero is
+seen below reclining on the steps. He is thinking of Aida while
+resignedly awaiting his slow and awful death. Suddenly a voice calls
+him, and Aida herself appears to his wondering gaze. She had heard of
+his fate, and to prove her love has secretly returned and hidden in this
+tomb to die with him. The following song of the lovers has been
+humorously referred to as the "starvation duet." The fact of this
+appellation only reveals how celebrated is the composition. It is more
+generally known as "the duet from 'Aida.'" There are other duets in the
+opera, but when another is meant it is designated; this is the _great_
+one. Its pathetic harmonies are mingled with the solemn chant of the
+grand priestess in the temple above and the music of a sacred dance.
+Aida becomes delirious, and sees in her dreams the gates of heaven
+opening. Indeed, the music is exquisite enough to make any one dream of
+heaven. When Madame Nordica sings it, the whole scene seems real and so
+sadly beautiful that your own heart too almost stops its beating. With
+soft, sweet tones and bated breath Aida sings till she dies.
+
+Instead of closing with a crescendo, as do most operas, the final of
+"Aida" becomes ever softer and fainter, like a departing spirit. The
+brass and wood instruments have long since retired, only the violins and
+harp keep up a gentle vibrating accompaniment like the flutter of
+cherubs' wings. The curtain descends very slowly, and the last notes of
+the violin are written doubly pianissimo. The muse of Egyptian music
+glides away as silently as she came.
+
+
+
+
+"The Huguenots"
+
+
+
+
+"THE HUGUENOTS"
+
+
+It is not surprising that the massacre of St. Bartholomew should have
+attracted such a composer as Giacomo Meyerbeer. The terrible scene
+immediately suggests a blaze of orchestral chords, seething strings, and
+shrieking brass, a style in which Meyerbeer delighted. He secured the
+collaboration of the celebrated French dramatist Eugene Scribe, who
+apparently went to work at this libretto by writing the fourth act first
+and then forcing the preceding situations to fit together as best they
+would. The result is not wholly satisfactory; but where the plot is
+vague the music is clear and strong enough to carry our emotions over
+chasms of inconsistencies.
+
+The great theme of the opera is the Huguenot hymn, a thrilling song of
+faith, with firm, bold harmonies that express unswerving belief. This
+hymn is used in the overture with grand effect. It is sustained and
+upheld clear and strong amid the murmurings and attacks of surrounding
+variations until it finally bursts forth in untrammeled splendor like
+the supremacy of religious faith.
+
+The curtain rises upon a banquet-hall in the mansion of Count de Nevers,
+who is a gay young nobleman of Touraine, the province of France in which
+the first two acts occur. Nevers is giving a supper to his comrades, and
+the first chorus is the celebrated drinking-song, a refrain so abounding
+in good cheer that it predisposes one in favor of the whole opera. The
+revelers are all Romanists, with the exception of Raoul de Nangis, a
+young Huguenot, who because of recent promotion in the army has been
+included among the guests. Nevers proposes a toast to "our sweethearts,"
+and gaily adds that he must soon forego such frivolities as he is to be
+married. Some one suggests that they all recount their love affairs,
+and Raoul is requested to begin. He relates an adventure wherein he
+rescued a beautiful lady from the rude insults of some boisterous
+students. He has not seen her since and knows not her name, but she
+dwells--in his heart. His glowing description of the heroine is a verbal
+portrait framed in music of golden beauty. It is the best tenor solo of
+the opera.
+
+After this love-story some surprise is caused by the entrance of Marcel,
+a Huguenot soldier, who is Raoul's faithful attendant and has followed
+his young master to this banquet merely to be near and watch over him.
+Marcel much disapproves of this "feasting in the camp of the
+Philistines," as he terms it, and by way of atonement he renders in a
+loud voice that fervid hymn which the Huguenots always sing when in
+danger. Raoul begs his friends to excuse the rough soldier, and they
+promptly attest their good will by inviting Marcel to drink. He declines
+the wine, but consents to sing for them. His song has a wild refrain
+like the firing of musketry, "Piff-paff-piff," and it is a celebrated
+bass aria.
+
+When this whizzing composition is ended a servant informs the host that
+a strange visitor would like to speak with him privately. Nevers at
+first refuses to see any one; but on learning that it is a veiled lady
+he changes his mind and goes out, after laughingly announcing that he is
+thus constantly sought by handsome women. During his absence the others
+joke about the incognita and handle her reputation lightly. They look
+through a window and see her conversing with Nevers in his private
+apartment. At sight of her face Raoul recoils, for this clandestine
+visitor is none other than the heroine of his romance--the beauty to
+whom he had lost his heart. His ideal is shattered by the discovery.
+When Nevers returns the audience learns from an aside remark that the
+lady was his prospective bride, Valentine de St. Bris, and that she came
+to beg release from her promise. He has reluctantly complied, but does
+not inform his guests of the matter. At this moment a richly attired
+young page presents himself. It is Urban, the contralto role, who after
+bowing gracefully on all sides sings a charming and celebrated aria,
+"Nobil donna,"--"a noble lady sends by me a missive to one of these
+gentlemen." Such is the substance of this exquisite song with its
+chivalrous melody, surrounded by rococo embellishments that seem as
+appropriate to the pretty page as are his Louis Quinze slippers and
+point-lace ruffs. The note is addressed to Raoul, a fact that occasions
+some surprise. The young Huguenot reads aloud what sounds like a
+practical joke, for the paper tells that a court carriage is in waiting
+to convey him blindfolded to an unnamed destination. His companions urge
+him to go, for they have recognized the seal as belonging to Queen
+Margaret of Touraine; but Raoul does not know this. He, however, accepts
+their advice, and allows himself to be blindfolded in spite of protests
+from Marcel. They sing a bewitching ensemble that is finally resolved
+into the familiar drinking-song. With these rollicking measures Raoul is
+led away by the page and the curtain descends.
+
+The opening of the second act is like a musical mirage--tone-phantasies
+suspended in the air. We see before us the luxuriant palace gardens
+where Margaret, queen of Touraine, is surrounded by her maids of honor.
+Terraces and fountains, jeweled hands and feathered fans, vibrant harps
+and caroling flute combine to form an effect of elegant repose. Margaret
+is the role for colorature soprano, in contradistinction to the heroine,
+Valentine, which is for dramatic soprano. The music of the queen is very
+beautiful and so difficult that it requires a great artist, altho there
+is but the one important scene. It is considered by some to be Madame
+Melba's best role.
+
+Her first aria is about "this fair land," and we incidentally learn that
+she deplores the existing dissension between Catholics and Huguenots,
+the one blot upon the perfect peace of Touraine. Her court ladies
+presently sing an idyllic refrain, and Margaret joins in their song; but
+while the others abide by the simple melody she decks it out with
+colorature spangles quite befitting a queen. After another florid solo
+the favorite maid of honor, Valentine de St. Bris, enters. She wears a
+riding costume and has just returned from her venturesome interview with
+De Nevers, who, as she joyfully announces, has released all claim to her
+hand. We soon learn that Valentine loves Raoul and has confided in the
+queen, who is planning the marriage of these two, which she much desires
+because it will unite the leading families of Catholics and Huguenots.
+The queen rather delights in playing the good fairy, and for this reason
+has summoned Raoul in the mysterious fashion witnessed in the first act.
+Before he arrives there is another chorus, called the "song of the
+bathers." A harp accompaniment like rustling leaves plays around the
+melody, which is of eolian sweetness, until suddenly, like a fitful
+breeze, there comes an elfish measure all in the treble. After a brief
+disporting of this air-sprite we hear again the soft eolian harmonies,
+which rise and fall until lulled into silence. The page Urban announces
+that a stranger is approaching, and the maids of honor gather around as
+he tells of this young cavalier who comes with blindfolded eyes and
+knows not his destination. Urban's song is brimming over with
+mischievous coquetry. Its opening words are simply, "No, no, no, no, no,
+no, you never heard so strange a tale." The court ladies are all in a
+flutter of curiosity when Raoul is led in, and they would like to see
+the outcome of this adventure; but the queen orders them away.
+
+Now follows a scene that is full of quaint themes and ingenious duets, a
+musical branch with many blossoms. Raoul is permitted to remove the
+bandage from his eyes. He looks with wonder upon the beautiful scene,
+and then addresses elegant phrases of adoration to the fair lady before
+him. She is not devoid of coquetry--this queen of Touraine--and for some
+moments there is a graceful game between the two in which the
+shuttlecock of love is tossed upon the battledores of music. But it is
+only a game, and the toy is presently dropped. Urban enters to announce
+that some noblemen of Touraine have come to attend the queen. Raoul is
+amazed to learn the lady's identity, and Margaret hastens to inform him
+that in order to unite the Huguenots and Catholics of her province she
+has arranged a marriage between him and the daughter of St. Bris. Raoul
+bows obedience to her wish.
+
+The Catholics and Protestants enter in stately procession and group
+themselves on either side of the stage, Raoul and Marcel heading the
+Huguenots, while St. Bris and Nevers represent the opposite side.
+Margaret welcomes them in musical phrases that are right royal. She
+informs St. Bris and Nevers that the king of France requests their
+immediate presence in Paris, and she then makes her own request, which
+is that Huguenots and Catholics shall lay aside all enmity and sanction
+the marriage that she has arranged. They sing a splendid refrain calling
+upon heaven to witness their vow of future fellowship. This scene
+contains some fine climaxes, and several brilliant cadenzas for the
+queen. Margaret sends for Valentine, and expects Raoul to be thrilled
+with delight when he recognizes the heroine of his romance. But as
+Valentine comes forward, Raoul gives an exclamation of indignant
+surprise, for he thinks some great insult is implied in asking him to
+marry this woman who secretly visits De Nevers and who has been the
+subject of jests. Without explanation he firmly refuses to accept her
+for his bride. The consternation hereby aroused is admirably expressed
+in the music. The first measures are hushed, as tho the chorus were
+dumbfounded; but they soon gain their voices and denounce Raoul in
+ringing tones. Valentine exclaims, "What have I done to earn such
+disgrace?" and the theme is taken up in grand form by the others. Every
+now and then we catch the firm tones of Marcel who amid all this
+dissension is singing his Huguenot hymn. St. Bris draws his sword, but
+the queen forbids a duel in her presence, and reminds him that he must
+go at once to Paris. Raoul declares he will follow and is ready to fight
+St. Bris at any time. The action and music increase in strength until
+the curtain falls.
+
+Act III. pictures an open square in Paris, the Pre-aux-Clercs, which
+extends back to the river. There are two taverns and a church in the
+foreground, and the stage is filled with a mingled crowd. After an
+opening chorus of promenaders some Huguenot soldiers come forward and
+sing a march that is equally stirring and much resembles our own "Rally
+'round the flag." It is, however, more elaborate, and has a surprising
+effect in which the upper voices sing a steady accompaniment of
+"derum-de-dum-dum," while words and melody are in the bass. There
+follows a sharp contrast in the song of some Catholic maidens on their
+way to church. Purity and simplicity are expressed by the slender
+accompaniment of flute and clarionet. The people kneel as they hear this
+"Ave Maria," but Marcel, who has just entered, refuses to do so. The
+Catholics are angered, while the Huguenots side with Marcel. There is a
+vigorous ensemble in which the "Ave Maria" and soldiers' chorus are
+admirably combined, and through it all are heard the disputing cries of
+the two factions. A general scuffle would ensue were it not for a sudden
+diversion in the form of some brightly clad gypsies who enter and
+solicit trade in fortune-telling. Their song is as gay as their costume,
+and they wind up with a fantastic dance. The orchestra music is here
+more deserving of attention than the stage picture. The principal melody
+has the quaint conceit of reiterating one note through five beats, and
+then with a quick turn reeling on to the next, like a dancer poising on
+one foot until forced to whirl upon the other.
+
+After this divertissement, St. Bris, his friend Maurevert, and de Nevers
+come out of the church where they have left Valentine, who, we now
+learn, is after all to marry Nevers and this is their wedding-day. The
+bridegroom goes to bring his retinue to escort the bride home, and St.
+Bris felicitates himself for bringing about this union which wipes out
+the disgrace of Raoul's refusal. His remarks are interrupted by Marcel,
+who delivers a letter from his master which designates the
+Pre-aux-Clercs as meeting-place and an "hour after sundown" the time for
+their deferred duel. Maurevert suggests to St. Bris that the Huguenot
+deserves more punishment than can be meted out in honorable combat, and
+the two friends retire in consultation.
+
+The stage is darkened and we hear the curfew bell, while a watchman goes
+through the street chanting a drowsy refrain that tells all good people
+to close their doors and retire. Maurevert and St. Bris again cross the
+stage, and we glean from their few words that a plot is brewing for
+Raoul's destruction. But Valentine has been standing at the church door
+and overheard their talk. She is much alarmed, and wishes to warn Raoul,
+but knows of no way until suddenly she hears and recognizes the voice of
+Marcel. She calls to him, and he asks: "Who calls in the night? Explain
+at once or I will fire!" Valentine quickly thinks to speak the potent
+name "Raoul." Meyerbeer has very aptly used for this call the interval
+of the perfect fifth, which is known as the cry of nature, because it is
+the most natural interval to fall upon when calling in the open air. The
+milkmaid calling her cows or the huckster vending his wares will most
+often be found singing the perfect fifth.
+
+On hearing the name of his master Marcel is satisfied and comes forward
+to investigate, but Valentine's face is concealed by her bridal veil.
+She tells him that his master should be well armed and have strong
+friends near in the coming duel, else he will fall the victim of a plot.
+Valentine starts to go, but Marcel detains her with the question, "Who
+art thou?" She hesitates and then answers, "A woman who loves Raoul." In
+a highly dramatic aria whose phrases are like storm-tossed billows on a
+restless deep-sea accompaniment she confesses that in saving the one she
+loves she has "betrayed her own father." The two voices finally work
+together as is the fashion of duets, and end up with a flourishing
+climax. At this point occurs the famous high C which Madame Nordica so
+brilliantly sustains and crescendos throughout four measures. It is a
+_tour de force_ which always brings down the house. Valentine now
+reenters the church as the principals and seconds of the duel approach.
+Marcel tries to warn his master, but Raoul will not listen to
+suspicions, for he believes his opponent to be honorable. There follows
+a splendid septet, in which Raoul sings the leading refrain buoyant with
+youthful courage. The ensemble is occasionally interspersed with the
+religious tones of Marcel, who prays Heaven to interfere. A grand,
+swinging theme in which all the voices move together like a great
+pendulum is the final of this septet.
+
+The duel begins, but Marcel, who is on the alert, hears approaching
+footsteps and draws his sword. Maurevert enters and cries out as
+prearranged: "A duel with unfair numbers! More Huguenots than Catholics!
+Help!" whereupon his followers rush in and surround Raoul. But at this
+moment the Huguenot soldiers who are merry-making in the tavern commence
+singing their jolly "derum-de-dum-dum," whereupon Marcel rushes to the
+door and sings in thundering tones the Protestant hymn, which the
+soldiers within at once recognize as a signal of danger. They hurry out,
+and then follows a lively commotion on all sides. But there are more
+words than blows, and the excitement is presently quelled by the
+ceremonious entrance of Queen Margaret who has just arrived in Paris.
+She is much displeased to come upon party dissension. St. Bris blames
+Raoul, while the Huguenot charges St. Bris with treachery. At this
+moment Valentine comes from the church, and Marcel relates how she
+warned him of a plot. There is general amazement on hearing this. Raoul
+now thinks to make some inquiries about this lady he had so
+unhesitatingly condemned, and learns how terrible was his mistake. St.
+Bris enjoys telling him that she is the bride of De Nevers, and we hear
+the approaching music of the nuptial barge. An illuminated flotilla
+appears at the back of the stage, and Nevers steps upon the bank. He
+addresses to Valentine some gallant phrases of welcome, and escorts her
+to the boat as his splendid retinue sing a joyous wedding-march. The
+curtain falls upon a whirl of gay music.
+
+Scribe is on terra firma in the fourth act, which is really the nucleus
+of the plot, and is perhaps the most dramatic love-scene of any grand
+opera. The curtain rises upon an apartment in the house of Nevers, and
+Valentine is alone. The opening orchestral measures seem oppressed with
+a tuneful despair that is soon explained by her song, wherein she
+bewails this forced marriage, for her heart still cherishes Raoul. The
+hero suddenly appears at her door, and Valentine thinks she is dreaming
+until Raoul announces that he has come "like a criminal in the night,
+risking all" for the sake of seeing her and craving forgiveness. They
+hear approaching footsteps, and Valentine prevails upon him to enter a
+side room just as her father and husband come in at the main door with a
+company of Catholic noblemen. They are too interested in themselves to
+note Valentine's agitation, and she, being a Catholic, is allowed to
+remain while her father unfolds the awful plan sanctioned by Catherine
+de Medicis to "wipe the Huguenots from the face of the earth." The great
+theme of this conjuration-scene, "blessed is revenge, obey the good
+cause," is softly sung by St. Bris and then taken up by the others in
+broad harmonies that swell out and sweep forward like a mighty torrent.
+When the tone-waves are again tranquil St. Bris bids his friends swear
+allegiance to the royal decree, and all comply with the exception of De
+Nevers, who declares he can not join in such murder. There is graceful
+nobility in his music and fervor in his words.
+
+The details of the plot are sung by St. Bris in hushed, hurried tones:
+how "to-night when strikes the bell of St. Germaine" the Catholics shall
+rush upon the unsuspecting Huguenots. He then admits into the room a
+group of monks, who tie white scarfs upon the conspirators and bless
+their uplifted swords. The music of this scene is grandly sustained by
+the orchestra, but the ensemble is difficult and requires much
+rehearsing, for it abounds in surprising fortes and pianissimos.
+
+When the conspirators are gone, Raoul starts from his hiding-place
+toward the door, but Valentine intercepts the way. He wishes to fight
+for his friends or die with them, but she begs him to stay. There
+follows a thrilling duet in which the voices pursue each other with
+growing intensity. The tempo is rapid, and the phrases short and
+breathless. The first minor melody is soft, but throbbing with
+suppressed emotion like the strange light and peculiar hush preceding a
+tempest. Then the music rushes into the major, where it reels and sways
+like an anchored ship that must soon break its moorings. The soprano
+voice rises upon G, A, B flat, B natural, and finally C, where all bonds
+seem loosed and the music rebounds in a rapid descending chromatic run.
+Then comes a furious passage in which the orchestra conductor uses his
+baton like a Roman charioteer lashing his steeds. Valentine places
+herself before the door, and in a desperate moment she declares, "Thou
+must not go, for, Raoul--I love thee!" This confession is followed by a
+transporting duet that brings oblivion to other memories. Its
+mellifluous melody is written pianissimo, dolce, legato, amoroso, and
+the orchestra carries it one measure behind the voice, thus keeping the
+theme constantly in the air like a sweet incense.
+
+A bell in the distance suddenly scatters all lingering harmonies. It is
+the bell of St. Germaine, and Raoul is aroused to reality. He sings a
+dramatic refrain about duty and honor, but Valentine still entreats him
+to stay. Her song is simple as a lullaby but powerful in effect, and he
+is distracted between her pleadings and the cries from the street.
+Flinging open the window, he shows her the terrible scene of massacre. A
+lurid light falls upon them, and there is murder in the orchestral
+music. Valentine swoons. Raoul looks with anguish upon her prostrate
+form and we hear the struggle he endures. The melody of Valentine's last
+sweet song predominates for a moment in the orchestra, but then the
+noise of the massacre is resumed. Raoul hesitates no longer. One
+farewell glance, and he rushes with drawn sword through the open window
+to the street.
+
+Unlike many operas in which the fourth act is the greatest, the finale
+of "The Huguenots" is of sustained intensity and not an anti-climax.
+This fifth act is often omitted, however, as it makes the opera very
+long. The scene represents a street at night--men, women, and children
+cross the stage and take refuge in a church. Raoul and Marcel chance to
+meet, and they are soon surprised by the entrance of Valentine, who has
+recklessly followed the hero. She wears the white scarf which betokens
+Catholicism and has brought one for Raoul, but he refuses this mode of
+escape. Valentine then flings her own emblem away and declares she will
+join his faith. The music of this entire act is most thrilling. We hear
+the women in the church singing as a last prayer that grand Huguenot
+hymn and in the distance a chorus of murderers as they make their awful
+progress through the streets. This massacre music is blood-curdling; its
+steady, muffled tread sounds like marching over a paving of dead
+bodies. The waiting figures in the foreground again hold our attention.
+Marcel relates how he witnessed the death of De Nevers, and on learning
+that Valentine is free these lovers kneel before the Huguenot soldier,
+who blesses their union. The choral in the church is again heard, and
+those outside join in its splendid harmonies. Valentine sings with the
+fervor of her new-found faith, "Hosanna, from on high the clarion
+sounds!" This last trio resembles the finale of "Faust" in that the
+theme rises higher and higher, like a flaming fire, to be quenched at
+last by Death. The murder-chorus is heard approaching, and soon a group
+of massacrers enter. "Who is there?" they ask.
+
+"Huguenot!" replies the hero, and in ringing tones a woman's voice cries
+out, "Huguenot!" "Fire!" orders St. Bris, who thereby kills his own
+daughter.
+
+
+
+
+An Hour
+with
+Lilli Lehmann
+
+[Illustration: LILLI LEHMANN.]
+
+
+
+
+AN HOUR WITH LILLI LEHMANN
+
+
+In Berlin, fourteen years ago, the foreigner was at once impressed with
+two faces, new to him, but conspicuous in every show-window. One picture
+represented an imposing, middle-aged man, which you were told was "unser
+Kronprinz," and the other, a handsome, fine-figured woman, was "unsere
+Lilli Lehmann." And you were looked at in surprise for not knowing "our
+Lilli Lehmann."
+
+The Berliners have always spoken in a possessive sense of this
+lady--their star of the opera--especially in that year when she broke
+her contract with the Kaiser to accept an engagement in America. It made
+a great talk there at the time, but the Berliners thought none the less
+of her, and the morning after her debut in New York the first words that
+greeted you in the Vaterland were:
+
+"Have you heard the news? The Lilli Lehmann has had a great success in
+America."
+
+Fourteen years later this same Lilli Lehmann is still having "a great
+success in America." Her art is enduring as it is great. She is equally
+successful in colorature and dramatic roles; but her physique and voice
+are particularly fitted to the mythical Wagnerian characters. Lilli
+Lehmann imparts to these legends of the Norseland all the attributes our
+fancy calls for. Her Scandinavian goddess is a creature of mighty
+emotions, heroic build, and a voice at times like the fierce north wind.
+Her cry of the Walkuere is a revelation in the art of tone-production.
+
+I was to call upon Madame Lehmann at 9:30 A.M., and this after a great
+and long performance the evening before. I had visions of the prima
+donna still in bed, receiving her caller quite in negligee, and sipping
+her coffee, served by a French maid, while a parrot and pet dog and
+flowers and the morning mail and newspapers combined to form an effect
+of artistic confusion.
+
+This makes a pleasing picture, but it is not Lilli Lehmann. There is no
+sense of "artistic confusion" about her from her gray-tinged hair to her
+grand, true voice.
+
+In answer to the visitor's knock at her room in the Hotel Netherlands,
+she opened the door herself, and shook hands with true German
+cordiality.
+
+The bed in the adjoining room was already made, and there was no sign of
+a late breakfast; all this at an hour when it is safe to say half her
+hearers of the evening before were not yet up.
+
+And Lilli Lehmann, who in the eyes of the public is majestically arrayed
+in flowing robes and breastplates and silver shields, wore on this
+occasion, over her plain serge dress, the typical little fancy apron--so
+dear to the German _Hausfrau_.
+
+The Berliners may well call her "Our Lilli Lehmann," for she is as
+unassuming to this day as the least of them.
+
+But altho she impresses you as unpretentious, you also feel at once her
+great force and energy. It shows in her every word and movement, and
+also in her business-like method of being interviewed.
+
+"Yes, I am quite tired," was her first remark as she seated herself at a
+little writing-desk and her visitor near by. "The opera lasted so late;
+I did not get to bed until two o'clock. But I was waiting for you this
+morning, and had just prepared to write down some items you might wish
+to know."
+
+Then she took a pencil and paper,--and what do you suppose she wrote
+first? These are the exact words, and she read them aloud as she wrote:
+
+"Born--Wuerzburg, November 24, 1848."
+
+I could not conceal some surprise, and was obliged to explain: "The
+American ladies so seldom give their age that your frankness is a
+revelation."
+
+"The Lilli Lehmann" smiled and said: "Why not? One is thereby no
+younger."
+
+[Illustration: Copyright by Aime Dupont, N. Y.
+
+Lehmann as Isolde in "Tristan and Isolde."]
+
+She turned again to the desk, and went on with the "interview," using
+her pencil with great firmness and rapidity as she wrote in German, and
+with all possible abbreviations:
+
+"I was brought up in Prague, where I made my debut when eighteen years
+of age. My mother was my first teacher and constant companion. She was
+herself a dramatic soprano, well known as Maria Loew, and my father, too,
+was a singer."
+
+"In what opera did you first appear?"
+
+"It was the 'Magic Flute,' and I appeared in one of the lighter roles;
+but two weeks later, during the performance, the dramatic soprano was
+taken ill, and I then and there went on with her role, trusting to my
+memory after hearing it so often. My mother, who was in the audience and
+knew I had never studied the part, nearly fainted when she saw me come
+on the stage as Pamina."
+
+Madame Lehmann's feats of memory have more than once created a
+sensation. We remember the astonishment aroused in New York music
+circles five years ago when she mastered the Italian text of "Lucrezia
+Borgia" in three days.
+
+Recurring to her life in Prague, Madame Lehmann further said:
+
+"I appeared not only in many operas, but also as an actress in many
+plays. In those days opera singers were expected to be as proficient in
+the dramatic side of their art as the musical, and we were called upon
+to perform in all the great tragedies. But nowadays this would be
+impossible, since the operatic repertoire has become so tremendous."
+
+People seldom consider how much larger is the present list of famous
+operas than formerly. All the Wagnerian works, many of Verdi's, and most
+of the French have taken their places in comparatively recent years, and
+yet there is still a demand for all the old operas too. The singer who
+attains Wagner must at the same time keep up her Mozart, Beethoven,
+Glueck, Rossini, Meyerbeer, and Bellini.
+
+As the visitor mentioned Bellini, Madame Lehmann assented. "Yes, we are
+to give 'Norma' here next month." "Norma," abounding in melody and
+florid fancies, is as different from Wagner as a cloudless sky from a
+thunder-storm.
+
+The divine art, like nature, has its various moods, and Wagner and
+Bellini represent two extremes.
+
+Among Wagner's works, "Isolde" is one character to which Madame
+Lehmann's temperament and physique are strikingly fitted. Throughout the
+long first act, wherein she is almost constantly singing, she imparts a
+glorious impression of one who _thinks in music_. The fearless,
+impassioned Isolde thinks bitter, rancorous thoughts of Tristan, whom
+she abhors, until with fierce resolve she hands him the fatal drink
+which, unknown to herself, is a love-potion. The previous dearth of
+action has created a ready mood for us to thrill and respond at the
+love-frenzy, the delirium which now animates the scene as these
+unwitting lovers suddenly find all hatred and other memories gone from
+their hearts.
+
+It may be mentioned here that Wagner firmly believed in the power of
+contrast, and he purposely preceded his greatest climaxes by what many
+would deem an unwonted length of inaction.
+
+In 1870 Lilli Lehmann was engaged for the Berlin Opera-House.
+
+Americans can hardly appreciate the significance of this fact; but it
+means much. The opera in Berlin is supported by the government and
+directly under the supervision of the emperor. The singers are not
+engaged for a season, but for life, being entitled to an annuity after
+they retire from the stage. Lilli Lehmann's contract was signed by the
+kaiser during the Franco-Prussian war.
+
+When asked if the old Emperor Wilhelm was musical, Madame Lehmann
+smiled, and there was a gleam of humor in her eyes:
+
+"No, I can not truthfully say that he was at all musical, tho he was
+wonderfully kind and good to all artists."
+
+For fifteen years Lilli Lehmann sang in Berlin with an occasional flight
+to Baireuth under the kaiser's permission, where she sang for Wagner
+himself.
+
+"I was one of the Rhine daughters, and also the first Forest Bird in
+'Siegfried.'"
+
+Wagner's own Forest Bird! It is a thrilling and poetic statement that
+would be hard to equal. Of all this great master's characters, including
+gods and demi-gods, knights and shepherds, dwarfs and giants, his most
+original, and perhaps for this reason his best-loved children of the
+brain, were, we believe, his Rhine daughters and his Forest Bird. The
+former sing under the water laughing strains of mystical import and
+unearthly sweetness, while the Forest Bird sings in the air--always
+unseen, but more impressive than the greatest presence.
+
+This bird-music is not very long, but it is of unsurpassed beauty, and
+the most memorable theme in the opera. The scene too is exceptional and
+powerful in its simplicity--only one person on the stage. Siegfried, the
+inspired youth, who knows the speech of bird and beast, is alone in the
+forest when he hears a bird sing. He pauses to listen, as you in the
+audience do too, for the song is not a meaningless mocking-bird array of
+trills and cadences, but a tender strain that bespeaks the bird as a
+prophet. Siegfried tries to catch the message, tries to see the bird,
+and tries, too, to imitate its tones. He cuts him a reed from the
+water-banks, and shapes it and tests it until he can play upon it the
+music he hears. Ah, we should like to have been in that audience at
+Baireuth when this Forest Bird took its first flight into the world!
+
+It is a great thing to create a role, to set the standard by which all
+later performances shall be modeled. If the new opera proves to be a
+great and lasting work, the singers who created the important roles are
+always credited therewith and mentioned. They usually have been selected
+by the composer, and their performance is the result of his best
+instruction as well as their own inspiration. Madame Lehmann has
+"created" many roles, but the most poetic, we deem, is the Forest Bird.
+
+[Illustration: Copyright by Aime Dupont, N. Y.
+
+Lehmann as Venus in "Tannhaeuser."]
+
+After writing with characteristic abbreviation the foregoing
+fact--"'75-'76, Baireuth, Rhine daughter, I Forest Bird"--Madame Lehmann
+handed over the paper and asked "Is there anything more I can tell you?"
+
+Her bright eyes, clear complexion, and magnificent figure prompted a
+personal question:
+
+"How do you keep your splendid health, and the strength to work so
+much?"
+
+For this she had a ready answer:
+
+"I have been a vegetarian for the past five years."
+
+In reply to one more parting question, Lilli Lehmann spoke words of
+wisdom that are worthy of reflection:
+
+"Yes, I still practise and study more than ever. At the end one is just
+beginning."
+
+
+
+
+"The Flying Dutchman"
+
+
+
+
+"THE FLYING DUTCHMAN"
+
+
+"The Flying Dutchman" is one of the most melodious of Wagner's operas,
+and also one of the most popular in Germany. Its soprano role is well
+beloved by all Wagnerian singers, but for some reason the work is seldom
+given in this country. Americans have never had an opportunity to hear
+Madame Lehmann in this opera, but it is one in which she is well known
+abroad.
+
+"Der Fliegende Hollaender" is an early offspring of Wagner's genius, and
+was composed at a time when Fate frowned upon him, and poverty and
+despair were his close companions. After six weeks of feverish labor,
+alone in hostile Paris, Wagner presented his beloved score to the
+orchestra of the "Conservatoire." They promptly condemned it, which
+affords a notable example of the change in musical taste. Portions of
+the "Flying Dutchman" now hold a permanent place on French programs.
+
+The plot, as well as the music, is as usual Wagner's own. "A daring
+captain, after frequent vain attempts to double the Cape of Storms,
+swears a mighty oath to persevere throughout eternity. The devil takes
+him at his word, and the hapless mariner is doomed to roam the seas
+forever." Such is the legend of the Flying Dutchman, to which Wagner has
+added one redeeming clause: once in seven years the wanderer may land in
+search of a faithful wife. If she be true unto death the curse shall be
+lifted.
+
+Wagner's music is so powerful and absolutely appropriate that it seems
+to suggest the text, instead of conforming to it. No ordinary tunes or
+conventional harmonies could adequately depict the roaming, restless,
+Satan-chased sailor. The overture opens with the curse-theme, which
+seems like the phantom ship itself as we follow its course throughout
+the introduction. It rides over and under and around hurricanes of
+chromatics and tremolos. Chords sweep like a deluge over the luckless
+theme. But as neither rocks nor tempest can annihilate the accursed
+vessel, so this theme mounts ever uppermost. On and on, "_Ohne Rast,
+ohne Ruh_," must sail the Flying Dutchman. But the wanderer in his dark
+existence finds hope in the salvation-theme, a peaceful, religious
+phrase that is poised like a single star amid the tumultuous elements.
+Like all of Wagner's overtures, this one has become a favorite program
+piece.
+
+With the ascending curtain there arises from the orchestra a storm of
+restless tremolos and shrieking scales. The wind and waves thus rendered
+in the music are also depicted on the stage. An expanse of ocean
+occupies most of the scene, only in front the turbulent waves beat
+against a bleak Norwegian coast. Driven thither by the elements, a ship
+casts anchor at the shore. Daland, the captain, steps on land, while his
+crew noisily pull up sails and cast out cables. As they work they shout
+in unison a rude refrain that lends rhythm to their movements,
+"Ho-lo-jo! Ho-he!" This is accompanied by surging waves of sound from
+the orchestra. Owing to the sudden storm, this ship has been carried
+seven miles away from the home port, to which it was returning after a
+long voyage. There is nothing to do but wait for a south wind to carry
+them back. Daland goes on board again and orders the sailors to rest. He
+also retires, after entrusting the watch to his boatswain.
+
+Altho this boatswain has no name, he is no insignificant character, for
+to him falls one of the loveliest songs of the opera. He has a tenor
+voice, and is in love with a "blue-eyed maedel." He makes a tour of the
+deck, and then seats himself by the rudder. The storm has abated, but we
+occasionally hear a gust of chromatics and a splash of chords. To ward
+off sleep, the boatswain sings of his sweetheart, and calls upon the
+south wind to blow their good ship home. This music is delightful and
+refreshing as a salt sea breeze. The sailor does not trouble himself
+with any fixed standard of tempo. He sings like the fitful wind, one
+moment "accelerando," and the next "una poco moderato." He sustains the
+climaxes and indulges in sentimental "rubatos," all of which is a touch
+of naturalness skilfully introduced by the composer. The boatswain makes
+another tour of the deck and then renews his song; but there is this
+time more languor in his tones. The phrases are separated by frequent
+"rests," the "moderatos" have developed into "largos;" the "rubatos" are
+exaggerated, and finally this sweet-voiced boatswain falls asleep.
+
+Soon the clouds become black and lowering, the waves are white and
+towering, and the orchestra is like a seething cauldron of sound. The
+conductor stirs it up more and more, until he brings to the top that
+awful curse-theme of the Flying Dutchman. We lift our eyes to the stage,
+and lo! over the dark waters comes another ship, strange and uncanny in
+appearance, for its sails are blood-red and they hang upon masts that
+are black as night. With a mighty crash this wanderer of the seas sinks
+anchor alongside the Norwegian vessel. The dreaming boatswain is aroused
+for a moment. He hums a snatch of his love-song, and then once again
+nods his head in slumber. A terrifying silence falls upon the music as
+we watch the ghostly crew of the phantom vessel noiselessly furl those
+crimson sails.
+
+There is a pause, and then, soft but impressive, that remarkable
+curse-motif announces the approach of the Hollaender himself. He steps
+upon shore after another seven years of wandering. His stalwart figure
+is draped in a black mantle, he wears a full beard, and has a baritone
+voice.
+
+The first solo of the Hollaender is most interesting; but those who
+expect a pleasing tune with a one-two-three accompaniment will be
+disappointed. One is apt to think that music must be always beautiful
+to be admired, but Wagner has taught that this idea is erroneous. Music
+should represent what the maker feels, just as painting does what he
+sees; and in proportion to the correctness of his representation is the
+work to be admired. As a prominent example of this fact in painting,
+mention may be made of Munkacsy's picture of Judas, which all admire but
+none call beautiful. And so this solo of the accursed mariner is not
+beautiful, as that term goes. How could it be? The weary, dreary,
+condemned Dutchman communing with himself does not think of graceful
+melodies that delight the senses. His phrases, instead, are all angular,
+bitter, heavy, and despairing. He tells of his longing for rest, and he
+mocks at the hope of finding true love. Too often has he been deceived:
+"I wait and watch for the Judgment Day. Then only shall I rest!"
+
+The Hollaender leans mournfully against a rock, and the music subsides,
+until a light-hearted melody directs our attention to the Norwegian
+ship. Daland has come upon deck, and is surprised to find another ship
+alongside. He calls the boatswain, who, half awake, commences to hum his
+love-song; but another call from the captain brings him to his feet.
+They hasten to signal the strange ship, but receive no answer; whereupon
+Daland, seeing the Hollaender, steps upon shore to accost him.
+
+Politely but unconcernedly the hero makes answer to all questions, and
+learns, in turn, that Daland's home is but seven miles' sail from here.
+The Hollaender asks for a night's lodging, and offers to pay liberally.
+He brings forth a casket of jewels, which he declares is but a sample of
+the cargo he carries. With bitter tones he adds: "What joy are such
+riches to me? I have no home, no wife, no child; all my wealth should be
+yours if you could give me these." He astonishes Daland with the sudden
+question, "Have you a daughter?" and on being answered in the
+affirmative the Hollaender proposes to wed her. Very nobly does this
+strange suitor plead his cause, his longing for love and rest. The music
+is here truly beautiful, for the hero is striving to win and please.
+
+Captured by the prospect of wealth and also by the strange fascination
+of the Hollaender, Daland consents to the proposition. Once again the sad
+seaman is tempted to hope. The music has become decisive and, because of
+rapid tempo, sounds quite joyous. On top of this pleasing climax there
+comes a happy cry from the Norwegian ship: "A south wind! south wind!"
+The sailors sing their "Ho-lo-jo" chorus as they let down sails and pull
+up anchor. Daland goes on board, and the Hollaender promises to follow.
+With a breezy accompaniment of wind instruments the two ships sail away
+and the curtain descends.
+
+The prelude to the second act carries us from the storm-beaten coast of
+Norway to the domestic peace of Daland's home. The composition is like a
+brisk sail over smooth harmonies. It opens with the boatswain's song of
+the south wind, and after a succession of undulating passages finally
+lands upon the celebrated spinning-chorus.
+
+A capacious room in the captain's home is filled with a merry company of
+maidens, who, with their spinning-wheels, are working together under the
+watchful eyes of Frau Mary. The wheels whir and whiz, like a drone of
+bees, the orchestra keeps up a continuous revolving accompaniment, and
+even the melody, with its ingenious rhythm, simulates a whirling wheel.
+The picture is as pleasing as the music; both are unique and delightful.
+The girls spin industriously where the song goes fast, but unconsciously
+hold up with the ritardandos, and Frau Mary has frequent occasion to
+remonstrate.
+
+Only Senta, the captain's daughter, does not join in the song. She is
+sitting in a big arm-chair and dreamily regards a large picture that is
+hanging over the hearth. It is an ideal portrait of the Flying
+Dutchman, such as many seafaring folk possess. Senta is an imaginative
+girl, and has always been fascinated by the "pale man" on the wall and
+his story. She begs Frau Mary to sing the ballad of the Flying Dutchman.
+This request being refused, Senta sings it herself. Truly wonderful is
+this ballad, with its blustering accompaniment and shivering climaxes.
+The final verse relates how every seven years the weary seaman lands in
+search of a faithful wife, but never yet has he found one. "False love!
+false faith! Forever and ever must he ride the seas!"
+
+Senta has become so wrought up by the song that she now sinks back in
+her chair from exhaustion, while the other girls sing with bated breath
+that beautiful melody of the salvation-theme. "And will he never find
+her?" they ask with childlike credulity. Senta suddenly springs from her
+chair and sings out with exultant tones: "I am the one who could save
+him! I would be true till death! May heaven's angels send him to me!"
+This music is of boundless intensity; the strongly accented
+accompaniment sweeps forward and recedes like angry breakers, while the
+voice part soars above like a fearless sea-bird. "Senta! Senta! Heaven
+help us, she has lost her reason!" exclaim the astonished maidens, and
+Frau Mary utters maledictions upon that "miserable picture," threatening
+to throw it out of the house.
+
+At this moment Erik, the young hunter who loves Senta, hastily enters,
+announcing that her father's ship is landing. The dreamy heroine
+promptly revives at this news, and becomes as elated and excited as any
+of the girls. They all want to rush out and see the ship, but Frau Mary
+orders them back, directing them, instead, to the kitchen, where there
+is work to be done on account of this sudden home-coming. With much
+chattering and commotion the girls and Frau Mary go out, leaving Senta
+and Erik alone.
+
+He detains her to listen to his vows and fears. Very tender and earnest
+is this song of love and doubt. Wagner knew well how to use the simple
+melody, which he considered essential to some emotions but out of place
+with others. Like the artist's fine brush, it will not do for painting
+storm-clouds, but in scenes of delicate delineation it is used with good
+effect. Erik is troubled about a dream he had the night before. To the
+usual accompaniment of violin tremolos, he relates how he saw Senta's
+father bring with him a stranger who looked like that picture on the
+wall. Already we hear far away beneath the tremolos, soft but distinct,
+the curse-theme of the Flying Dutchman. As the dream-song goes on this
+ominous phrase comes nearer, step by step, always in a higher key,
+always louder and more impressive. It represents, in fact, the actual
+approach of the Hollaender. Senta listens as though entranced, while Erik
+tells how he saw her come forward and kneel at the stranger's feet. But
+the "pale man" lifted her in his arms and carried her away over the sea.
+To Erik's horror, Senta turns toward the picture and cries out: "He is
+seeking me! I would save him!" The young hunter sadly goes away,
+believing that she is out of her mind.
+
+Senta continues gazing at the picture. The music has become soft and
+slow, and the curse-theme pervades the air like a ghostly presence. But
+the heroine sings to herself that beautiful salvation-motif. The phrase
+is finished with a startled shriek, for the door has opened, and there
+before the astonished girl stands her hero--"der Fliegende Hollaender!"
+Daland, her father, is also there, but Senta has neither sight nor
+thought of him. She stands immobile and amazed, her eyes never turning
+from the Hollaender. When Daland comes nearer, she grasps his hand,
+whispering, "Who is that stranger?"
+
+The father has carefully prepared his answer, and it is the finest bass
+solo of the opera. After telling Senta that the stranger has come to be
+her bridegroom, he turns to the Hollaender, asking, "Did I exaggerate
+her loveliness? Is she not an ornament to her sex?" In this phrase the
+listener is surprised with a genuine _ad libitum_ colorature passage, a
+style of musical decoration in which Wagner seldom indulges. But in the
+original text this bit of fioritura falls upon the word _zieret_
+("ornament"), and thus is a striking example of Wagner's theory that
+music must fit the words. Daland sings on for some time, until he
+notices that neither Senta nor the Hollaender accord him any attention.
+They are still gazing at each other, and the father very wisely goes
+out.
+
+The leading theme of his aria slowly departs from the orchestra, and
+then, softly and hesitatingly, the curse-theme and salvation-motif enter
+side by side. They move around a little, as tho to make themselves at
+home, and then begins the great duet between soprano and baritone.
+
+The Hollaender recognizes in Senta the angel of his dreams, and she finds
+his voice greeting her like familiar music. A beautiful melody is borne
+upon the orchestra like a boat on the breast of a stream. As the
+graceful structure floats past, the soprano and then the baritone enter
+upon it. They glide on together, over smooth places, upon tremulous
+undercurrents, but finally touch upon the salvation-theme, which,
+throughout the opera, is typical of the seaman's haven. It often arises
+above stormy passages like a mirage of the longed-for harbor.
+
+After this vocal excursion the Hollaender asks Senta if she is willing to
+abide by her father's choice and to vow eternal faith. Her consent is
+glad and free. There is another ensemble introducing a new and stirring
+joy-theme. The highest note always occurs upon the word faith, thus
+fulfilling the substance of the text, which is, "Faith above all!"
+
+Daland reenters and is delighted to find such unity of voice and
+purpose. He wishes the engagement announced at the evening fete which
+his sailors will have to celebrate their home-coming. Senta repeats her
+vow to be faithful unto death, and the act closes with an exhilarating
+trio.
+
+Wagner makes his orchestral preludes conform to a distinct purpose--that
+of connecting the acts. So with the next introduction we hear the joyous
+theme of the recent duet gradually modulated into a whispering memory of
+the boatswain's song. This, in turn, develops into a new and noisy
+nautical refrain, that is continued till the curtain rises, and then is
+sung by the Norwegian sailors who are on the deck of their ship. They
+are merry-making. The ship is illuminated with gay lanterns, as are also
+the tavern and houses in the foreground. But not so the stranger's
+vessel that lies alongside at the back of the stage. It is engulfed in
+gloom and silence like the grave. The gay Norwegian chorus has a
+peculiar rhythm that suggests the flapping of sail-cloth in a brisk
+wind; it has sharp, rugged accents and a spirited tempo. The song is
+ended with a regular hornpipe dance on deck. This bewitching
+dance-melody seems thrown in to show what Wagner could do in that line
+if he wanted to.
+
+Some maidens come from the tavern with a basketful of provisions. While
+the sailors continue dancing to the gay orchestral accompaniment, the
+girls sing among themselves in quite another strain. As their
+conversation should be most prominent, the dance-melody is promptly
+changed from major to minor, which always gives a subduing and receding
+effect like "scumbling over" in painting.
+
+The girls go toward the Hollaender's ship, intending their provisions for
+the strangers, who seem to be sleeping profoundly. The girls call to
+them, but only a ghostly silence rewards their efforts. They sing a
+winning waltz phrase inviting the strangers to join their fete; they
+offer every inducement to arouse the silent crew, and finally resort to
+a great outcry: "Seamen! Seamen! wake up!" But again only prolonged
+stillness is the answer.
+
+The well-meaning maidens are thoroughly frightened, and they hasten
+away after handing their basket to the Norwegian sailors. These proceed
+to enjoy the contents. They fill their wine-glasses and repeat the merry
+opening chorus.
+
+In the mean time the sea surrounding the Hollaender's ship becomes
+suddenly turbulent, a weird blue light illumines the vessel, and its
+crew, which were before invisible, are seen to move about.
+
+The Norwegians cease singing, while their ghostly neighbors begin to
+chant in hollow tones that terrible curse-theme. Tremolos and chromatics
+descend upon the orchestra like a storm of hail and rain that almost
+drown the singers' voices. To a demoniacal refrain full of startling
+crescendos and pauses they sing of their gloomy captain
+
+    "Who has gone upon land to win a maiden's hand."
+
+Then they laugh an unearthly "Ha! ha!"
+
+The Norwegian sailors have listened at first with wonder and then with
+horror. Like children afraid in the dark, they decide to sing as loud
+as they can. So their gay sailors' chorus rings out above the steady
+curse-theme of the Hollaender's crew. The Norwegians urge each other to
+sing louder. Three times they start their song in a higher key, but that
+fearful refrain from the phantom ship overcomes every other sound. The
+Norwegians are too terrified to continue. They cross themselves and
+hurry below deck. The sign of the cross arouses another mocking laugh
+from the crew of the _Flying Dutchman_. Then sudden silence falls upon
+them. The blue flame disappears and darkness hangs over all, while in
+the orchestra there is a long-sustained note, and then one soft minor
+chord like the shutting of a door upon the recent musical scene.
+
+The succeeding harmonies are of another character, as distinct as a new
+stage-setting. A phrase that well simulates hurried footsteps
+accompanies the hasty entrance of Senta and Erik, who is much agitated.
+He has just heard of her engagement to the stranger, and can scarce
+believe it. He upbraids and pleads in one breath, while Senta begs him
+to desist. But the despairing Erik kneels before her and sings with
+grief-stricken tones of their past love. Like all of Erik's music, this
+cavatine is simple and sincere, as one would expect from a peasant lad.
+
+While he is kneeling before her the Hollaender comes upon the scene
+unobserved. With tones as furious as the orchestra accompaniment he
+cries out: "Lost! My happiness is lost! Senta, farewell!" He summons his
+crew to haul up anchor and let down sails. "False love! false faith! I
+must wander the seas forever!"
+
+A tempestuous trio follows the Hollaender's outcry. Senta reiterates her
+vow, and with intense fervor declares he must not leave her. Maidens and
+sailors rush to the scene, but all stand back in amazement as they hear
+the stranger announce: "You know me not, else had you ne'er received me.
+My ship is the terror of all good people. I am called Der Fliegende
+Hollaender!" With this word he springs upon board; the crimson sails
+expand upon the black masts, and the ship leaves shore; while the
+ghostly crew chant their blood-curdling "Jo-ho-ho!"
+
+But this is our last hearing of the curse-theme. Senta has rushed upon a
+high rock projecting into the sea. With full voice and soaring tones she
+calls to the receding ship: "My vow was true! I am faithful unto
+death!"--whereupon she throws herself into the waves.
+
+No sooner has she done so than the phantom vessel sinks from sight. The
+music also tumbles down a tremendous chromatic; then it mounts again,
+changing from minor to major, which gives an effect of sudden peace. The
+Hollaender has found true love. He rescues Senta, and we see him clasping
+her in his arms, while the chords of the salvation-theme rise above the
+other harmonies like the spires of a beautiful city. The haven has been
+reached at last.
+
+
+
+
+Melba
+the Australian
+Nightingale
+
+[Illustration: NELLIE MELBA.]
+
+
+
+
+MELBA, THE AUSTRALIAN NIGHTINGALE
+
+
+A memorable performance of "Aida" was given in London, at Covent Garden,
+a number of years ago. The Ethiopian slave-girl, dark-tinted and slight
+of figure, attracted no particular attention with her first unimportant
+recitative notes. The audience was diverted by the fine tenor singing,
+the excellent contralto, and the well-drilled work of the chorus. There
+followed more of this ensemble, more good orchestral playing, and then
+an effect of melody, or rhythm, or something--that gradually caused
+every pulse to quicken, and stirred every soul in a strange,
+unaccountable way, until suddenly we realized that it was not the
+rhythm, or the harmony, or the tenor, or the orchestra, but _one soprano
+voice_, whose tones seemed to penetrate all space and soar to all
+heights and thrill all hearts in a manner that was overpowering!
+
+The slave-girl was singing! A new star from the Southern Hemisphere was
+just beginning to appear in the North! A "_new name_" had been added,
+and was soon to be heard by "all who had an ear to hear"--Melba, the
+Australian Nightingale.
+
+All critics agree that the quality of her voice has never, in the annals
+of music, been surpassed.
+
+In furnishing Melba her name, which is a diminutive of Melbourne, the
+far continent has sprung into a musical prominence it never before
+attained. From a land at the outer edge of the world, a sovereign of
+song has arisen.
+
+It would, of course, be artistic and effective to picture Melba's early
+life as one of struggle and privation. But, search as one will, not a
+crust or a tatter turns up in her history! She never shivered on a
+doorstep, or sang for pennies in the street! Let the dismal truth be
+told,--her father was wealthy, and his gifted daughter never lacked for
+anything.
+
+Nellie Mitchell, as she was known in those days, was gifted not only
+with a voice, but with a splendid determination to work. She practiced
+diligently all the time in the line of her ambition, and learned to play
+admirably on the piano, violin, and pipe-organ. All this in spite of
+the diversions and enticements of young companions and monied pastimes.
+Wealth, as well as poverty, may serve to hinder progress, and it is much
+to Melba's credit that she had the perseverance to work unceasingly.
+
+Even at school, during recess hours, she was always humming and
+trilling. This latter trick was a source of puzzling delight to her
+comrades, who never tired of hearing "that funny noise she made in her
+throat." The marvelous Melba trill, you see, was a gift of the gracious
+fates at her birth--just back of the silver spoon in her mouth was
+tucked a golden trill.
+
+The story of her childhood is best told in her own words:
+
+"My mother was an accomplished amateur musician, and it was her playing
+that first gave me an idea of the charms of music. I was forever humming
+everything I heard, and she was always telling me to stop, for my noise
+was unceasing! My favorite song was 'Coming Thro' the Rye.' I also liked
+'Nellie Ely,' because my own name was Nellie!"
+
+Incidentally, it was learned that dolls were tabooed by this
+prima-donna in pinafores.
+
+"I hated dolls. My favorite toys were horses--wooden horses. One given
+to me by my father's secretary was almost an idol to me for years."
+
+Recurring to the subject of music, Mme. Melba continued:
+
+"I didn't _sing_ much when a child; I only _hummed_. And by the way, a
+child's voice should be carefully guarded. I consider the ensemble
+singing in schools as ruinous to good voices. Each one tries to outdo
+the other, and the tender vocal cords are strained and tired. I,
+personally, did not seriously study singing until after my marriage at
+seventeen years of age."
+
+The preparation required for Mme. Melba's career was neither very long
+nor arduous. She studied nine months with Marchese, then was ready to
+make her debut in Brussels as a star.
+
+All things came easy to her, because her voice never had to be
+"_placed_"; her tones were jewels already set.
+
+"The first opera I ever heard was Rigoletto.' That was in Paris, when I
+was studying. What did I think of it? Well, I dare say my inexperience
+made me very bumptious, but I remember thinking I could do it better
+myself! In Australia I had no chance to hear operas. 'Lucia' I have
+never yet heard, tho that is perhaps the role most associated with my
+name."
+
+"Lucia" has, indeed, become a Melba possession. The mad-scene alone, on
+a program with her name, would invariably crowd the house. It is a
+veritable frolic to hear her in this aria. She is pace-maker, as it
+were, to the flute, which repeats every phrase that she sings. It is the
+prettiest race ever run, and when at the finish the time-keeper brings
+down his baton, the audience cheers itself hoarse for the winner.
+
+When asked her opinion of the new gramaphones and the wonderful records
+of her voice, Madame Melba spoke with enthusiasm.
+
+"They are, indeed, a remarkable achievement. I am looking, however, for
+still greater improvements, and am keenly interested in every new
+development."
+
+A matter of "keen interest" it must, indeed, be to every prima-donna of
+to-day--this amazing, magic trumpet that can record the subtle
+individual quality of a singer's voice, and give it gloriously forth
+again when desired. By means of this weird invention, the present
+vintage of fine voices can be bottled up like rare wine, and poured out
+in future years. More wonderful still: like the "widow's cruse," this
+trumpet never grows empty; from its uptilted mouth the flow of song will
+stream on continuously, if so desired and directed. It is enough to make
+poor Jenny Lind and other long-silent singers turn restlessly in their
+graves: they died too soon to profit by the powers of this recording
+trumpet,--which surely has no rival save the one that Gabriel blows.
+
+Some further random questions about the experiences of a prima-donna
+elicited the following item. Mme. Melba smiled as she told it:
+
+"Yes, I have some queer things said to me. Just recently a young girl of
+eighteen, who wished me to hear her sing, assured me that there were
+only two fine voices in the world to-day--hers and mine!
+
+"But I must tell you," she added brightly, "the most graceful
+compliment ever paid me. It was by an Irish woman, who, in commenting on
+the lack of song in the native birds of Australia, pointed out that they
+had treasured up all their melody through the ages and then had given it
+to me."
+
+Some one has said, "The ease of Melba's singing is positively
+audacious!" She certainly makes light of the most time-honored
+difficulties. She will start a high note without any preparation, with
+apparently no breath and no change of the lips. Faint at first as the
+"fabric of a dream," it is followed by the gradual grandeur of a
+glorious tone, straight and true as a beam of light, until finally it
+attains the full zenith of a crescendo.
+
+In a bewildering variety of ways writers have attempted to describe the
+wonder of her voice.
+
+"It seems to develop in the listener a new sense; he feels that each
+tone _always has been_ and _always will be_. She literally lays them out
+on the air."
+
+"Her _tone-production_ is as much a gift as the voice itself."
+
+After all, "she is Melba, the incomparable, whose beauty of voice is
+only equaled by the perfection of her art."
+
+"In future years the present time will be referred to, musically, as 'in
+the days of Melba.'"
+
+Like all great prima-donnas, Madame Melba has a beautiful home of her
+own, and a country place to which she hies in the summer. Her town house
+is near Hyde Park, London.
+
+We imagine these song-birds during the hot months resting luxuriantly in
+their various retreats--Melba in her river residence, Calve in her
+French chateau, Jean de Reszke on his Polish estate, Eames in her
+Italian castle, and Patti at "Craig y Nos." But it is hardly an accurate
+picture, for _rest_ to the artist still means _work_. They study all
+summer, every one of them, and entertain other artists, who work with
+them, or, at any rate, contribute to the perpetual whirl of music in
+which they live.
+
+A very good idea of the home life of these song-queens was given to me
+by a young lady who visited one of them for several months.
+
+"Do you know," she said, "it was positively depressing to be near so
+much talent and genius.
+
+[Illustration: Photograph by Davis & Sanford.
+
+Mme. Melba as Elizabeth in "Tannhaeuser."]
+
+"Why, in the drawing-room they would be talking seven or eight
+languages; and some one would improvise at the piano, while another
+would take a violin and join in with the most wonderful cadenzas, and
+then, perhaps, the piano-player would step aside and some one else would
+slide into his place and continue the improvisation the first one had
+begun; and so on all the time, until really I began to feel just about
+as small and worthless as a little pinch of dust."
+
+
+
+
+"Lakme"
+
+
+
+
+"LAKME"
+
+
+Lakme was one of Patti's most successful roles, and very few other
+singers have ventured to attempt it. But Madame Melba includes it in her
+repertoire, and a great treat is in store for New Yorkers when the
+managerial difficulties in the way of its production are sufficiently
+overcome for her to present it.
+
+"Lakme" is composed by Delibes. This name at once recalls that exquisite
+"pizzicato" from the ballet "Sylvia," a musical fragment that has
+floated around the world and stuck to the programs of every land. The
+same delicate fancy and witchery that characterize the ballet are also
+prominent in the opera. His style is perhaps the furthest removed from
+Wagner of any modern composer. "Lakme" has no crescendo worth
+mentioning, and the themes are, for the most part, left to take care of
+themselves; but every phrase is fascinating, and there is never a
+tedious passage.
+
+The prelude opens in the minor key with a group of octaves erect and
+solemn as pine trees. The next phrase starts up like a blue flame
+darting from obscurity--a fantastic measure with wild harmonies that
+plainly suggest India as Lakme's home. A pathetic wail from the flute
+offsets this elfish interlude; the gloom of the minor still hangs over
+all, and the persistent tremolo of the violins becomes oppressive as the
+perfume of magnolias. It is like a forest at midnight. Suddenly the
+gloom and stillness are dispersed by the love-theme of the opera, which
+is in the major key, and consequently has a purifying effect. Major and
+minor are the oxygen and nitrogen of the musical atmosphere.
+
+A peculiar, rhythmical beating of the triangle accompanies the rising of
+the curtain, which reveals a luxuriant garden enclosed by a bamboo
+fence. At the back is a little river, and a modest dwelling stands on
+the bank; but a pretentious idol at one side characterizes the place as
+a sanctuary. Day is breaking, and as the light increases those soft,
+metallic tones of the triangle penetrate the air like sunbeams.
+Nilikanthe, a Brahmin priest and owner of the dwelling, comes forward
+with two slaves, who open the bamboo gates, admitting a group of Hindu
+devotees, who prostrate themselves before the idol. Beneath the radiance
+of those unceasing triangle tones arises a languid prayer, soft as the
+gray morning mist, after which Nilikanthe addresses the worshipers. He
+refers to their recent English conquerors, who have "displaced our gods
+and devastated our temples." His tones mount higher and ring out with
+religious ecstasy until he causes a sudden hush. The music of invisible
+harps fills the air, and as the Hindus again kneel a woman's voice, like
+a clarion call, renders an incantation that is rare and wondrous. It
+sounds like the song of an angel, but it is only Lakme, the Brahmin's
+daughter. She comes forward and mingles her prayer with those of the
+people. Weird and strange, like the tones of a wild bird, her voice
+soars above the chorus, filling the air with reckless trills and soft
+staccatos. The worshipers arise and go out, leaving Lakme and her father
+alone. She is a "child of the gods," and her life is dedicated to
+Brahma. Nilikanthe declares it is her pure influence that protects their
+sacred abode from the enemy. He leaves her for a time in charge of
+Mallika, a trusty slave.
+
+When he is gone the music assumes a lighter mood, while mistress and
+maid look about for diversion. After removing her jewels and placing
+them upon a stone table, Lakme proposes a row on the river. The music of
+this scene is fraught with a tropical heat and midday languor--dreamy,
+drowsy violin tremolos that suggest the drone of bees. The two maidens
+render a duet whose words--
+
+    "Ah, we'll glide,
+     With the tide--"
+
+are set to music that seems to sing itself. It is a fountain of melody
+with flowing rhythm and rippling runs, staccatos like drops of water,
+and trills that are light as bubbles. The singers step into the boat,
+and we hear their song far down the stream, soft as a shadow and lovely
+as a dream.
+
+After a moment's silence a new element comes forward--a party of English
+sight-seers. Their appearance in grand opera seems to us as much an
+invasion as their presence in India does to the Hindu. After the costume
+of Lakme, which is all spangles and bangles and gauze and fringe, we are
+astonished to see the modern English waistcoats, fashionable bonnets,
+and long-trained skirts. But it is all compatible with facts and
+history. Gerald is an officer in the army; Ellen, his fiancee, is a
+daughter of the governor; the other couple are their friends, and Mrs.
+Benson is the chaperone.
+
+To enter this enclosure, the party have had to force an opening in the
+bamboo. It is evident trespassing, but they are too unconcerned to
+care. Their first rollicking ensemble is an interesting evidence of the
+composer's ability to change from the Hindu to the English type. Instead
+of weird, uncivilized cadenzas, these are plain, Christianlike
+harmonies, such as we have been brought up to and can anticipate.
+Indeed, this song recalls Arthur Sullivan in his best mood.
+
+After inspecting the idol and various points of interest, the party
+discover Lakme's jewels. Ellen admires their workmanship, and Gerald
+proposes to sketch them; but Mrs. Benson urges the party away. They all
+go excepting Gerald, who insists on copying the jewels. He prepares his
+sketching materials and is apparently in haste; but true to the precepts
+of grand opera, he first sings to us a long and beautiful aria about
+"taking the design of a jewel."
+
+By the time he has sustained the last high tone through five measures,
+Lakme and Mallika have finished their row upon the river. Gerald
+conceals himself behind a shrub as they enter. The undulating melody of
+their boat-song is rendered by the orchestra, first softly, then with
+increasing strength, until it ends with a sforzando chord as the boat
+touches shore.
+
+Lakme brings forward an armful of flowers as an offering to the idol,
+and she sings a tender little song whose pathetic melody belies the
+text, which constantly asserts, "I am happy." The accompaniment is a
+simple violin arpeggio, swaying back and forth upon the melody like a
+butterfly on a flower. Between the verses it flutters up in a fanciful
+cadenza, but soon returns, and, alighting on the melody, it continues to
+sway as before.
+
+Great is Lakme's indignation on perceiving Gerald, the intruder. As she
+goes toward him, her every step is emphasized by a resolute chord in the
+orchestra.
+
+"Leave at once!" she commands. "This ground is sacred, and I am a child
+of the gods!"
+
+But Gerald has fallen hopelessly in love with the pretty priestess, and
+he loses no time in telling her. No one has ever dared thus to address
+Lakme, and she is incensed at his boldness. She warns him that death
+will be the penalty of his rash trespassing unless he goes at once. But
+Gerald only repeats his sweeping song of infatuation.
+
+At last, moved to admiration by his courage, Lakme ventures to ask by
+what god is he inspired. Like ripples of sunlight are the next measures,
+wherein he tells her that the God of Love makes him fearless.
+
+Interested in this new deity, the Hindu maiden repeats after him the
+sparkling words and music. She sings timidly and a tone too low, but
+Gerald leads his ready pupil into the right key, and they sing together
+with full voice this most fascinating melody. The final rapturous tone
+has scarcely subsided when Lakme hears her father approach.
+
+Complying with her entreaties, Gerald departs just in time for
+Nilikanthe to perceive the broken fence. He vows vengeance upon the
+profane foe who has dared to enter here. His followers second the cry,
+while Lakme stands aside in fear and trembling.
+
+Tambourines and fifes predominate in the next orchestral prelude. It is
+a miniature _marche militaire_, and unmistakably English. The second act
+discloses a public square filled with Indian shops and bazars. It is the
+occasion of a great festival at the pagoda. Merchants and promenaders
+occupy the stage, and their opening chorus is all bickering and
+bargaining. The music is very ingenious. A free use of harmonic
+discords, dazzling scales that seem to clash with their bass, and
+chromatics that run into each other gives an effect of Oriental
+extravagance--gay colors upon crumbling walls, jewels over rags.
+
+The chorus continues until a bell announces the beginning of the
+festival and time for the venders to disperse. They slowly depart and
+give place to the ballet, without which Delibes would hardly be
+himself.
+
+It is interesting to note the specialties that different composers
+unconsciously assume. Liszt seemed to revel in rhapsodies; while the
+alliteration, "Schubert's Songs," comes uppermost in spite of our
+knowledge that he wrote some eleven hundred other compositions. Bach
+invented more fugues than any one else; while Handel made his most
+lasting impression with oratorios. Symphonies and sonatas were the
+life-work of Beethoven; while Chopin had a particular fancy for
+nocturnes. And Mendelssohn! With all deference to his greater works, it
+must be conceded that "Songs Without Words" are inseparably linked with
+his name. Verdi with his tremendous range of operas has had little time
+for anything else. The list could be extended to almost any length; but
+we will only add that Czerny is known for his scale exercises and Kullak
+for his octaves; while Weber, in the language of a recent critic, "is
+famous because he invited all the world to waltz!"
+
+But to return to Delibes and his ballets. The present one is divided
+into several movements--the first being slow but of throbbing rhythm,
+while in the second one the melody whirls and spins around like a top.
+It is constantly whipped up by the conductor's baton, and the dizzy pace
+continues until this merry melody bumps against a substantial chord.
+
+After the ballet Lakme and her father come forward. They are disguised
+as pilgrim mendicants, the better to enable Nilikanthe to seek out his
+foe. It must be understood that this Hindu thirst for vengeance is a
+matter of religious belief, and the music plainly impresses this fact. A
+weird theme that was prominent in the overture recurs as Nilikanthe
+explains that the wrath of heaven must be appeased with the blood of a
+victim. He has cleverly surmised that Lakme was the attraction inducing
+the stranger to trespass on sacred ground. Confident that every one will
+attend this great festival, the Brahmin has brought his daughter as a
+decoy. She plays the role of a street ballad-singer, and is at the
+merciless command of her father. He bids her look gay and sing with full
+voice so as to attract a crowd. The orchestra gives her the keynote, and
+then, like a necromancer performing wonders with a coin, she executes a
+cadenza that bewilders and dazzles the senses. Her tones soar away like
+carrier-birds, and they bring the people from far and near to hear the
+wondrous singing. When a crowd has collected, Nilikanthe announces that
+she will sing to them the "Legend of the Pariah's Daughter." Lakme sings
+as easily as she talks. The first phrase is a simple little narrative
+about a maiden wandering at eve in the forest, fearless of beast and
+sprite, for she carries in her hand a little bell that wards off evil
+with its merry tinkling. Then follows one of the most difficult staccato
+fantasias in existence, for the voice imitates the tinkle of that silver
+bell. The tones fall fast as rain-drops in a shower, round as beads and
+clear as crystal. The composer shows no respect or reverence for high
+notes. Upper B is given a "shake" and any amount of staccato raps, while
+even high E, that slumbering "spirit of the summit," is also aroused to
+action. In fact, this aria is one of the few that can not be poorly
+rendered. To do it at all argues doing it well. Its difficulties protect
+it like a barricade from the attack of mediocre singers. The second
+verse relates how the maiden meets a stranger, who is saved from the
+surrounding wolves by the tinkle of her magic bell. This stranger was
+"great Vishnu, Brahma's son;" and since then--
+
+    "In that dark wood
+       The traveler hears
+     Where Vishnu stood
+       The sound of a little bell ringing."
+
+Soft and clear as a wood-nymph laughing those marvelous staccatos again
+peal forth.
+
+During his daughter's performance Nilikanthe has been scanning the faces
+around him, but none reveals any emotion other than the pleasure of
+listening. Furious that his plan has not succeeded, he bids Lakme to
+sing it again--"Louder!" But she has suddenly perceived Gerald
+approaching; and, knowing that if he recognizes her he will betray
+himself, she does not wish to sing. She pleads and entreats, but her
+father is obdurate. So she begins with pouting lips and trembling voice.
+"Sing out!" admonishes Nilikanthe. As Gerald draws nearer, Lakme becomes
+more and more disturbed. The pretty staccatos are all out of place, like
+blossoms falling to pieces. They are flat where they should be sharp,
+and minor instead of major; but her tones, like perfect petals, are none
+the less lovely because detached. Once, twice, three times she
+recommences, always in a higher key. Suddenly she utters a musical
+scream as Gerald comes up to her, and Nilikanthe exclaims: "'Tis he!"
+
+In the mean time, Gerald hears the fifes and tambourines of his regiment
+and goes to answer the roll-call.
+
+Nilikanthe summons his Hindu followers and informs them that he has
+discovered the foe. This solo with chorus of the conspirators is minor,
+_mysterioso_, and _agitato_; it is the most interesting bass solo of the
+opera. The conspirators go off, leaving Lakme alarmed and disconsolate.
+Like a faithful hound, Hadji, the slave, draws near to her and whispers
+that he has seen her tears and heard her sighs: "If you have a friend to
+save, confide in me." His words are _parlando_, but the orchestra
+illumines them with music clear as a calcium light. Lakme grasps his
+hand in gratitude, but motions him aside as she perceives Gerald
+thoughtfully returning.
+
+The hero has left his comrades at the first opportunity and retraced his
+steps to the place he left Lakme. His joy on finding her is portrayed in
+a musical greeting of such unbounded rapture that one key will hardly
+hold it. The ensuing love-duet deserves to rank with the best. But Lakme
+is more sad than glad, for she knows of impending danger. She urges him
+to flee, and tells him of "a little cabin hidden in the forest, quite
+near by," where he can hide secure from his enemies. This Cabin Song is
+an idyllic refrain, with gentle harmonies that picture more than the
+words. She urges him to follow her; but, in spite of his infatuation,
+Gerald realizes his duty as a soldier. He dare not go.
+
+Like dust before a tempest is the succeeding instrumental passage
+announcing the approach of the great procession. The notes, like atoms,
+are carried forward faster and higher, until they come so thick that you
+can not distinguish them. This cloud of music melts away before the
+mighty chant of the Brahmins as they march to the pagoda. Their weird
+incantation fills the air like a trumpet-blast. The greater part of this
+processional music greets our ears familiarly, because it was given in
+the overture. Upon this somber background of Hindu harmonies the
+composer delights in casting gleams of Sullivanesque music in the form
+of passing remarks from the English onlookers. The contrast is startling
+as magic-lantern pictures thrown upon the pyramids.
+
+As the procession marches on, we see Nilikanthe point out Gerald to the
+other conspirators. They cautiously surround him, and at the bidden
+moment he is stabbed by Nilikanthe, who then disappears in the crowd. On
+hearing the victim's cry, Lakme rushes forward. The stage is darkened,
+for it is evening, and the lights of the procession are gone. The Hindu
+maiden finds Gerald but slightly wounded. She calls Hadji, the slave,
+and then, without further explanation on her part, the instruments
+whisper to us her intention. We hear the soothing harmonies of that
+lovely song about "a little cabin hidden in the forest quite near by."
+
+The second _entr'acte_ is performed after the rising of the curtain. We
+see an Indian forest, dense of foliage and brilliant with flowers. At
+one side is a hut, half concealed by the shrubbery, and near it are
+Lakme and Gerald, the latter reclining upon a bank, while she watches
+over him as he slumbers. No sound or movement mars the effect of a
+perfect picture, and beneath it all, like gold letters spelling out the
+subject, come the tones of that sweet melody of the Cabin Song. The
+conductor at his desk reminds us of an artist at his easel who, with a
+magic brush, traces in tone-colors this beautiful inscription.
+
+After the _entr'acte_ Lakme softly sings a slumber-song, simple as a
+child's prayer and as beautiful. There are only two phrases in it, but
+they come and go like wandering thoughts. When Gerald awakes he recalls
+how he was brought here, while Lakme relates how with wild herbs and the
+juice of flowers he has been restored. Their rapturous conversation is
+interrupted by a chorus from without, the voices of young men and
+maidens on their way to a fountain in the forest from whence, it is
+said, if two lovers drink they will always be united. Lakme solemnly
+explains this beautiful belief and at once proposes to bring a cup of
+the water. "Wait for me," she admonishes as she runs out, and we hear
+her voice mingle with the far-away chorus of the other lovers.
+
+During her absence a comrade of Gerald's discovers his retreat. The
+newcomer announces that their regiment has orders to move on, and that
+if Gerald does not join them he will be dishonored. This visit passes
+over like a modern railroad through an Arcadian temple. Poor Lakme soon
+discovers the devastation. With charming faith she extends her cup of
+water to Gerald, but at this moment he hears the fifes and drums of his
+regiment. Lakme still offers the cup. "Drink and vow to be mine!" But
+Gerald does not heed her words, for he is distracted with thoughts of
+duty and honor. She also hears this English music.
+
+"His love is faltering!" she piteously cries; and then with a decision
+as impulsive as her nature she plucks a flower of the deadly Datura and
+eats it without being observed by Gerald.
+
+She turns to him tenderly and sings of their love,--a melody so gentle
+and pathetic that he can no longer resist. He picks up the fallen
+goblet, and touching it to his lips vows to love forever. They sing
+together a song of exaltation.
+
+Suddenly Nilikanthe breaks in upon them. He brings his followers and
+would kill Gerald at once, did not Lakme rush between them: "If a victim
+to the gods must be offered, let them claim one in me!" In tones of
+ecstasy she repeats the final phrase of her love-song; but her voice
+soon fails, and with a sudden gasp she falls at the Brahmin's
+feet--dead.
+
+Like hot flames reaching up at him from the orchestra come the tones of
+his terrible vow-theme. The victim has been offered, but instead of
+glory, only ashes fall upon him.
+
+
+
+
+"I Pagliacci"
+
+
+
+
+"I PAGLIACCI"
+
+
+Pagliacci is the Italian word for clowns, a decidedly unique subject for
+grand opera. Novelty is one of the characteristics of this work. It has
+already achieved fame, altho but a child in age and size, being only a
+few years old and two acts long. Leoncavallo, the composer and
+librettist, has since written another opera, "I Medici," which has found
+favor in Europe, but is still unheard in America.
+
+Pagliacci is startling and intense from the entrance of the Prologue to
+the clown's last word, "_finita_." The music abounds in surprises, and
+altho Leoncavallo has been charged with some plagiarism, his work but
+reflects the influence of such recent composers as Wagner and Mascagni.
+
+The opening orchestral measures are of peculiar rhythm, and suggest the
+spasmodic movement of puppets on a string; but this implies no lack of
+dignity to the composition. There are passages that recall the "Flying
+Dutchman," and Leoncavallo adopts the Wagnerian method of handling his
+themes; in other words, each one has a meaning that is adhered to
+throughout the opera. In this introduction we hear the warm and sunny
+love-music, followed by the somber theme of revenge like a shadow after
+light. Then the puppet-music is hastily resumed, to remind us that a
+clown must laugh and dance, however bitter his feelings.
+
+During the overture a painted and grotesque personage steps before the
+curtain and announces himself as the Prologue. This innovation has
+prompted some wag to remark that "the opera commences before it begins!"
+Mascagni, in his "Cavalleria Rusticana," was the first to present an
+unconventional opening, by having a serenade behind the curtain, but
+Leoncavallo has outdone his rival by having a prologue in front of the
+curtain. He tells us that the play is taken from life, and that in spite
+of their motley and tinsel the actors have human hearts. This satisfying
+song, with its appealing melody and large, resounding accompaniment, has
+never yet failed to arouse an encore. With a final signal for the play
+to begin, the Prologue skips out as the curtain goes up.
+
+The scene represents an Italian village gaily decorated for the "Feast
+of the Assumption," an annual fete that lasts a week. We see at one side
+a rough mimic theater, with stage and curtain, a temporary structure
+erected for a troupe of players who are just entering the town. There
+are shouting and laughter behind the scenes, sounds of a discordant
+trumpet and a terrible drum, and soon the villagers enter, vociferously
+greeting and surrounding a donkey-cart in which are the players. It is a
+meager troupe, consisting of Canio, the master, Nedda, his wife, Beppo,
+the harlequin, and Tonio, the fool. They wear fantastic costumes. Canio
+beats his big drum, while Nedda scatters play-bills, and the villagers
+think the troupe quite wonderful. They are welcomed with an impulsive
+sweeping chorus that seems to disregard all precedent in the matter of
+keys. These peasants apparently sing in an ungoverned, unrestrained way
+of their own; but as an Italian's tattered costume is always
+picturesque, so is this artless music most graceful and charming. Canio
+bows grotesquely on all sides, and again thumps his drum to make the
+people listen as he tells them that at seven o'clock the play will
+begin:
+
+         "You all are invited,
+          And will be delighted
+    As you witness the woes of poor Punchinello,
+    Who revenges himself on a rascally fellow."
+
+Canio's professional music, such as the foregoing speech, is made
+admirably artificial, thin and cheap as tissue paper, with uncertain
+accompaniment and flimsy melodies.
+
+When the excitement has subsided, Tonio, the fool, offers to lift Nedda
+from the cart, but Canio boxes his ears and helps his own wife down.
+The people laugh at Tonio's discomfort, and he goes off grumbling. This
+pantomime action and the succeeding bit of dialog are accompanied by a
+rollicking, hurdy-gurdy sort of motif in the orchestra. A villager
+invites the players to a drink in the tavern. Canio and Beppo accept,
+and they call Tonio to come along, but he replies from behind the mimic
+theater, "I am cleaning the donkey, and can't come." The villager
+laughingly suggests that Tonio is only waiting for a chance to court
+Nedda. Canio takes this joke rather seriously, and sings an earnest
+cantabile to the effect that such a game would be dangerous: "On the
+stage, when I find her with a lover I make a funny speech and every one
+applauds; but in life--believe me, it would end differently." This last
+phrase is adapted to the dismal, menacing theme of revenge that was
+started like a germ in the overture. It is still deeply buried among the
+instruments, but its growth is steady from the beginning of the opera
+to the end. Canio closes his song by assuring all that there is no
+ground for suspicion. He embraces Nedda, and declares that he loves and
+respects her. The hurdy-gurdy music is resumed, and distant bagpipes are
+heard,--noises peculiar to a village fete. The chorus sing with much
+good humor, and are accompanied by a charming violin obligato. Then
+comes the Bell Chorus, so named because the church bell calls them to
+vespers. "Prayers first, and then the play!" exclaim the young people as
+they go out. The delightful turns and curves of this bell-song are
+continued until quite in the distance.
+
+Nedda is left alone, and the orchestra, like a merciless conscience,
+repeats to her Canio's threatening theme. She has a secret that causes
+her to tremble as she recalls her husband's dark looks and words; but
+her fears are momentary, for the day is bright and so is her heart. She
+sings to the sunshine and the birds in the sky. A gay tremolo of the
+stringed instruments seems to fill the air with feathered songsters,
+and they remind Nedda of a little ballad her mother used to croon. This
+popular ballatella is generally referred to as the Bird Song. There is a
+busy, buzzing string accompaniment, and the melody is a gentle, legato
+waltz movement. The last notes are descriptive of a bird's flight "away,
+away!" so high that the tone seems to soar out of sound as a bird out of
+sight.
+
+Nedda turns around, and is surprised to find Tonio listening with rapt
+adoration. He is only a jester, and quite ridiculous to look upon; but
+he nevertheless loves Nedda, and tells her so. In this aria, Tonio
+reveals a depth of feeling that is in touching contrast to his painted
+face and comical clothes. Nedda laughs uproariously at his confession,
+and with heartless sarcasm she quotes the scherzando music of the
+prospective play-scene, and says he must save his fine love-making for
+the stage. In vain Tonio pleads and falls on his knees. She threatens to
+call her husband, and finally snatching up a whip, gives Tonio a smart
+blow on the face. His love is turned to hatred, and he vows vengeance
+for this insult. He is very much in earnest, and indeed the composer has
+given him quite a fine vengeance-theme, all his own. It is heard
+groveling and growling among the bass instruments, like some disturbed
+animal. Tonio goes off with frowns and threats, but Nedda forgets these
+in the joy of seeing Silvio. As he cautiously enters, the orchestra
+announces in the plainest musical phrases that this newcomer is the
+lover. That theme amoroso is unmistakable even had we not been
+introduced to it in the prologue. Throughout this love-scene it is the
+leading spirit, sporting around from treble to bass, now in the
+orchestra, then in the voice; sometimes veiled in a minor key or
+suppressed by top-heavy chords; again, it will start to materialize but
+at once disappear, or when most unexpected will push itself forward with
+impish delight.
+
+The witchery of this music undermines fear and caution. The lovers do
+not notice Tonio's leering face as he overhears their vows and then goes
+off to bring Canio; nor do they hear the stealthy approach of Tonio's
+revenge in the orchestra. Nedda agrees to elope with Silvio, "to forget
+the past and love forever!" He has climbed the wall and sings these
+farewell words with Nedda, just in time for Canio to hear them. The
+husband rushes forward with a cry of rage, but he fails to recognize the
+lover. Nedda has warned Silvio to flee, and Canio scales the wall in
+pursuit. She is left for a moment with Tonio, who gloats over his
+revenge. With bitter irony Nedda cries "Bravo!" to his success. She
+calls him a coward and other terrible names, but the despised jester
+only shrugs his shoulders.
+
+When Canio returns from his futile chase, he grasps Nedda, tortures her
+and threatens her, but she will not tell her lover's name. He declares
+she shall die, and with these words that bitter revenge-theme for the
+first time blossoms out in the voice part. It is sung and shouted by
+the maddened Canio, while the director's baton swings over the orchestra
+like a reaper's sickle, gathering in this full-grown theme. Canio draws
+his dagger, but is forcibly restrained by Beppo, who tries to reason
+with his master. "It is time for the play to begin. The people pay their
+money and must be entertained." Nedda is told to go and dress for her
+part, while Canio is advised to restrain his anger until after the play.
+He allows himself to be persuaded. The others go off to make ready, and
+he too must soon don the paint and powder. He looks sadly at the little
+theater, and sings a magnificent aria that attains the uttermost heights
+of pathos. He must amuse the people while his heart is breaking. He dare
+not weep as other men, for "I am only a clown." Canio goes off sobbing
+as the curtain descends.
+
+An intermezzo of much beauty and deep feeling is performed by the
+orchestra between the acts. Its opening measures recall the funeral
+march of the "Goetterdaemmerung"--dolorous, heart-weary passages that
+presently break away with a nervous energy into the cantabile theme of
+the prologue. This intermezzo is not long, and we are again enlivened by
+the scene on the stage.
+
+It is evening, "at seven o'clock," and the mimic theater is illuminated
+by gay lanterns. The people are flocking to the performance, and they
+drag forward benches and chairs to sit upon. Tonio stands at one side of
+the little stage beating a drum, while Beppo blows the trumpet which is
+still out of tune, and therefore the opening bars of this act are
+exactly like the first. These good people make a great rush and fuss in
+getting their seats, and they sing a simple, hearty refrain about the
+great event of seeing a play. The original and refreshing chorus that
+delighted us in the first act is repeated, and we become as excited and
+eager as the villagers to witness the performance about to take place on
+that little wooden stage with its cheap red curtain. Silvio is among
+the crowd, and he finds a chance to speak with Nedda as she passes the
+money-box. He arranges to meet her after the play, and she admonishes
+him to be careful. After she has collected the money the players go back
+of the scenes. A little bell is rung, and the wonderful red curtain goes
+up.
+
+The comedy is called "Columbine and Punchinello," and Nedda, who plays
+the part of Columbine, is discovered sitting by a table. The room is
+roughly painted and Nedda wears some cheap finery, but the people
+applaud and think it beautiful. The play-music is all angular and
+grotesque, glaring effects thrown on in splashes like an impressionist
+painting. It is admirably appropriate, and perhaps the most unique
+stroke in the opera.
+
+To return to the action of the mimic play. Columbine soliloquizes for a
+moment about her husband Punchinello, whom she does not expect home
+until morning. She looks toward the window and evidently expects some
+one else. The pizzicato tuning of a violin is heard through the window.
+The player gets his instrument to the right pitch and then sings a
+serenade to the "fair Columbine." She would fain receive her adorer, but
+at this moment the servant (Tonio) enters. He looks at Columbine, and
+with exaggerated music and ridiculous sighs informs the hearers that he
+loves her, and now that the husband is away he finds courage to get
+abruptly on his knees. Columbine pays no attention to his love-making,
+but she accepts the property chicken that he takes from his basket. The
+village spectators laugh and applaud. The scene on the mimic stage is
+next enlivened by the lover (Beppo), who climbs in through the window,
+and on seeing the servant promptly takes hold of his ear and shows him
+out of the room. The spectators, of course, laugh at this and think the
+whole play very funny. Columbine entertains her lover by giving him a
+good supper. Their harmonious conversation includes a charming and
+graceful gavotte melody that is decidedly the gem of this play-music.
+Its dainty elegance and classic simplicity are worthy of Bach himself.
+
+The servant rushes in upon the supper-scene, and with mock agitation
+announces that Punchinello is coming. The lover hurries out of the
+window as the husband enters. It is Canio, the real husband, who acts
+this part, and as he sees Nedda at the window he is struck with the
+similarity of the play to the reality. For a moment the play-music is
+dropped and we hear the serious love-theme of the opera closely pursued
+by that bitter wail of revenge that clings and creeps around it like a
+poison-vine. Canio chokes down his grief and bravely tries to go through
+his burlesque part. A new, jerky little melody accompanies the remarks
+of Punchinello, and it would be very gay were it not written in the
+minor, which gives it a touching effect of faint-heartedness.
+Punchinello asks Columbine who has been with her, and she replies, "Only
+the servant." But Punchinello again asks who was the man--"tell me his
+name." The last words are real, and Canio no longer acts a part. Nedda
+tries to keep up the farce, and the serious themes and play-music
+alternate as the scene goes on. With curses, threats, and entreaties
+Canio tries to learn the name of Nedda's lover, and Silvio in the
+audience becomes uneasy; but the other villagers only think it is fine
+acting. When Canio at last buries his face in sobs as he recalls how
+much he loved his wife, the people shout "Bravo!"
+
+Nedda again tries to resume the play. She forces herself to smile and
+sing the gay gavotte; but this only maddens Canio the more. With tones
+of fury he declares that she shall either die or tell her lover's name.
+Nedda defies him, and her words are sustained by a distorted arrangement
+of the love-theme, which effect is like seeking concealment behind a
+skeleton. The music has become as breathless as the situation. Nedda
+tries to escape toward the spectators, but Canio holds her, and there
+follows a piercing shriek. Nedda has been stabbed. She falls, and with
+her dying breath calls "Silvio!" Canio turns upon her lover and
+completes vengeance with a single stroke. The orchestra now trumpets
+forth, like the expounding of a moral, that poignant theme whose growth
+and supremacy we have watched. The village spectators are still puzzled,
+and can hardly believe that the tragedy is real. Tonio comes forward and
+announces in parlando voice that "the comedy is finished!"
+
+       *       *       *       *       *
+
+"Pagliacci" only occupies half an evening, and even with the "Australian
+Nightingale" and a great tenor in the cast the public still expect "some
+more." New Yorkers have become spoiled by the great performances lately
+given at the opera-house. We take it as a matter of course that "Don
+Giovanni" should be given with Lehmann, Sembrich, Nordica, Edouard de
+Reszke and Maurel, and quite expect "The Huguenots" to have in its cast
+two great sopranos and the two de Reszkes. We have an idea that a large
+city like New York should expect nothing less, and are not sure but the
+European capitals do better. In point of fact, however, when Madame
+Sembrich sings in Berlin the royal opera-house is crowded by the
+attraction of her name alone; and the same may be said of Madame Melba
+in Paris, or Calve, or any of them. There are never more than six or
+seven great prima donnas in the world at one time, and when one of these
+sings in Europe the rest of the company is often mediocre. But not so in
+New York. After "Pagliacci" with Melba, "Cavalleria" with Calve is the
+usual program--a rather unfortunate combination of operas, for they are
+both so feverishly intense. After the "beautiful horror" of
+"Pagliacci's" finale, a contrast might be welcome. Glueck's "Orpheus and
+Eurydice" is a short opera that alongside of Leoncavallo's work would
+delight the musical epicure. Such an opportunity to study the new and
+the old would surely be beneficial.
+
+
+
+
+"Orpheus and Eurydice"
+
+
+
+
+"ORPHEUS AND EURYDICE"
+
+
+Classic myth and classic music are in this opera happily united. The
+beautiful legend belongs to the past, but Glueck the composer, like
+Orpheus the musician, has brought the departed to life. With gentle
+harmonies he pacified those surrounding Furies, the critics, and his
+creation has attained a lasting place in the musical world. Simplicity
+and sincerity stamp the entire composition. The musical thoughts are put
+down in the plainest, straightest way, in strong contrast to the old
+Italian style, whose profuse embellishments remind one of ornate
+penmanship. Glueck lived more than a century ago, but his ideas
+anticipated many of our modern formulas. He succeeded in imparting a
+musical individuality to all his characters.
+
+To properly enjoy Glueck's masterpiece the listener should present
+himself with a spirit as gentle as the composer. The opera is more
+idyllic than overpowering. Enjoy it as you would a perfect day in some
+peaceful valley.
+
+The overture to "Orpheus and Eurydice" is not remarkable. It bears no
+theme-feature in common with the opera, and its kinship is only
+discernible in name and nature, both opera and overture being devoid of
+ostentation.
+
+The curtain rises upon a Grecian landscape that is beautiful but sad,
+for amid drooping willows and solemn pines stands the tomb of Eurydice.
+Orpheus, the disconsolate husband, is leaning upon the shrine. Not even
+his lute can solace him in this hour of grief. A dirge of unrivaled
+beauty arises from the orchestra like a flower from the earth. It is
+taken up by the chorus and given as an offering to the departed. There
+is something mythical about the music as well as the scene. All nature
+seems to join in this lament over Eurydice. Ever and anon Orpheus
+proclaims her name in tones so pitiful that--
+
+    "The rocks and rills and surrounding hills
+     Feel pity, and are touched."
+
+He asks the chorus to scatter flowers upon her grave and then leave him
+alone, for their song but adds to his grief. Accompanied by an
+orchestral ritornelle of Arcadian simplicity, they strew their garlands
+and then retire.
+
+The wood-wind and viol follow Orpheus in his solitary plaint that again
+reminds us of the voice of nature. It is a feminine voice, too, a fact
+worth mentioning, for Orpheus is now considered the contralto _role de
+resistance_. After vainly beseeching high heaven and all the gods to
+restore his lost Eurydice, Orpheus decides to brave the realms of Pluto.
+He will himself wrest her from death's power. The gods help those that
+help themselves, and now Amor, the god of love, comes to his assistance.
+Amor says he shall descend in safety to the lower world, and will find
+his Eurydice among the peaceful shades. He must take his lute, and
+perchance by the power of music he can induce Pluto to release her. Was
+there ever a more charming story for an opera! Amor further dictates
+that while leading Eurydice to the upper world he must not look upon
+her, else all endeavor will have been in vain, and death will at once
+claim his own. After promising to obey, Orpheus sings a song full of
+gratitude, with here and there a gleam of gladness like flecks of
+sunlight after rain. His final aria is the very noontide of joy,
+dignified always but none the less radiant. Glueck here finds use for
+colorature--plain, classical scales and broken thirds without any
+appoggiaturas or even staccatos; but his even-tempoed sixteenth notes
+seem as gay as Rossini's breathless sixty-fourths.
+
+The second act is the most interesting. It pictures the nether world of
+Hades. There are vistas of receding caverns full of smoke and flames.
+Furies and Demons occupy the stage. According to Glueck, the brass
+instruments furnish the music of Hades, in opposition to the harps,
+which belong to heaven. The first tones are hurled up by the trumpets
+like a blast of molten rocks. Then like a balm to all the senses, nectar
+after poison, incense after sulfur, day after night, come the next
+celestial harmonies. It is Orpheus with his lute, whose harp-tones reach
+us from afar, as this musician of the gods plays his way through the
+gates of Hades. For a moment the Furies cease their revel, as they
+wonder what mortal dares to enter here. When they resume their dance the
+orchestra renders a reeling, demoniacal medley of scales and staccatos.
+Again the Furies stop as they see Orpheus approaching, and they sing a
+malediction upon this mortal so audacious. They try to frighten him with
+howls from the watch-dog Cerberus, an effect admirably represented by
+the instruments. The music is all fearful and threatening, with creeping
+chromatics shrouded in a minor key.
+
+Orpheus is undaunted; and with enduring faith in the power of his music
+he takes up his harp and sings to them of his love for Eurydice.
+Entreating their pity, he begs them to let him pass; but Cerberus still
+howls and the Furies shout "No!" They threaten him with eternal torture,
+but the inspired youth sings on. No punishment they can devise could
+exceed the grief he already suffers--such is the burden of his song.
+Even the Demons and Furies can not long resist such tender strains. With
+bated breath they wonder what strange feeling steals o'er them, for pity
+is a new sensation: "The cheeks of the Furies were wet with tears; all
+Hades held its breath." Three times the wondrous song and accompaniment
+still the shrieks of Pluto's realm. Orpheus is finally allowed to pass.
+The Furies and Demons hasten to drown their recent emotion in a mad
+revel that surpasses the first one. This demon-dance is admirably
+characterized by the music. It has a rapid tempo and a perpetual motion
+that suggest dancing on hot iron. Tremolos rise and fall like puffs of
+smoke, while scales like coiling snakes and staccatos like skipping imps
+add to the effect of pandemonium.
+
+Act III. pictures the Elysian fields, the abode of the blest where "calm
+and eternal rest" pervade even the music. The orchestral introduction is
+saintly, with its religious harmonies and classic purity. It is simple,
+but yet so interesting that we can imagine the immortal spirits hearing
+forever and never weary, for classical music is always new and always
+beautiful. The flute and stringed instruments perform the great part of
+this Elysian music. White-robed spirits glide about, and one soprano
+voice starts up a happy, flowing melody that inspires a chorus of
+others. It is Eurydice who leads this singing of the blest.
+
+There is dancing as well as singing, and during this divertisement the
+instruments weave out a new musical fabric. The steady accompaniment and
+firm legato theme are the woof and warp through which, around which,
+and over which a little five-note appoggiatura sports like a weaver's
+shuttle. It appears four times in every measure, but never twice in the
+same place.
+
+With wonder and admiration comes Orpheus upon the scene. The orchestra
+continues its blithe harmonies while Orpheus sings of the beauteous
+sight. But not even such surroundings can quell his longing for
+Eurydice. Unlike the Furies, who only granted his prayer because
+compelled by his wondrous music, the spirits of the blest can not see
+any one suffer. With one voice and immediately they tell him to take
+Eurydice. To the strains of softest music Orpheus approaches the various
+spirits. He harkens to their heart-beats, and finally recognizes his
+loved one without seeing her.
+
+The scene changes to another part of the nether world, a forest through
+which Orpheus is leading Eurydice back to earth. A nervous, anxious
+instrumental passage precedes the opening recitative dialogue. Eurydice
+at first rejoices over her new-found life, but then forgets all else in
+surprise and grief because Orpheus will not look at her. She questions
+him, entreats him, fears she is no longer beautiful, or that his heart
+has changed. Orpheus explains that he dare not look at her, but Eurydice
+is not satisfied. She refuses to go farther, for if he can not look at
+her she does not wish to live. The ensuing duet is intense and full of
+climacteric effects. The voices chase each other like clouds before a
+storm, low down and hovering near that sea of sound, the orchestra, over
+which the conductor rules with his wand like Neptune with his trident.
+
+Orpheus firmly resists the pleadings of Eurydice until she declares that
+his coldness will break her heart,--she will die of grief if he does not
+look at her. Little wonder that he flings prudence to the winds and
+impulsively turns to embrace her.
+
+But no sooner has he looked upon Eurydice than she droops and sinks from
+his arms like a blighted flower. Death has again come between them.
+Orpheus cries aloud his grief, and there springs from his heart a song
+of lamentation surpassing any other as a geyser does a fountain. "Ach,
+ich habe sie verloren!" is the German and "Che in faro" the Italian name
+of this great song that is the standard classical contralto program
+piece. It is full of sobbing cadenzas and sighing intervals that express
+more than words or deeds.
+
+Grief at last gives place to desperation: He is on the point of killing
+himself when Amor reappears. The gods are again moved to pity by his
+enduring love, and Amor with a touch of her wand revives Eurydice.
+
+The opera closes with a trio between Amor and the reunited pair, an ode
+to the power of love. It is a sort of musical apotheosis. The orchestral
+accompaniment has a steady, revolving movement that might suggest the
+wheel of time tuned and turned in harmony with the voice of love.
+
+
+
+
+The Genius
+of
+Geraldine Farrar
+
+[Illustration: Copyright by Aime Dupont.
+
+Geraldine Farrar.]
+
+
+
+
+THE GENIUS OF GERALDINE FARRAR
+
+
+Some half-dozen years ago rumors, vague as perfume from an unfolding
+flower, began to reach America about a new prima-donna; a Boston girl,
+very young and very beautiful; singing at the Berlin Royal Opera-house.
+No American before had ever held such a position--life-member of the
+opera company which Kaiser Wilhelm supervises, and the Great Frederick
+founded.
+
+Years went by and still the name of Geraldine Farrar was wafted across
+the waters--and still she was spoken of as "very young."
+
+American critics grew somewhat incredulous; Germany, of course, is
+musical and deep-rooted in the science of the art, but New York holds a
+record of her own in matters operatic, and is not disposed to accept
+unchallenged a verdict from the land of beer and thorough-bass.
+
+At last the hour came when Geraldine Farrar appeared as a star in her
+native land. It was a momentous occasion--the opening of the season; a
+brilliant audience, diamond-glinting and decollete; an audience familiar
+with the value of Tiffany tiaras, but inclined to be dubious about
+Berlin laurels.
+
+The curtain arose upon the first act of Romeo and Juliet; a blaze of
+color and a whirl of gay music. Soon the dancers dispersed, and a
+slender figure in saphire satin sauntered down the Capulet stairs, came
+forward with quiet confidence, and commenced the famous Waltz
+Song--slowly--dreamily.
+
+With these very first notes Geraldine Farrar revealed originality; she
+sang them as tho thinking aloud; the words fell from her lips like a
+tender caress--
+
+    "I would linger in this dream that enthralls me."
+
+She closed the aria with brilliant tones, a high note--and a smile.
+Geraldine Farrar's smile is something to drive a poet to sonnets--and a
+prince to sighs!
+
+One paper the next morning declared: "From that moment she could have
+wrapped the whole audience around her little finger."
+
+There followed a "Farrar furor," tho cautious critics were careful to
+point out that her performance as yet evinced nothing more than "a
+lovely voice, a peculiarly gifted dramatic temperament, youth, beauty,
+and considerable experience!" That's all!
+
+"She is not yet a finished artist," these critics say, but at
+four-and-twenty what would you? Her voice is "golden," and no one denies
+that her histrionic gifts are phenomenal.
+
+It is strange--this quality of native _greatness_. In the case of these
+famous singers, one almost feels that the _greatness_ makes the voice.
+The _mind_ is what counts, after all. Geraldine Farrar impresses one
+forcibly with this fact. Her mind is alert, keen, observant, thoughtful,
+quick at reaching conclusions, widely interested, eager to learn, but at
+the same time self-contained and firmly poised.
+
+When talking about music her face lights up. She has much to say; she
+has thought and studied deeply; she is intense, enthusiastic, full of
+her subject, aglow with earnestness and vitality.
+
+From early childhood she was always singing, always acting, and always
+_intending to be a prima-donna_.
+
+"I began voice-study when I was twelve, but before that had sung all of
+Faust in Italian, and acted it according to my own imagination."
+
+When asked if she had not run some risk of harming the vocal cords by
+beginning so young, she explained that her voice at this age was
+remarkably mature and full. She was possessed, besides, with an
+irresistible desire to sing, so it seemed both prudent and wise to
+commence serious study thus early.
+
+"A born singer is _instinctive_, and selects, almost instinctively, her
+individual means of expression, avoiding, in the main, what is
+distinctly harmful. But practice and study are continuously and always
+necessary. I work faithfully every day with scales and trills and
+intervals. Before a performance I go over my part, mentally, from
+beginning to end."
+
+In reply to a question about her ambition, she answered promptly and
+impressively:
+
+"Yes, I have one very decided ambition: I wish to develop my powers to
+the fullest extent and most complete beauty, and then--I wish to have
+the _courage_, when physical strength no longer responds to the creative
+demands, to _abdicate in favor of Youth_! Youth must be recognized,
+enjoyed, encouraged! We should have more of this God-given fragrance in
+our mimic world, and less of hard-earned, middle-aged experience."
+
+Miss Farrar's favorite recreation is "_sleep_--and much of it!"
+
+As for books, she likes "everything."
+
+"I read a great deal," she commented. "When I was studying 'Madame
+Butterfly,' I read everything I could find about the Japanese. I tried
+to imbue myself with their spirit. I bought up old prints, and pictures,
+and costumes; I learned how they eat, and sleep, and walk, and talk, and
+think, and feel. I read books on the subject in French and German, as
+well as in English."
+
+Incidentally it came out that she memorized this most difficult of
+operas in fifteen days.
+
+"No, I am never afraid of forgetting my lines." Then, tapping her
+forehead lightly, she added: "When a thing is once learned, it seems to
+stick in a certain corner of your brain and stay there."
+
+There was youth and girlishness in her off-hand manner of making this
+remark. In fact, the artist and girl are constantly alternating in the
+play of her features, and it is fascinating to watch this hide-and-seek
+of youth and maturity.
+
+The girl-spirit was uppermost now, as she sank back comfortably in her
+big arm-chair, drew her Frenchy peignoire more snugly about her, and
+related some of the droll _contretemps_ that occur on the opera-house
+stage.
+
+"The audience never seems to see them, but the most ridiculous things
+happen, and then it is terrible when you want to laugh, but dare not."
+
+A mention of Lilli Lehmann suddenly sobered the conversation. Lilli
+Lehmann is Geraldine Farrar's teacher--"and a very severe one"--her
+pupil asserts.
+
+"But she--and all Germans--appreciate _personality_. That is why I have
+been allowed to develop my own ideas--to be individual. That is, to me,
+the most interesting part of the art. I am keenly interested in
+observing life--the expression of people's faces, their way of saying
+and doing things. Wherever I am, whatever I see, I am always finding
+something to use in my art.
+
+"I once saw a death--it sounds unfeeling to say it, but I now use the
+very expression I saw then in the finale of 'Boheme.'"
+
+Geraldine Farrar's realism is a well-known phase of her art. A striking
+instance is her performance in the last act of Romeo and Juliet: she
+sings almost the entire scene _lying down_! An amazing innovation.
+
+"Perhaps it is unusual," she commented, "but the simple repose seems to
+me more fully to accentuate the sublime and lyric climax of the
+tragedy."
+
+This is a little rift into the prima-donna's viewpoint. She believes
+that "vocal intensity and dramatic value should so merge one into the
+other that they produce equalized sincerity of expression and constant
+changing of color, movement, and sentiment."
+
+"Give your best always; take _Sincerity_ for your guide, and _Work_,
+never-ending, for your master."
+
+This is Geraldine Farrar's creed.
+
+
+
+
+"Madame Butterfly"
+
+
+
+
+MADAME BUTTERFLY
+
+
+Beauty of plot and great music are to an opera what fair features and a
+noble soul are to woman. "Madame Butterfly" possesses these attributes,
+and has consequently won that instant success which only true beauty, in
+either art or nature, calls forth.
+
+Very seldom is the story of an opera so intensely thrilling that the
+original author is borne in mind; but it may be stated as a fact that no
+one applauds Giacomo Puccini's splendid music without also thinking "All
+Hail!" to John Luther Long, who wrote this strangely tender tragedy.
+
+Distinctly unique as a grand opera setting is the Land of
+Cherry-blossoms. Never before have the higher harmonies been blended in
+with embroidered kimonas and chrysanthemum screens. The innovation is
+delightful, however; refreshing, uplifting, enlarging. By means of great
+music we are enabled to understand great emotion in the Little Land.
+
+In this opera the hero is the villain, if one may so express it. He is
+also an American; a lieutenant in the U. S. Navy, and from first to last
+he seems blandly unconscious of his villainy. This is distressing
+morally, but musically one could wish it no different. As the
+rainbow-mist rises out of the whirlpool, so the beautiful in art is most
+often evolved from a maelstrom of sin and tragedy.
+
+A flowered veranda to a tiny house, a lilac-garden that overlooks a far,
+fair view of Nagasaki, the bright blue bay and azure sky--this is the
+opening scene of Puccini's opera.
+
+The brief orchestral prelude is a pretty piece of fugue work,
+four-voiced and accurately constructed. A fugue is unusual in grand
+opera, but Puccini has a purpose in everything, and his music is
+essentially descriptive. The opening conversation in this opera concerns
+the construction of the tiny villa, and as a fugue is the one music-form
+suggestive of rules and measurements--a secure foundation and precise
+superstructure--it is clear that this bit of musical masonry, with its
+themes overlapping but carefully joined, is intended to represent the
+house.
+
+On the stage the dainty dwelling is glowingly described by Goro, a
+Japanese marriage-broker; very obsequious in manners, but characterized
+in the orchestra by a most energetic, business-like theme that follows
+him around like a shadow.
+
+A wedding of his arranging is soon to take place, and this house has
+been rented for the honeymoon. The bridegroom, Lieutenant Pinkerton, of
+the U. S. Navy, is viewing the abode for the first time. He wears a
+handsome uniform, and serves the opera as tenor, hero, lover,
+villain--all in one.
+
+Goro makes him acquainted also with the house-servant, Susuki, a
+solemn-faced, saffron-colored maiden, whose name means
+"Gentle-breeze-of-the-morning." Pinkerton prefers to call her
+"Scare-crow."
+
+The first invited guest to arrive is the U. S. Consul. A sympathetic and
+genuinely tender theme announces this character's approach. Always
+listen to the orchestra if you would know the real nature of these
+people of the play. In grand opera, as in real life, _words_ very often
+conceal thought; but by the power of music the listener is endowed with
+a temporary sense of omniscience; he can read the hearts and motives of
+the creatures he observes.
+
+It being still early, Pinkerton and the Consul seat themselves while the
+hero explains this marriage he is entering upon. But first he orders a
+"whisky and soda."
+
+There is apparently no translation for this barroom barbarism, so the
+English words are used, and their effect is noticeably jarring. No
+critic has failed to remark this surprising debut of fire-water on the
+lyric stage! There is charm and poetry in the Italian wine-glass, and we
+have grown accustomed to see that mingled with melody--but the American
+whisky-bottle stands remote from music as a pig from Paradise. Puccini
+seems to realize this, for he accompanies the obnoxious word with a
+discord!
+
+There is nothing discordant, however, in Pinkerton's description of his
+bride--the lovely lady Butterfly--"dainty in stature--quaint little
+figure--seems to have stepped down, straight from a screen."
+
+The music here is delicate and frail, like an exquisite tracery of gold
+lacquer.
+
+[Illustration: Copyright by Aime Dupont.
+
+Miss Farrar as "Madame Butterfly"]
+
+He intends to marry this Japanese bride in Japanese fashion, thereby
+making the tie unbinding in America--a slip-knot adjustment that she,
+poor thing, is unaware of.
+
+The Consul remonstrates with Pinkerton over his "easy-going gospel" of
+free love, but this light-hearted villain will not listen. He holds up
+his glass instead, and to a buried accompaniment of the "Star-spangled
+Banner," he proposes a toast to America--and also to the day on which he
+shall wed in _real_ marriage a _real_ wife of his own nationality.
+
+With this atrocious toast scarcely uttered, poor little trusting
+Butterfly is heard in the distance with her bridesmaids, singing as they
+approach. A delirium of joy breathes through this song, which is a weird
+succession of Oriental intervals, strange as an opium dream. As the
+harmonies grow firmer, Butterfly's voice rings out above the others,
+while in the orchestra the conductor with his baton slowly unearths,
+like a buried diamond, the great love-theme of the opera. It beams forth
+in sultry splendor, a cluster of chords with imprisoned tones that flash
+forth unlooked-for harmonies.
+
+At last she enters--this Japanese heroine, her brilliant draperies as
+bright as her name. Her maidens all carry huge paper parasols and
+fluttering fans--a merry group of girls, filled with varied emotions of
+timidity, envy, curiosity, and fun. They courtesy, and smile, and sing,
+and sigh, and lower their eyes with knowing charm.
+
+Throughout this scene it is interesting to note the different themes and
+their consistent use. A phrase of the opening fugue invariably appears
+whenever the _house_ is mentioned; still another architectural motif
+protrudes into prominence every time the town Nagasaki is referred to.
+Susuki has a theme of her own; so has the Consul. When the relations of
+the bride troop in, we recognize the fact that they, too, have a theme;
+we learned it when Goro, some time back, was enumerating the expected
+guests.
+
+This theme now asserts itself in the orchestra as the grotesque company
+assembles. There is nothing great about this melody: it is a mincing,
+thin-bodied affair, but disports itself with much confidence during its
+little hour of importance; it shoves out every other theme from the
+orchestra and demands undivided attention. But at last the director's
+stick chases it out of the enclosure.
+
+The guests in the meantime have been gossiping among themselves,
+disparaging the bride, criticizing the groom--and partaking of his
+refreshments.
+
+All flats and sharps and accidentals are suddenly dropt from the score
+when the official registrar reads in monotone voice, and plain C major,
+the simple marriage form.
+
+The ceremony is soon over, but the guests linger on. Pinkerton plies
+them with wine, but makes little headway in hurrying the festivities to
+an end. He has grown heartily tired of these new relations, and longs to
+see them go, but, instead of any one leaving, another one suddenly
+arrives, an absent uncle, who plunges amongst them in a frenzy of wrath
+and excitement. He has learned at the American Mission that Butterfly,
+without telling her family, has changed her religion and cast off the
+faith of her fathers.
+
+Cries of horror, moans, and execrations follow this announcement.
+Butterfly is denounced by her family--abjured and disowned. She cowers
+before them, distressed, but not utterly crushed, for love remains to
+console her.
+
+The tragic theme of the opera; a gruesome sequence of minor thirds,
+takes this opportunity to stalk into the orchestra and reconnoiter, like
+an undertaker looking over the premises before he is really needed. This
+theme has active work to do later on, but as yet does not seem very
+terrifying.
+
+When the relations and guests are gone, Butterfly is soon persuaded to
+forget the "stupid tribe."
+
+Evening has come; there is a twilight tinge to the music; it is
+"_dolce_," "_expressione_," and "_rallentando_."
+
+Puccini is a master of modulations. He employs large, full harmonies,
+soul-asserting, all-engulfing chords, that feel their way from one key
+to another, and burst forth in new glory with every transition. This
+persistent progress through varying keys has an effect of leading the
+listener through different rooms in some palatial edifice. In the hands
+of a great composer, each key of the scale unlocks a new vista in the
+enchanted palace of music.
+
+Behind a screen on the veranda, Butterfly changes her chromatic kimona
+to one of white silk. She emerges with garments all soft and fluttering,
+like the trembling white wings of a night-moth.
+
+Pinkerton leads her into the garden, and there, under the spell of the
+silent stars, they sing of love and of the glorious mystic night, with
+its gentle breeze that passes like a benediction over the bending
+lilacs. Fire-flies (cleverly imitated) hover in the air and flicker
+faintly, like candles in a distant chancel. The conductor waving his
+wand, like a priest the swinging censor, evokes a wreathing mist of
+music that enwraps the lovers in a drapery of dreams.
+
+Melodies and harmonies rise into being and pass away like phantoms
+floating by, until at last the great love-theme of the opera once again
+is flashed upon us. The _diamond_, scarce revealed before, is now in its
+proper setting. It is displayed in solemn glory by the dignitary at the
+desk, who, with upraised, swaying hands, holds aloft this precious
+theme, as a priest does the sacred emblem.
+
+Act II. pictures the interior of Butterfly's house.
+
+There is desolation in the home; the orchestra tells us this, for the
+tragic theme possesses the instruments, creeping around among them,
+serpent-like, and enfolding them in its coils.
+
+The rising curtain reveals Susuki kneeling before a shrine; she is
+praying that Pinkerton may return.
+
+Three times have the dragon-kites swelled in the breeze and the peach
+trees flushed into bloom since the day he sailed away.
+
+Her prayer abounds in strange and uncouth harmonies that wail themselves
+into silence. When the incantation is finished, an orchestral phrase of
+keen despair and tortured hope accompanies Butterfly as she asks: "How
+soon shall we be starving?"
+
+Susuki counts over the few remaining yen, and expresses doubt about
+Pinkerton's return. Again that same theme of anguish pierces the air
+like a knife as Butterfly shrieks out: "Silence!" She will not listen to
+doubt. She insists that he will return, and she fondly adds, "he will
+call me again his tiny child-wife, his little Butterfly!"
+
+With this memory there is a momentary return of the great Love-theme in
+the orchestra; tender and fleeting, like a smile on the face of the
+dying.
+
+Butterfly sings of the radiant hour, some day, when they shall see "in
+the distance a little thread of smoke," and then "a trim, white vessel,"
+flying the American flag!
+
+The music of this aria has a confident ring and a forward swing, like a
+great ship nearing shore. Large and splendid is the final climax:
+
+"He will return--I know!"
+
+A familiar theme in the orchestra heralds the approach of the U. S.
+Consul. He brings a letter from Pinkerton which he wishes Butterfly to
+hear, but Japanese politeness interferes for some time. He must first
+accept tea and wine, a pipe to smoke, and a cushion to sit on. He is
+questioned about his health and the health of his honorable ancestors.
+His own "Augustness" is profusely welcomed.
+
+Scarcely have these formalities been accomplished when another visitor
+arrives--a pompous personage, accompanied by servants who bring presents
+and flowers. He comes to persuade Madame Butterfly that her husband's
+absence amounts to a divorce, and that he, Prince Yamadori, should be
+accepted as Pinkerton's successor.
+
+This energetic wooer, lemon-faced and almond-eyed, imparts to the music
+a spicy flavor, grotesque and Japanese. His brief, breezy phrases have a
+turn and tang that belongs entirely to the Land of Nippon; staccato
+suggestions of chop-sticks and Oolong.
+
+The hostess politely declines to listen to her elaborate suitor.
+
+She busies herself pouring tea, while in the orchestra a delightfully
+tender, untroubled waltz-theme reflects her tranquil spirit, which is
+like some quiet mountain pool in the path of a coming avalanche.
+
+Impending disaster is near. Pinkerton's letter contains news that will
+bring devastation to the little Japanese home. He is coming back--but
+not to see Butterfly; a new wife comes with him.
+
+The Consul waits until Yamadori has gone, then bravely tries to read the
+letter, but his eager listener is too excited to hear to the end.
+
+"He is coming!" That is enough! Her joy is unbounded. She speeds from
+the room and in a moment returns with a sunny-haired child on her
+shoulders--her "baby-boy!"--her "noble little American!"--to whom she
+tells the glad news that his father soon will return.
+
+The distressed Consul has not the heart to enlighten her further. He
+leaves rather abruptly.
+
+A moment later a signal gun is heard in the distance.
+
+Susuki plunges in, breathless;--"The harbor cannon!" Both women rush to
+the window. They can see the ship! A man-of-war! The Stars and Stripes!
+
+Oh, the pain of this joy! The audience, knowing all, is torn and racked
+with emotion as the orchestra reiterates Butterfly's recent song of
+confidence about "his sure return."
+
+Now is her "hour of triumph!" She proclaims it to high heaven--to
+Susuki--and to all "the eight hundred thousand gods and goddesses of
+Japan."
+
+All the world had told her he would forget and never return--but she
+knew!--she knew! Now, at last, her faith triumphs--he is here!
+
+Superb is the crescendo now sweeping upward on the crest of America's
+martial theme. The Star-Spangled Banner is bugled by the instruments,
+while Butterfly's voice, in high and jubilant accord, sings again the
+glad words: "He is here!--he loves me!"
+
+In the orchestra the love-theme--the great theme--arises slowly and
+passes by like a spirit of the past, a soul long dead, a memory faded.
+
+Now follows a poetic scene unsurpassed for picturesque charm and grace.
+
+In accordance with Japanese custom, the two women sprinkle the room with
+flowers, in honor of his home-coming.
+
+Great baskets full of blossoms are brought in by Susuki, while
+Butterfly, always singing, showers the room with petals. She sways with
+the rhythm of joy and music, flinging the flowers in reckless profusion,
+her voice seeming to follow their flight--up in the air--and down
+again.
+
+Susuki, too, scatters rainbow-clouds of jasmine, peach-blooms, and
+violets; her contralto voice at the same time giving depth of color to
+the music. In the orchestra dainty, fluttering phrases are lightly
+tossed about, as tho shaken from the instruments by a passing breeze.
+
+Full of strange involutions and harmonies, the music of this
+"flower-duet" possesses the essential quality of all that is lasting and
+classic--hidden beauty beneath the obvious. With the choicest "mixing"
+of harmony, orchestra and voice, Puccini has brewed a "blend" most rare,
+and sugared it with melody.
+
+When the baskets are emptied and the last flower fallen, a few final
+notes of the refrain still left in the orchestra are hurriedly brushed
+out by the conductor's baton.
+
+On the stage, as the daylight melts into dusk, Butterfly, all in a
+flurry, is decking herself in her wedding gown, while the orchestra
+calls up memories of the lilac-garden and the fire-flies.
+
+When all is ready, Butterfly, Susuki, and the little one take positions
+at the window.
+
+Long and patiently they watch and wait.
+
+The orchestra plays a soft, unchanging staccato accompaniment. The
+moonlight finds its way into the room.
+
+At last the maid and the child fall asleep. Not so with Butterfly; rigid
+and still she stands at the window, her eyes on the distant
+harbor-lights.
+
+A sound of far-away voices softly humming a sad, weird refrain, fills
+the scene with mystery, suggesting the moan of guardian spirits. All
+this while the gentle staccato harmonies in the orchestra continue to
+flit back and forth, like the changing lights of swinging lanterns.
+
+Butterfly does not move. The curtain slowly descends.
+
+The prelude to the last act opens with a theme that crashes and tears
+its way into prominence: a pitiless, gruesome group of notes, that
+sounds vaguely familiar, tho it has never been emphasized like the
+tragic-theme and others gone before. In the first act this dire phrase
+was heard for a moment, buried softly among the harmonies that
+accompanied Butterfly's first entrance song. She was happy then, but,
+nevertheless, this germ of agony was lurking near, as tho to suggest
+that we, each one, carry within our own temperament the weakness or
+fault that will eventually lead us to grief.
+
+The orchestra is kept very active during this prelude or intermission.
+The past is presented in flashes of old themes, and the coming day is
+presaged by new phrases of potent meaning. Sounds of the harbor life
+beginning to stir, distant voices of sailors chanting, are heard even
+before the curtain rises. When this is lifted, behold poor Butterfly
+still at her post! All night she has watched and waited, never moving,
+never doubting.
+
+Now the dawn, cruel, cold-eyed and leering, begins to peer through the
+window. The pale, frail figure in her wedding gown still does not move;
+she still hopes on, counting the stars as they disappear; measuring each
+moment by her heart's wild beating.
+
+The dawn grows rosy, the music in the orchestra tells of the world's
+awakening. The sun's glad welcome is proclaimed in a resounding pean of
+harmonies, pierced with sharp, bright strokes from the triangle.
+
+But all this brilliant daybreak music fails to modify the tragedy of the
+dawn.
+
+Susuki awakens to despair, but poor little Butterfly still asserts,
+"He'll come! he'll come!"
+
+When urged by the maid to rest, she takes the little one up in her arms,
+soothing him gently with a quiet song as she mounts the stairs to her
+sleeping-room.
+
+Scarcely has she gone, when Susuki is startled by a knock at the door.
+Pinkerton has come--and the Consul with him, but they tell the maid not
+to summon her mistress--not yet.
+
+The music of the flower-duet fills the air like a faint perfume as
+Pinkerton observes the withered blossoms, and Susuki explains the
+decorations and tells of Butterfly's weary vigil. A moment later she
+sees through the window a lady waiting in the garden.
+
+It is Pinkerton's wife.
+
+"Hallowed souls of our fathers! The world is plunged in gloom!"
+
+Susuki falls prostrate on her knees.
+
+The ensuing trio is a magnificent musical unfoldment of sympathy from
+the Consul, remorse from Pinkerton, and consternation from Susuki. It is
+a splendid mingling of emotion and melody.
+
+The two men are left alone as the maid goes out to speak with the new
+wife. Pinkerton acts properly distressed over the situation, and his
+friend, being only human, cannot refrain from saying, "I told you so,"
+whereupon the music of his warning remonstrance in the first act is
+plainly marked in the orchestra, like an underscoring to written words.
+
+Pinkerton sighs over the room and its associations, sheds a few tears,
+and then decides the strain is too great for him. As he leaves the
+house, his wife and Susuki walk into view at the window.
+
+At this moment Butterfly comes rushing down the stairs; she has heard
+voices--"he is here!"
+
+Susuki tries to ward off the evil moment, but the _hour has struck_. The
+tragic theme rises up supreme--revealing itself in unclothed
+hideousness: all the other themes have fallen away; they were as mere
+empty masks over the face of truth--behind life is always death--back of
+the smile is a skeleton.
+
+Through the open window Butterfly sees the "other woman."
+
+"Who are you?" Mechanically her lips frame the words, as she stands
+there, paralyzed--stunned. But the question was perfunctory; the
+explanations that follow only confirm what she knew at first sight.
+
+Very gently the American wife proposes to Butterfly to adopt her child
+and bring him up as her own.
+
+The Japanese mother listens dumbly--then slowly realizes that unless she
+consents to this plan her boy will have no name.
+
+Butterfly says very little--but she accedes. She asks, however, that Mr.
+Pinkerton himself shall come for the child. "Come in half an hour--in
+half an hour."
+
+Agreed to this, the Consul and the American lady go away.
+
+Susuki is now quietly ordered to leave the room. She protests, but her
+mistress is firm; she wishes to be alone.
+
+When the weeping maid has gone, Butterfly lights a lamp at the little
+shrine and bows before it. Then she takes from the wall a dagger, but
+drops this as the baby suddenly enters, shoved in by Susuki--faithful
+slave! who, forbidden to enter herself, thus blindly tries to frustrate
+Butterfly's ominous wish to be alone.
+
+The child rushes to its mother's arms, and Butterfly clasps it wildly,
+calling it all the extravagant love-names Japanese fancy can devise.
+
+"'Tis for you, my love, that I am dying!"
+
+She holds him at arm's-length and bids him look long and well upon her
+face. The baby tosses his head and laughs; he little recks what she is
+saying:
+
+"_Take one last look on your mother's face, that the memory may
+linger._"
+
+The tragic theme attains a grandeur now that makes it seem the
+apotheosis of human heartache. Through the alembic of the composer's art
+this gruesome theme emerges ablaze with a terrible glory. It sweeps
+apast like a fiery chariot, bearing poor little Butterfly's soul to
+heaven.
+
+There is little more to record; the moment of death seems already gone
+through in bidding the child good-bye. What follows is done very
+quietly; every movement is lifeless and spiritless. She ties a bandage
+about the little one's eyes, and she puts in his hand an American flag;
+the Japanese mother's token of surrender.
+
+Then Butterfly picks up the dagger. The deed is soon done; she totters
+to the floor, and with her last breath tries to reach for her baby's
+hand.
+
+       *       *       *       *       *
+
+Advertisements
+
+The Palace of Danger
+
+A Story of La Pompadour
+
+By MABEL WAGNALLS
+
+A story possessing the five essential qualities that constitute
+greatness in a novel:--a plot "keenly dramatic" (_Review of Reviews_);
+"a wealth of charm of style," (_N. Y. Press_); such sustained interest
+that it has "not a dull line from beginning to end." (_Pioneer Press_,
+St. Paul); a pervading spirituality which makes it "clean and sweet"
+(_Unity_, Chicago); and an irrefutable accuracy of historic information
+whereby "the book has value" (_Republican_, Denver).
+
+     "It is many a long day since such an engaging little French heroine
+     of fiction has been presented to the public as the reader finds in
+     Destine, ... an innocent convent-bred girl who attends Pompadour as
+     one of her ladies-in-waiting."--_Sun_, Baltimore.
+
+     "A splendid picture of that magnificent court.... It is made very
+     real by the author."--_Globe-Democrat_, St. Louis.
+
+     "Rapid action, ... truthful and interesting pictures of the
+     times."--_Times_, N. Y.
+
+     "It is not often in these piping times of publishing that the tired
+     reader comes to such a delightful stopping-place on the
+     book-littered path of fiction as 'The Palace of
+     Danger.'"--_Bulletin_, San Francisco.
+
+_12mo, 311 pages. Four splendid illustrations by John Ward Dunsmore._
+
+_Price, $1.50._
+
+FUNK & WAGNALLS COMPANY, Pubs., New York
+
+       *       *       *       *       *
+
+_JUST RE-PUBLISHED_
+
+MISERERE
+
+By MABEL WAGNALLS
+
+_Author of "Stars of the Opera," &c._
+
+A brief, but beautiful romance in which the discovery of a rich and
+powerful voice leads ultimately to a climax as thrilling as the death
+scene in "Romeo and Juliet." The story is told with simple grace and
+directness, and is singularly pathetic and forceful.
+
+     "It is perfectly delightful. The theme is new and
+     interesting."--_Ella Wheeler Wilcox._
+
+     "It is a story of tender and pathetic interest--the story of a
+     woman with a wonderfully beautiful voice. A dainty and fascinating
+     romance which will appeal to music lovers."--_Chicago News._
+
+     "It vibrates with musical sentiment. There is a good deal of
+     artistic skill displayed in its description."--_Boston Watchman._
+
+     "A story unique in theme, delightfully told with many delicate
+     touches."--_The Arena_, Boston.
+
+_Small 12mo, Cloth. Illustrated. 40 Cents, net_
+
+FUNK & WAGNALLS COMPANY, Pubs., New York
+
+       *       *       *       *       *
+
+Selma, the Soprano
+
+By MABEL WAGNALLS
+
+
+Forms one of the chapters in the book entitled "One of Those
+Coincidences." It is the tragical story of a journalist and his talented
+sweetheart and wife, who are at first separated, and then reunited by
+strange fortunes. The story is filled with music and feeling, and holds
+the reader's intense interest to the very end.
+
+OTHER ENTERTAINING STORIES BOUND IN THE SAME VOLUME
+
+    ONE OF THOSE COINCIDENCES
+        By Julian Hawthorne
+    THE TAPER
+        By Count Leo Tolstoi
+    HOW VIARDEAU OBEYED THE BLACK ABBE
+        By Charles G. D. Roberts
+    JOHN MERRIL'S EXPERIMENTS IN PALMISTRY
+        By Florence M. Kingsley
+    FRANCISCO
+        By Walcott Le Clear Beard
+    JACOB CITY
+        By A. Stewart Clarke
+    AT THE END OF HIS ROPE
+        By Florence M. Kingsley
+    THE STRANGE CASE OF ESTHER ATKINS
+        By Mrs. L. E. L. Hardenbrook
+    THE EASTER OF LA MERCEDES
+        By Mary C. Francis
+    THE ROMANCE OF A TIN ROOF AND A FIRE ESCAPE
+        By Myra L. Avery
+
+ONE OF THOSE COINCIDENCES
+
+_12mo, Cloth. Profusely Illustrated. Price, $1.00_
+
+FUNK & WAGNALLS COMPANY, Pubs., New York
+
+
+
+
+
+End of the Project Gutenberg EBook of Stars of the Opera, by Mabel Wagnalls
+
+*** END OF THIS PROJECT GUTENBERG EBOOK STARS OF THE OPERA ***
+
+***** This file should be named 38153.txt or 38153.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/8/1/5/38153/
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This book was
+produced from scanned images of public domain material
+from the Google Print project.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/38153.zip b/38153.zip
new file mode 100644
index 0000000..f845b33
--- /dev/null
+++ b/38153.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..15c0c11
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #38153 (https://www.gutenberg.org/ebooks/38153)