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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. 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