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@@ -1,47 +1,11 @@ -The Project Gutenberg EBook of The Complete Opera Book, by Gustav Kobbe - -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: The Complete Opera Book - The Stories of the Operas, together with 400 of the Leading - Airs and Motives in Musical Notation - -Author: Gustav Kobbe - -Release Date: August 19, 2012 [EBook #40540] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK THE COMPLETE OPERA BOOK *** - - - - -Produced by Charlene Taylor, Linda Cantoni, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - - - - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 40540 *** [Transcriber's Note: _The Complete Opera Book_ has been an important opera reference work since its first publication in 1919. It has been revised and updated a number of times, most famously by George Lascelles, 7th Earl of Harewood, and most recently in 1997. -This e-book was prepared from the 1919 first edition. Gustav Kobbe was +This e-book was prepared from the 1919 first edition. Gustav Kobbé was killed in a sailing accident in 1918 and apparently did not have the opportunity to make corrections before the book was published. There are consequently numerous typographical, spelling, and formatting @@ -70,7 +34,7 @@ Motives in Musical Notation By -Gustav Kobbe +Gustav Kobbé Author of "Wagner's Music-Dramas Analysed," "All-of-a-Sudden Carmen," etc. @@ -87,14 +51,14 @@ Opera_ COPYRIGHT, 1919 BY - GUSTAV KOBBE + GUSTAV KOBBÉ =The Knickerbocker Press, New York= -_By Gustav Kobbe_ +_By Gustav Kobbé_ All-of-a-Sudden Carmen The Complete Opera Book @@ -108,7 +72,7 @@ Mary Garden as Sapho] [Illustration: Copyright photo by Pirie MacDonald -GUSTAV KOBBE] +GUSTAV KOBBÉ] @@ -118,11 +82,11 @@ FOREWORD Through the thoughtfulness of William J. Henderson I was asked to supply material for _The Complete Opera Book_, which was missing at -the time of Mr. Kobbe's death. +the time of Mr. Kobbé's death. In performing my share of the work it has been my endeavor to confine myself to facts, rather than to intrude with personal opinions upon a -work which should stand as a monument to Mr. Kobbe's musical knowledge +work which should stand as a monument to Mr. Kobbé's musical knowledge and convictions. KATHARINE WRIGHT. @@ -155,7 +119,7 @@ Contents Fidelio Carl Maria von Weber, 1786-1826 63 - Freischuetz + Freischütz Euryanthe Oberon @@ -166,10 +130,10 @@ Contents Richard Wagner, 1813-1883 81 Rienzi Flying Dutchman - Tannhaeuser + Tannhäuser Lohengrin Ring of the Nibelung - Rheingold--Walkuere--Siegfried--Goetterdaemmerung + Rheingold--Walküre--Siegfried--Götterdämmerung Tristan and Isolde Meistersinger Parsifal @@ -205,11 +169,11 @@ Contents Sicilian Vespers Force of Destiny Don Carlos - Aida + Aïda Othello Falstaff - Arrigo Boito, 1842- 474 + Arrigo Boïto, 1842- 474 Mephistopheles Nero @@ -218,27 +182,27 @@ Contents French Opera 493 - Mehul to Meyerbeer 495 + Méhul to Meyerbeer 495 - Etienne Nicholas Mehul, 1763-1817 495 + Étienne Nicholas Méhul, 1763-1817 495 Joseph - Francois Adrien Boieldieu, 1775-1834 495 + François Adrien Boieldieu, 1775-1834 495 Caliph of Bagdad Jean de Paris Dame Blanche - Daniel Francois Esprit Auber, 1782-1871 496 + Daniel François Esprit Auber, 1782-1871 496 Masaniello Fra Diavolo - Louis J.F. Herold, 1791-1833 497 + Louis J.F. Hérold, 1791-1833 497 Zampa Adolphe Charles Adam, 1802-1856 497 Postilion of Longumeau - Jacques Francois Fromental Elie Halevy, 1799-1862 498 + Jacques François Fromental Élie Halévy, 1799-1862 498 Juive Giacomo Meyerbeer, 1791-1864 499 @@ -258,7 +222,7 @@ Contents Friedrich von Flotow, 1812-1883 546 Martha - Charles Francois Gounod, 1818-1893 561 + Charles François Gounod, 1818-1893 561 Faust Romeo and Juliet @@ -287,7 +251,7 @@ Contents Giacomo Puccini, 1858- 638 Villi Manon Lescaut - Boheme + Bohème Tosca Madam Butterfly Girl of the Golden West @@ -308,7 +272,7 @@ Contents Italo Montemezzi, 1875- 690 Love of Three Kings Giovanni Gallurese - Hellera + Hélléra Ermanno Wolf-Ferrari, 1876- 698 Jewels of the Madonna @@ -317,8 +281,8 @@ Contents Doctor Cupid Umberto Giordano, 1867- 707 - Madame Sans-Gene - Andre Chenier + Madame Sans-Gêne + André Chénier Fedora Siberia @@ -351,38 +315,38 @@ Contents Tales of Hoffmann Delibes 724 - Lakme + Lakmé - Saint-Saens 725 + Saint-Saëns 725 Samson et Dalila Lalo 727 Roi d'Ys Massenet 727 - Griselidis - Thais + Grisélidis + Thaïs Manon Le Cid Don Quichotte Cinderella Navarraise - Jongleur de Notre Dame + Jongleur de Nôtre Dame Werther - Herodiade + Hérodiade Sapho - Cleopatre + Cléopâtre Gustave Charpentier 750 Louise Reyer 752 - Salammbo + Salammbô Debussy 752 - Pelleas and Melisande + Pelléas and Mélisande - Pierre Louys 756 + Pierre Louÿs 756 Aphrodite Alfred Bruneau 758 @@ -391,7 +355,7 @@ Contents Paul Dukas 759 Ariadne and Blue-Beard - Henri Fevrier 761 + Henri Février 761 Monna Vanna Gismonda @@ -422,17 +386,17 @@ Contents Cricket on the Hearth Engelbert Humperdinck 776 - Koenigskinder - Haensel and Gretel + Königskinder + Hänsel and Gretel - Bruell 779 + Brüll 779 Golden Cross Blech 781 Sealed In Viktor E. Nessler 784 - Trumpeter of Saekkingen + Trumpeter of Säkkingen Wilhelm Kienzl 787 Evangelist @@ -536,9 +500,9 @@ ILLUSTRATIONS Matzenauer as _Fidelio_ 56 - Farrar as _Elizabeth_ in "Tannhaeuser" 108 + Farrar as _Elizabeth_ in "Tannhäuser" 108 - "Tannhaeuser," Finale, Act II. _Tannhaeuser_ (Maclennan), + "Tannhäuser," Finale, Act II. _Tannhäuser_ (Maclennan), _Elizabeth_ (Fornia), _Wolfram_ (Dean), _The Landgrave_ (Cranston) 109 @@ -550,23 +514,23 @@ ILLUSTRATIONS Louise Homer as _Fricka_ in "The Ring of the Nibelung" 129 - Lilli Lehmann as _Bruennhilde_ in "Die Walkuere" 166 + Lilli Lehmann as _Brünnhilde_ in "Die Walküre" 166 "The Valkyr" Act I. _Hunding_ (Parker), _Sieglinde_ (Rennyson), and _Siegmund_ (Maclennan) 167 - Fremstad as _Bruennhilde_ in "Die Walkuere" 172 + Fremstad as _Brünnhilde_ in "Die Walküre" 172 - Fremstad as _Sieglinde_ in "Die Walkuere" 173 + Fremstad as _Sieglinde_ in "Die Walküre" 173 - Weil as _Wotan_ in "Die Walkuere" 178 + Weil as _Wotan_ in "Die Walküre" 178 - "Die Walkuere" Act III. _Bruennhilde_ (Margaret + "Die Walküre" Act III. _Brünnhilde_ (Margaret Crawford) 179 - Edouard de Reszke as _Hagen_ in "Goetterdaemmerung" 210 + Édouard de Reszke as _Hagen_ in "Götterdämmerung" 210 - Jean de Reszke as _Siegfried_ in "Goetterdaemmerung" 211 + Jean de Reszke as _Siegfried_ in "Götterdämmerung" 211 Nordica as _Isolde_ 228 @@ -620,13 +584,13 @@ ILLUSTRATIONS Scotti as _Germont_ in "La Traviata" 421 - Emma Eames as _Aida_ 442 + Emma Eames as _Aïda_ 442 - Saleza as _Rhadames_ in "Aida" 443 + Saléza as _Rhadames_ in "Aïda" 443 - Louise Homer as _Amneris_ in "Aida" 448 + Louise Homer as _Amneris_ in "Aïda" 448 - Rosina Galli in the Ballet of "Aida" 449 + Rosina Galli in the Ballet of "Aïda" 449 Alda as _Desdemona_ in "Otello" 460 @@ -636,24 +600,24 @@ ILLUSTRATIONS Louise Homer as _Laura_ in "La Gioconda" 489 - Plancon as _Saint Bris_ in "The Huguenots" 508 + Plançon as _Saint Bris_ in "The Huguenots" 508 Jean de Reszke as _Raoul_ in "The Huguenots" 509 Ober and De Luca; Caruso and Hempel in "Martha" 548 - Plancon as _Mephistopheles_ in "Faust" 549 + Plançon as _Méphistophélès_ in "Faust" 549 - Galli-Curci as _Juliette_ in "Romeo et Juliette" 578 + Galli-Curci as _Juliette_ in "Roméo et Juliette" 578 - Calve as _Carmen_ with Sparkes as _Frasquita_, and Braslau + Calvé as _Carmen_ with Sparkes as _Frasquita_, and Braslau as _Mercedes_ 579 - Caruso as _Don Jose_ in "Carmen" 590 + Caruso as _Don José_ in "Carmen" 590 - Caruso as _Don Jose_ in "Carmen" 591 + Caruso as _Don José_ in "Carmen" 591 - Calve as _Carmen_ 594 + Calvé as _Carmen_ 594 Amato as _Escamillo_ in "Carmen" 595 @@ -665,9 +629,9 @@ ILLUSTRATIONS Farrar as _Nedda_ in "I Pagliacci" 631 - Farrar as _Mimi_ in "La Boheme" 644 + Farrar as _Mimi_ in "La Bohème" 644 - Cafe Momus Scene, "La Boheme." Act II. _Mimi_ + Café Momus Scene, "La Bohème." Act II. _Mimi_ (Rennyson), _Musette_ (Joel), _Rudolph_ (Sheehan) 645 Cavalieri as _Tosca_ 656 @@ -681,7 +645,7 @@ ILLUSTRATIONS Farrar as _Tosca_ 664 "Madama Butterfly." Act I. (Francis Maclennan, - Renee Vivienne, and Thomas Richards) 665 + Renée Vivienne, and Thomas Richards) 665 Farrar as _Cio-Cio-San_ in "Madama Butterfly" 668 @@ -694,35 +658,35 @@ ILLUSTRATIONS Bori and Ferrari-Fontana in "The Love of Three Kings" 683 - Farrar as Catherine in "Mme. Sans-Gene" 710 + Farrar as Catherine in "Mme. Sans-Gêne" 710 - Galli-Curci as _Lakme_ 711 + Galli-Curci as _Lakmé_ 711 Caruso as _Samson_ in "Samson and Dalila" 726 - Mary Garden as _Griselidis_ 727 + Mary Garden as _Grisélidis_ 727 - Mary Garden as _Thais_ 730 + Mary Garden as _Thaïs_ 730 - Farrar and Amato as _Thais_ and _Athanael_ 731 + Farrar and Amato as _Thaïs_ and _Athanaël_ 731 - Farrar as _Thais_ 734 + Farrar as _Thaïs_ 734 - Farrar and Amato as _Thais_ and _Athanael_ 735 + Farrar and Amato as _Thaïs_ and _Athanaël_ 735 Caruso as _Des Grieux_ in "Manon" 738 - Mary Garden in "Le Jongleur de Notre Dame" 739 + Mary Garden in "Le Jongleur de Nôtre Dame" 739 Mary Garden as _Louise_ 750 - Lucienne Breval as _Salammbo_ 751 + Lucienne Bréval as _Salammbô_ 751 - Mary Garden as _Melisande_ in "Pelleas and Melisande" 754 + Mary Garden as _Mélisande_ in "Pelléas and Mélisande" 754 - Farrar as the _Goose Girl_ in "Koenigskinder" 776 + Farrar as the _Goose Girl_ in "Königskinder" 776 - Van Dyck and Mattfeld as _Haensel_ and _Gretel_ 777 + Van Dyck and Mattfeld as _Hänsel_ and _Gretel_ 777 Mary Garden as _Salome_ 802 @@ -753,8 +717,8 @@ chapter. Of the three standard schools, the Italian is the most frankly melodious. When at its best, Italian vocal melody ravishes the senses. When not at its best, it merely tickles the ear and offends common -sense. "Aida" was a turning point in Italian music. Before Verdi -composed "Aida," Italian opera, despite its many beauties, was largely +sense. "Aïda" was a turning point in Italian music. Before Verdi +composed "Aïda," Italian opera, despite its many beauties, was largely a thing of temperament, inspirationally, but often also carelessly set forth. Now, Italian opera composers no longer accept any libretto thrust at them. They think out their scores more carefully; they @@ -769,7 +733,7 @@ until supplanted by Gluck's works, was a native of France, French opera had for its founder the Italian, Lully; and one of its chief exponents was the German, Meyerbeer. Two foreigners, therefore, have had a large share in developing the school. It boasts, however, many -distinguished natives--Halevy, Auber, Gounod, Bizet, Massenet. +distinguished natives--Halévy, Auber, Gounod, Bizet, Massenet. In the French school of opera the instrumental support of the voice is far richer and the combination of vocal and instrumental effect more @@ -779,8 +743,8 @@ out, sometimes even too calculated; but, in general, less florid, and never indifferent to the librettist and the significance of the lines he has written and the situations he has evoked. Massenet is, in the truest sense, the most recent representative of the school of -Meyerbeer and Gounod, for Bizet's "Carmen" is unique, and Debussy's -"Pelleas et Melisande" a wholly separate manifestation of French art +Meyerbeer and Gounod, for Bizet's "Carmen" is unique, and Débussy's +"Pelléas et Mélisande" a wholly separate manifestation of French art for the lyric stage. The German school of opera is distinguished by a seriousness of @@ -814,7 +778,7 @@ Opera Before Gluck Gluck's "Orfeo ed Euridice" (Orpheus and Eurydice), produced in 1762, is the oldest opera in the repertoire of the modern opera house. But -when you are told that the Grand Opera, Paris, was founded by Lully, +when you are told that the Grand Opéra, Paris, was founded by Lully, an Italian composer, in 1672; that Italians were writing operas nearly a century earlier; that a German, Reinhard Keiser (1679-1739), is known to have composed at least 116 operas; and that another German, @@ -889,12 +853,12 @@ pyrotechnics. Such a reformer was Wagner. Verdi, born the same year as Wagner (1813), but outliving him nearly twenty years, exemplified both the faults and virtues of opera. In his earlier works, many of which have completely disappeared from the stage, he catered almost entirely -to his singers. But in "Aida" he produced a masterpiece full of melody +to his singers. But in "Aïda" he produced a masterpiece full of melody which, while offering every opportunity for beautiful singing, never degenerates into mere vocal display. What is here said of Verdi could have been said of Gluck. His earlier operas were in the florid style. Not until he composed "Orpheus and Eurydice" did he approach opera -from the point of view of a reformer. "Orpheus" was his "Aida." +from the point of view of a reformer. "Orpheus" was his "Aïda." Regarding opera Gluck wrote that "the true mission of music is to second the poetry, by strengthening the expression of the sentiments @@ -905,7 +869,7 @@ the ear and display the agility of fine voices." These words might have been written by Richard Wagner, they express so well what he accomplished in the century following that in which Gluck lived. They might also have been penned by Verdi, had he chosen to -write an introduction to his "Aida," "Otello," or "Falstaff"; and they +write an introduction to his "Aïda," "Otello," or "Falstaff"; and they are followed by every successful composer of grand opera today--Mascagni, Leoncavallo, Puccini, Massenet, Strauss. @@ -924,8 +888,8 @@ opera frequently offer legitimate occasion for brilliant vocal display. Witness the arias of the _Queen of the Night_ in "The Magic Flute," "Una voce poco fa" in "The Barber of Seville," "Ah! non giunge" in "Sonnambula," the mad scene in "Lucia," "Caro nome" in -"Rigoletto," the "Jewel Song" in "Faust," and even _Bruennhilde's_ -valkyr shout in "Die Walkuere"--works for the lyric stage that have +"Rigoletto," the "Jewel Song" in "Faust," and even _Brünnhilde's_ +valkyr shout in "Die Walküre"--works for the lyric stage that have escorted thousands of operatic scores to the grave, with Gluck's gospel on the true mission of opera for a funeral service. @@ -940,7 +904,7 @@ Christoph Willibald Gluck Gluck is the earliest opera composer represented in the repertoire of the modern opera house. In this country three of his works survive. These are, in the order of their production, "Orfeo ed Euridice" -(Orpheus and Eurydice), "Armide," and "Iphigenie en Tauride" +(Orpheus and Eurydice), "Armide," and "Iphigénie en Tauride" (Iphigenia in Tauris). "Orpheus and Eurydice," produced in 1762, is the oldest work of its kind on the stage. It is the great-great-grandfather of operas. @@ -976,7 +940,7 @@ ORPHEUS AND EURYDICE Opera in three acts. Music by Christoph Willibald Gluck; book by Raniero di Calzabigi. Productions and revivals. - Vienna, October 5, 1762; Paris, as "Orphee et Eurydice," + Vienna, October 5, 1762; Paris, as "Orphée et Eurydice," 1774; London, Covent Garden, June 26, 1860; New York, Metropolitan Opera House, 1885 (in German); Academy of Music, American Opera Company, in English, under Theodore @@ -1066,7 +1030,7 @@ _Orpheus_, no longer able to resist the appeal of his beloved bride, forgets the warning of _Amor_. He turns and passionately clasps _Eurydice_ in his arms. Immediately she dies. -It is then that _Orpheus_ intones the lament, "Che faro senza +It is then that _Orpheus_ intones the lament, "Che farò senza Euridice" (I have lost my _Eurydice_), that air in the score which has truly become immortal and by which Gluck, when the opera as a whole shall have disappeared from the stage, will still be remembered. @@ -1075,7 +1039,7 @@ shall have disappeared from the stage, will still be remembered. "All forms of language have been exhausted to praise the stupor of grief, the passion, the despair expressed in this sublime number," -says a writer in the Clement and Larousse _Dictionnaire des Operas_. +says a writer in the Clément and Larousse _Dictionnaire des Opéras_. It is equalled only by the lines of Virgil: Vox ipsa et frigida lingua, @@ -1101,28 +1065,28 @@ themselves and rocks were loosened from their fastnesses in order to follow him. His bride, Eurydice, was the daughter of a Thracian shepherd. -The role of _Orpheus_ was written for the celebrated male contralto +The rôle of _Orpheus_ was written for the celebrated male contralto Guadagni. For the Paris production the composer added three bars to -the most famous number of the score, the "Che faro senza Euridice," +the most famous number of the score, the "Che farò senza Euridice," illustrated above. These presumably were the three last bars, the concluding phrases of the peroration of the immortal air. He also was obliged to transpose the part of _Orpheus_ for the tenor Legros, for whom he introduced a vocal number not only entirely out of keeping -with the role, but not even of his own composition--a bravura aria +with the rôle, but not even of his own composition--a bravura aria from "Tancred," an opera by the obscure Italian composer Fernandino Bertoni. It is believed that the tenor importuned Gluck for something that would show off his voice, whereupon the composer handed him the Bertoni air. Legros introduced it at the end of the first act, where to this day it remains in the printed score. -When the tenor Nourrit sang the role many years later, he substituted -the far more appropriate aria, "O transport, o desordre extreme" (O +When the tenor Nourrit sang the rôle many years later, he substituted +the far more appropriate aria, "Ô transport, ô désordre extrême" (O transport, O ecstasy extreme) from Gluck's own "Echo and Narcissus." But that the opera, as it came from Gluck's pen, required nothing -more, appeared in the notable revival at the Theatre Lyrique, Paris, +more, appeared in the notable revival at the Théâtre Lyrique, Paris, November, 1859, under Berlioz's direction, when that distinguished -composer restored the role of _Orpheus_ to its original form and for a +composer restored the rôle of _Orpheus_ to its original form and for a hundred and fifty nights the celebrated contralto, Pauline Viardot-Garcia, sang it to enthusiastic houses. @@ -1149,8 +1113,8 @@ the effect more gripping. The scene in the Elysian fields also has its beauties. The air of _Eurydice_, the chorus of happy shades, have the breath of inalterable calm, peace and serenity." -Gaetano Guadagni, who created the role of _Orpheus_, was one of the -most famous male contralti of the eighteenth century. Haendel assigned +Gaetano Guadagni, who created the rôle of _Orpheus_, was one of the +most famous male contralti of the eighteenth century. Händel assigned to him contralto parts in the "Messiah" and "Samson," and it was Gluck himself who procured his engagement at Vienna. The French production of the opera was preceded by an act of homage, which showed the @@ -1169,10 +1133,10 @@ influence upon him in the direction of his operatic reforms. ARMIDE - Opera in five acts by Gluck; words by Francois Quinault, + Opera in five acts by Gluck; words by François Quinault, founded on Tasso's _Jerusalem Delivered_. - Produced, Paris, 1777, at the Academie de Musique; New York, + Produced, Paris, 1777, at the Académie de Musique; New York, Metropolitan Opera House, November 14, 1910, with Fremstad, Caruso, Homer, Gluck, and Amato. @@ -1183,7 +1147,7 @@ ARMIDE SIDONIE } her attendants { _Soprano_ HATE, a Fury _Soprano_ LUCINDE } { _Soprano_ - MELISSE } apparitions { _Soprano_ + MÉLISSE } apparitions { _Soprano_ RENAUD (RINALDO), a Knight of the Crusade under Godfrey of Bouillon _Tenor_ ARTEMIDORE, Captive Knight Delivered by Renaud _Tenor_ @@ -1262,7 +1226,7 @@ early instance of aviation in opera!) There are more than fifty operas on the subject of _Armide_. Gluck's has survived them all. Nearly a century before his opera was produced -at the Academie, Paris, that institution was the scene of the first +at the Académie, Paris, that institution was the scene of the first performance of "Armide et Renaud," composed by Lully to the same libretto used by Gluck, Quinault having been Lully's librettist in ordinary. @@ -1273,33 +1237,33 @@ of elaborate spectacle. The air for _Renaud_ in the second act, "Plus j'observe ces lieux, et plus je les admire!" (The more I view this spot the more charmed I am); the shepherd's song almost immediately following; _Armide's_ air at the opening of the third act, "Ah! si la -liberte me doit etre ravie" (Ah! if liberty is lost to me); the +liberté me doit être ravie" (Ah! if liberty is lost to me); the exquisite solo and chorus in the enchanted garden, "Les plaisirs ont choisi pour asile" (Pleasure has chosen for its retreat) are classics. Several of the ballet numbers long were popular. -In assigning to a singer of unusual merit the ungrateful role of the +In assigning to a singer of unusual merit the ungrateful rôle of the _Danish Knight_, Gluck said: "A single stanza will compensate you, I hope, for so courteously consenting to take the part." It was the -stanza, "Notre general vous rappelle" (Our commander summons you), +stanza, "Nôtre général vous rappelle" (Our commander summons you), with which the knight in Act V recalls _Renaud_ to his duty. "Never," says the relater of the anecdote, "was a prediction more completely fulfilled. The stanza in question produced a sensation." -IPHIGENIE EN TAURIDE +IPHIGÉNIE EN TAURIDE IPHIGENIA IN TAURIS - Opera in four acts by Gluck, words by Francois Guillard. + Opera in four acts by Gluck, words by François Guillard. - Produced at the Academie de Musique, Paris, May 18, 1779; + Produced at the Académie de Musique, Paris, May 18, 1779; Metropolitan Opera House, New York, November 25, 1916, with Kurt, Weil, Sembach, Braun, and Rappold. CHARACTERS - IPHIGENIE, Priestess of Diana _Soprano_ + IPHIGÉNIE, Priestess of Diana _Soprano_ ORESTES, her Brother _Baritone_ PYLADES, his Friend _Tenor_ THOAS, King of Scythia _Bass_ @@ -1311,13 +1275,13 @@ IPHIGENIA IN TAURIS _Place_--Tauris. -_Iphigenie_ is the daughter of Agamemnon, King of Mycenae. Agamemnon +_Iphigénie_ is the daughter of Agamemnon, King of Mycenae. Agamemnon was slain by his wife, Clytemnestra, who, in turn, was killed by her -son, _Orestes_. _Iphigenie_ is ignorant of these happenings. She has +son, _Orestes_. _Iphigénie_ is ignorant of these happenings. She has been a priestess of Diana and has not seen _Orestes_ for many years. Act I. Before the atrium of the temple of Diana. To priestesses and -Greek maidens, _Iphigenie_ tells of her dream that misfortune has come +Greek maidens, _Iphigénie_ tells of her dream that misfortune has come to her family in the distant country of her birth. _Thoas_, entering, calls for a human sacrifice to ward off danger that has been foretold to him. Some of his people, hastily coming upon the scene, bring with @@ -1327,7 +1291,7 @@ committed a crime and of being pursued by Furies. Act II. Temple of Diana. _Orestes_ bewails his fate. _Pylades_ sings of his undying friendship for him. _Pylades_ is separated from -_Orestes_, who temporarily loses his mind. _Iphigenie_ questions him. +_Orestes_, who temporarily loses his mind. _Iphigénie_ questions him. _Orestes_, under her influence, becomes calmer, but refrains from disclosing his identity. He tells her, however, that he is from Mycenae, that Agamemnon (their father) has been slain by his wife, @@ -1335,7 +1299,7 @@ that Clytemnestra's son, _Orestes_, has slain her in revenge, and is himself dead. Of the once great family only a daughter, Electra, remains. -Act III. _Iphigenie_ is struck with the resemblance of the stranger to +Act III. _Iphigénie_ is struck with the resemblance of the stranger to her brother and, in order to save him from the sacrifice demanded by _Thoas_, charges him to deliver a letter to Electra. He declines to leave _Pylades_; nor until _Orestes_ affirms that he will commit @@ -1343,28 +1307,28 @@ suicide, rather than accept freedom at the price of his friend's life, does _Pylades_ agree to take the letter, and then only because he hopes to bring succour to _Orestes_. -Act IV. All is ready for the sacrifice. _Iphigenie_ has the knife +Act IV. All is ready for the sacrifice. _Iphigénie_ has the knife poised for the fatal thrust, when, through an exclamation uttered by _Orestes_, she recognizes him as her brother. The priestesses offer him obeisance as King. _Thoas_, however, enters and demands the -sacrifice. _Iphigenie_ declares that she will die with her brother. At +sacrifice. _Iphigénie_ declares that she will die with her brother. At that moment _Pylades_ at the head of a rescue party enters the temple. A combat ensues in which _Thoas_ is killed. _Diana_ herself appears, pardons _Orestes_ and returns to the Greeks her likeness which the Scythians had stolen and over which they had built the temple. -Gluck was sixty-five, when he brought out "Iphigenie en Tauride." A +Gluck was sixty-five, when he brought out "Iphigénie en Tauride." A contemporary remarked that there were many fine passages in the opera. -"There is only one," said the Abbe Arnaud. "Which?"--"The entire +"There is only one," said the Abbé Arnaud. "Which?"--"The entire work." The mad scene for _Orestes_, in the second act, has been called Gluck's greatest single achievement. Mention should also be made of -the dream of _Iphigenie_, the dances of the Scythians, the air of -_Thoas_, "De noirs pressentiments mon ame intimidee" (My spirit is -depressed by dark forebodings); the air of _Pylades_, "Unis des la +the dream of _Iphigénie_, the dances of the Scythians, the air of +_Thoas_, "De noirs pressentiments mon âme intimidée" (My spirit is +depressed by dark forebodings); the air of _Pylades_, "Unis dès la plus tendre enfance" (United since our earliest infancy); -_Iphigenie's_ "O malheureuse (unhappy) Iphigenie," and "Je t'implore +_Iphigénie's_ "Ô malheureuse (unhappy) Iphigénie," and "Je t'implore et je tremble" (I pray you and I tremble); and the hymn to Diana, "Chaste fille de Latone" (Chaste daughter of the crescent moon). @@ -1378,12 +1342,12 @@ the passage, came to a stop. "Go on all the same," cried Gluck. "He lies. He has killed his mother!" Gluck's enemies prevailed upon his rival, Piccini, to write an -"Iphigenie en Tauride" in opposition. It was produced in January, +"Iphigénie en Tauride" in opposition. It was produced in January, 1781, met with failure, and put a definite stop to Piccini's rivalry with Gluck. At the performance the prima donna was intoxicated. This caused a spectator to shout: -"'Iphigenie en Tauride!' allons donc, c'est 'Iphigenie en Champagne!'" +"'Iphigénie en Tauride!' allons donc, c'est 'Iphigénie en Champagne!'" (Iphigenia in Tauris! Do tell! Shouldn't it be Iphigenia in Champagne?) @@ -1416,7 +1380,7 @@ complete and easy mastery of all forms of music. "In his music breathes the warm-hearted, laughter-loving artist," writes Theodore Baker. That is a correct characterization. "The Marriage of Figaro" is still regarded as a model of what a comic grand opera, if so I may -call it, should be. "Don Giovanni," despite its tragic _denouement_, +call it, should be. "Don Giovanni," despite its tragic _dénouement_, sparkles with humour, and _Don Giovanni_ himself, despite the evil he does, is a jovial character. "The Magic Flute" is full of amusing incidents and, if its relationship to the rites of freemasonry has @@ -1469,10 +1433,10 @@ THE MARRIAGE OF FIGARO Opera in four acts by Mozart; words by Lorenzo da Ponte, after Beaumarchais. Produced at the National Theatre, - Vienna, May 1, 1786, Mozart conducting. Academie de Musique, + Vienna, May 1, 1786, Mozart conducting. Académie de Musique, Paris, as "Le Mariage de Figaro" (with Beaumarchais's dialogue), 1793; as "Les Noces de Figaro" (words by Barbier - and Carre), 1858. London, in Italian, King's Theatre, June + and Carré), 1858. London, in Italian, King's Theatre, June 18, 1812. New York, 1823, with T. Phillips, of Dublin, as _Figaro_; May 10, 1824, with Pearman as _Figaro_ and Mrs. Holman, as _Susanna_; January 18, 1828, with Elizabeth @@ -1500,7 +1464,7 @@ THE MARRIAGE OF FIGARO _Time_--17th Century. - _Place_--The Count's chateau of Aguas Frescas, near Seville. + _Place_--The Count's château of Aguas Frescas, near Seville. "Le Nozze di Figaro" was composed by Mozart by command of Emperor Joseph II., of Austria. After congratulating the composer at the end @@ -1509,7 +1473,7 @@ however, my dear Mozart, that there are a great many notes in your score." "Not one too many, Sire," was Mozart's reply. (The anecdote, it should be noted, also, is told of the first -performance of Mozart's "Cosi Fan Tutte.") +performance of Mozart's "Così Fan Tutte.") No opera composed before "Le Nozze di Figaro" can be compared with it for development of ensemble, charm and novelty of melody, richness and @@ -1520,7 +1484,7 @@ affections. Michael Kelly, the English tenor, who was the _Basilio_ and _Curzio_ in the original production, tells in his memoirs of the splendid -sonority with which Benucci, the _Figaro_, sang the martial "Non piu +sonority with which Benucci, the _Figaro_, sang the martial "Non più andrai" at the first orchestral rehearsal. Mozart, who was on the stage in a crimson pelisse and cocked hat trimmed with gold lace, kept repeating _sotto voce_, "Bravo, bravo, Benucci!" At the conclusion the @@ -1562,14 +1526,14 @@ are alike only in that each opera is a masterpiece of the comic sentiment, there is at least one difference between the stories. In Rossini's "Barber" _Figaro_, a man, is the mainspring of the action. In Mozart's opera it is _Susanna_, a woman; and a clever woman may -possess in the role of protagonist in comedy a chicness and sparkle +possess in the rôle of protagonist in comedy a chicness and sparkle quite impossible to a man. The whole plot of "Le Nozze di Figaro" plays around _Susanna's_ efforts to nip in the bud the intrigue in which the _Count_ wishes to engage her. She is aided by the _Countess_ and by _Figaro_; but she still must appear to encourage while evading the _Count's_ advances, and do so without offending him, lest both she and her affianced be made to suffer through his disfavour. In the -libretto there is much that is _risque_, suggestive. But as the +libretto there is much that is _risqué_, suggestive. But as the average opera-goer does not understand the subtleties of the Italian language, and the average English translation is too clumsy to preserve them, it is quite possible--especially in this advanced @@ -1609,7 +1573,7 @@ The next scene opens between the page, _Cherubino_, a boy in love with every petticoat, and _Susanna_. He begs _Susanna_ to intercede for him with the _Count_, who has dismissed him. _Cherubino_ desires to stay around the _Countess_, for whom he has conceived one of his -grand passions. "Non so piu cosa son, cosa faccio"--(Ah, what feelings +grand passions. "Non so più cosa son, cosa faccio"--(Ah, what feelings now possess me!). The _Count's_ step is heard. _Cherubino_ hides himself behind a chair, from where he hears the _Count_ paying court to _Susanna_. The voice of the music-master then is heard from @@ -1632,7 +1596,7 @@ _Susanna_, and as _Figaro_ and others have come in to beg that he be forgiven, the _Count_, while no longer permitting him to remain in the castle, grants him an officer's commission in his own regiment. It is here that _Figaro_ addresses _Cherubino_ in the dashing martial air, -"Non piu andrai, farfallone amoroso" (Play no more, the part of a +"Non più andrai, farfallone amoroso" (Play no more, the part of a lover). Act II. Still, the _Count_, for whom the claims of _Marcellina_ upon @@ -1654,7 +1618,7 @@ _Countess_ and the _Count_ thus be confounded. _Cherubino_ is then brought in to try on _Susanna's_ clothes. He sings to the _Countess_ an air of sentiment, one of the famous vocal numbers -of the opera, the exquisite: "Voi che sapete, che cosa e amor" (What +of the opera, the exquisite: "Voi che sapete, che cosa è amor" (What is this feeling makes me so sad). [Music] @@ -1764,13 +1728,13 @@ murdered man accepting an insolent invitation to banquet with his murderer, appearing at the feast and dragging him down to hell--is very old. It goes back to the Middle Ages, probably further. A French authority considers that da Ponte derived his libretto from "Le Festin -de Pierre," Moliere's version of the old tale. Da Ponte, however, made +de Pierre," Molière's version of the old tale. Da Ponte, however, made free use of "Il Convitato di Pietra" (The Stone-Guest), a libretto written by the Italian theatrical poet Bertati for the composer Giuseppe Gazzaniga. Whoever desires to follow up this interesting phase of the subject will find the entire libretto of Bertati's "Convitato" reprinted, with a learned commentary by Chrysander, in -volume iv of the _Vierteljahrheft fuer Musikwissenschaft_ (Music +volume iv of the _Vierteljahrheft für Musikwissenschaft_ (Music Science Quarterly), a copy of which is in the New York Public Library. Mozart agreed to hand over the finished score in time for the autumn @@ -1893,7 +1857,7 @@ Ottavio_, her affianced. She utters a cry of terror at seeing the dead body of her father. The recitative which expresses her despair is intensely dramatic. The duet which she sings with _Don Ottavio_ is both impassioned and solicitous, impetuous on her part, solicitous on -his; for the role of _Don Ottavio_ is stamped with the delicacy of +his; for the rôle of _Don Ottavio_ is stamped with the delicacy of sentiment, the respectful reserve of a well-born youth who is consoling the woman who is to be his wife. The passage, "Lascia, O cara, la rimembranza amara!" (Through love's devotion, dear one) is of @@ -1905,7 +1869,7 @@ _Donna Elvira_ is another of _Don Giovanni's_ deserted ones. There are in the tears of this woman not only the grief of one who has been loved and now implores heaven for comfort, but also the indignation of one who has been deserted and betrayed. When she cries with emotion: -"Ah! chi mi dice mai quel barbaro dov'e?" (In memory still lingers his +"Ah! chi mi dice mai quel barbaro dov'è?" (In memory still lingers his love's delusive sway) one feels that, in spite of her outbursts of anger, she is ready to forgive, if only a regretful smile shall recall to her the man who was able to charm her. @@ -1913,7 +1877,7 @@ recall to her the man who was able to charm her. _Don Giovanni_ hears from afar the voice of a woman in tears. He approaches, saying: "Cerchiam di consolare il suo tormento" (I must seek to console her sorrow). "Ah! yes," murmurs _Leporello_, under his -breath: "Cosi ne consolo mille e otto cento" (He has consoled fully +breath: "Così ne consolò mille e otto cento" (He has consoled fully eighteen hundred). _Leporello_ is charged by _Don Giovanni_, who, recognizing _Donna Elvira_, hurries away, to explain to her the reasons why he deserted her. The servant fulfils his mission as a @@ -1948,10 +1912,10 @@ simple young people. Having cast covetous eyes upon _Zerlina_, and having aroused her vanity and her spirit of coquetry by polished words of gallantry, the _Don_ orders _Leporello_ to get rid of the jealous _Masetto_ by taking the entire gathering--excepting, of course, -_Zerlina_--to his chateau. _Leporello_ grumbles, but carries out his +_Zerlina_--to his château. _Leporello_ grumbles, but carries out his master's order. The latter, left alone with _Zerlina_, sings a duet with her which is one of the gems, not alone of this opera, but of -opera in general: "La ci darem la mano!" (Your hand in mine, my +opera in general: "Là ci darem la mano!" (Your hand in mine, my dearest). _Donna Elvira_ appears and by her denunciation of _Don Giovanni_, "Ah! fuggi il traditore," makes clear to _Zerlina_ the character of her fascinating admirer. _Donna Anna_ and _Don Ottavio_ @@ -1991,7 +1955,7 @@ After a moment of hesitation, after having taken council together, and repressing a movement of horror which they feel at the sight of the man whose crimes have darkened their lives, _Donna Elvira_, _Donna Anna_, and _Don Ottavio_ decide to carry out their undertaking at all -cost and to whatever end. Before entering the chateau, they pause on +cost and to whatever end. Before entering the château, they pause on the threshold and, their souls moved by a holy fear, they address Heaven in one of the most touching prayers written by the hand of man. It is the number known throughout the world of music as the "Trio of @@ -2036,7 +2000,7 @@ and whom, under pretence that he is the guilty party, he threatens to kill in order to turn upon him the suspicion that rests upon himself. But this ruse fails to deceive any one. _Donna Anna_, _Donna Elvira_, and _Don Ottavio_ unmask and accuse _Don Giovanni_ of the murder of -the _Commandant_, "Tutto gia si sa" (Everything is known and you are +the _Commandant_, "Tutto già si sà" (Everything is known and you are recognized). Taken aback, at first, _Don Giovanni_ soon recovers himself. Turning, at bay, he defies the enraged crowd. A storm is rising without. A storm sweeps over the orchestra. Thunder growls in @@ -2075,7 +2039,7 @@ the poor fellow with the graceful measures of "Vedrai carino, se sei buonino" (List, and I'll find love, if you are kind love). Shortly after this episode comes _Don Ottavio's_ famous air, the solo -number which makes the role worth while, "Il mio tesoro intanto" (Fly +number which makes the rôle worth while, "Il mio tesoro intanto" (Fly then, my love, entreating). Upon this air praise has been exhausted. It has been called the "pietra di paragone" of tenors--the touchstone, the supreme test of classic song. @@ -2103,14 +2067,14 @@ the pleasures of life. An orchestra on the stage plays airs from Vincente Martino's "Una Cosa Rara" (A Rare Thing); Sarti's "Fra Due Litiganti" (Between Two Litigants), and Mozart's own "Nozze di Figaro," _Leporello_ announcing the selections. The "Figaro" air is -"Non piu andrai" (Play no more, boy, the part of a lover). +"Non più andrai" (Play no more, boy, the part of a lover). _Donna Elvira_ enters. On her knees she begs the man who has betrayed her to mend his ways. Her plea falls on deaf ears. She leaves. Her shriek is heard from the corridor. She re-enters and flees the palace by another door. -"Va a veder che cos'e stato" (Go, and see what it is) _Don Giovanni_ +"Va a veder che cos'è stato" (Go, and see what it is) _Don Giovanni_ commands _Leporello_. The latter returns trembling with fright. He has seen in the corridor @@ -2178,36 +2142,36 @@ are printed in the score as additions. Caterina Cavalieri, the _Elvira_, had complained to Mozart, that the Viennese public did not appreciate her as did audiences of other cities and begged him for something that would give her voice full scope. The result was the -fine aria: "Mi tradi quell'alma ingrata." The _Ottavio_, Signor +fine aria: "Mi tradì quell'alma ingrata." The _Ottavio_, Signor Morello, was considered unequal to "Il mio tesoro," so Mozart wrote the less exacting "Dalla sua pace," for him. To amuse the public he inserted a comic duet, "Per queste tue manine," for _Zerlina_ and _Leporello_. This usually is omitted. The other two inserts were interpolated in the second act of the opera before the finale. In the Metropolitan Opera House version, however, _Donna Elvira_ sings "Mi -tradi" to express her rage after the "Madamina" of Leporello; and _Don +tradì" to express her rage after the "Madamina" of Leporello; and _Don Ottavio_ sings "Dalla sua pace" before the scene in _Don Giovanni's_ -chateau. +château. The first performance of "Don Giovanni" in America took place in the Park Theatre, New York, on Tuesday evening, May 23, 1826. I have verified the date in the file of the New York _Evening Post_. "This evening for the first time in America, the semi-serious opera of 'Il Don Giovanni,'" reads the advertisement of that date. Then follows the -cast. Manuel Garcia played the title role; Manuel Garcia, Jr., +cast. Manuel Garcia played the title rôle; Manuel Garcia, Jr., afterwards inventor of the laryngoscope, who reached the age of 101, dying in London in 1906, was _Leporello_; Mme. Barbieri, _Donna Anna_; Mme. Garcia, _Donna Elvira_; Signorina Maria Garcia (afterwards famous under her married name of Malibran), _Zerlina_; Milon, whom Mr. Krehbiel identifies as a violoncellist later with the Philharmonic -Society, _Don Ottavio_; and Carlo Angrisani, _Masetto_, a role he had +Society, _Don Ottavio_; and Carlo Angrisani, _Masetto_, a rôle he had sung at the first London performance of the work. Da Ponte, the librettist of the work, who had become Professor of Italian at Columbia College, had induced Garcia to put on the opera. At the first performance during the finale of the first act everything went at sixes and sevens, in spite of the efforts of Garcia, in the -title role, to keep things together. Finally, sword in hand, he +title rôle, to keep things together. Finally, sword in hand, he stepped to the front of the stage, ordered the performance stopped, and, exhorting the singers not to commit the crime of ruining a masterwork, started the finale over again, which now went all right. @@ -2224,13 +2188,13 @@ original autograph score of "Don Giovanni." She bequeathed it to the Paris Conservatoire. The opera has engaged the services of famous artists. Faure and Maurel -were great _Don Giovannis_, Jean de Reszke sang the role, while he was -still a baritone; Scotti made his _debut_ at the Metropolitan Opera -House, December 27, 1899, in the role, with Nordica as _Donna Anna_, -Suzanne Adams, as _Donna Elvira_, Sembrich as _Zerlina_, and Edouard +were great _Don Giovannis_, Jean de Reszke sang the rôle, while he was +still a baritone; Scotti made his _début_ at the Metropolitan Opera +House, December 27, 1899, in the rôle, with Nordica as _Donna Anna_, +Suzanne Adams, as _Donna Elvira_, Sembrich as _Zerlina_, and Édouard de Reszke as _Leporello_. Renaud appeared as _Don Giovanni_ at the Manhattan Opera House. Lablache was accounted the greatest of -_Leporellos_. The role of _Don Ottavio_ has been sung by Rubini and +_Leporellos_. The rôle of _Don Ottavio_ has been sung by Rubini and Mario. At the Mozart Festival, Salzburg, 1914, the opera was given with Lilli Lehmann, Farrar, and McCormack in the cast. @@ -2247,15 +2211,15 @@ Alten and Goritz as Papagena and Papageno in "The Magic Flute"] THE MAGIC FLUTE -DIE ZAUBERFLOeTE +DIE ZAUBERFLÖTE Opera in two acts by Mozart; words by Emanuel Schikaneder and Gieseke. Produced, September 30, 1791, in Vienna, in the - Theatre auf der Wieden; Paris, 1801, as "Les Mysteres + Theatre auf der Wieden; Paris, 1801, as "Les Mystères d'Isis"; London, King's Theatre, June 6, 1811 (Italian); Covent Garden, May 27, 1833 (German); Drury Lane, March 10, 1838 (English); New York, Park Theatre, April 17, 1833 - (English). The role of _Astrofiammante, Queen of the Night_, + (English). The rôle of _Astrofiammante, Queen of the Night_, has been sung here by Carlotta Patti, Ilma di Murska, Gerster, Sembrich, and Hempel. @@ -2290,7 +2254,7 @@ appeared in a volume of Oriental tales brought out by Wieland under the title of "Dschinnistan." In the original tale a wicked sorcerer has stolen the daughter of the Queen of Night, who is restored by a Prince by means of magic. While Schikaneder was busy on his libretto, -a fairy story by Perinet, music by Wenzel Mueller, and treating of the +a fairy story by Perinet, music by Wenzel Müller, and treating of the same subject, was given at another Viennese theatre. Its great success interfered with Schikaneder's original plan. @@ -2392,13 +2356,13 @@ the Sun. _Papageno_ also fares well, for he receives _Papagena_ for wife. There is much nonsense and even buffoonery in "The Magic Flute"; and, -in spite of real nobility in the role and music of _Sarastro_, Mr. +in spite of real nobility in the rôle and music of _Sarastro_, Mr. Krehbiel's comment that the piece should be regarded as somewhat in the same category as a Christmas pantomime is by no means far-fetched. It lends itself to elaborate production, and spectacular performances of it have been given at the Metropolitan Opera House. -Its representation requires for the role of _Astrofiammante, Queen of +Its representation requires for the rôle of _Astrofiammante, Queen of the Night_, a soprano of extraordinarily high range and agility of voice, as each of the two great airs of this vengeful lady extend to high F and are so brilliant in style that one associates with them @@ -2408,7 +2372,7 @@ sister-in-law, Josepha Weber (Mme. Hofer) was in the cast of the first performance and her voice was such as has been described above. The _Queen_ has an air in Act I and another in Act II. A quotation from the second, the so-called "Vengeance aria," will show the range and -brilliancy of voice required of a singer in the role of +brilliancy of voice required of a singer in the rôle of _Astrofiammante_. [Music] @@ -2443,7 +2407,7 @@ score but the beauty of the orchestral accompaniment, so rich, yet so restrained, justly cause these two numbers to rank with Mozart's finest achievements. -"Die Zauberfloete" (The Magic Flute) was its composer's swan-song in +"Die Zauberflöte" (The Magic Flute) was its composer's swan-song in opera and perhaps his greatest popular success. Yet he is said to have made little or nothing out of it, having reserved as his compensation the right to dispose of copies of the score to other theatres. Copies, @@ -2452,14 +2416,14 @@ poor business man that he was, others reaped the rewards of his genius. In 1801, ten years after Mozart's death, there was produced in Paris -an extraordinary version of "The Magic Flute," entitled "Les Mysteres +an extraordinary version of "The Magic Flute," entitled "Les Mystères d'Isis" (The Mysteries of Isis). Underlying this was a considerable portion of "The Magic Flute" score, but also introduced in it were fragments from other works of the composer ("Don Giovanni," "Figaro," "Clemenza di Tito") and even bits from Haydn symphonies. Yet this hodge-podge not only had great success--owing to the magic of Mozart's music--it actually was revived more than a quarter of a century later, -and the real "Zauberfloete" was not given in Paris until 1829. +and the real "Zauberflöte" was not given in Paris until 1829. Besides the operas discussed, Mozart produced (1781) "Idomeneo" and (1791) "La Clemenza di Tito." In 1768, when he was twelve years old, a @@ -2488,18 +2452,18 @@ that of Mr. Reiss. There remain to be mentioned two other operatic comedies by Mozart: "The Elopement from the Serail" (Belmonte und Constanze), 1782, in -three acts; and "Cosi fan Tutte" (They All Do It), 1790, in two. The -music of "Cosi fan Tutte" is so sparkling that various attempts have +three acts; and "Così fan Tutte" (They All Do It), 1790, in two. The +music of "Così fan Tutte" is so sparkling that various attempts have been made to relieve it of the handicap imposed by the banality of the original libretto by da Ponte. Herman Levi's version has proven the most successful of the various rearrangements. The characters are two Andalusian sisters, _Fiordiligi_ (soprano), _Dorabella_ (soprano); two -officers, their fiances, _Ferrando_ (tenor), and _Guglielmo_ +officers, their fiancés, _Ferrando_ (tenor), and _Guglielmo_ (baritone); _Alfonso_ (bass); and _Despina_ (soprano), maid to the two sisters. _Alfonso_ lays a wager with the officers that, like all women, their -fiancees will prove unfaithful, if opportunity were offered. The men +fiancées will prove unfaithful, if opportunity were offered. The men pretend their regiment has been ordered to Havana, then return in disguise and lay siege to the young ladies. In various ways, including a threat of suicide, the women's sympathies are played upon. In the @@ -2528,8 +2492,8 @@ FIDELIO Vienna'], November 20, 1805. Revised and given at the Imperial Private Theatre, March 29, 1806, but withdrawn after a few performances. Again revised and successfully brought - out May 23, 1814, at the Kaernthnerthor Theatre (Theatre at - the Carinthian Gate), Vienna. Paris, Theatre Lyrique, May 5, + out May 23, 1814, at the Kärnthnerthor Theatre (Theatre at + the Carinthian Gate), Vienna. Paris, Théâtre Lyrique, May 5, 1860. London, King's Theatre, May 18, 1832; Covent Garden, June 12, 1835, with Malibran; May 20, 1851, in Italian, with recitatives by Balfe. New York, Park Theatre, September 9, @@ -2568,7 +2532,7 @@ The libretto, which appealed to the composer by reason of its pure and idealistic motive, was not written for Beethoven. It was a French book by Bouilly and had been used by three composers: Pierre Gabeaux (1798); Simon Mayr, Donizetti's teacher at Bergamo and the composer of -more than seventy operas (1805); and Paer, whose "Leonora, ossia +more than seventy operas (1805); and Paër, whose "Leonora, ossia l'Amore Conjugale" (Leonora, or Conjugal Love) was brought out at Dresden in December, 1804. @@ -2605,10 +2569,10 @@ composer and manager to become re-established. Then Baron von Braun had the book taken in hand by a practical librettist, Georg Friedrich Treitschke. Upon receiving the revision, which greatly pleased him, Beethoven in his turn re-revised the score. In this form "Fidelio" was -brought out May 23, 1814, in the Theatre am Kaernthnerthor. There was +brought out May 23, 1814, in the Theatre am Kärnthnerthor. There was no question of failure this time. The opera took its place in the -repertoire and when, eight years later, Mme. Schroeder-Devrient sang -the title role, her success in it was sensational. +repertoire and when, eight years later, Mme. Schröder-Devrient sang +the title rôle, her success in it was sensational. There are four overtures to the work, three entitled "Leonore" (Nos. 1, 2, and 3) and one "Fidelio." The "Leonore" overtures are @@ -2641,7 +2605,7 @@ established work in the classical concert repertoire, as is also _Leonore's_ recitative and air in the first act. In the story of the opera, _Florestan_, a noble Spaniard, has aroused -the enmity of _Pizarro_, governor of a gloomy mediaeval fortress, used +the enmity of _Pizarro_, governor of a gloomy mediæval fortress, used as a place of confinement for political prisoners. _Pizarro_ has been enabled secretly to seize _Florestan_ and cast him into the darkest dungeon of the fortress, at the same time spreading a report of his @@ -2667,7 +2631,7 @@ the courtyard of the prison. Act I. The opera opens with a brisk duet between _Jacquino_ and _Marcellina_, in which he urges her definitely to accept him and she cleverly puts him off. Left alone she expresses her regret for -_Jacquino_, but wishes she were united with _Fidelio_. ("O waer' ich +_Jacquino_, but wishes she were united with _Fidelio_. ("O wär' ich schon mit dir vereint"--O, were I but with you united.) Afterward she is joined by her father. Then _Leonore_ (as _Fidelio_) @@ -2813,10 +2777,10 @@ Weber and his Operas Carl Maria von Weber, born at Eutin, Oldenberg, December 18, 1786, -died in London, June 5, 1826, is the composer of "Der Freischuetz;" +died in London, June 5, 1826, is the composer of "Der Freischütz;" "Euryanthe," and "Oberon." -"Der Freischuetz" was first heard in Berlin, June 18, 1821. "Euryanthe" +"Der Freischütz" was first heard in Berlin, June 18, 1821. "Euryanthe" was produced in Vienna, October 25, 1823. "Oberon" had its first performance at Covent Garden, London, April 12, 1826. Eight weeks later Weber died. A sufferer from consumption, his malady was @@ -2825,7 +2789,7 @@ rehearsing and conducting the opera, and attending the social functions arranged in his honour. -DER FREISCHUeTZ +DER FREISCHÜTZ The first American performance of this opera, which is in three acts, was in English. The event took place in the Park @@ -2837,8 +2801,8 @@ DER FREISCHUeTZ the King's Theatre, May 9, 1832; in Italian, as "Il Franco Arciero," at Covent Garden, March 16, 1825. For this performance Costa wrote recitatives to replace the dialogue. - Berlioz did the same for the production at the Grand Opera, - Paris, as "Le Franc Archer," June 7, 1841. "Freischuetz" + Berlioz did the same for the production at the Grand Opéra, + Paris, as "Le Franc Archer," June 7, 1841. "Freischütz" means "free-shooter"--someone who shoots with magic bullets. CHARACTERS @@ -2858,7 +2822,7 @@ DER FREISCHUeTZ _Place_--Bohemia. Act I. At the target range. _Kilian_, the peasant, has defeated _Max_, -the forester, at a prize shooting, a Schuetzenfest, maybe. _Max_, of +the forester, at a prize shooting, a Schützenfest, maybe. _Max_, of course, should have won. Being a forester, accustomed to the use of fire-arms, it is disgraceful for him to have been defeated by a mere peasant. @@ -2927,14 +2891,14 @@ of the seventh bullet. Upon the _Hermit's_ intercession, _Max_, who has confessed everything, is forgiven by _Prince Ottokar_, the test shot is abolished and a year's probation substituted for it. -Many people are familiar with music from "Der Freischuetz" without +Many people are familiar with music from "Der Freischütz" without being aware that it is from that opera. Several melodies from it have been adapted as hymn tunes, and are often sung in church. In Act I, are _Kilian's_ song and the chorus in which the men and women, young and old, rally _Max_ upon his bad luck. There is an expressive trio for _Max_, _Kaspar_, and _Cuno_, with chorus "O diese Sonne!" (O fateful morrow.) There is a short waltz. _Max's_ solo, "Durch die -Waelder, durch die Auen" (Through the forest and o'er the meadows) is a +Wälder, durch die Auen" (Through the forest and o'er the meadows) is a melody of great beauty, and this also can be said of his other solo in the same scene, "Jetzt ist wohl ihr Fenster offen" (Now mayhap her window opens), while the scene comes to a close with gloomy, @@ -2964,7 +2928,7 @@ The music of the Wolf's Glen scene long has been considered the most expressive rendering of the gruesome that is to be found in a musical score. The stage apparatus that goes with it is such that it makes the young sit up and take notice, while their elders, because of its -naivete, are entertained. The ghost of _Max's_ mother appears to him +naïveté, are entertained. The ghost of _Max's_ mother appears to him and strives to warn him away. Cadaverous, spooky-looking animals crawl out from caves in the rocks and spit flames and sparks. Wagner got more than one hint from the scene. But in the crucible of his genius @@ -2980,7 +2944,7 @@ bridesmaids. This is the piece which Richard Wagner, then seven years old, was playing in a room, adjoining which his stepfather, Ludwig Geyer, lay in his last illness. Geyer had shown much interest in the boy and in what might become of him. As he listened to him playing the -bridesmaids' chorus from "Der Freischuetz" he turned to his wife, +bridesmaids' chorus from "Der Freischütz" he turned to his wife, Wagner's mother, and said: "What if he should have a talent for music?" @@ -2988,7 +2952,7 @@ In the next scene are the spirited hunting chorus and the brilliant finale, in which recurs the jubilant melody from _Agathe's_ second act scene. -The overture to "Der Freischuetz" is the first in which an operatic +The overture to "Der Freischütz" is the first in which an operatic composer unreservedly has made use of melodies from the opera itself. Beethoven, in the third "Leonore" overture, utilizes the theme of _Florestan's_ air and the trumpet call. Weber has used not merely @@ -3003,12 +2967,12 @@ music of _Agathe's_ outburst of joy when she sees her lover approaching; and this is given complete. The structure of this overture is much like that of the overture to -"Tannhaeuser" by Richard Wagner. There also is a resemblance in contour -between the music of _Agathe's_ jubilation and that of _Tannhaeuser's_ +"Tannhäuser" by Richard Wagner. There also is a resemblance in contour +between the music of _Agathe's_ jubilation and that of _Tannhäuser's_ hymn to Venus. Wagner worshipped Weber. Without a suggestion of plagiarism, the contour of Wagner's melodic idiom is that of Weber's. The resemblance to Weber in the general structure of the finales to -the first acts of "Tannhaeuser" and "Lohengrin" is obvious. Even in +the first acts of "Tannhäuser" and "Lohengrin" is obvious. Even in some of the leading motives of the Wagner music-dramas, the student will find the melodic contour of Weber still persisting. What could be more in the spirit of Weber than the ringing _Parsifal_ motive, one of @@ -3018,12 +2982,12 @@ Indeed the importance of Weber in the logical development of music and specifically of opera, lies in the fact that he is the founder of the romantic school in music;--a school of which Wagner is the culmination. Weber is as truly the forerunner of Wagner as Haydn is of -Mozart, and Mozart of Beethoven. From the "Freischuetz" Wagner derived +Mozart, and Mozart of Beethoven. From the "Freischütz" Wagner derived his early predilection for legendary subjects, as witness the "Flying -Dutchman," "Tannhaeuser," and "Lohengrin," from which it was but a step +Dutchman," "Tannhäuser," and "Lohengrin," from which it was but a step to the mythological subject of the "Ring" dramas. -"Der Freischuetz" is heard far too rarely in this country. But Weber's +"Der Freischütz" is heard far too rarely in this country. But Weber's importance as the founder of the romantic school and as the inspired forerunner of Wagner long has been recognized. Without this recognition there would be missing an important link in the evolution @@ -3033,10 +2997,10 @@ of music and, specifically, of opera. EURYANTHE Opera in three acts by Weber. Book, by Helmine von Chezy, - adapted from "L'Histoire de Gerard de Nevers et de la belle + adapted from "L'Histoire de Gérard de Nevers et de la belle et vertueuse Euryanthe, sa mie." Produced, Vienna, - Kaernthnerthor Theatre (Theatre at the Carinthian Gate), - October 25, 1823. New York, by Carl Anschuetz, at Wallack's + Kärnthnerthor Theatre (Theatre at the Carinthian Gate), + October 25, 1823. New York, by Carl Anschütz, at Wallack's Theatre, Broadway and Broome Street, 1863; Metropolitan Opera House, December 23, 1887, with Lehmann, Brandt, Alvary, and Fischer, Anton Seidl conducting. @@ -3045,7 +3009,7 @@ EURYANTHE EURYANTHE DE SAVOIE _Soprano_ EGLANTINE DE PUISET _Mezzo-Soprano_ - LYSIART DE FORET _Baritone_ + LYSIART DE FORÊT _Baritone_ ADOLAR DE NEVERS _Tenor_ LOUIS VI _Bass_ @@ -3149,7 +3113,7 @@ Weber's finest inspiration. Something should be done by means of a new libretto or by re-editing to give "Euryanthe" the position it deserves in the modern operatic repertoire. An attempt at a new libretto was made in Paris in 1857, at -the Theatre Lyrique. It failed. Having read a synopsis of that +the Théâtre Lyrique. It failed. Having read a synopsis of that libretto, I can readily understand why. It is, if possible, more absurd than the original. Shakespeare's "Cymbeline" is derived from the same source as "Euryanthe," which shows that, after all, something @@ -3161,7 +3125,7 @@ OBERON, OR THE ELF-KING'S OATH Opera in three acts, by Weber. Words by James Robinson - Planche. + Planché. CHARACTERS @@ -3183,11 +3147,11 @@ OR THE ELF-KING'S OATH In a tribute to Weber, the librettist of "Oberon" wrote a sketch of the action and also gave as the origin of the story the tale of "Huon de Bordeaux," from the old collection of romances known as "La -Bibliotheque Bleue." Wieland's poem "Oberon," is based upon the old -romance and Sotheby's translation furnished Planche with the +Bibliothèque Bleue." Wieland's poem "Oberon," is based upon the old +romance and Sotheby's translation furnished Planché with the groundwork for the text. -According to Planche's description of the action, _Oberon_, the Elfin +According to Planché's description of the action, _Oberon_, the Elfin King, having quarrelled with his fairy partner, _Titania_, vows never to be reconciled to her till he shall find two lovers constant through peril and temptation. To seek such a pair his "tricksy spirit," @@ -3241,11 +3205,11 @@ music. Either that, or else Weber is suffering the fate of all obvious forerunners: which is that their genius finds its full and lasting fruition in those whose greater genius it has caused to germinate and ripen. Thus the full fruition of Weber's genius is found in the Wagner -operas and music-dramas. Even the fine overtures, "Freischuetz," +operas and music-dramas. Even the fine overtures, "Freischütz," "Euryanthe," and "Oberon," in former years so often found in the classical concert repertoire, are played less and less frequently. The -"Tannhaeuser" overture has supplanted them. The "Oberon" overture, like -that to "Freischuetz" and "Euryanthe," is composed of material from the +"Tannhäuser" overture has supplanted them. The "Oberon" overture, like +that to "Freischütz" and "Euryanthe," is composed of material from the opera--the horn solo from _Sir Huon's_ scena, portions of the fairies, chorus and the third-act finale, the climax of _Rezia's_ scene in the second act, and _Puck's_ invocation. @@ -3256,8 +3220,8 @@ the composer's direction. The text is derived from a well-known tale in the _Arabian Nights_. Another youthful opera by Weber, "Silvana," was produced at Frankfort-on-Main in 1810. The text, based upon an old Rhine legend of a feud between two brothers, has been rearranged -by Ernst Pasque, the score by Ferdinand Lange, who, in the ballet in -the second act, has introduced Weber's "Invitation a la Valse" and his +by Ernst Pasqué, the score by Ferdinand Lange, who, in the ballet in +the second act, has introduced Weber's "Invitation à la Valse" and his "Polonaise," besides utilizing other music by the composer. The fragment of another work, a comic opera, "The Three Pintos," text by Theodor Hell, was taken in hand and completed, the music by Gustav @@ -3272,7 +3236,7 @@ Why Some Operas are Rarely Given There is hardly a writer on music, no matter how advanced his views, who will not agree with me in all I have said in praise of "Orpheus and Eurydice," the principal Mozart operas, Beethoven's "Fidelio," and -Weber's "Freischuetz" and "Euryanthe." The question therefore arises: +Weber's "Freischütz" and "Euryanthe." The question therefore arises: "Why are these works not performed with greater frequency?" A general answer would be that the modern opera house is too large for @@ -3293,7 +3257,7 @@ expressive orchestral accompaniment. As regards "Fidelio" it has spoken dialogue; and if anything has been demonstrated over and over again, it is that American audiences of today simply will not stand for spoken dialogue in grand opera. That also, together with the -extreme naivete of their librettos, is the great handicap of the Weber +extreme naïveté of their librettos, is the great handicap of the Weber operas. It is neither an easy nor an agreeable descent from the vocalized to the spoken word. And so, works, admittedly great, are permitted to lapse into unpardonable desuetude, because no genius, @@ -3301,7 +3265,7 @@ willing or capable, has come forward to change the _recitativo secco_ of Mozart, or the dialogue that affronts the hearer in the other works mentioned, into recitatives that will restore these operas to their deserved place in the modern repertoire. Berlioz tried it with "Der -Freischuetz" and appears to have failed; nor have the "Freischuetz" +Freischütz" and appears to have failed; nor have the "Freischütz" recitatives by Costa seemingly fared any better. This may have deterred others from making further attempts of the kind. But it seems as if a lesser genius than Berlioz, and a talent superior to Costa's, @@ -3328,7 +3292,7 @@ disappeared. Spohr, however, deserves mention as being one of the first professional musicians of prominence to encourage Wagner. Incapable of appreciating either Beethoven or Weber, yet, strange to say, he at once recognized the merits of "The Flying Dutchman" and -"Tannhaeuser," and even of "Lohengrin"--at the time sealed volumes to +"Tannhäuser," and even of "Lohengrin"--at the time sealed volumes to most musicians and music lovers. As court conductor at Kassel, he brought out the first two Wagner operas mentioned respectively in 1842 and 1853; and was eager to produce "Lohengrin," but was prevented by @@ -3362,9 +3326,9 @@ Granada" (A Night's Camp in Granada), a melodious and sparkling score. But the German light opera composer par excellence is Albert Lortzing (1803-1851). His chief works are, "Czar und Zimmermann" (Czar and Carpenter), 1834, with its beautiful baritone solo, "In childhood I -played with a sceptre and crown"; "Der Wildschuetz" (The Poacher); +played with a sceptre and crown"; "Der Wildschütz" (The Poacher); "Undine"; and "Der Waffenschmied" (The Armourer) which last also has a -deeply expressive solo for baritone, "Ich auch war einst Juengling mit +deeply expressive solo for baritone, "Ich auch war einst Jüngling mit lockigem Haar" (I too was a youth once with fair, curly hair). @@ -3393,7 +3357,7 @@ music-dramas of which he is both author and composer. At the time Wagner's mother married Geyer, he was a member of the Court Theatre at Dresden. Thither the family removed. When the boy was eight years old, he had learned to play on the pianoforte the chorus -of bridesmaids from "Der Freischuetz," then quite new. The day before +of bridesmaids from "Der Freischütz," then quite new. The day before Geyer's death, September 30, 1821, Richard was playing this piece in an adjoining room and heard Geyer say to his mother: "Do you think he might have a gift for music?" Coming out of the death room Wagner's @@ -3411,7 +3375,7 @@ going. In 1833, at the age of twenty, Wagner began his career as a professional musician. His elder brother Albert was engaged as tenor, -actor, and stage manager at the Wuerzburg theatre. A position as chorus +actor, and stage manager at the Würzburg theatre. A position as chorus master being offered to Richard, he accepted it, although his salary was a pittance of ten florins a month. However, the experience was valuable. He was able to profit by many useful hints from his brother, @@ -3453,7 +3417,7 @@ evident, that the couple who had suffered under the 'love veto' (Liebesverbot) of _Isabella's_ husband, were certainly unable to appear on this occasion." -Wagner was next engaged as orchestral conductor at Koenigsberg, where +Wagner was next engaged as orchestral conductor at Königsberg, where he married the actress Wilhelmina, or Minna Planer. Later he received notice of his appointment as conductor and of the engagement of his wife and sister at the theatre at Riga, on the Russian side of the @@ -3483,11 +3447,11 @@ November 19, 1840, he completed the score of "Rienzi," and in December forwarded it to the director of the Royal Theatre at Dresden. While awaiting a reply, he contributed to the newspapers and did all kinds of musical drudgery for Schlesinger, the music publisher, even making -arrangements for the cornet a piston. Finally word came from Dresden. +arrangements for the cornet à piston. Finally word came from Dresden. "Rienzi" had aroused the enthusiasm of the chorus master, Fischer, and -of the tenor Tichatschek, who saw that the title role was exactly +of the tenor Tichatschek, who saw that the title rôle was exactly suited to his robust, dramatic voice. Then there was Mme. -Schroeder-Devrient for the part of _Adriano_. The opera was produced +Schröder-Devrient for the part of _Adriano_. The opera was produced October 20, 1842, the performance beginning at six and ending just before midnight, to the enthusiastic plaudits of an immense audience. So great was the excitement that in spite of the late hour people @@ -3515,22 +3479,22 @@ Berlioz at the rehearsals of the latter's concerts. Wagner's work in his new position was somewhat varied, consisting not only of conducting operas, but also music between the acts at theatrical performances and at church services. The principal operas which he -rehearsed and conducted were "Euryanthe," "Freischuetz," "Don +rehearsed and conducted were "Euryanthe," "Freischütz," "Don Giovanni," "The Magic Flute," Gluck's "Armide," and "Iphigenia in Aulis." The last-named was revised both as regards words and music by him, and his changes are now generally accepted. -Meanwhile he worked arduously on "Tannhaeuser," completing it April 13, +Meanwhile he worked arduously on "Tannhäuser," completing it April 13, 1844. It was produced at Dresden, October 19, 1845. At first the work proved even a greater puzzle to the public than "The Flying Dutchman" had, and evoked comments which nowadays, when the opera has actually become a classic, seem ridiculous. Some people even suggested that the -plot of the opera should be changed so that _Tannhaeuser_ should marry +plot of the opera should be changed so that _Tannhäuser_ should marry _Elizabeth_. The management of the Dresden theatre, which had witnessed the brilliant success of "Rienzi" and had seen "The Flying Dutchman" and -"Tannhaeuser" at least hold their own in spite of the most virulent +"Tannhäuser" at least hold their own in spite of the most virulent opposition, looked upon his next work, "Lohengrin," as altogether too risky and put off its production indefinitely. @@ -3540,7 +3504,7 @@ agitation of '48 and '49. In May, 1849, the disturbances at Dresden reached such an alarming point that the Saxon Court fled. Prussian troops were dispatched to quell the riot and Wagner thought it advisable to flee. He went to Weimar, where Liszt was busy rehearsing -"Tannhaeuser." While attending a rehearsal of this work, May 19, news +"Tannhäuser." While attending a rehearsal of this work, May 19, news was received that orders had been issued for his arrest as a politically dangerous individual. Liszt at once procured a passport and Wagner started for Paris. In June he went to Zurich, where he @@ -3550,7 +3514,7 @@ journey from Dresden. Liszt brought out "Lohengrin" at Weimar, August 28, 1850. The reception of "Lohengrin" did not at first differ much from that -accorded to "Tannhaeuser." Yet the performance made a deep impression. +accorded to "Tannhäuser." Yet the performance made a deep impression. The fact that the weight of Liszt's influence had been cast in its favour gave vast importance to the event, and it may be said that through this performance Wagner's cause received its first great @@ -3559,7 +3523,7 @@ this production of "Lohengrin." He finished the librettos of the "Nibelung" dramas in 1853. By May, 1854, the music of "Das Rheingold" was composed. The following month -he began "Die Walkuere" and finished all but the instrumentation during +he began "Die Walküre" and finished all but the instrumentation during the following winter and the full score in 1856. Previous to this, in fact already in the autumn of 1854, he had sketched some of the music of "Siegfried," and in the spring of 1857 the full score of the first @@ -3590,7 +3554,7 @@ produced than any other of his works. In September, 1859, he again went to Paris with the somewhat curious hope that he could there find opportunity to produce "Tristan" with German artists. Through the intercession of the Princess Metternich, the Emperor ordered the -production of "Tannhaeuser" at the Opera. Beginning March 13, 1861, +production of "Tannhäuser" at the Opéra. Beginning March 13, 1861, three performances were given, of which it is difficult to say whether the performance was on the stage or in the auditorium, for the uproar in the house often drowned the sounds from the stage. The members of @@ -3623,7 +3587,7 @@ wished-for help came. King Ludwig II., of Bavaria, bade him come to Munich, where he settled in 1864. "Tristan" was produced there June 10, 1865. June 21, 1868, a model performance of "Die Meistersinger," which he had finished in 1867, was given at Munich under the direction -of von Buelow, Richter acting as chorus master and Wagner supervising +of von Bülow, Richter acting as chorus master and Wagner supervising all the details. Wagner also worked steadily at the unfinished portion of the "Ring," completing the instrumentation of the third act of "Siegfried" in 1869 and the introduction and first act of "The Dusk of @@ -3631,7 +3595,7 @@ the Gods" in June, 1870. August 25, 1870, his first wife having died January 25, 1866, after five years' separation from him, he married the divorced wife of von -Buelow, Cosima Liszt. In 1869 and 1870, respectively "The Rhinegold" +Bülow, Cosima Liszt. In 1869 and 1870, respectively "The Rhinegold" and "The Valkyr" were performed at the Court Theatre in Munich. Bayreuth having been determined upon as the place where a theatre for @@ -3644,9 +3608,9 @@ after its first conception, on August 13th, 14th, 16th, and 17th, again from August 20 to 23, and from August 27 to 30, 1876, "The Ring of the Nibelung" was performed at Bayreuth with the following cast: _Wotan_, Betz; _Loge_, Vogel; _Alberich_, Hill; _Mime_, Schlosser; -_Fricka_, Frau Gruen; _Donner_ and _Gunther_, Gura; _Erda_ and +_Fricka_, Frau Grün; _Donner_ and _Gunther_, Gura; _Erda_ and _Waltraute_, Frau Jaide; _Siegmund_, Niemann; _Sieglinde_, Frl. -Schefsky; _Bruennhilde_, Frau Materna; _Siegfried_, Unger; _Hagen_, +Schefsky; _Brünnhilde_, Frau Materna; _Siegfried_, Unger; _Hagen_, Siehr; _Gutrune_, Frl. Weckerin; _Rhinedaughters_, Lilli and Marie Lehmann, and Frl. Lammert. First violin, Wilhelmj; conductor, Hans Richter. The first _Rhinedaughter_ was the same Lilli Lehmann who, in @@ -3674,15 +3638,15 @@ composer. He opposed it in manner so thorough-going that he changed the whole face of opera. A far greater tribute to Wagner's genius than the lame attempts of some German composers at imitating him, is the frank adoption of certain phases of his method by modern French and -Italian composers, beginning with Verdi in "Aida." While by no means a +Italian composers, beginning with Verdi in "Aïda." While by no means a Wagnerian work, since it contains not a trace of the theory of the -leading motive, "Aida," through the richness of its instrumentation, +leading motive, "Aïda," through the richness of its instrumentation, the significant accompaniment of its recitative, the lack of mere _bravura_ embellishment in its vocal score, and its sober reaching out for true dramatic effect in the treatment of the voices, substituting this for ostentatious brilliancy and ear-tickling fluency, plainly shows the influence of Wagner upon the greatest of Italian composers. -And what is true of "Aida," is equally applicable to the whole school +And what is true of "Aïda," is equally applicable to the whole school of Italian _verismo_ that came after Verdi--Mascagni, Leoncavallo, Puccini. @@ -3702,7 +3666,7 @@ varying development of the drama. With this end in view he invented a melodious recitative which only at certain great crises in the progress of the action--such as the love-climax, the gathering at the Valkyr Rock, the "Farewell," and the "Magic Fire" scenes in "The -Valkyr"; the meeting of _Siegfried_ and _Bruennhilde_ in "Siegfried"; +Valkyr"; the meeting of _Siegfried_ and _Brünnhilde_ in "Siegfried"; the love duet and "Love-Death" in "Tristan"--swells into prolonged melody. Note that I say prolonged melody. For besides these prolonged melodies, there is almost constant melody, besides marvellous @@ -3918,7 +3882,7 @@ and _Irene_, an impassioned aria for _Rienzi_, a duet for _Irene_ and _Adriano_, and then the finale, which is chiefly choral. -DER FLIEGENDE HOLLAeNDER +DER FLIEGENDE HOLLÄNDER THE FLYING DUTCHMAN @@ -3961,7 +3925,7 @@ musically than it is in Wagner's libretto and score. It is a work of wild and sombre beauty, relieved only occasionally by touches of light and grace, and has all the interest attaching to a work in which for the first time a genius feels himself conscious of his greatness. If -it is not as impressive as "Tannhaeuser" or "Lohengrin," nor as +it is not as impressive as "Tannhäuser" or "Lohengrin," nor as stupendous as the music-dramas, that is because the subject of the work is lighter. As his genius developed, his choice of subjects and his treatment of them passed through as complete an evolution as his @@ -4212,15 +4176,15 @@ work ending with the portion of the ballad which brought the overture and spinning scene to a close. -TANNHAeUSER +TANNHÄUSER -UND DER SAeNGERKRIEG AUF DEM WARTBURG +UND DER SÄNGERKRIEG AUF DEM WARTBURG (AND THE SONG CONTEST AT THE WARTBURG) Opera in three acts, words and music by Richard Wagner. Produced, Royal Opera, Dresden, October 19, 1845. Paris, - Grand Opera, March 13, 1861. London, Covent Garden, May 6, + Grand Opéra, March 13, 1861. London, Covent Garden, May 6, 1876, in Italian; Her Majesty's Theatre, February 14, 1882, in English; Drury Lane, May 23, 1882, in German, under Hans Richter. New York, Stadt Theatre, April 4, 1859, and July, @@ -4228,13 +4192,13 @@ UND DER SAeNGERKRIEG AUF DEM WARTBURG direction, 1870, and, Academy of Music, 1877; Metropolitan Opera House, opening night of German Opera, under Dr. Leopold Damrosch, November 17, 1884, with Seidl-Kraus as - _Elizabeth_, Anna Slach as _Venus_, Schott as _Tannhaeuser_, - Adolf Robinson as _Wolfram_, Josef Koegel as the _Landgrave_. + _Elizabeth_, Anna Slach as _Venus_, Schott as _Tannhäuser_, + Adolf Robinson as _Wolfram_, Josef Kögel as the _Landgrave_. CHARACTERS HERMANN, Landgrave of Thuringia _Bass_ - TANNHAeUSER } _Tenor_ + TANNHÄUSER } _Tenor_ WOLFRAM VON ESCHENBACH } _Baritone_ WALTER VON DER VOGELWEIDE } Knights and _Tenor_ BITEROLF } Minnesinger _Bass_ @@ -4252,7 +4216,7 @@ UND DER SAeNGERKRIEG AUF DEM WARTBURG _Place_--Near Eisenach. -The story of "Tannhaeuser" is laid in and near the Wartburg, where, +The story of "Tannhäuser" is laid in and near the Wartburg, where, during the thirteenth century, the Landgraves of the Thuringian Valley held sway. They were lovers of art, especially of poetry and music, and at the Wartburg many peaceful contests between the famous @@ -4264,7 +4228,7 @@ and it was her greatest joy to entice into the mountain the knights of the Wartburg and hold them captive to her beauty. Among those whom she has thus lured into the rosy recesses of the -Venusberg is _Tannhaeuser_. +Venusberg is _Tannhäuser_. In spite of her beauty, however, he is weary of her charms and longs for a glimpse of the world. He seems to have heard the tolling of @@ -4274,10 +4238,10 @@ set free from the magic charms of the goddess. In vain she prophesies evil to him should he return to the world. With the cry that his hope rests in the Virgin, he tears himself away from her. In one of the swiftest and most effective of scenic changes the -court of _Venus_ disappears and in a moment we see _Tannhaeuser_ +court of _Venus_ disappears and in a moment we see _Tannhäuser_ prostrate before a cross in a valley upon which the Wartburg peacefully looks down. _Pilgrims_ on their way to Rome pass him by and -_Tannhaeuser_ thinks of joining them in order that at Rome he may +_Tannhäuser_ thinks of joining them in order that at Rome he may obtain forgiveness for his crime in allowing himself to be enticed into the Venusberg. But at that moment the _Landgrave_ and a number of minnesingers on their return from the chase come upon him and, @@ -4285,7 +4249,7 @@ recognizing him, endeavour to persuade him to return to the Wartburg with them. Their pleas, however, are vain, until one of them, _Wolfram von Eschenbach_, tells him that since he has left the Wartburg a great sadness has come over the niece of the _Landgrave_, _Elizabeth_. It is -evident that _Tannhaeuser_ has been in love with her, and that it is +evident that _Tannhäuser_ has been in love with her, and that it is because of her beauty and virtue that he regrets so deeply having been lured into the Venusberg. For _Wolfram's_ words stir him profoundly. To the great joy of all, he agrees to return to the Wartburg, the @@ -4293,24 +4257,24 @@ scene of his many triumphs as a minnesinger in the contests of song. [Illustration: Copyright photo by Dupont -Farrar as Elizabeth in "Tannhaeuser"] +Farrar as Elizabeth in "Tannhäuser"] [Illustration: Photo by Hall -"Tannhaeuser," Finale, Act II +"Tannhäuser," Finale, Act II -Tannhaeuser (Maclennan), Elizabeth (Fornia), Wolfram (Dean) +Tannhäuser (Maclennan), Elizabeth (Fornia), Wolfram (Dean) The Landgrave (Cranston)] -The _Landgrave_, feeling sure that _Tannhaeuser_ will win the prize at +The _Landgrave_, feeling sure that _Tannhäuser_ will win the prize at the contest of song soon to be held, offers the hand of his niece to the winner. The minnesingers sing tamely of the beauty of virtuous -love, but _Tannhaeuser_, suddenly remembering the seductive and magical +love, but _Tannhäuser_, suddenly remembering the seductive and magical beauties of the Venusberg, cannot control himself, and bursts out into a reckless hymn in praise of _Venus_. Horrified at his words, the knights draw their swords and would slay him, but _Elizabeth_ throws -herself between him and them. Crushed and penitent, _Tannhaeuser_ +herself between him and them. Crushed and penitent, _Tannhäuser_ stands behind her, and the _Landgrave_, moved by her willingness to sacrifice herself for her sinful lover, announces that he will be allowed to join a second band of pilgrims who are going to Rome and to @@ -4321,19 +4285,19 @@ the crucifix in front of the Wartburg, the _Pilgrims_ pass her by and in the band she does not see her lover. Slowly and sadly she returns to the castle to die. When the _Pilgrims'_ voices have died away, and _Elizabeth_ has returned to the castle, leaving only _Wolfram_, who is -also deeply enamoured of her, upon the scene, _Tannhaeuser_ appears, +also deeply enamoured of her, upon the scene, _Tannhäuser_ appears, weary and dejected. He has sought to obtain forgiveness in vain. The Pope has cast him out forever, proclaiming that no more than that his staff can put forth leaves can he expect forgiveness. He has come back to re-enter the Venusberg. _Wolfram_ seeks to restrain him, but it is -not until he invokes the name of _Elizabeth_ that _Tannhaeuser_ is -saved. A cortege approaches, and, as _Tannhaeuser_ recognizes the form +not until he invokes the name of _Elizabeth_ that _Tannhäuser_ is +saved. A cortège approaches, and, as _Tannhäuser_ recognizes the form of _Elizabeth_ on the bier, he sinks down on her coffin and dies. Just -then the second band of pilgrims arrive, bearing _Tannhaeuser's_ staff, +then the second band of pilgrims arrive, bearing _Tannhäuser's_ staff, which has put forth blossoms, thus showing that his sins have been forgiven. -From "The Flying Dutchman" to "Tannhaeuser," dramatically and +From "The Flying Dutchman" to "Tannhäuser," dramatically and musically, is, if anything, a greater stride than from "Rienzi" to "The Flying Dutchman." In each of his successive works Wagner demonstrates greater and deeper powers as a dramatic poet and @@ -4366,18 +4330,18 @@ depicts with such marvellous clearness the many-coloured alluring scene at the court of the unholy goddess, it gives vent so freely to the sinful excitement which pervades the Venusberg, that we actually seem to see what we hear. This passes over in turn to the impassioned -burst of song in which _Tannhaeuser_ hymns Venus's praise, and +burst of song in which _Tannhäuser_ hymns Venus's praise, and immediately after we have the boisterous and vigorous music which accompanies the threatening action of the _Landgrave_ and -minnesingers when they draw their swords upon _Tannhaeuser_ in order to +minnesingers when they draw their swords upon _Tannhäuser_ in order to take vengeance upon him for his crimes. Upon these three episodes of the drama, which so characteristically give insight into its plot and action, the overture is based, and it very naturally concludes with the _Pilgrims'_ chorus which seems to voice the final forgiveness of -_Tannhaeuser_. +_Tannhäuser_. The curtain rises, disclosing all the seductive spells of the -Venusberg. _Tannhaeuser_ lies in the arms of _Venus_, who reclines upon +Venusberg. _Tannhäuser_ lies in the arms of _Venus_, who reclines upon a flowery couch. Nymphs, sirens, and satyrs are dancing about them and in the distance are grottoes alive with amorous figures. Various mythological amours, such as that of Leda and the swan, are supposed @@ -4389,7 +4353,7 @@ Much of the music familiar from the overture is heard during this scene, but it gains in effect from the distant voices of the sirens and, of course, from artistic scenery and grouping and well-executed dances of the denizens of _Venus's_ court. Very dramatic, too, is the -scene between _Venus_ and _Tannhaeuser_, when the latter sings his hymn +scene between _Venus_ and _Tannhäuser_, when the latter sings his hymn in her praise, but at the same time proclaims that he desires to return to the world. In alluring strains she endeavours to tempt him to remain with her, but when she discovers that he is bound upon @@ -4418,7 +4382,7 @@ and satyrs, its beautiful grottoes and groups; the next all this has disappeared and from the heated atmosphere of _Venus's_ unholy rites we are suddenly transported to a peaceful scene whose influence upon us is deepened by the crucifix in the foreground, before which -_Tannhaeuser_ kneels in penitence. The peacefulness of the scene is +_Tannhäuser_ kneels in penitence. The peacefulness of the scene is further enhanced by the appearance upon a rocky eminence to the left of a young _Shepherd_ who pipes a pastoral strain, while in the background are heard the tinkling of bells, as though his sheep were @@ -4429,24 +4393,24 @@ _Shepherd_. As the _Pilgrims_ approach, the chorus becomes louder, and as they pass over the stage and bow before the crucifix, their praise swells into an eloquent psalm of devotion. -_Tannhaeuser_ is deeply affected and gives way to his feelings in a +_Tannhäuser_ is deeply affected and gives way to his feelings in a lament, against which are heard the voices of the _Pilgrims_ as they recede in the distance. This whole scene is one of marvellous beauty, the contrast between it and the preceding episode being enhanced by the religiously tranquil nature of what transpires and of the accompanying music. Upon this peaceful scene the notes of hunting-horns now break in, and gradually the _Landgrave_ and his -hunters gather about _Tannhaeuser_. _Wolfram_ recognizes him and tells +hunters gather about _Tannhäuser_. _Wolfram_ recognizes him and tells the others who he is. They greet him in an expressive septette, and _Wolfram_, finding he is bent upon following the _Pilgrims_ to Rome, asks permission of the _Landgrave_ to inform him of the impression which he seems to have made upon _Elizabeth_. This he does in a -melodious solo, and _Tannhaeuser_, overcome by his love for +melodious solo, and _Tannhäuser_, overcome by his love for _Elizabeth_, consents to return to the halls which have missed him so long. Exclamations of joy greet his decision, and the act closes with an enthusiastic _ensemble_, which is a glorious piece of concerted music, and never fails of brilliant effect when it is well executed, -especially if the representative of _Tannhaeuser_ has a voice that can +especially if the representative of _Tannhäuser_ has a voice that can soar above the others, which, unfortunately, is not always the case. The accompanying scenic grouping should also be in keeping with the composer's instructions. The _Landgrave's_ suite should gradually @@ -4455,14 +4419,14 @@ hunting-hounds should be led on the stage. Finally, the _Landgrave_ and minnesingers mount their steeds and ride away toward the castle. The scene of the second act is laid in the singers' hall of the -Wartburg. The introduction depicts _Elizabeth's_ joy at _Tannhaeuser's_ +Wartburg. The introduction depicts _Elizabeth's_ joy at _Tannhäuser's_ return, and when the curtain rises she at once enters and joyfully -greets the scenes of _Tannhaeuser's_ former triumphs in broadly +greets the scenes of _Tannhäuser's_ former triumphs in broadly dramatic melodious phrases. _Wolfram_ then appears, conducting -_Tannhaeuser_ to her. _Elizabeth_ seems overjoyed to see him, but then +_Tannhäuser_ to her. _Elizabeth_ seems overjoyed to see him, but then checks herself, and her maidenly modesty, which veils her transport at meeting him, again finds expression in a number of hesitating but -exceedingly beautiful phrases. She asks _Tannhaeuser_ where he has +exceedingly beautiful phrases. She asks _Tannhäuser_ where he has been, but he, of course, gives misleading answers. Finally, however, he tells her she is the one who has attracted him back to the castle. Their love finds expression in a swift and rapidly flowing dramatic @@ -4484,7 +4448,7 @@ interesting, the singers draw lots to decide who among them shall begin. This prize singing is, unfortunately, not so great in musical value as the rest of the score, and, unless a person understands the words, it is decidedly long drawn out. What, however, redeems it is a -gradually growing dramatic excitement as _Tannhaeuser_ voices his +gradually growing dramatic excitement as _Tannhäuser_ voices his contempt for what seem to him the tame tributes paid to love by the minnesingers, an excitement which reaches its climax when, no longer able to restrain himself, he bursts forth into his hymn in praise of @@ -4498,15 +4462,15 @@ swords, rush upon him. This brings us to the great dramatic moment, when, with a shriek, _Elizabeth_, in spite of his betrayal of her love, throws herself protectingly before him, and thus appears a second time as his saving angel. In short and excited phrases the men -pour forth their wrath at _Tannhaeuser's_ crime in having sojourned +pour forth their wrath at _Tannhäuser's_ crime in having sojourned with _Venus_, and he, realizing its enormity, seems crushed with a consciousness of his guilt. Of wondrous beauty is the septette, "An angel has from heaven descended," which rises to a magnificent climax and is one of the finest pieces of dramatic writing in Wagner's scores, although often execrably sung and rarely receiving complete justice. The voices of young _Pilgrims_ are heard in the valley. The -_Landgrave_ then announces the conditions upon which _Tannhaeuser_ can -again obtain forgiveness, and _Tannhaeuser_ joins the pilgrims on their +_Landgrave_ then announces the conditions upon which _Tannhäuser_ can +again obtain forgiveness, and _Tannhäuser_ joins the pilgrims on their way to Rome. The third act displays once more the valley of the Wartburg, the same @@ -4518,7 +4482,7 @@ _Pilgrims_ is heard in the distance. They sing the melody heard in the overture and in the first act; and the same effect of gradual approach is produced by a superb crescendo as they reach and cross the scene. With almost piteous anxiety and grief _Elizabeth_ scans them closely -as they go by, to see if _Tannhaeuser_ be among them, and when the +as they go by, to see if _Tannhäuser_ be among them, and when the last one has passed and she realizes that he has not returned, she sinks again upon her knees before the crucifix and sings the prayer, "Almighty Virgin, hear my sorrow," music in which there is most @@ -4536,27 +4500,27 @@ _Elizabeth_. [Music] -Then _Tannhaeuser_, dejected, footsore, and weary, appears, and in +Then _Tannhäuser_, dejected, footsore, and weary, appears, and in broken accents asks _Wolfram_ to show him the way back to the Venusberg. _Wolfram_ bids him stay his steps and persuades him to tell him the story of his pilgrimage. In fierce, dramatic accents, -_Tannhaeuser_ relates all that he has suffered on his way to Rome and +_Tannhäuser_ relates all that he has suffered on his way to Rome and the terrible judgment pronounced upon him by the Pope. This is a highly impressive episode, clearly foreshadowing Wagner's dramatic use of musical recitative in his later music-dramas. Only a singer of the highest rank can do justice to it. -_Tannhaeuser_ proclaims that, having lost all chance of salvation, he +_Tannhäuser_ proclaims that, having lost all chance of salvation, he will once more give himself up to the delights of the Venusberg. A roseate light illumines the recesses of the mountain and the unholy company of the Venusberg again is seen, _Venus_ stretching out her -arms for _Tannhaeuser_, to welcome him. But at last, when _Tannhaeuser_ +arms for _Tannhäuser_, to welcome him. But at last, when _Tannhäuser_ seems unable to resist _Venus'_ enticing voice any longer, _Wolfram_ conjures him by the memory of the sainted _Elizabeth_. Then _Venus_ knows that all is lost. The light dies away and the magic charms of the Venusberg disappear. Amid tolling of bells and mournful voices a funeral procession comes down the mountain. Recognizing the features -of _Elizabeth_, the dying _Tannhaeuser_ falls upon her corpse. The +of _Elizabeth_, the dying _Tannhäuser_ falls upon her corpse. The younger pilgrims arrive with the staff, which has again put forth leaves, and amid the hallelujahs of the pilgrims the opera closes. @@ -4575,7 +4539,7 @@ LOHENGRIN Italian, March 23, 1874, with Nilsson, Cary, Campanini, and Del Puente; Metropolitan Opera House, in German, November 23, 1885, with Seidl-Kraus, Brandt, Stritt, Robinson, and - Fischer, American debut of Anton Seidl as conductor. + Fischer, American début of Anton Seidl as conductor. CHARACTERS @@ -4605,13 +4569,13 @@ procure the next meal. "Rienzi" was produced at the Dresden Opera in 1842. It was brilliantly successful. "The Flying Dutchman," which followed, was less so, and -"Tannhaeuser" seemed even less attractive to its early audiences. +"Tannhäuser" seemed even less attractive to its early audiences. Therefore it is no wonder that, although Wagner was royal conductor in Dresden, he could not succeed in having "Lohengrin" accepted there for performance. Today "Rienzi" hardly can be said to hold its own in the repertoire outside of its composer's native country. The sombre beauty of "The Flying Dutchman," though recognized by musicians and serious -music lovers, has prevented its becoming popular. But "Tannhaeuser," +music lovers, has prevented its becoming popular. But "Tannhäuser," looked at so askance at first, and "Lohengrin," absolutely rejected, are standard operas and, when well given, among the most popular works of the lyric stage. Especially is this true of "Lohengrin." @@ -4632,7 +4596,7 @@ heard, people made fun of it. A lithographer named Meser had issued Wagner's previous three scores, but the enterprise had not been a success. People said that before publishing "Rienzi," Meser had lived on the first floor. "Rienzi" had driven him to the second; "The Flying -Dutchman" and "Tannhaeuser" to the third; and now "Lohengrin" would +Dutchman" and "Tannhäuser" to the third; and now "Lohengrin" would drive him to the garret--a prophecy that didn't come true, because he refused to publish it. @@ -4823,7 +4787,7 @@ with _Lohengrin_, while _Elsa_ expires in her brother's arms. Owing to the lyric character of the story upon which "Lohengrin" is based, the opera, while not at all lacking in strong dramatic situations is characterized by a subtler and more subdued -melodiousness than "Tannhaeuser," is more exquisitely lyrical in fact +melodiousness than "Tannhäuser," is more exquisitely lyrical in fact than any Wagnerian work except "Parsifal." There are typical themes in the score, but they are hardly handled @@ -5318,26 +5282,26 @@ DER RING DES NIBELUNGEN THE RING OF THE NIBELUNG A stage-festival play for three days and a preliminary - evening (Ein Buehnenfestspiel fuer drei Tage und einen + evening (Ein Bühnenfestspiel für drei Tage und einen Vorabend), words and music by Richard Wagner. The first performance of the entire cycle of four music-dramas took place at Bayreuth, August 13, 14, 16, and 17, 1876. "Das Rheingold" had been given September 22, 1869, - and "Die Walkuere," June 26, 1870, at Munich. + and "Die Walküre," June 26, 1870, at Munich. January 30, 1888, at the Metropolitan Opera House, New York, - "Die Walkuere" was given as the first performance of the + "Die Walküre" was given as the first performance of the "Ring" in America, with the omission, however, of "Das Rheingold," the cycle therefore being incomplete, consisting - only of the three music-dramas--"Die Walkuere," "Siegfried," - and "Goetterdaemmerung"; in other words the trilogy without + only of the three music-dramas--"Die Walküre," "Siegfried," + and "Götterdämmerung"; in other words the trilogy without the Vorabend, or preliminary evening. Beginning Monday, March 4, 1889, with "Das Rheingold," the complete cycle, "Der Ring des Nibelungen," was given for the - first time in America; "Die Walkuere" following Tuesday, - March 5; "Siegfried," Friday, March 8; "Goetterdaemmerung," + first time in America; "Die Walküre" following Tuesday, + March 5; "Siegfried," Friday, March 8; "Götterdämmerung," Monday, March 11. The cycle was immediately repeated. Anton Seidl was the conductor. Among the principals were Lilli Lehmann, Max Alvary, and Emil Fischer. @@ -5352,10 +5316,10 @@ THE RING OF THE NIBELUNG In the repetitions of the "Ring" in this country many distinguished artists have appeared: Lehmann, Moran-Olden, - Nordica, Ternina, Fremstad, Gadski, Kurt, as _Bruennhilde_; + Nordica, Ternina, Fremstad, Gadski, Kurt, as _Brünnhilde_; Lehmann, Nordica, Eames, Fremstad, as _Sieglinde_; Alvary and Jean de Reszke as _Siegfried_, both in "Siegfried" and - "Goetterdaemmerung"; Niemann and Van Dyck, as _Siegmund_; + "Götterdämmerung"; Niemann and Van Dyck, as _Siegmund_; Fischer and Van Rooy as _Wotan_; Schumann-Heink and Homer as _Waltraute_ and _Erda_. @@ -5367,14 +5331,14 @@ Louise Homer as Fricka in "The Ring of the Nibelung"] INTRODUCTION The "Ring of the Nibelung" consists of four music-dramas--"Das -Rheingold" (The Rhinegold), "Die Walkuere" (The Valkyr), "Siegfried," -and "Goetterdaemmerung" (Dusk of the Gods). The "books" of these were +Rheingold" (The Rhinegold), "Die Walküre" (The Valkyr), "Siegfried," +and "Götterdämmerung" (Dusk of the Gods). The "books" of these were written in inverse order. Wagner made a dramatic sketch of the Nibelung myth as early as the autumn of 1848, and between then and the autumn of 1850 he wrote the "Death of Siegfried." This subsequently became the "Dusk of the Gods." Meanwhile Wagner's ideas as to the proper treatment of the myth seem to have undergone a change. -"Siegfried's Death" ended with Bruennhilde leading Siegfried to +"Siegfried's Death" ended with Brünnhilde leading Siegfried to Valhalla,--dramatic, but without the deeper ethical significance of the later version, when Wagner evidently conceived the purpose of connecting the final catastrophe of his trilogy with the "Dusk of the @@ -5391,7 +5355,7 @@ to it with another drama, and "Young Siegfried," afterwards finally decided to supplement it with the "Valkyr" and "Rhinegold." "Das Rheingold" was produced in Munich, at the Court Theatre, -September 22, 1869; "Die Walkuere," on the same stage, June 20, 1870. +September 22, 1869; "Die Walküre," on the same stage, June 20, 1870. "Siegfried" and "Dusk of the Gods" were not performed until 1876, when they were produced at Bayreuth. @@ -5417,7 +5381,7 @@ _Wotan_ having witnessed the slaying of _Fasolt_, is filled with dread lest the curse of _Alberich_ be visited upon the gods. To defend _Walhalla_ against the assaults of _Alberich_ and the host of Nibelungs, he begets in union with _Erda_, the goddess of wisdom, the -Valkyrs (chief among them _Bruennhilde_), wild maidens who course +Valkyrs (chief among them _Brünnhilde_), wild maidens who course through the air on superb chargers and bear the bodies of departed heroes to Walhalla, where they revive and aid the gods in warding off the attacks of the Nibelungs. But it is also necessary that the @@ -5425,18 +5389,18 @@ curse-laden ring should be wrested from _Fafner_ and restored through purely unselfish motives to the _Rhinedaughters_, and the curse thus lifted from the race of the gods. None of the gods can do this because their motive in doing so would not be unselfish. Hence _Wotan_, for a -time, casts off his divinity, and in human disguise as Waelse, begets -in union with a human woman the Waelsung twins, _Siegmund_ and +time, casts off his divinity, and in human disguise as Wälse, begets +in union with a human woman the Wälsung twins, _Siegmund_ and _Sieglinde_. _Siegmund_ he hopes will be the hero who will slay _Fafner_ and restore the ring to the _Rhinedaughters_. To nerve him -for this task, _Wotan_ surrounds the Waelsungs with numerous hardships. +for this task, _Wotan_ surrounds the Wälsungs with numerous hardships. _Sieglinde_ is forced to become the wife of her robber, _Hunding_. _Siegmund_, storm-driven, seeks shelter in _Hunding's_ hut, where he and his sister, recognizing one another, flee together. _Hunding_ overtakes them and _Wotan_, as _Siegmund_ has been guilty of a crime against the marriage vow, is obliged, at the request of his spouse _Fricka_, the Juno of Northern mythology, to give victory to -_Hunding_. _Bruennhilde_, contrary to _Wotan's_ command, takes pity on +_Hunding_. _Brünnhilde_, contrary to _Wotan's_ command, takes pity on _Siegmund_, and seeks to shield him against _Hunding_. For this, _Wotan_ causes her to fall into a profound slumber. The hero who will penetrate the barrier of fire with which _Wotan_ has surrounded the @@ -5454,7 +5418,7 @@ contact with his bloody fingers, he is, through the magic power of the dragon's blood, enabled to understand the language of the birds, and a little feathery songster warns him of _Mime's_ treachery. _Siegfried_ slays the Nibelung and is then guided to the fiery barrier around the -Valkyr rock. Penetrating this, he comes upon _Bruennhilde_, and +Valkyr rock. Penetrating this, he comes upon _Brünnhilde_, and enraptured with her beauty, awakens her and claims her as his bride. She, the virgin pride of the goddess, yielding to the love of the woman, gives herself up to him. He plights his troth with the @@ -5465,27 +5429,27 @@ Gibichung _Gunther_, his sister _Gutrune_ and their half-brother _Hagen_, none other than the son of the Nibelung _Alberich_. _Hagen_, knowing of _Siegfried's_ coming, plans his destruction in order to regain the ring for the Nibelungs. Therefore, craftily concealing -_Bruennhilde's_ and _Siegfried's_ relations from _Gunther_, he incites -a longing in the latter to possess _Bruennhilde_ as his bride. Carrying +_Brünnhilde's_ and _Siegfried's_ relations from _Gunther_, he incites +a longing in the latter to possess _Brünnhilde_ as his bride. Carrying out a plot evolved by _Hagen_, _Gutrune_ on _Siegfried's_ arrival presents to him a drinking-horn filled with a love-potion. _Siegfried_ drinks, is led through the effect of the potion to forget that -_Bruennhilde_ is his bride, and, becoming enamoured of _Gutrune_, asks +_Brünnhilde_ is his bride, and, becoming enamoured of _Gutrune_, asks her in marriage of _Gunther_. The latter consents, provided _Siegfried_ will disguise himself in the Tarnhelmet as _Gunther_ and -lead _Bruennhilde_ to him as bride. _Siegfried_ readily agrees, and in -the guise of _Gunther_ overcomes _Bruennhilde_ and delivers her to the -Gibichung. But _Bruennhilde_, recognizing on _Siegfried_ the ring, +lead _Brünnhilde_ to him as bride. _Siegfried_ readily agrees, and in +the guise of _Gunther_ overcomes _Brünnhilde_ and delivers her to the +Gibichung. But _Brünnhilde_, recognizing on _Siegfried_ the ring, which her conquerer had drawn from her finger, accuses him of treachery in delivering her, his own bride, to _Gunther_. The latter, unmasked and also suspicious of _Siegfried_, conspires with _Hagen_ -and _Bruennhilde_, who, knowing naught of the love-potion, is roused to +and _Brünnhilde_, who, knowing naught of the love-potion, is roused to a frenzy of hate and jealousy by _Siegfried's_ seeming treachery, to compass the young hero's death. _Hagen_ slays _Siegfried_ during a hunt, and then in a quarrel with _Gunther_ over the ring also kills the Gibichung. -Meanwhile _Bruennhilde_ has learned through the _Rhinedaughters_ of the +Meanwhile _Brünnhilde_ has learned through the _Rhinedaughters_ of the treachery of which she and _Siegfried_ have been the victims. All her jealous hatred of _Siegfried_ yields to her old love for him and a passionate yearning to join him in death. She draws the ring from his @@ -5497,7 +5461,7 @@ regain it, but the other _Rhinedaughters_ grasp him and draw him down into the flood. Not only the flames of the pyre, but a glow which pervades the whole horizon illumine the scene. It is Walhalla being consumed by fire. Through love--the very emotion _Alberich_ renounced -in order to gain wealth and power--_Bruennhilde_ has caused the old +in order to gain wealth and power--_Brünnhilde_ has caused the old order of things to pass away and a human era to dawn in place of the old mythological one of the gods. @@ -5551,7 +5515,7 @@ be interested in mythological beings--that "The Ring of the Nibelung" lacked human interest. In reply, I say that wonderful as is the first act of "The Valkyr," there is nothing in it to compare in wild and lofty beauty with the last act of that music-drama--especially the -scene between _Bruennhilde_ and _Wotan_. +scene between _Brünnhilde_ and _Wotan_. That there are faults of dramatic construction in "The Ring of the Nibelung" I admit. In what follows I have not hesitated to point them @@ -5588,7 +5552,7 @@ hear another act. Under these agreeable conditions one remains sufficiently fresh to enjoy the music even of the dramatically faulty scenes. -One of the characters in "The Ring of the Nibelung," _Bruennhilde_, is +One of the characters in "The Ring of the Nibelung," _Brünnhilde_, is Wagner's noblest creation. She takes upon herself the sins of the gods and by her expiation frees the world from the curse of lust for wealth and power. She is a perfect dramatic incarnation of the profound and @@ -6105,22 +6069,22 @@ will possess the ring until it is restored to the _Rhinedaughters_. _Fasolt_ was only the first victim of _Alberich's_ curse. -DIE WALKUeRE +DIE WALKÜRE THE VALKYR Music-drama in three acts, words and music by Richard Wagner. Produced, Munich, June 25, 1870. New York, Academy of Music, April 2, 1877, an incomplete and inadequate - performance with Pappenheim as _Bruennhilde_, Pauline Canissa + performance with Pappenheim as _Brünnhilde_, Pauline Canissa _Sieglinde_, A. Bischoff _Siegmund_, Felix Preusser _Wotan_, A. Blum _Hunding_, Mme. Listner _Fricka_, Frida de Gebel, _Gerhilde_, Adolf Neuendorff, conductor. The real first performance in America was conducted by Dr. Leopold Damrosch at the Metropolitan Opera House, January 30, 1885, with - Materna, the original Bayreuth _Bruennhilde_ in that role, + Materna, the original Bayreuth _Brünnhilde_ in that rôle, Schott as _Siegmund_, Seidl-Kraus as _Sieglinde_, Marianne - Brandt as _Fricka_, Staudigl as _Wotan_, and Koegel as + Brandt as _Fricka_, Staudigl as _Wotan_, and Kögel as _Hunding_. CHARACTERS @@ -6129,7 +6093,7 @@ THE VALKYR HUNDING _Bass_ WOTAN _Baritone-Bass_ SIEGLINDE _Soprano_ - BRUeNNHILDE _Soprano_ + BRÜNNHILDE _Soprano_ FRICKA _Mezzo-Soprano_ Valkyrs (Sopranos and Mezzo-Sopranos): Gerhilde, Ortlinde, @@ -6139,14 +6103,14 @@ THE VALKYR _Time_--Legendary. _Place_--Interior of Hunding's hut; a rocky height; the peak - of a rocky mountain (the Bruennhilde-rock). + of a rocky mountain (the Brünnhilde-rock). _Wotan's_ enjoyment of Walhalla was destined to be short-lived. Filled with dismay by the death of _Fasolt_ in the combat of the giants for the accursed ring, and impelled by a dread presentiment that the force of the curse would be visited upon the gods, he descended from Walhalla to the abode of the all-wise woman, _Erda_, who bore him nine -daughters. These were the Valkyrs, headed by _Bruennhilde_--the wild +daughters. These were the Valkyrs, headed by _Brünnhilde_--the wild horsewomen of the air, who on winged steeds bore the dead heroes to Walhalla, the warriors' heaven. With the aid of the Valkyrs and the heroes they gathered to Walhalla, _Wotan_ hoped to repel any assault @@ -6172,16 +6136,16 @@ from the lust for power which obtains among the gods, shall, with a sword of _Wotan's_ own forging, slay _Fafner_, gain possession of the Rhinegold and restore it to its rightful owners, thus righting _Wotan's_ guilty act and freeing the gods from the curse. To -accomplish this _Wotan_, in human guise as _Waelse_, begets, in wedlock +accomplish this _Wotan_, in human guise as _Wälse_, begets, in wedlock with a human, the twins _Siegmund_ and _Sieglinde_. How the curse of _Alberich_ is visited upon these is related in "The Valkyr." -The dramatis personae in "The Valkyr" are _Bruennhilde_, the valkyr, and +The dramatis personæ in "The Valkyr" are _Brünnhilde_, the valkyr, and her eight sister valkyrs; _Fricka_, _Sieglinde_, _Siegmund_, _Hunding_ (the husband of _Sieglinde_), and _Wotan_. The action begins after the -forced marriage of _Sieglinde_ to _Hunding_. The Waelsungs are in +forced marriage of _Sieglinde_ to _Hunding_. The Wälsungs are in ignorance of the divinity of their father. They know him only as -_Waelse_. +_Wälse_. Act I. In the introduction to "The Rhinegold," we saw the Rhine flowing peacefully toward the sea and the innocent gambols of the @@ -6234,7 +6198,7 @@ before it, with the exclamation: Whose hearth this may be, Here I must rest me. -[Illustration: Lilli Lehmann as Bruennhilde in "Die Walkuere"] +[Illustration: Lilli Lehmann as Brünnhilde in "Die Walküre"] [Illustration: Photo by Hall @@ -6255,7 +6219,7 @@ one of storm and stress. [Music] -When the storm-beaten Waelsung has sunk upon the rug the Siegmund +When the storm-beaten Wälsung has sunk upon the rug the Siegmund Motive is followed by the Storm Motive, _pp_--and the storm has died away. The door of the room to the left opens and a young woman--_Sieglinde_--appears. She has heard someone enter, and, @@ -6355,7 +6319,7 @@ within her, calls after him: reigns!" Her words are followed by a phrase freighted as if with sorrow, the -Motive of the Waelsung Race, or =Waelsung Motive=: +Motive of the Wälsung Race, or =Wälsung Motive=: [Music] @@ -6375,7 +6339,7 @@ With the approach of _Hunding_ there is a sudden change in the character of the music. Like a premonition of _Hunding's_ entrance we hear the =Hunding Motive=, _pp_. Then as _Hunding_, armed with spear and shield, stands upon the threshold, this Hunding Motive--as dark, -forbidding, and portentous of woe to the two Waelsungs as _Hunding's_ +forbidding, and portentous of woe to the two Wälsungs as _Hunding's_ sombre visage--resounds with dread power on the tubas: [Music] @@ -6409,7 +6373,7 @@ father. At this point you hear the Walhalla Motive, for _Siegmund's_ father was none other than _Wotan_, known to his human descendants, however, -only as Waelse. In _Wotan's_ narrative in the next act it will be +only as Wälse. In _Wotan's_ narrative in the next act it will be discovered that _Wotan_ purposely created these misfortunes for _Siegmund_, in order to strengthen him for his task. @@ -6424,11 +6388,11 @@ shattered, then fled to find chance shelter in _Hunding's_ dwelling. [Illustration: Photo by White -Fremstad as Bruennhilde in "Die Walkuere"] +Fremstad as Brünnhilde in "Die Walküre"] [Illustration: Copyright photo by Dupont -Fremstad as Sieglinde in "Die Walkuere"] +Fremstad as Sieglinde in "Die Walküre"] The story of _Siegmund_ is told in melodious recitative. It is not a melody in the old-fashioned meaning of the term, but it fairly teems @@ -6439,10 +6403,10 @@ melody. But in Wagner's melodious recitative the musical phrases reflect every incident narrated by _Siegmund_. For instance, when _Siegmund_ tells how he went hunting with his father there is joyous freshness and abandon in the music, which, however, suddenly sinks to -sadness as he narrates how they returned and found the Waelsung +sadness as he narrates how they returned and found the Wälsung dwelling devastated by enemies. We hear also the Hunding Motive at this point, which thus indicates that whose who brought this -misfortune upon the Waelsungs were none other than _Hunding_ and his +misfortune upon the Wälsungs were none other than _Hunding_ and his kinsmen. As _Siegmund_ tells how, when he was separated from his father, he sought to mingle with men and women, you hear the Love Motive, while his description of his latest combat is accompanied by @@ -6452,7 +6416,7 @@ seek shelter in the house of the very man who is the arch-enemy of his race and is bound by the laws of kinship to avenge on _Siegmund_ the death of kinsmen. -As _Siegmund_ concludes his narrative the Waelsung Motive is heard. +As _Siegmund_ concludes his narrative the Wälsung Motive is heard. Gazing with ardent longing toward _Sieglinde_, he says: Now know'st thou, questioning wife, @@ -6462,8 +6426,8 @@ These words are sung to a lovely phrase. Then, as _Siegmund_ rises and strides over to the hearth, while _Sieglinde_, pale and deeply affected by his tale, bows her head, there is heard on the horns, bassoons, violas, and 'cellos a motive expressive of the heroic -fortitude of the Waelsungs in struggling against their fate. It is the -=Motive of the Waelsungs' Heroism=, a motive steeped in the tragedy of +fortitude of the Wälsungs in struggling against their fate. It is the +=Motive of the Wälsungs' Heroism=, a motive steeped in the tragedy of futile struggle against destiny. [Music] @@ -6492,7 +6456,7 @@ accompanied by the threatening rhythm of the Hunding Motive and the Sword Motive in a minor key, for _Siegmund_ is still weaponless. A sword my father did promise.... - Waelse! Waelse! Where is thy sword! + Wälse! Wälse! Where is thy sword! The Sword Motive rings out like a shout of triumph. As the embers of the fire collapse, there is seen in the glare, that for a moment falls @@ -6511,9 +6475,9 @@ darkness. He springs to his feet. _Sieglinde_ is by his side. She has given _Hunding_ a sleeping-potion. She will point out a weapon to _Siegmund_--a sword. If he can wield it she will call him the greatest hero, for only the mightiest can wield it. The music quickens with -the subdued excitement in the breasts of the two Waelsungs. You hear +the subdued excitement in the breasts of the two Wälsungs. You hear the Sword Motive and above it, on horns, clarinet, and oboe, a new -motive--that of the =Waelsungs' Call to Victory=: +motive--that of the =Wälsungs' Call to Victory=: [Music] @@ -6532,13 +6496,13 @@ Then she knew who the aged stranger was and for whom the sword was destined. The Sword Motive rings out like a joyous shout, and _Sieglinde's_ -voice mingles with the triumphant notes of the Waelsungs' Call to +voice mingles with the triumphant notes of the Wälsungs' Call to Victory as she turns to _Siegmund_: O, found I in thee The friend in need! -The Motive of the Waelsungs' heroism, now no longer full of tragic +The Motive of the Wälsungs' heroism, now no longer full of tragic import, but forceful and defiant--and _Siegmund_ holds _Sieglinde_ in his embrace. @@ -6586,13 +6550,13 @@ should belong. One after another the men strove to loosen the sword, but in vain. Once the aged man's glance rested on her and shone with the same light as now shines in his who has come to her through night and storm. He who thrust the sword into the tree was of her own race, -the Waelsungs. Who is he? +the Wälsungs. Who is he? "I, too, have seen that light, but in your eyes!" exclaimed the -fugitive. "I, too, am of your race. I, too, am a Waelsung, my father -none other than Waelse himself." +fugitive. "I, too, am of your race. I, too, am a Wälsung, my father +none other than Wälse himself." -"Was Waelse your father?" she cries ecstatically. "For you, then, this +"Was Wälse your father?" she cries ecstatically. "For you, then, this sword was thrust in the tree! Let me name you, as I recall you from far back in my childhood, _Siegmund_--_Siegmund_--_Siegmund_!" @@ -6608,13 +6572,13 @@ to the floor and, clasping _Sieglinde_, rushes forth with her into the night. And the music? It fairly seethes with excitement. As _Siegmund_ leaps -upon the table, the Motive of the Waelsungs' Heroism rings out as if in +upon the table, the Motive of the Wälsungs' Heroism rings out as if in defiance of the enemies of the race. The Sword Motive--and he has grasped the hilt; the Motive of Compact, ominous of the fatality which -hangs over the Waelsungs; the Motive of Renunciation, with its +hangs over the Wälsungs; the Motive of Renunciation, with its threatening import; then the Sword Motive--brilliant like the glitter of refulgent steel--and _Siegmund_ has unsheathed the sword. The -Waelsungs' Call to Victory, like a song of triumph; a superb upward +Wälsungs' Call to Victory, like a song of triumph; a superb upward sweep of the Sword Motive; the Love Motive, now rushing onward in the very ecstasy of passion, and _Siegmund_ holds in his embrace _Sieglinde_, his bride--of the same doomed race as himself! @@ -6630,24 +6594,24 @@ rises on a wild, rocky mountain pass, at the back of which, through a natural rock-formed arch, a gorge slopes downward. In the foreground stands _Wotan_, armed with spear, shield, and -helmet. Before him is _Bruennhilde_ in the superb costume of the +helmet. Before him is _Brünnhilde_ in the superb costume of the Valkyr. The stormy spirit of the _Vorspiel_ pervades the music of -_Wotan's_ command to _Bruennhilde_ that she bridle her steed for battle +_Wotan's_ command to _Brünnhilde_ that she bridle her steed for battle and spur it to the fray to do combat for _Siegmund_ against _Hunding_. -_Bruennhilde_ greets _Wotan's_ command with the weirdly joyous =Shout of +_Brünnhilde_ greets _Wotan's_ command with the weirdly joyous =Shout of the Valkyrs= [Music: Hojotoho! Heiaha-ha.] [Illustration: Photo by White -Weil as Wotan in "Die Walkuere"] +Weil as Wotan in "Die Walküre"] [Illustration: Photo by Hall -"Die Walkuere." Act III +"Die Walküre." Act III -Bruennhilde (Margaret Crawford)] +Brünnhilde (Margaret Crawford)] It is the cry of the wild horsewomen of the air, coursing through storm-clouds, their shields flashing back the lightning, their voices @@ -6661,11 +6625,11 @@ Valkyrs=: [Music] -_Bruennhilde_, having leapt from rock to rock to the highest peak of +_Brünnhilde_, having leapt from rock to rock to the highest peak of the mountain, again faces _Wotan_, and with delightful banter calls to him that _Fricka_ is approaching in her ram-drawn chariot. _Fricka_ has appeared, descended from her chariot, and advances toward _Wotan_, -_Bruennhilde_ having meanwhile disappeared behind the mountain height. +_Brünnhilde_ having meanwhile disappeared behind the mountain height. _Fricka_ is the protector of the marriage vow, and as such she has come in anger to demand from _Wotan_ vengeance in behalf of _Hunding_. @@ -6680,7 +6644,7 @@ feigns ignorance of the cause of her agitation and asks what it is that harasses her. Her reply is preceded by the stern Hunding motive. She tells _Wotan_ that she, as the protectress of the sanctity of the marriage vow, has heard _Hunding's_ voice calling for vengeance upon -the Waelsung twins. Her words, "His voice for vengeance is raised," +the Wälsung twins. Her words, "His voice for vengeance is raised," are set to a phrase strongly suggestive of _Alberich's_ curse. It seems as though the avenging Nibelung were pursuing _Wotan's_ children and thus striking a blow at _Wotan_ himself through _Fricka_. The Love @@ -6693,17 +6657,17 @@ scene are beautifully blended with _Wotan's_ words. In strong contrast to these motives is the music in _Fricka's_ outburst of wrath, introduced by the phrase reflecting her ire, which is repeated several times in the course of this episode. _Wotan_ explains to her why he -begat the Waelsung race and the hopes he has founded upon it. But +begat the Wälsung race and the hopes he has founded upon it. But _Fricka_ mistrusts him. What can mortals accomplish that the gods, who are far mightier than mortals, cannot accomplish? _Hunding_ must be avenged on _Siegmund_ and _Sieglinde_. _Wotan_ must withdraw his protection from _Siegmund_. Now appears a phrase which expresses _Wotan's_ impotent wrath--impotent because _Fricka_ brings forward the -unanswerable argument that if the Waelsungs go unpunished by her, as +unanswerable argument that if the Wälsungs go unpunished by her, as guardian of the marriage vow, she, the Queen of the Gods, will be held up to the scorn of mankind. -_Wotan_ would fain save the Waelsungs. But _Fricka's_ argument is +_Wotan_ would fain save the Wälsungs. But _Fricka's_ argument is conclusive. He cannot protect _Siegmund_ and _Sieglinde_, because their escape from punishment would bring degradation upon the queen-goddess and the whole race of the gods, and result in their @@ -6711,20 +6675,20 @@ immediate fall. _Wotan's_ wrath rises at the thought of sacrificing his beloved children to the vengeance of _Hunding_, but he is impotent. His far-reaching plans are brought to nought. He sees the hope of having the Ring restored to the _Rhinedaughters_ by the -voluntary act of a hero of the Waelsung race vanish. The curse of +voluntary act of a hero of the Wälsung race vanish. The curse of _Alberich_ hangs over him like a dark, threatening cloud. The =Motive of Wotan's Wrath= is as follows: [Music] -_Bruennhilde's_ joyous shouts are heard from the height. _Wotan_ +_Brünnhilde's_ joyous shouts are heard from the height. _Wotan_ exclaims that he had summoned the Valkyr to do battle for _Siegmund_. In broad, stately measures, _Fricka_ proclaims that her honour shall -be guarded by _Bruennhilde's_ shield and demands of _Wotan_ an oath -that in the coming combat the Waelsung shall fall. _Wotan_ takes the +be guarded by _Brünnhilde's_ shield and demands of _Wotan_ an oath +that in the coming combat the Wälsung shall fall. _Wotan_ takes the oath and throws himself dejectedly down upon a rocky seat. _Fricka_ strides toward the back. She pauses a moment with a gesture of queenly -command before _Bruennhilde_, who has led her horse down the height and +command before _Brünnhilde_, who has led her horse down the height and into a cave to the right, then departs. In this scene we have witnessed the spectacle of a mighty god vainly @@ -6746,7 +6710,7 @@ _Wotan_ by avenging fate: [Music] -_Bruennhilde_ casts away shield, spear, and helmet, and sinking down at +_Brünnhilde_ casts away shield, spear, and helmet, and sinking down at _Wotan's_ feet looks up to him with affectionate anxiety. Here we see in the Valkyr the touch of tenderness, without which a truly heroic character is never complete. @@ -6754,8 +6718,8 @@ character is never complete. Musically it is beautifully expressed by the Love Motive, which, when _Wotan_, as if awakening from a reverie, fondly strokes her hair, goes over into the Siegmund Motive. It is over the fate of his beloved -Waelsungs _Wotan_ has been brooding. Immediately following -_Bruennhilde's_ words, +Wälsungs _Wotan_ has been brooding. Immediately following +_Brünnhilde's_ words, What an I were I not thy will, @@ -6763,12 +6727,12 @@ is a wonderfully soft yet rich melody on four horns. It is one of those beautiful details in which Wagner's works abound. In _Wotan's_ narrative, which now follows, the chief of the gods tells -_Bruennhilde_ of the events which have brought this sorrow upon him, of +_Brünnhilde_ of the events which have brought this sorrow upon him, of his failure to restore the stolen gold to the _Rhinedaughters_; of his dread of _Alberich's_ curse; how she and her sister Valkyrs were born to him by _Erda_; of the necessity that a hero should without aid of the gods gain the Ring and Tarnhelmet from _Fafner_ and restore the -Rhinegold to the _Rhinedaughters_; how he begot the Waelsungs and +Rhinegold to the _Rhinedaughters_; how he begot the Wälsungs and inured them to hardships in the hope that one of the race would free the gods from _Alberich's_ curse. @@ -6784,10 +6748,10 @@ Excited by remorse and despair _Wotan_ bids farewell to the glory of the gods. Then he in terrible mockery blesses the Nibelung's heir--for _Alberich_ has wedded and to him has been born a son, upon whom the Nibelung depends to continue his death struggle with the gods. -Terrified by this outburst of wrath, _Bruennhilde_ asks what her duty +Terrified by this outburst of wrath, _Brünnhilde_ asks what her duty shall be in the approaching combat. _Wotan_ commands her to do _Fricka's_ bidding and withdraw protection from _Siegmund_. In vain -_Bruennhilde_ pleads for the Waelsung whom she knows _Wotan_ loves, and +_Brünnhilde_ pleads for the Wälsung whom she knows _Wotan_ loves, and wished a victor until _Fricka_ exacted a promise from him to avenge _Hunding_. But her pleading is in vain. _Wotan_ is no longer the all-powerful chief of the gods--through his breach of faith he has @@ -6795,7 +6759,7 @@ become the slave of fate. Hence we hear, as _Wotan_ rushes away, driven by chagrin, rage, and despair, chords heavy with the crushing force of fate. -Slowly and sadly _Bruennhilde_ bends down for her weapons, her actions +Slowly and sadly _Brünnhilde_ bends down for her weapons, her actions being accompanied by the Valkyr Motive. Bereft of its stormy impetuosity it is as trist as her thoughts. Lost in sad reflections, which find beautiful expression in the orchestra, she turns toward the @@ -6805,12 +6769,12 @@ Suddenly the sadly expressive phrases are interrupted by the Motive of Flight. Looking down into the valley the Valkyr perceives _Siegmund_ and _Sieglinde_ approaching in hasty flight. She then disappears in the cave. With a superb crescendo the Motive of Flight reaches its -climax and the two Waelsungs are seen approaching through the natural +climax and the two Wälsungs are seen approaching through the natural arch. For hours they have toiled forward; often _Sieglinde's_ limbs have threatened to fail her, yet never have the fugitives been able to shake off the dread sound of _Hunding_ winding his horn as he called upon his kinsmen to redouble their efforts to overtake the two -Waelsungs. Even now, as they come up the gorge and pass under a rocky +Wälsungs. Even now, as they come up the gorge and pass under a rocky arch to the height of the divide, the pursuit can be heard. They are human quarry of the hunt. Terror has begun to unsettle _Sieglinde's_ reason. When _Siegmund_ bids her rest she stares wildly before her, @@ -6818,7 +6782,7 @@ then gazes with growing rapture into his eyes and throws her arms around his neck, only to shriek suddenly: "Away, away!" as she hears the distant horn-calls, then to grow rigid and stare vacantly before her as _Siegmund_ announces to her that here he proposes to end their -flight, here await _Hunding_, and test the temper of _Waelse's_ sword. +flight, here await _Hunding_, and test the temper of _Wälse's_ sword. Then she tries to thrust him away. Let him leave her to her fate and save himself. But a moment later, although she still clings to him, she apparently is gazing into vacancy and crying out that he has @@ -6834,7 +6798,7 @@ dedicated to death, should the sword which he has unsheathed from _Hunding's_ ash-tree prove traitor. As he looks up from _Sieglinde_ he is startled. For there stands on the rock above them a shining apparition in flowing robes, breastplate, and helmet, and leaning upon -a spear. It is _Bruennhilde_, the Valkyr, daughter of _Wotan_. +a spear. It is _Brünnhilde_, the Valkyr, daughter of _Wotan_. =The Motive of Fate=--so full of solemn import--is heard. @@ -6845,30 +6809,30 @@ the Death-Song=, a tristly prophetic strain. [Music] -_Bruennhilde_ advances and then, pausing again, leans with one hand on +_Brünnhilde_ advances and then, pausing again, leans with one hand on her charger's neck, and, grasping shield and spear with the other, gazes upon _Siegmund_. Then there rises from the orchestra, in strains of rich, soft, alluring beauty, an inversion of the Walhalla Motive. The Fate, Death-Song and Walhalla motives recur, and _Siegmund_, -raising his eyes and meeting _Bruennhilde's_ look, questions her and +raising his eyes and meeting _Brünnhilde's_ look, questions her and receives her answers. The episode is so fraught with solemnity that the shadow of death seems to have fallen upon the scene. The solemn beauty of the music impresses itself the more upon the listener, because of the agitated, agonized scene which preceded it. To the -Waelsung, who meets her gaze so calmly, _Bruennhilde_ speaks in solemn +Wälsung, who meets her gaze so calmly, _Brünnhilde_ speaks in solemn tones: "Siegmund, look on me. I am she whom soon you must prepare to follow." Then she paints for him in glowing colours the joys of Walhalla, where -_Waelse_, his father, is awaiting him and where he will have heroes for +_Wälse_, his father, is awaiting him and where he will have heroes for his companions, himself the hero of many valiant deeds. _Siegmund_ listens unmoved. In reply he frames but one question: "When I enter Walhalla, will _Sieglinde_ be there to greet me?" -When _Bruennhilde_ answers that in Walhalla he will be attended by +When _Brünnhilde_ answers that in Walhalla he will be attended by valkyrs and wishmaidens, but that _Sieglinde_ will not be there to meet him, he scorns the delights she has held out. Let her greet -_Wotan_ from him, and _Waelse_, his father, too, as well as the +_Wotan_ from him, and _Wälse_, his father, too, as well as the wishmaidens. He will remain with _Sieglinde_. Then the radiant Valkyr, moved by _Siegmund's_ calm determination to @@ -6877,28 +6841,28 @@ loves, makes known to him the fate to which he has been doomed. _Wotan_ desired to give him victory over _Hunding_, and she had been summoned by the chief of the gods and commanded to hover above the combatants, and by shielding _Siegmund_ from _Hunding's_ thrusts, -render the Waelsung's victory certain. But _Wotan's_ spouse, _Fricka_, +render the Wälsung's victory certain. But _Wotan's_ spouse, _Fricka_, who, as the first among the goddesses, is guardian of the marriage vows, has heard _Hunding's_ voice calling for vengeance, and has demanded that vengeance be his. Let _Siegmund_ therefore prepare for Walhalla, but let him leave _Sieglinde_ in her care. She will protect her. -"No other living being but I shall touch her," exclaims the Waelsung, -as he draws his sword. "If the Waelsung sword is to be shattered on +"No other living being but I shall touch her," exclaims the Wälsung, +as he draws his sword. "If the Wälsung sword is to be shattered on Hunding's spear, to which I am to fall a victim, it first shall bury itself in her breast and save her from a worse fate!" He poises the sword ready for the thrust above the unconscious _Sieglinde_. -"Hold!" cries _Bruennhilde_, thrilled by his heroic love. "Whatever the +"Hold!" cries _Brünnhilde_, thrilled by his heroic love. "Whatever the consequences which Wotan, in his wrath, shall visit upon me, today, for the first time I disobey him. Sieglinde shall live, and with her -Siegmund! Yours the victory over Hunding. Now Waelsung, prepare for +Siegmund! Yours the victory over Hunding. Now Wälsung, prepare for battle!" _Hunding's_ horn-calls sound nearer and nearer. _Siegmund_ judges that he has ascended the other side of the gorge, intending to cross the -rocky arch. Already _Bruennhilde_ has gone to take her place where she +rocky arch. Already _Brünnhilde_ has gone to take her place where she knows the combatants must meet. With a last look and a last kiss for _Sieglinde_, _Siegmund_ gently lays her down and begins to ascend toward the peak. Mist gathers; storm-clouds roll over the mountain; @@ -6907,17 +6871,17 @@ looks for _Siegmund_. Instead of seeing him bending over her she hears _Hunding's_ voice as if from among the clouds, calling him to combat; then _Siegmund's_ accepting the challenge. She staggers toward the peak. Suddenly a bright light pierces the clouds. Above her she sees -the men fighting, _Bruennhilde_ protecting _Siegmund_ who is aiming a +the men fighting, _Brünnhilde_ protecting _Siegmund_ who is aiming a deadly stroke at _Hunding_. At that moment, however, the light is diffused with a reddish glow. In it _Wotan_ appears. As _Siegmund's_ sword cuts the air on its errand of death, the god interposes his spear, the sword breaks in two and -_Hunding_ thrusts his spear into the defenceless Waelsung's breast. The +_Hunding_ thrusts his spear into the defenceless Wälsung's breast. The second victim of _Alberich's_ curse has met his fate. With a wild shriek, _Sieglinde_ falls to the ground, to be caught up -by _Bruennhilde_ and swung upon the Valkyr's charger, which, urged on +by _Brünnhilde_ and swung upon the Valkyr's charger, which, urged on by its mistress, now herself a fugitive from _Wotan's_ anger, dashes down the defile in headlong flight for the Valkyr rock. @@ -6929,7 +6893,7 @@ lightning, their weird laughter mingling with the crash of thunder, have come to hold tryst upon the Valkyr rock. When eight of the Valkyrs have gathered upon the rocky summit of the -mountain, they espy _Bruennhilde_ approaching. It is with savage shouts +mountain, they espy _Brünnhilde_ approaching. It is with savage shouts of "Hojotoho! Heiha!" those who already have reached their savage eyrie, watch for the coming of their wild sisters. Fitful flashes of lightning herald their approach as they storm fearlessly through the @@ -6937,50 +6901,50 @@ wind and cloud, their weird shouts mingling with the clash of thunder. "Hojotoho! Heihe!--Hojotoho! Heiha!" But, strange burden! Instead of a slain hero across her pommel, -_Bruennhilde_ bears a woman, and instead of urging her horse to the +_Brünnhilde_ bears a woman, and instead of urging her horse to the highest crag, she alights below. The Valkyrs hasten down the rock, and there the wild sisters of the air stand, curiously awaiting the -approach of _Bruennhilde_. +approach of _Brünnhilde_. In frantic haste the Valkyr tells her sisters what has transpired, and how _Wotan_ is pursuing her to punish her for her disobedience. One of the Valkyrs ascends the rock and, looking in the direction from -which _Bruennhilde_ has come, calls out that even now she can descry +which _Brünnhilde_ has come, calls out that even now she can descry the red glow behind the storm-clouds that denotes _Wotan's_ approach. -Quickly _Bruennhilde_ bids _Sieglinde_ seek refuge in the forest beyond +Quickly _Brünnhilde_ bids _Sieglinde_ seek refuge in the forest beyond the Valkyr rock. The latter, who has been lost in gloomy brooding, starts at her rescuer's supplication and in strains replete with mournful beauty begs that she may be left to her fate and follow -_Siegmund_ in death. The glorious prophecy in which _Bruennhilde_ now +_Siegmund_ in death. The glorious prophecy in which _Brünnhilde_ now foretells to _Sieglinde_ that she is to become the mother of _Siegfried_, is based upon the =Siegfried Motive=: [Music] -_Sieglinde_, in joyous frenzy, blesses _Bruennhilde_ and hastens to +_Sieglinde_, in joyous frenzy, blesses _Brünnhilde_ and hastens to find safety in a dense forest to the eastward, the same forest in which _Fafner_, in the form of a serpent, guards the Rhinegold treasures. -_Wotan_, in hot pursuit of _Bruennhilde_, reaches the mountain summit. +_Wotan_, in hot pursuit of _Brünnhilde_, reaches the mountain summit. In vain her sisters entreat him to spare her. He harshly threatens them unless they cease their entreaties, and with wild cries of fear they hastily depart. -In the ensuing scene between _Wotan_ and _Bruennhilde_, in which the +In the ensuing scene between _Wotan_ and _Brünnhilde_, in which the latter seeks to justify her action, is heard one of the most beautiful themes of the cycle. -It is the =Motive of Bruennhilde's Pleading=, which finds its loveliest +It is the =Motive of Brünnhilde's Pleading=, which finds its loveliest expression when she addresses _Wotan_ in the passage beginning: [Music: Thou, who this love within my breast inspired.] -_Bruennhilde_ is _Wotan's_ favourite daughter, but instead of the +_Brünnhilde_ is _Wotan's_ favourite daughter, but instead of the loving pride with which he always has been wont to regard her, his features are dark with anger at her disobedience of his command. He had decreed _Siegmund's_ death. She has striven to give victory to the -Waelsung. Throwing herself at her father's feet, she pleads that he +Wälsung. Throwing herself at her father's feet, she pleads that he himself had intended to save _Siegmund_ and had been turned from his purpose only by _Fricka's_ interference, and that he had yielded only most grudgingly to _Fricka's_ insistent behest. Therefore, when she, @@ -6992,18 +6956,18 @@ very feelings which he was obliged, at _Fricka's_ behest, to forego--admiration for _Siegmund's_ heroism and sympathy for him in his misfortune. Therefore she must be punished. He will cause her to fall into a deep sleep upon the Valkyr rock, which shall become the -Bruennhilde-rock, and to the first man who finds her and awakens her, +Brünnhilde-rock, and to the first man who finds her and awakens her, she, no longer a Valkyr, but a mere woman, shall fall prey. -This great scene between _Wotan_ and _Bruennhilde_ is introduced by an +This great scene between _Wotan_ and _Brünnhilde_ is introduced by an orchestral passage. The Valkyr lies in penitence at her father's feet. In the expressive orchestral measures the Motive of Wotan's Wrath -mingles with that of Bruennhilde's Pleading. The motives thus form a +mingles with that of Brünnhilde's Pleading. The motives thus form a prelude to the scene in which the Valkyr seeks to appease her father's anger, not through a specious plea, but by laying bare the promptings of a noble heart, which forced her, against the chief god's command, -to intervene for _Siegmund_. The Motive of Bruennhilde's Pleading is -heard in its simplest form at _Bruennhilde's_ words: +to intervene for _Siegmund_. The Motive of Brünnhilde's Pleading is +heard in its simplest form at _Brünnhilde's_ words: Was it so shameful what I have done, @@ -7015,27 +6979,27 @@ plea, it assumes a tone of regretful sorrow. -_Wotan's_ feelings toward _Bruennhilde_ have softened for the time from +_Wotan's_ feelings toward _Brünnhilde_ have softened for the time from anger to grief that he must mete out punishment for her disobedience. In his reply excitement subsides to gloom. It would be difficult to point to other music more touchingly expressive of deep contrition -than the phrase in which _Bruennhilde_ pleads that _Wotan_ himself +than the phrase in which _Brünnhilde_ pleads that _Wotan_ himself taught her to love _Siegmund_. It is here that the Motive of -Bruennhilde's Pleading assumes the form in the notation given above. +Brünnhilde's Pleading assumes the form in the notation given above. Then we hear from _Wotan_ that he had abandoned _Siegmund_ to his fate, because he had lost hope in the cause of the gods and wished to end his woe in the wreck of the world. The weird terror of the Curse Motive hangs over this outburst of despair. In broad and beautiful -strains _Wotan_ then depicts _Bruennhilde_ yielding to her emotions +strains _Wotan_ then depicts _Brünnhilde_ yielding to her emotions when she intervened for _Siegmund_. -_Bruennhilde_ makes her last appeal. She tells her father that +_Brünnhilde_ makes her last appeal. She tells her father that _Sieglinde_ has found refuge in the forest, and that there she will give birth to a son, _Siegfried_,--the hero for whom the gods have been waiting to overthrow their enemies. If she must suffer for her disobedience, let _Wotan_ surround her sleeping form with a fiery circle which only such a hero will dare penetrate. The Motive of -Bruennhilde's Pleading and the Siegfried Motive vie with each other in +Brünnhilde's Pleading and the Siegfried Motive vie with each other in giving expression to the beauty, tenderness, and majesty of this scene. @@ -7046,18 +7010,18 @@ with his spear, he invokes the god of fire. Tongues of flame leap from the crevices of the rock. Wildly fluttering fire breaks out on all sides. The forest beyond glows like a furnace, with brighter streaks shooting and throbbing through the mass, as _Wotan_, with a last look -at the sleeping form of _Bruennhilde_, vanishes beyond the fiery +at the sleeping form of _Brünnhilde_, vanishes beyond the fiery circle. A majestic orchestral passage opens _Wotan's_ farewell to -_Bruennhilde_. In all music for bass voice this scene has no peer. Such +_Brünnhilde_. In all music for bass voice this scene has no peer. Such tender, mournful beauty has never found expression in music--and this, whether we regard the vocal part or the orchestral accompaniment in which the lovely =Slumber Motive=: [Music] -As _Wotan_ leads _Bruennhilde_ to the rock, upon which she sinks, +As _Wotan_ leads _Brünnhilde_ to the rock, upon which she sinks, closes her helmet, and covers her with her shield, then invokes _Loge_, and, after gazing fondly upon the slumbering Valkyr, vanishes amid the magic flames, the Slumber Motive, the Magic Fire Motive, and @@ -7065,7 +7029,7 @@ the Siegfried Motive combine to place the music of the scene with the most brilliant and beautiful portion of our heritage from the great master-musician. But here, too, lurks Destiny. Towards the close of this glorious finale we hear again the ominous muttering of the Motive -of Fate. _Bruennhilde_ may be saved from ignominy, _Siegfried_ may be +of Fate. _Brünnhilde_ may be saved from ignominy, _Siegfried_ may be born to _Sieglinde_--but the crushing weight of _Alberich's_ curse still rests upon the race of the gods. @@ -7075,7 +7039,7 @@ SIEGFRIED Music-drama in three acts, by Richard Wagner. Produced, Bayreuth, August 16, 1876. London, by the Carl Rosa Company, 1898, in English. New York, Metropolitan Opera House, - November 9, 1887, with Lehmann (_Bruennhilde_), Fischer + November 9, 1887, with Lehmann (_Brünnhilde_), Fischer (_Wotan_), Alvary (_Siegfried_), and Seidl-Kraus (_Forest bird_). @@ -7088,12 +7052,12 @@ SIEGFRIED FAFNER _Bass_ ERDA _Contralto_ FOREST BIRD _Soprano_ - BRUeNNHILDE _Soprano_ + BRÜNNHILDE _Soprano_ _Time_--Legendary. _Place_--A rocky cave in the forest; deep in the forest; - wild region at foot of a rocky mount; the Bruennhilde-rock. + wild region at foot of a rocky mount; the Brünnhilde-rock. The Nibelungs were not present in the dramatic action of "The Valkyr," though the sinister influence of _Alberich_ shaped the tragedy of @@ -7104,14 +7068,14 @@ guise of a serpent guards the Ring, the Tarnhelmet, and the Nibelung hoard in a cavern, and _Erda_. _Siegfried_ has been born of _Sieglinde_, who died in giving birth to -him. This scion of the Waelsung race has been reared by _Mime_, who +him. This scion of the Wälsung race has been reared by _Mime_, who found him in the forest by his dead mother's side. _Mime_ is plotting to obtain possession of the ring and of _Fafner's_ other treasures, and hopes to be aided in his designs by the lusty youth. _Wotan_, disguised as a wanderer, is watching the course of events, again -hopeful that a hero of the Waelsung race will free the gods from -_Alberich's_ curse. Surrounded by magic fire, _Bruennhilde_ still lies -in deep slumber on the Bruennhilde Rock. +hopeful that a hero of the Wälsung race will free the gods from +_Alberich's_ curse. Surrounded by magic fire, _Brünnhilde_ still lies +in deep slumber on the Brünnhilde Rock. The _Vorspiel_ of "Siegfried" is expressive of _Mime's_ planning and plotting. It begins with music of a mysterious brooding character. @@ -7186,7 +7150,7 @@ _Siegfried_ speaks of seeing his own likeness, we also hear the Siegfried Motive. _Mime_, forced by _Siegfried_ to speak the truth, tells of _Sieglinde's_ death while giving birth to _Siegfried_. Throughout this scene we find reminiscences of the first act of "The -Valkyr," the Waelsung Motive, the Motive of Sympathy, and the Love +Valkyr," the Wälsung Motive, the Motive of Sympathy, and the Love Motive. Finally, when _Mime_ produces as evidence of the truth of his words the two pieces of _Siegmund's_ sword, the Sword Motive rings out brilliantly. _Siegfried_ exclaims that _Mime_ must weld the pieces @@ -7204,7 +7168,7 @@ Siegfried the Fearless, Siegfried the Impetuous, and his "Wander Song," while the vein of tenderness in his character seems to run through the Love-Life Motive. His harsh treatment of _Mime_ is not brutal; for _Siegfried_ frankly avows his loathing for the dwarf, and -we feel, knowing _Mime's_ plotting against the young Waelsung, that +we feel, knowing _Mime's_ plotting against the young Wälsung, that _Siegfried's_ hatred is the spontaneous aversion of a frank nature for an insidious one. @@ -7226,7 +7190,7 @@ heights?" The _Wanderer_ answers: "The race of the gods." The _Wanderer_, having thus answered correctly _Mime's_ three questions, now put three questions to _Mime_: "What is that noble race which _Wotan_ ruthlessly dealt with, and yet which he deemeth most dear?" -_Mime_ answers correctly: "The Waelsungs." Then the _Wanderer_ asks: +_Mime_ answers correctly: "The Wälsungs." Then the _Wanderer_ asks: "What sword must _Siegfried_ then strike with, dealing to _Fafner_ death?" _Mime_ answers correctly: "With _Siegmund's_ sword." "Who," asks the _Wanderer_, "can weld its fragments?" _Mime_ is terrified, @@ -7246,7 +7210,7 @@ expressive of the _Cringing Mime_. Several motives familiar from "The Rhinegold" and "The Valkyr" are heard here. The Motive of Compact so powerfully expressive of the binding force of law, the Nibelung and Walhalla motives from "The -Rhinegold," and the Waelsungs' Heroism motives from the first act of +Rhinegold," and the Wälsungs' Heroism motives from the first act of "The Valkyr," are among these. When the _Wanderer_ has vanished in the forest _Mime_ sinks back on @@ -7264,7 +7228,7 @@ Siegfried the Fearless, the weird mystery which hung over the former scene is dispelled. _Siegfried_ looks about him for _Mime_ until he sees the dwarf lying behind the anvil. -Laughingly the young Waelsung asks the dwarf if he has thus been +Laughingly the young Wälsung asks the dwarf if he has thus been welding the sword. "The sword? The sword?" repeats _Mime_ confusedly, as he advances, and his mind wanders back to _Wotan's_ prophecy of the fearless hero. Regaining his senses he tells _Siegfried_ there is one @@ -7277,14 +7241,14 @@ fear is. If it is necessary before he goes forth in quest of adventure to learn what fear is he would like to be taught. But how can _Mime_ teach him? -The Magic Fire Motive and Bruennhilde's Slumber Motive familiar from +The Magic Fire Motive and Brünnhilde's Slumber Motive familiar from Wotan's Farewell, and the Magic Fire scene in the third act of "The Valkyr" are heard here, the former depicting the weirdly glimmering lights with which _Mime_ has sought to infuse dread into _Siegfried's_ breast, the latter prophesying that, penetrating fearlessly the fiery -circle, _Siegfried_ will reach _Bruennhilde_. Then _Mime_ tells +circle, _Siegfried_ will reach _Brünnhilde_. Then _Mime_ tells _Siegfried_ of _Fafner_, thinking thus to strike terror into the young -Waelsung's breast. But far from it! _Siegfried_ is incited by _Mime's_ +Wälsung's breast. But far from it! _Siegfried_ is incited by _Mime's_ words to meet _Fafner_ in combat. Has _Mime_ welded the fragments of _Siegmund's_ sword, asks _Siegfried_. The dwarf confesses his impotency. _Siegfried_ seizes the fragments. He will forge his own @@ -7295,7 +7259,7 @@ on the forge-hearth, and, fanning the heat, begins to file away at the fragments of the sword. The roar of the fire, the sudden intensity of the fierce white heat to -which the young Waelsung fans the glow--these we would respectively +which the young Wälsung fans the glow--these we would respectively hear and see were the music given without scenery or action, so graphic is Wagner's score. The Sword Motive leaps like a brilliant tongue of flame over the heavy thuds of a forceful variant of the @@ -7337,13 +7301,13 @@ But _Siegfried's_ courage is not weakened. On the contrary, with heroic impetuosity, he asks to be at once confronted with _Fafner_. _Mime_, well knowing that _Fafner_ will soon awaken and issue from his cave to meet _Siegfried_ in mortal combat, lingers on in the hope that -both may fall, until the young Waelsung drives him away. +both may fall, until the young Wälsung drives him away. Now begins a beautiful lyric episode. _Siegfried_ reclines under a linden-tree, and looks up through the branches. The rustling of the trees is heard. Over the tremulous whispers of the orchestra--known from concert programs as the "Waldweben" (forest-weaving)--rises a -lovely variant of the Waelsung Motive. _Siegfried_ is asking himself +lovely variant of the Wälsung Motive. _Siegfried_ is asking himself how his mother may have looked, and this variant of the theme which was first heard in "The Valkyr," when _Sieglinde_ told _Siegmund_ that her home was the home of woe, rises like a memory of her image. @@ -7398,12 +7362,12 @@ As _Siegfried_ comes out of the cave and brings the ring and helmet from darkness to the light of day, there are heard the Ring Motive, the Motive of the Rhinedaughters' Shout of Triumph, and the Rhinegold Motive. The forest-weaving again begins, and the birds bid the young -Waelsung beware of _Mime_. The dwarf now approaches _Siegfried_ with +Wälsung beware of _Mime_. The dwarf now approaches _Siegfried_ with repulsive sycophancy. But under a smiling face lurks a plotting heart. _Siegfried_ is enabled through the supernatural gifts with which he has become endowed to fathom the purpose of the dwarf, who unconsciously discloses his scheme to poison _Siegfried_. The young -Waelsung slays _Mime_, who, as he dies, hears _Alberich's_ mocking +Wälsung slays _Mime_, who, as he dies, hears _Alberich's_ mocking laugh. Though the Motive of Siegfried the Fearless predominates at this point, we also hear the Nibelung Motive and the Motive of the Curse--indicating _Alberich's_ evil intent toward _Siegfried_. @@ -7424,7 +7388,7 @@ which continues until above the forest-weaving the bird again thrills him with its tale of a glorious maid who has so long slumbered upon the fire-guarded rock. With the Motive of Love's joy coursing through the orchestra, _Siegfried_ bids the feathery songster continue, and, -finally, to guide him to _Bruennhilde_. In answer, the bird flutters +finally, to guide him to _Brünnhilde_. In answer, the bird flutters from the linden branch, hovers over _Siegfried_, and hesitatingly flies before him until it takes a definite course toward the background. _Siegfried_ follows the little singer, the Motive of @@ -7442,7 +7406,7 @@ Then to the sombre, questioning phrase of the Motive of Fate, the action begins to disclose the significance of this _Vorspiel_. A wild region at the foot of a rocky mountain is seen. It is night. A fierce storm rages. In dire distress and fearful that through _Siegfried_ and -_Bruennhilde_ the rulership of the world may pass from the gods to the +_Brünnhilde_ the rulership of the world may pass from the gods to the human race, _Wotan_ summons _Erda_ from her subterranean dwelling. But _Erda_ has no counsel for the storm-driven, conscience-stricken god. @@ -7460,8 +7424,8 @@ to _Wotan's_ utterances. It is the =Motive of the World's Heritage=: _Siegfried_ enters, guided to the spot by the bird; _Wotan_ checks his progress with the same spear which shivered _Siegmund's_ sword. -_Siegfried_ must fight his way to _Bruennhilde_. With a mighty blow the -young Waelsung shatters the spear and _Wotan_ disappears 'mid the crash +_Siegfried_ must fight his way to _Brünnhilde_. With a mighty blow the +young Wälsung shatters the spear and _Wotan_ disappears 'mid the crash of the Motive of Compact--for the spear with which it was the chief god's duty to enforce compacts is shattered. Meanwhile the gleam of fire has become noticeable. Fiery clouds float down from the mountain. @@ -7472,7 +7436,7 @@ motives. The flames, having flashed forth with dazzling brilliancy, gradually pale before the red glow of dawn till a rosy mist envelops the scene. -When it rises, the rock and _Bruennhilde_ in deep slumber under the +When it rises, the rock and _Brünnhilde_ in deep slumber under the fir-tree, as in the finale of "The Valkyr," are seen. _Siegfried_ appears on the height in the background. As he gazes upon the scene there are heard the Fate and Slumber motives and then the orchestra @@ -7481,34 +7445,34 @@ softly caressing strains of the Fricka Motive. _Fricka_ sought to make _Wotan_ faithful to her by bonds of love, and hence the Fricka Motive in this scene does not reflect her personality, but rather the awakening of the love which is to thrill _Siegfried_ when he has -beheld _Bruennhilde's_ features. As he sees _Bruennhilde's_ charger +beheld _Brünnhilde's_ features. As he sees _Brünnhilde's_ charger slumbering in the grove we hear the Motive of the Valkyr's Ride, and -when his gaze is attracted by the sheen of _Bruennhilde's_ armour, the +when his gaze is attracted by the sheen of _Brünnhilde's_ armour, the theme of Wotan's Farewell. Approaching the armed slumberer under the fir-tree, _Siegfried_ raises the shield and discloses the figure of the sleeper, the face being almost hidden by the helmet. -Carefully he loosens the helmet. As he takes it off _Bruennhilde's_ +Carefully he loosens the helmet. As he takes it off _Brünnhilde's_ face is disclosed and her long curls flow down over her bosom. _Siegfried_ gazes upon her enraptured. Drawing his sword he cuts the rings of mail on both sides, gently lifts off the corselet and -greaves, and _Bruennhilde_, in soft female drapery, lies before him. He +greaves, and _Brünnhilde_, in soft female drapery, lies before him. He starts back in wonder. Notes of impassioned import--the Motive of Love's Joy--express the feelings that well up from his heart as for the first time he beholds a woman. The fearless hero is infused with -fear by a slumbering woman. The Waelsung Motive, afterwards beautifully +fear by a slumbering woman. The Wälsung Motive, afterwards beautifully varied with the Motive of Love's Joy, accompanies his utterances, the climax of his emotional excitement being expressed in a majestic crescendo of the Freia Motive. A sudden feeling of awe gives him at least the outward appearance of calmness. With the Motive of Fate he faces his destiny; and then, while the Freia Motive rises like a -vision of loveliness, he sinks over _Bruennhilde_, and with closed eyes +vision of loveliness, he sinks over _Brünnhilde_, and with closed eyes presses his lips to hers. -_Bruennhilde_ awakens. _Siegfried_ starts up. She rises, and with a +_Brünnhilde_ awakens. _Siegfried_ starts up. She rises, and with a noble gesture greets in majestic accents her return to the sight of earth. Strains of loftier eloquence than those of her greeting have -never been composed. _Bruennhilde_ rises from her magic slumbers in the +never been composed. _Brünnhilde_ rises from her magic slumbers in the majesty of womanhood: [Music] @@ -7526,16 +7490,16 @@ the =Motive of Love's Passion=, [Music] which, with the Siegfried Motive, rises and falls with the heaving of -_Bruennhilde's_ bosom. +_Brünnhilde's_ bosom. These motives course impetuously through this scene. Here and there we -have others recalling former portions of the cycle--the Waelsung -Motive, when _Bruennhilde_ refers to _Siegfried's_ mother, _Sieglinde_; -the Motive of Bruennhilde's Pleading, when she tells him of her +have others recalling former portions of the cycle--the Wälsung +Motive, when _Brünnhilde_ refers to _Siegfried's_ mother, _Sieglinde_; +the Motive of Brünnhilde's Pleading, when she tells him of her defiance of _Wotan's_ behest; a variant of the Walhalla Motive when she speaks of herself in Walhalla; and the Motive of the World's Heritage, with which _Siegfried_ claims her, this last leading over to -a forceful climax of the Motive of Bruennhilde's Pleading, which is +a forceful climax of the Motive of Brünnhilde's Pleading, which is followed by a lovely, tranquil episode introduced by the =Motive of Love's Peace=, @@ -7546,27 +7510,27 @@ Protector=: [Music] -These motives accompany the action most expressively. _Bruennhilde_ +These motives accompany the action most expressively. _Brünnhilde_ still hesitates to cast off for ever the supernatural characteristics of the Valkyr and give herself up entirely to _Siegfried_. The young hero's growing ecstasy finds expression in the Motive of Love's Joy. At last it awakens a responsive note of purely human passion in -_Bruennhilde_ and, answering the proud Siegfried Motive with the +_Brünnhilde_ and, answering the proud Siegfried Motive with the jubilant Shout of the Valkyrs and the ecstatic measures of Love's Passion, she proclaims herself his. With a love duet--nothing puny and purring, but rapturous and proud--the music-drama comes to a close. _Siegfried_, a scion of the -Waelsung race, has won _Bruennhilde_ for his bride, and upon her finger +Wälsung race, has won _Brünnhilde_ for his bride, and upon her finger has placed the ring fashioned of Rhinegold by _Alberich_ in the caverns of Nibelheim, the abode of the Nibelungs. Clasping her in his arms and drawing her to his breast, he has felt her splendid physical being thrill with a passion wholly responsive to his. Will the gods be saved through them, or does the curse of _Alberich_ still rest on the -ring worn by _Bruennhilde_ as a pledge of love? +ring worn by _Brünnhilde_ as a pledge of love? -GOeTTERDAeMMERUNG +GÖTTERDÄMMERUNG DUSK OF THE GODS @@ -7574,11 +7538,11 @@ DUSK OF THE GODS Richard Wagner. Produced, Bayreuth, August 17, 1876. New York, Metropolitan Opera House, January 25, 1888, with - Lehmann (_Bruennhilde_), Seidl-Kraus (_Gutrune_), Niemann + Lehmann (_Brünnhilde_), Seidl-Kraus (_Gutrune_), Niemann (_Siegfried_), Robinson (_Gunther_), and Fischer (_Hagen_). Other performances at the Metropolitan Opera House have had, among others, Alvary and Jean de Reszke as _Siegfried_ and - Edouard de Reszke as _Hagen_. + Édouard de Reszke as _Hagen_. CHARACTERS @@ -7586,7 +7550,7 @@ DUSK OF THE GODS GUNTHER _Baritone_ ALBERICH _Baritone_ HAGEN _Bass_ - BRUeNNHILDE _Soprano_ + BRÜNNHILDE _Soprano_ GUTRUNE _Soprano_ WALTRAUTE _Mezzo-Soprano_ FIRST, SECOND, AND @@ -7598,7 +7562,7 @@ DUSK OF THE GODS _Time_--Legendary. - _Place_--On the Bruennhilde-Rock; Gunther's castle on the + _Place_--On the Brünnhilde-Rock; Gunther's castle on the Rhine; wooded district by the Rhine. THE PROLOGUE @@ -7611,11 +7575,11 @@ catastrophe is impending. An orchestral interlude depicts the transition from the unearthly gloom of the Norn scene to break of day, the climax being reached in a -majestic burst of music as _Siegfried_ and _Bruennhilde_, he in full +majestic burst of music as _Siegfried_ and _Brünnhilde_, he in full armour, she leading her steed by the bridle, issue forth from the rocky cavern in the background. This climax owes its eloquence to three motives--that of the Ride of the Valkyrs and two new motives, -the one as lovely as the other is heroic, the =Bruennhilde Motive=, +the one as lovely as the other is heroic, the =Brünnhilde Motive=, [Music] @@ -7623,18 +7587,18 @@ and the =Motive of Siegfried the Hero=: [Music] -The Bruennhilde Motive expresses the strain of pure, tender womanhood +The Brünnhilde Motive expresses the strain of pure, tender womanhood in the nature of the former Valkyr, and proclaims her womanly ecstasy over wholly requited love. The motive of Siegfried the Hero is clearly developed from the motive of Siegfried the Fearless. Fearless youth -has developed into heroic man. In this scene _Bruennhilde_ and +has developed into heroic man. In this scene _Brünnhilde_ and _Siegfried_ plight their troth, and _Siegfried_ having given to -_Bruennhilde_ the fatal ring and having received from her the steed +_Brünnhilde_ the fatal ring and having received from her the steed Grane, which once bore her in her wild course through the storm-clouds, bids her farewell and sets forth in quest of further adventure. In this scene, one of Wagner's most beautiful creations, occur the two new motives already quoted, and a third--the =Motive of -Bruennhilde's Love=. +Brünnhilde's Love=. [Music] @@ -7643,14 +7607,14 @@ passion is as strong and deep as her nature. It is not a surface-heat passion. It is love rising from the depths of a heroic woman's soul. The grandeur of her ideal of _Siegfried_, her thoughts of him as a hero winning fame, her pride in his prowess, her love for one whom she -deems the bravest among men, culminate in the Motive of Bruennhilde's +deems the bravest among men, culminate in the Motive of Brünnhilde's Love. _Siegfried_ disappears with the steed behind the rocks and -_Bruennhilde_ stands upon the cliff looking down the valley after him; -his horn is heard from below and _Bruennhilde_ with rapturous gesture +_Brünnhilde_ stands upon the cliff looking down the valley after him; +his horn is heard from below and _Brünnhilde_ with rapturous gesture waves him farewell. The orchestra accompanies the action with the -Bruennhilde Motive, the Motive of Siegfried the Fearless, and finally +Brünnhilde Motive, the Motive of Siegfried the Fearless, and finally with the theme of the love duet with which "Siegfried" closed. The curtain then falls, and between the prologue and the first act an @@ -7660,7 +7624,7 @@ _Gutrune_, and their half-brother _Hagen_, the son of _Alberich_. Through _Hagen_ the curse hurled by _Alberich_ in "The Rhinegold" at all into whose possession the ring shall come, is to be worked out to the end of its fell purpose--_Siegfried_ betrayed and destroyed and -the rule of the gods brought to an end by _Bruennhilde's_ expiation. +the rule of the gods brought to an end by _Brünnhilde's_ expiation. In the interlude between the prologue and the first act we first hear the brilliant Motive of Siegfried the Fearless and then the gracefully @@ -7672,11 +7636,11 @@ music. [Illustration: Copyright photo by Dupont -Edouard de Reszke as Hagen in "Goetterdaemmerung"] +Édouard de Reszke as Hagen in "Götterdämmerung"] [Illustration: Copyright photo by Dupont -Jean de Reszke as Siegfried in "Goetterdaemmerung"] +Jean de Reszke as Siegfried in "Götterdämmerung"] Act I. On the river lies the hall of the Gibichungs, where house _Gunther_, his sister _Gutrune_, and _Hagen_, their half-brother. @@ -7685,15 +7649,15 @@ strength and courage, _Hagen_ a sinister plotter, large of stature and sombre of visage. Long he has planned to possess himself of the ring fashioned of Rhinegold. He is aware that it was guarded by the dragon, has been taken from the hoard by _Siegfried_, and by him given -to _Bruennhilde_. And now observe the subtle craft with which he +to _Brünnhilde_. And now observe the subtle craft with which he prepares to compass his plans. A descendant, through his father, _Alberich_, the Nibelung, of a race which practised the black art, he plots to make _Siegfried_ forget -_Bruennhilde_ through a love-potion to be administered to him by +_Brünnhilde_ through a love-potion to be administered to him by _Gutrune_. Then, when under the fiery influence of the potion and all -forgetful of _Bruennhilde_, _Siegfried_ demands _Gutrune_ to wife, the -price demanded will be that he win _Bruennhilde_ as bride for +forgetful of _Brünnhilde_, _Siegfried_ demands _Gutrune_ to wife, the +price demanded will be that he win _Brünnhilde_ as bride for _Gunther_. Before _Siegfried_ comes in sight, before _Gunther_ and _Gutrune_ so much as even know that he is nearing the hall of the Gibichungs, _Hagen_ begins to lay the foundation for this seemingly @@ -7705,12 +7669,12 @@ Gibichungs with honour?" "Aye," replies _Hagen_, "and yet, Gunther, you remain unwived while Gutrune still lacks a husband." Then he tells _Gunther_ of -_Bruennhilde_--"a circle of flame surrounds the rock on which she +_Brünnhilde_--"a circle of flame surrounds the rock on which she dwells, but he who can brave that fire may win her for wife. If Siegfried does this in your stead, and brings her to you as bride, will she not be yours?" _Hagen_ craftily conceals from his half-brother and from _Gutrune_ the fact that _Siegfried_ already has -won _Bruennhilde_ for himself; but having aroused in _Gunther_ the +won _Brünnhilde_ for himself; but having aroused in _Gunther_ the desire to possess her, he forthwith unfolds his plan and reminds _Gutrune_ of the magic love-potion which it is in her power to administer to _Siegfried_. @@ -7728,7 +7692,7 @@ frequently heard in the opening scene. [Music] Added to these is the =Motive of the Love-Potion= which is to cause -_Siegfried_ to forget _Bruennhilde_, and conceive a violent passion for +_Siegfried_ to forget _Brünnhilde_, and conceive a violent passion for _Gutrune_. [Music] @@ -7775,7 +7739,7 @@ her. A far-off rock, fire-encircled, is her home." "A far-off rock, fire-encircled," repeats _Siegfried_, as if striving to remember something long forgotten; and when _Gunther_ utters -_Bruennhilde's_ name, _Siegfried_ shows by his mien and gesture that it +_Brünnhilde's_ name, _Siegfried_ shows by his mien and gesture that it no longer signifies aught to him. The love-potion has caused him to forget her. @@ -7784,7 +7748,7 @@ her and bring her to you--if you will give me Gutrune for wife." And so the unhallowed bargain is struck and sealed with the oath of blood-brotherhood, and _Siegfried_ departs with _Gunther_ to capture -_Bruennhilde_ as bride for the Gibichung. The compact of +_Brünnhilde_ as bride for the Gibichung. The compact of blood-brotherhood is a most sacred one. _Siegfried_ and _Gunther_ each with his sword draws blood from his arm, which he allows to mingle with wine in a drinking-horn held by _Hagen_; each lays two fingers @@ -7804,7 +7768,7 @@ Abruptly following _Siegfried's_ pledge: are those two chords of the Hagen Motive which are heard again in the third act when the Nibelung has slain _Siegfried_. It should perhaps be repeated here that _Gunther_ is not aware of the union which -existed between _Bruennhilde_ and _Siegfried_, _Hagen_ having concealed +existed between _Brünnhilde_ and _Siegfried_, _Hagen_ having concealed this from his half-brother, who believes that he will receive the Valkyr in all her goddess-like virginity. @@ -7813,41 +7777,41 @@ sighed her farewell after her lover, has retired, _Hagen_ broods with wicked glee over the successful inauguration of his plot. During a brief orchestral interlude a drop-curtain conceals the scene which, when the curtain again rises, has changed to the Valkyr's rock, where -sits _Bruennhilde_, lost in contemplation of the Ring, while the Motive +sits _Brünnhilde_, lost in contemplation of the Ring, while the Motive of Siegfried the Protector is heard on the orchestra like a blissful memory of the love scene in "Siegfried." Her rapturous reminiscences are interrupted by the sounds of an approaching storm and from the dark cloud there issues one of the -Valkyrs, _Waltraute_, who comes to ask of _Bruennhilde_ that she cast +Valkyrs, _Waltraute_, who comes to ask of _Brünnhilde_ that she cast back the ring _Siegfried_ has given her--the ring cursed by _Alberich_--into the Rhine, and thus lift the curse from the race of -gods. But _Bruennhilde_ refuses: +gods. But _Brünnhilde_ refuses: More than Walhalla's welfare, More than the good of the gods, The ring I guard. It is dusk. The magic fire rising from the valley throws a glow over -the landscape. The notes of _Siegfried's_ horn are heard. _Bruennhilde_ +the landscape. The notes of _Siegfried's_ horn are heard. _Brünnhilde_ joyously prepares to meet him. Suddenly she sees a stranger leap through the flames. It is _Siegfried_, but through the Tarnhelmet (the motive of which, followed by the Gunther Motive dominates the first part of the scene) he has assumed the guise of the Gibichung. In vain -_Bruennhilde_ seeks to defend herself with the might which the ring +_Brünnhilde_ seeks to defend herself with the might which the ring imparts. She is powerless against the intruder. As he tears the ring from her finger, the Motive of the Curse resounds with tragic import, followed by trist echoes of the Motive of Siegfried the Protector and -of the Bruennhilde Motive, the last being succeeded by the Tarnhelmet +of the Brünnhilde Motive, the last being succeeded by the Tarnhelmet Motive expressive of the evil magic which has wrought this change in -_Siegfried_. _Bruennhilde_, in abject recognition of her impotence, +_Siegfried_. _Brünnhilde_, in abject recognition of her impotence, enters the cavern. Before _Siegfried_ follows her he draws his sword Nothung (Needful) and exclaims: Now, Nothung, witness thou, that chaste my wooing is; To keep my faith with my brother, separate me from his bride. -Phrases of the pledge of Brotherhood followed by the Bruennhilde, +Phrases of the pledge of Brotherhood followed by the Brünnhilde, Gutrune, and Sword motives accompany his words. The thuds of the typical Nibelung rhythm resound, and lead to the last crashing chord of this eventful act. @@ -7876,9 +7840,9 @@ succeeding events. All night _Hagen_ has watched by the bank of the river for the return of the men from the quest. It is daylight when _Siegfried_ returns, tells him of his success, and bids him prepare to receive _Gunther_ -and _Bruennhilde_. On his finger he wears the ring--the ring made of +and _Brünnhilde_. On his finger he wears the ring--the ring made of Rhinegold, and cursed by _Alberich_--the same with which he pledged -his troth to _Bruennhilde_, but which in the struggle of the night, and +his troth to _Brünnhilde_, but which in the struggle of the night, and disguised by the Tarnhelmet as _Gunther_, he has torn from her finger--the very ring the possession of which _Hagen_ craves, and for which he is plotting. _Gutrune_ has joined them. _Siegfried_ leads her @@ -7887,22 +7851,22 @@ into the hall. _Hagen_, placing an ox-horn to his lips, blows a loud call toward the four points of the compass, summoning the Gibichung vassals to the festivities attending the double wedding--_Siegfried_ and _Gutrune_, -_Gunther_ and _Bruennhilde_; and when the Gibichung brings his boat up +_Gunther_ and _Brünnhilde_; and when the Gibichung brings his boat up to the bank, the shore is crowded with men who greet him boisterously, -while _Bruennhilde_ stands there pale and with downcast eyes. But as +while _Brünnhilde_ stands there pale and with downcast eyes. But as _Siegfried_ leads _Gutrune_ forward to meet _Gunther_ and his bride, -and _Gunther_ calls _Siegfried_ by name, _Bruennhilde_ starts, raises +and _Gunther_ calls _Siegfried_ by name, _Brünnhilde_ starts, raises her eyes, stares at _Siegfried_ in amazement, drops _Gunther's_ hand, advances, as if by sudden impulse, a step toward the man who awakened her from her magic slumber on the rock, then recoils in horror, her eyes fixed upon him, while all look on in wonder. The Motive of Siegfried the Hero, the Sword Motive, and the Chords of the Hagen Motive emphasize with a tumultuous crash the dramatic significance of -the situation. There is a sudden hush--_Bruennhilde_ astounded and +the situation. There is a sudden hush--_Brünnhilde_ astounded and dumb, _Siegfried_ unconscious of guilt quietly self-possessed, _Gunther_, _Gutrune_, and the vassals silent with amazement--it is during this moment of tension that we hear the motive which expresses -the thought uppermost in _Bruennhilde_, the thought which would find +the thought uppermost in _Brünnhilde_, the thought which would find expression in a burst of frenzy were not her wrath held in check by her inability to quite grasp the meaning of the situation or to fathom the depth of the treachery of which she has been the victim. @@ -7910,7 +7874,7 @@ This is the =Motive of Vengeance=: [Music] -"What troubles Bruennhilde?" composedly asks _Siegfried_, from whom all +"What troubles Brünnhilde?" composedly asks _Siegfried_, from whom all memory of his first meeting with the rock maiden and his love for her have been effaced by the potion. Then, observing that she sways and is about to fall, he supports her with his arm. @@ -7919,7 +7883,7 @@ about to fall, he supports her with his arm. his face. "There stands your husband," is _Siegfried's_ reply, as he points to -_Gunther_. The gesture discloses to _Bruennhilde's_ sight the ring upon +_Gunther_. The gesture discloses to _Brünnhilde's_ sight the ring upon his finger, the ring he gave her, and which to her horror _Gunther_, as she supposed, had wrested from her. In the flash of its precious metal she sees the whole significance of the wretched situation in @@ -7929,7 +7893,7 @@ treachery _Hagen_ is plotting, or of the love-potion that has aroused in _Siegfried_ an uncontrollable passion to possess _Gutrune_, has caused him to forget her, and led him to win her for _Gunther_. There at _Gutrune's_ side, and about to wed her, stands the man she loves. -To _Bruennhilde_, infuriated with jealousy, her pride wounded to the +To _Brünnhilde_, infuriated with jealousy, her pride wounded to the quick, _Siegfried_ appears simply to have betrayed her to _Gunther_ through infatuation for another woman. @@ -7939,47 +7903,47 @@ ring"--again she addresses _Gunther_--"where is the one you tore from my hand?" _Gunther_, knowing nothing about the ring, plainly is perplexed. "Ha," -cries out _Bruennhilde_ in uncontrollable rage, "then it was Siegfried +cries out _Brünnhilde_ in uncontrollable rage, "then it was Siegfried disguised as you and not you yourself who won it from me! Know then, Gunther, that you, too, have been betrayed by him. For this man who would wed your sister, and as part of the price bring me to you as bride, was wedded to me!" -In all but _Hagen_ and _Siegfried_, _Bruennhilde's_ words arouse +In all but _Hagen_ and _Siegfried_, _Brünnhilde's_ words arouse consternation. _Hagen_, noting their effect on _Gunther_, from whom he -craftily has concealed _Siegfried's_ true relation to _Bruennhilde_, +craftily has concealed _Siegfried's_ true relation to _Brünnhilde_, sees in the episode an added opportunity to mould the Gibichung to his plan to do away with _Siegfried_. The latter, through the effect of the potion, is rendered wholly unconscious of the truth of what -_Bruennhilde_ has said. He even has forgotten that he ever has parted +_Brünnhilde_ has said. He even has forgotten that he ever has parted with the ring, and, when the men, jealous of _Gunther's_ honour, crowd about him, and _Gunther_ and _Gutrune_ in intense excitement wait on his reply, he calmly proclaims that he found it among the dragon's treasure and never has parted with it. To the truth of this assertion, -to a denial of all _Bruennhilde_ has accused him of, he announces +to a denial of all _Brünnhilde_ has accused him of, he announces himself ready to swear at the point of any spear which is offered for the oath, the strongest manner in which the asseveration can be made and, in the belief of the time, rendering his death certain at the point of that very spear should he swear falsely. How eloquent the music of these exciting scenes!--Crashing chords of -the Ring Motive followed by that of the Curse, as _Bruennhilde_ +the Ring Motive followed by that of the Curse, as _Brünnhilde_ recognizes the ring on _Siegfried's_ finger, the Motive of Vengeance, the Walhalla Motive, as she invokes the gods to witness her -humiliation, the touchingly pathetic Motive of Bruennhilde's Pleading, +humiliation, the touchingly pathetic Motive of Brünnhilde's Pleading, as she vainly strives to awaken fond memories in _Siegfried_; then again the Motive of Vengeance, as the oath is about to be taken, the Murder Motive and the Hagen Motive at the taking of the oath, for the -spear is _Hagen's_; and in _Bruennhilde's_ asseveration, the Valkyr +spear is _Hagen's_; and in _Brünnhilde's_ asseveration, the Valkyr music coursing through the orchestra. It is _Hagen_ who offers his weapon for the oath. "Guardian of honour, hallowed weapon," swears _Siegfried_, "where steel can pierce me, there pierce me; where death can be dealt me, there deal it me, if -ever I was wed to Bruennhilde, if ever I have wronged Gutrune's +ever I was wed to Brünnhilde, if ever I have wronged Gutrune's brother." -At his words, _Bruennhilde_, livid with rage, strides into the circle +At his words, _Brünnhilde_, livid with rage, strides into the circle of men, and thrusting _Siegfried's_ fingers away from the spearhead, lays her own upon it. @@ -7987,7 +7951,7 @@ lays her own upon it. steel to his destruction. I bless your point that it may blight him. For broken are all his oaths, and perjured now he proves himself." -_Siegfried_ shrugs his shoulders. To him _Bruennhilde's_ imprecations +_Siegfried_ shrugs his shoulders. To him _Brünnhilde's_ imprecations are but the ravings of an overwrought brain. "Gunther, look to your lady. Give the tameless mountain maid time to rest and recover," he calls out to Gutrune's brother. "And now, men, follow us to table, and @@ -7995,16 +7959,16 @@ make merry at our wedding feast!" Then with a laugh and in highest spirits, he throws his arm about _Gutrune_ and draws her after him into the hall, the vassals and women following them. -But _Bruennhilde_, _Hagen_, and _Gunther_ remain behind; _Bruennhilde_ +But _Brünnhilde_, _Hagen_, and _Gunther_ remain behind; _Brünnhilde_ half stunned at sight of the man with whom she has exchanged troth, gaily leading another to marriage, as though his vows had been mere chaff; _Gunther_, suspicious that his honour wittingly has been -betrayed by _Siegfried_, and that _Bruennhilde's_ words are true; +betrayed by _Siegfried_, and that _Brünnhilde's_ words are true; _Hagen_, in whose hands _Gunther_ is like clay, waiting the -opportunity to prompt both _Bruennhilde_ and his half-brother to +opportunity to prompt both _Brünnhilde_ and his half-brother to vengeance. -"Coward," cries _Bruennhilde_ to _Gunther_, "to hide behind another in +"Coward," cries _Brünnhilde_ to _Gunther_, "to hide behind another in order to undo me! Has the race of the Gibichungs fallen so low in prowess?" @@ -8026,19 +7990,19 @@ himself of all accusation. "Tomorrow," he suggests, "we will go on a great hunt. As Siegfried boldly rushes ahead we will fell him from the rear, and give out that he was killed by a wild boar." -"So be it," exclaims _Bruennhilde_; "let his death atone for the shame +"So be it," exclaims _Brünnhilde_; "let his death atone for the shame he has wrought me. He has violated his oath; he shall die!" At that moment as they turn toward the hall, he whose death they have decreed, a wreath of oak on his brow and leading _Gutrune_, whose hair is bedecked with flowers, steps out on the threshold as though wondering at their delay and urges them to enter. _Gunther_, taking -_Bruennhilde_ by the hand, follows him in. _Hagen_ alone remains +_Brünnhilde_ by the hand, follows him in. _Hagen_ alone remains behind, and with a look of grim triumph watches them as they disappear within. And so, although the valley of the Rhine re-echoes with glad sounds, it is the Murder Motive that brings the act to a close. -Act III. How picturesque the _mise-en-scene_ of this act--a clearing +Act III. How picturesque the _mise-en-scène_ of this act--a clearing in the forest primeval near a spot where the bank of the Rhine slopes toward the river. On the shore, above the stream, stands _Siegfried_. Baffled in the pursuit of game, he is looking for _Gunther_, _Hagen_, @@ -8067,11 +8031,11 @@ before, charm us anew. In the course of his narrative he refreshes himself by a draught from the drinking-horn into which meanwhile _Hagen_ has pressed the juice of an herb. Through this the effect of the love-potion is so far -counteracted that tender memories of _Bruennhilde_ well up within him +counteracted that tender memories of _Brünnhilde_ well up within him and he tells with artless enthusiasm how he penetrated the circle of -flame about the Valkyr, found _Bruennhilde_ slumbering there, awoke her +flame about the Valkyr, found _Brünnhilde_ slumbering there, awoke her with his kiss, and won her. _Gunther_ springs up aghast at this -revelation. Now he knows that _Bruennhilde's_ accusation is true. +revelation. Now he knows that _Brünnhilde's_ accusation is true. Two ravens fly overhead. As _Siegfried_ turns to look after them the Motive of the Curse resounds and _Hagen_ plunges his spear into the @@ -8085,7 +8049,7 @@ enormity of the crime that, after a few disjointed exclamations, they gather, bowed with grief, around _Siegfried_. _Hagen_, with stony indifference turns away and disappears over the height. -With the fall of the last scion of the Waelsung race we hear a new +With the fall of the last scion of the Wälsung race we hear a new motive, simple yet indescribably fraught with sorrow, the =Death Motive=. @@ -8093,12 +8057,12 @@ Motive=. _Siegfried_, supported by two men, rises to a sitting posture, and with a strange rapture gleaming in his glance, intones his death-song. -It is an ecstatic greeting to _Bruennhilde_. "Bruennhilde!" he exclaims, +It is an ecstatic greeting to _Brünnhilde_. "Brünnhilde!" he exclaims, "thy wakener comes to wake thee with his kiss." The ethereal harmonies -of the Motive of Bruennhilde's Awakening, the Motive of Fate, the +of the Motive of Brünnhilde's Awakening, the Motive of Fate, the Siegfried Motive swelling into the Motive of Love's Greeting and dying away through the Motive of Love's Passion to Siegfried's last -whispered accents--"Bruennhilde beckons to me"--in the Motive of +whispered accents--"Brünnhilde beckons to me"--in the Motive of Fate--and _Siegfried_ sinks back in death. Full of pathos though this episode be, it but brings us to the @@ -8106,7 +8070,7 @@ threshold of a scene of such overwhelming power that it may without exaggeration be singled out as the supreme musico-dramatic climax of all that Wagner wrought, indeed of all music. _Siegfried's_ last ecstatic greeting to his Valkyr bride has made us realize the -blackness of the treachery which tore the young hero and _Bruennhilde_ +blackness of the treachery which tore the young hero and _Brünnhilde_ asunder and led to his death; and now as we are bowed down with a grief too deep for utterance--like the grief with which a nation gathers at the grave of its noblest hero--Wagner voices for us, in @@ -8121,13 +8085,13 @@ silent bidding of _Gunther_ the vassals raise the body and bear it in solemn procession over the rocky height. Meanwhile with majestic solemnity the orchestra voices the funeral oration of the "world's greatest hero." One by one, but tragically interrupted by the Motive -of Death, we hear the motives which tell the story of the Waelsungs' -futile struggle with destiny--the Waelsung Motive, the Motive of the -Waelsungs' Heroism, the Motive of Sympathy, and the Love Motive, the +of Death, we hear the motives which tell the story of the Wälsungs' +futile struggle with destiny--the Wälsung Motive, the Motive of the +Wälsungs' Heroism, the Motive of Sympathy, and the Love Motive, the Sword Motive, the Siegfried Motive, and the Motive of Siegfried the Hero, around which the Death Motive swirls and crashes like a black, death-dealing, all-wrecking flood, forming an overwhelmingly powerful -climax that dies away into the Bruennhilde Motive with which, as with a +climax that dies away into the Brünnhilde Motive with which, as with a heart-broken sigh, the heroic dirge is brought to a close. Meanwhile the scene has changed to the Hall of the Gibichungs as in @@ -8143,33 +8107,33 @@ slays _Gunther_. He is about to snatch the ring from _Siegfried's_ finger, when the corpse's hand suddenly raises itself threateningly, and all--even _Hagen_--fall back in consternation. -_Bruennhilde_ advances solemnly from the back. While watching on the +_Brünnhilde_ advances solemnly from the back. While watching on the bank of the Rhine she has learned from the _Rhinedaughters_ the treachery of which she and _Siegfried_ have been the victims. Her mien is ennobled by a look of tragic exaltation. To her the grief of _Gutrune_ is but the whining of a child. When the latter realizes that -it was _Bruennhilde_ whom she caused _Siegfried_ to forget through the +it was _Brünnhilde_ whom she caused _Siegfried_ to forget through the love-potion, she falls fainting over _Gunther's_ body. _Hagen_ leaning on his spear is lost in gloomy brooding. -_Bruennhilde_ turns solemnly to the men and women and bids them erect a +_Brünnhilde_ turns solemnly to the men and women and bids them erect a funeral pyre. The orchestral harmonies shimmer with the Magic Fire Motive through which courses the Motive of the Ride of the Valkyrs. Then, her countenance transfigured by love, she gazes upon her dead hero and apostrophizes his memory in the Motive of Love's Greeting. From him she looks upward and in the Walhalla Motive and the Motive of -Bruennhilde's Pleading passionately inveighs against the injustice of +Brünnhilde's Pleading passionately inveighs against the injustice of the gods. The Curse Motive is followed by a wonderfully beautiful combination of the Walhalla Motive and the Motive of the Gods' Stress -at _Bruennhilde's_ words: +at _Brünnhilde's_ words: Rest thee! Rest thee! O, God! For with the fading away of Walhalla, and the inauguration of the reign of human love in place of that of lust and greed--a change to be -wrought by the approaching expiation of _Bruennhilde_ for the crimes +wrought by the approaching expiation of _Brünnhilde_ for the crimes which began with the wresting of the Rhinegold from the -_Rhinedaughters_--_Wotan's_ stress will be at an end. _Bruennhilde_, +_Rhinedaughters_--_Wotan's_ stress will be at an end. _Brünnhilde_, having told in the graceful, rippling Rhine music how she learned of _Hagen's_ treachery through the _Rhinedaughters_, places upon her finger the ring. Then turning toward the pyre upon which _Siegfried's_ @@ -8178,24 +8142,24 @@ flings it upon the pyre, which kindles brightly. As the moment of her immolation approaches the Motive of Expiation begins to dominate the scene. -_Bruennhilde_ mounts her Valkyr charger, Grane, who oft bore her +_Brünnhilde_ mounts her Valkyr charger, Grane, who oft bore her through the clouds, while lightning flashed and thunder reverberated. With one leap the steed bears her into the blazing pyre. The Rhine overflows. Borne on the flood, the _Rhinedaughters_ swim to -the pyre and draw, from _Bruennhilde's_ finger, the ring. _Hagen_, +the pyre and draw, from _Brünnhilde's_ finger, the ring. _Hagen_, seeing the object of all his plotting in their possession, plunges after them. Two of them encircle him with their arms and draw him down with them into the flood. The third holds up the ring in triumph. -In the heavens is perceived a deep glow. It is Goetterdaemmerung--the +In the heavens is perceived a deep glow. It is Götterdämmerung--the dusk of the gods. An epoch has come to a close. Walhalla is in flames. Once more its stately motive resounds, only to crumble, like a ruin, before the onsweeping power of the motive of expiation. The Siegfried Motive with a crash in the orchestra; once more then the Motive of Expiation. The sordid empire of the gods has passed away. A new era, -that of human love, has dawned through the expiation of _Bruennhilde_. -As in "The Flying Dutchman" and "Tannhaeuser," it is through woman that +that of human love, has dawned through the expiation of _Brünnhilde_. +As in "The Flying Dutchman" and "Tannhäuser," it is through woman that comes redemption. @@ -8205,17 +8169,17 @@ TRISTAN AND ISOLDE Music-drama in three acts, words and music by Richard Wagner, who calls the work, "eine Handlung" (an action). - Produced, under the direction of Hans von Buelow, Munich, + Produced, under the direction of Hans von Bülow, Munich, June 10, 1865. First London production, June 20, 1882. Produced, December 1, 1886, with Anton Seidl as conductor, at the Metropolitan Opera House, New York, with Niemann (_Tristan_), Fischer (_King Marke_), Lehmann (_Isolde_), Robinson (_Kurwenal_), von Milde (_Melot_), Brandt - (_Brangaene_), Kemlitz (a _Shepherd_), Alvary (a _Sailor_), - Saenger (a _Helmsman_). Jean de Reszke is accounted the + (_Brangäne_), Kemlitz (a _Shepherd_), Alvary (a _Sailor_), + Sänger (a _Helmsman_). Jean de Reszke is accounted the greatest _Tristan_ heard at the Metropolitan. Nordica, Ternina, Fremstad, and Gadski are other _Isoldes_, who have - been heard at that house. Edouard de Reszke sang _King + been heard at that house. Édouard de Reszke sang _King Marke_, and Bispham _Kurwenal_. CHARACTERS @@ -8225,7 +8189,7 @@ TRISTAN AND ISOLDE ISOLDE, an Irish princess _Soprano_ KURWENAL, one of TRISTAN'S retainers _Baritone_ MELOT, a courtier _Baritone_ - BRANGAeNE, ISOLDE'S attendant _Mezzo-Soprano_ + BRANGÄNE, ISOLDE'S attendant _Mezzo-Soprano_ A SHEPHERD _Tenor_ A SAILOR _Tenor_ A HELMSMAN _Baritone_ @@ -8275,7 +8239,7 @@ The music-drama opens on board the vessel in which _Tristan_ bears _Isolde_ to Cornwall. Deeming her love for _Tristan_ unrequited she determines to end her sorrow by quaffing a death-potion; and _Tristan_, feeling that the woman he loves is about to be wedded to -another, readily consents to share it with her. But _Brangaene_, +another, readily consents to share it with her. But _Brangäne_, _Isolde's_ companion, substitutes a love-potion for the death-draught. This rouses their love to resistless passion. Not long after they reach Cornwall, they are surprised in the castle garden by the King @@ -8373,7 +8337,7 @@ conveying _Isolde_ to Cornwall. The opening scene shows _Isolde_ reclining on a couch, her face hid in soft pillows, in a tent-like apartment on the forward deck of a vessel. It is hung with rich tapestries, which hide the rest of the -ship from view. _Brangaene_ has partially drawn aside one of the +ship from view. _Brangäne_ has partially drawn aside one of the hangings and is gazing out upon the sea. From above, as though from the rigging, is heard the voice of a young _Sailor_ singing a farewell song to his "Irish maid." It has a wild charm and is a capital example @@ -8382,7 +8346,7 @@ of Wagner's skill in giving local colouring to his music. The words, our home) are sung to a phrase which occurs frequently in the course of this scene. It represents most graphically the heaving of the sea and may be appropriately termed the Ocean Motive. It undulates -gracefully through _Brangaene's_ reply to _Isolde's_ question as to the +gracefully through _Brangäne's_ reply to _Isolde's_ question as to the vessel's course, surges wildly around _Isolde's_ outburst of impotent anger when she learns that Cornwall's shore is not far distant, and breaks itself in savage fury against her despairing wrath as she @@ -8395,8 +8359,8 @@ It is her hopeless passion for _Tristan_ which has prostrated _Isolde_, for the Motive of the Love Glance accompanies her first exclamation as she starts up excitedly. -_Isolde_ calls upon _Brangaene_ to throw aside the hangings, that she -may have air. _Brangaene_ obeys. The deck of the ship, and, beyond it, +_Isolde_ calls upon _Brangäne_ to throw aside the hangings, that she +may have air. _Brangäne_ obeys. The deck of the ship, and, beyond it, the ocean, are disclosed. Around the mainmast sailors are busy splicing ropes. Beyond them, on the after deck, are knights and esquires. A little aside from them stands _Tristan_, gazing out upon @@ -8411,14 +8375,14 @@ Death=. [Music] The Motive of the Love Glance is heard--and gives away _Isolde's_ -secret--as she asks _Brangaene_ in what estimation she holds _Tristan_. -It develops into a triumphant strain as _Brangaene_ sings his praises. +secret--as she asks _Brangäne_ in what estimation she holds _Tristan_. +It develops into a triumphant strain as _Brangäne_ sings his praises. _Isolde_ then bids her command _Tristan_ to come into her presence. This command is given with the Motive of Death, for it is their mutual -death _Isolde_ wishes to compass. As _Brangaene_ goes to do her +death _Isolde_ wishes to compass. As _Brangäne_ goes to do her mistress's bidding, a graceful variation of the Ocean Motive is heard, the bass marking the rhythmic motions of the sailors at the ropes. -_Tristan_ refuses to leave the helm and when _Brangaene_ repeats +_Tristan_ refuses to leave the helm and when _Brangäne_ repeats _Isolde's_ command, _Kurwenal_ answers in deft measures in praise of _Tristan_. Knights, esquires, and sailors repeat the refrain. The boisterous measures--"Hail to our brave Tristan!"--form the =Tristan @@ -8427,7 +8391,7 @@ Call=. [Music: Heil unser Held Tristan,] _Isolde's_ wrath at _Kurwenal's_ taunts find vent in a narrative in -which she tells _Brangaene_ that once a wounded knight calling himself +which she tells _Brangäne_ that once a wounded knight calling himself Tantris landed on Ireland's shore to seek her healing art. Into a niche in his sword she fitted a sword splinter she had found imbedded in the head of Morold, which had been sent to her in mockery after he @@ -8454,17 +8418,17 @@ gazing," to the Isolde and Love Glance motives. The passage beginning: _Isolde_ seeming to compare sarcastically what she considers his betrayal of her with his fame as a hero. Her outburst of wrath as she inveighs against his treachery in now bearing her as bride to _King -Marke_, carries the narrative to a superb climax. _Brangaene_ seeks to +Marke_, carries the narrative to a superb climax. _Brangäne_ seeks to comfort _Isolde_, but the latter, looking fixedly before her, confides, almost involuntarily, her love for _Tristan_. It is clear, even from this brief description, with what constantly varying expression the narrative of Isolde is treated. Wrath, desire for vengeance, rapturous memories that cannot be dissembled, finally a -confession of love to _Brangaene_--such are the emotions that surge to +confession of love to _Brangäne_--such are the emotions that surge to the surface. -They lead _Brangaene_ to exclaim: "Where lives the man who would not +They lead _Brangäne_ to exclaim: "Where lives the man who would not love you?" Then she weirdly whispers of the love-potion and takes a phial from a golden salver. The motives of the Love Glance and of the Love-Potion accompany her words and action. But _Isolde_ seizes @@ -8478,11 +8442,11 @@ A forceful orchestral climax, in which the demons of despairing wrath seem unleashed, is followed by the cries of the sailors greeting the sight of the land, where she is to be married to _King Marke_. _Isolde_ hears them with growing terror. _Kurwenal_ brusquely calls to -her and _Brangaene_ to prepare soon to go ashore. _Isolde_ orders +her and _Brangäne_ to prepare soon to go ashore. _Isolde_ orders _Kurwenal_ that he command _Tristan_ to come into her presence; then -bids _Brangaene_ prepare the death-potion. The Death Motive accompanies -her final commands to _Kurwenal_ and _Brangaene_, and the Fate Motive -also drones threatfully through the weird measures. But _Brangaene_ +bids _Brangäne_ prepare the death-potion. The Death Motive accompanies +her final commands to _Kurwenal_ and _Brangäne_, and the Fate Motive +also drones threatfully through the weird measures. But _Brangäne_ artfully substitutes the love-potion for the death-draught. _Kurwenal_ announces _Tristan's_ approach. _Isolde_, seeking to @@ -8533,7 +8497,7 @@ Voices! They hear them not. Sailors are shouting with joy that the voyage is over. Upon the lovers all sounds are lost, save their own short, quick interchange of phrases, in which the rapture of their passion, at last uncovered, finds speech. Music surges about them. But -for _Brangaene_ they would be lost. It is she who parts them, as the +for _Brangäne_ they would be lost. It is she who parts them, as the hangings are thrust aside. Knights, esquires, sailors crowd the deck. From a rocky height _King @@ -8544,7 +8508,7 @@ the Isolde Motive that is heard above the jubilation of the ship-folk, as the act comes to a close. Act II. This act also has an introduction, which together with the -first scene between _Isolde_ and _Brangaene_, constitutes a wonderful +first scene between _Isolde_ and _Brangäne_, constitutes a wonderful mood picture in music. Even Wagner's bitterest critic, Edward Hanslick, of Vienna, was forced to compare it with the loveliest creations of Schubert, in which that composer steeps the senses in @@ -8583,10 +8547,10 @@ When the curtain rises, the scene it discloses is the palace garden, into which _Isolde's_ apartments open. It is a summer night, balmy and with a moon. The _King_ and his suite have departed on a hunt. With them is _Melot_, a knight who professes devotion to _Tristan_, -but whom _Brangaene_ suspects. +but whom _Brangäne_ suspects. -_Brangaene_ stands upon the steps leading to _Isolde's_ apartment. She -is looking down a bosky _allee_ in the direction taken by the hunt. +_Brangäne_ stands upon the steps leading to _Isolde's_ apartment. She +is looking down a bosky _allée_ in the direction taken by the hunt. This silently gliding, uncanny creature, the servitor of sin in others, is uneasy. She fears the hunt is but a trap; and that its quarry is not the wild deer, but her mistress and the knight, who @@ -8599,16 +8563,16 @@ that all is well, and that _Isolde_ waits. The first episode of the act is one of those exquisite tone paintings in the creation of which Wagner is supreme. The notes of the hunting-horns become more distant. _Isolde_ enters from her apartment -into the garden. She asks _Brangaene_ if she cannot now signal for -_Tristan_. _Brangaene_ answers that the hunt is still within hearing. +into the garden. She asks _Brangäne_ if she cannot now signal for +_Tristan_. _Brangäne_ answers that the hunt is still within hearing. _Isolde_ chides her--is it not some lovely, prattling rill she hears? The music is deliciously idyllic--conjuring up a dream-picture of a -sylvan spring night bathed in liquescent moonlight. _Brangaene_ warns +sylvan spring night bathed in liquescent moonlight. _Brangäne_ warns _Isolde_ against _Melot_; but _Isolde_ laughs at her fears. In vain -_Brangaene_ entreats her mistress not to signal for _Tristan_. The +_Brangäne_ entreats her mistress not to signal for _Tristan_. The seductive measures of the Love Call and of the Motive of Ecstasy tell throughout this scene of the yearning in _Isolde's_ breast. When -_Brangaene_ informs _Isolde_ that she substituted the love-potion for +_Brangäne_ informs _Isolde_ that she substituted the love-potion for the death-draught, _Isolde_ scorns the suggestion that her guilty love for _Tristan_ is the result of her quaffing the potion. This simply intensified the passion already in her breast. She proclaims this in @@ -8618,10 +8582,10 @@ are heard the tender accents of the =Love Motive=. [Music] -In vain _Brangaene_ warns once more against possible treachery from +In vain _Brangäne_ warns once more against possible treachery from _Melot_. The Love Motive rises with ever increasing passion until _Isolde's_ emotional exaltation finds expression in the Motive of -Ecstasy as she bids _Brangaene_ hie to the lookout, and proclaims that +Ecstasy as she bids _Brangäne_ hie to the lookout, and proclaims that she will give _Tristan_ the signal by extinguishing the torch, though in doing so she were to extinguish the light of her life. The Motive of the Love Call ringing out triumphantly accompanies her action, and @@ -8647,7 +8611,7 @@ sink upon us, Night of Love," and there is nothing in the realms of music or poetry to compare in suggestiveness with these caressing, pulsating phrases. -The duet is broken in upon by _Brangaene's_ voice warning the lovers +The duet is broken in upon by _Brangäne's_ voice warning the lovers that night will soon be over. The _arpeggios_ accompanying her warning are like the first grey streaks of dawn. But the lovers heed her not. In a smooth, soft melody--the =Motive of Love's Peace=--whose sensuous @@ -8662,7 +8626,7 @@ of the Love-Death=, [Music] -Once more _Brangaene_ calls. Once more _Tristan_ and _Isolde_ heed her +Once more _Brangäne_ calls. Once more _Tristan_ and _Isolde_ heed her not. Night will shield us for aye! @@ -8673,7 +8637,7 @@ higher. [Music] -A cry from _Brangaene_, _Kurwenal_ rushing upon the scene calling to +A cry from _Brangäne_, _Kurwenal_ rushing upon the scene calling to _Tristan_ to save himself--and the lovers' ravishing dream is ended. Surrounded by the _King_ and his suite, with the treacherous _Melot_, they gradually awaken to the terror of the situation. Almost @@ -8809,7 +8773,7 @@ _Melot_, sinks, himself mortally wounded, dying by _Tristan's_ side. He reaches out for his dead master's hand, and his last words are: "Tristan, chide me not that faithfully I follow you." -When _Brangaene_ rushes in and hurriedly announces that she has +When _Brangäne_ rushes in and hurriedly announces that she has informed the _King_ of the love-potion, and that he comes bringing forgiveness, _Isolde_ heeds her not. As the Love-Death Motive rises softly over the orchestra and slowly swells into the impassioned @@ -8826,19 +8790,19 @@ nature of all that is spiritual, and hence immortal, in lives rendered beautiful by love. -DIE MEISTERSINGER VON NUeRNBERG +DIE MEISTERSINGER VON NÜRNBERG THE MASTERSINGERS OF NUREMBURG Opera in three acts, words and music by Richard Wagner. Produced, Munich, June 21, 1868, under direction of Hans von - Buelow. London, Drury Lane, May 30, 1882, under Hans Richter; + Bülow. London, Drury Lane, May 30, 1882, under Hans Richter; Covent Garden, July 13, 1889, in Italian; Manchester, in English, by the Carl Rosa Company, April 16, 1896. New York, Metropolitan Opera House, January 4, 1886, with Fischer (_Hans Sachs_), Seidl-Kraus (_Eva_), Marianne Brandt (_Magdalena_), Stritt (_Walther_), Kemlitz (_Beckmesser_); - Conductor, Seidl. _Sachs_ has also been sung by Edouard de + Conductor, Seidl. _Sachs_ has also been sung by Édouard de Reszke, Van Rooy, and Whitehill; _Walther_ by Jean de Reszke; _Eva_ by Eames, Gadski, and Hempel; _Beckmesser_ by Goritz; _Magdalena_ by Schumann-Heink and Homer. @@ -8909,7 +8873,7 @@ upon his last with a resounding whack. The louder _Beckmesser_ sings the louder _Sachs_ whacks. Finally the neighbours are aroused. _David_, who is in love with _Magdalena_ and thinks _Beckmesser_ is serenading her, falls upon him with a cudgel. The whole neighbourhood -turns out and a general _melee_ ensues, during which _Sachs_ separates +turns out and a general _mêlée_ ensues, during which _Sachs_ separates _Eva_ and _Walther_ and draws the latter into his home. The following morning _Walther_ sings to _Sachs_ a song which has come @@ -9368,7 +9332,7 @@ Night Motive=. [Music] _Eva_ vanishes into the house to prepare to elope with _Walther_. The -_Night Watchman_ now goes up the stage intoning a mediaeval chant. +_Night Watchman_ now goes up the stage intoning a mediæval chant. Coming in the midst of the beautiful modern music of "The Mastersingers," its effect is most quaint. @@ -9406,7 +9370,7 @@ awakened by the noise and coming to their windows bid _Beckmesser_ hold his peace. _David_, stung by jealousy as he sees _Magdalena_ listening to the serenade, leaps from his room and falls upon the town clerk with a cudgel. The neighbours, male and female, run out into the -street and a general _melee_ ensues, the masters, who hurry upon the +street and a general _mêlée_ ensues, the masters, who hurry upon the scene, seeking to restore quiet, while the 'prentices vent their high spirits by doing all in their power to add to the hubbub. All is now noise and disorder, pandemonium seeming to have been let loose upon @@ -9431,7 +9395,7 @@ arms and drawn _Walther_ after him into his shop. The street is quiet. And now, the rumpus subsided and all concerned in it gone, the _Night Watchman_ appears, rubs his eyes and chants his -mediaeval call. The street is flooded with moonlight. The _Watchman_ +mediæval call. The street is flooded with moonlight. The _Watchman_ with his clumsy halberd lunges at his own shadow, then goes up the alley. @@ -9649,7 +9613,7 @@ final admonition to the closing measures of the Prelude. PARSIFAL - Stage Dedication Festival Play (Buehnenweihfestspiel) in + Stage Dedication Festival Play (Bühnenweihfestspiel) in three acts, words and music by Richard Wagner. Produced Bayreuth, July 26, 1882. Save in concert form, the work was not given elsewhere until December 24, 1903, when it was @@ -9657,8 +9621,8 @@ PARSIFAL the direction of Heinrich Conried. At the Bayreuth performances there were alternating casts. - Winckelmann was the _Parsifal_ of the _premiere_, Gudehus of - the second performance, Jaeger of the third. The alternating + Winckelmann was the _Parsifal_ of the _première_, Gudehus of + the second performance, Jäger of the third. The alternating _Kundrys_ were Materna, Marianne Brandt, and Malten; _Gurnemanz_ Scaria and Siehr; _Amfortas_ Reichmann; _Klingsor_, Hill and Fuchs. Hermann Levi conducted. @@ -9667,7 +9631,7 @@ PARSIFAL _Parsifal_, Van Rooy _Amfortas_, Blass _Gurnemanz_, Goritz _Klingsor_, Journet _Titurel_, Miss Moran and Miss Braendle the first and second, Harden and Bayer the third and fourth - _Esquires_, Bayer and Muehlmann two _Knights_ of the Grail, + _Esquires_, Bayer and Mühlmann two _Knights_ of the Grail, Homer a _Voice_. CHARACTERS @@ -9716,7 +9680,7 @@ purity and spirituality that breathes through both. Three legends supplied Wagner with the principal characters in this music-drama. They were "Percival le Galois; or Contes de Grail," by -Chretien de Troyes (1190); "Parsifal," by Wolfram von Eschenbach, and +Chrétien de Troyes (1190); "Parsifal," by Wolfram von Eschenbach, and a manuscript of the fourteenth century called by scholars the "Mabinogion." As usual, Wagner has not held himself strictly to any one of these, but has combined them all, and revivified them through @@ -10007,7 +9971,7 @@ has died in grief. The old knight then proceeds to ply _Parsifal_ with questions regarding his parentage, name, and native land. "I do not know," is the youth's invariable answer. His ignorance, coupled, however, with -his naive nobility of bearing and the fact that he has made his way to +his naïve nobility of bearing and the fact that he has made his way to the Grail domain, engender in _Gurnemanz_ the hope that here at last is the "guileless fool" for whom prayerfully they have been waiting, and the _King_, having been borne from the lake toward the castle @@ -10320,7 +10284,7 @@ types of the musical reformer. Compared with them Rossini was mild. But his merits should be conceded, and gratefully. Rossini often is spoken of as the "Swan of Pesaro," where he was born. -His mother sang _buffa_ roles in a travelling opera troupe, in the +His mother sang _buffa_ rôles in a travelling opera troupe, in the orchestra of which his father was a horn player. After previous musical instruction in Bologna, he was turned over to Angelo Tesei, sang in church and afterwards travelled with his parents both as @@ -10335,7 +10299,7 @@ manner. There was scarcely a year now that did not see a work from his pen, sometimes two, until his "Guillaume Tell" was produced in Paris, 1829. This was an entire change of style from his earlier works, possibly, however, foreshadowed by his "Comte Ory," a revision of a -previous score, and produced, as was his "Tell," at the Grand Opera. +previous score, and produced, as was his "Tell," at the Grand Opéra. "Guillaume Tell" not only is written to a French libretto; it is in the French style of grand opera, in which the vocal melody is less @@ -10369,11 +10333,11 @@ THE BARBER OF SEVILLE younger, _Figaro_; Signorina Garcia (afterwards the famous Malibran), _Rosina_; Signor Rosick, _Dr. Bartolo_; Signor Angrisani, _Don Basilio_; Signor Crivelli, the younger, - _Fiorello_, and Signora Garcia, _mere_, _Berta_. (See + _Fiorello_, and Signora Garcia, _mère_, _Berta_. (See concluding paragraphs of this article.) Adelina Patti, Melba, Sembrich, Tetrazzini are among the prima donnas who have been familiar to opera lovers in this country as - _Rosina_. Galli-Curci appeared in this role in Chicago, + _Rosina_. Galli-Curci appeared in this rôle in Chicago, January 1, 1917. CHARACTERS @@ -10396,7 +10360,7 @@ THE BARBER OF SEVILLE Upon episodes in Beaumarchais's trilogy of "Figaro" comedies two composers, Mozart and Rossini, based operas that have long maintained their hold upon the repertoire. The three Beaumarchais comedies are -"Le Barbier de Seville," "Le Mariage de Figaro," and "La Mere +"Le Barbier de Séville," "Le Mariage de Figaro," and "La Mère Coupable." Mozart selected the second of these, Rossini the first; so that although in point of composition Mozart's "Figaro" (May, 1786) antedates Rossini's "Barbiere" (February, 1816) by nearly thirty @@ -10426,9 +10390,9 @@ ridente in cielo," (Lo, smiling in the Eastern sky). Just then _Figaro_, the barber, the general factotum and busybody of the town, dances in, singing the famous patter air, "Largo al factotum -della citta" (Room for the city's factotum). +della città" (Room for the city's factotum). -[Music: Largo al factotum della citta largo,] +[Music: Largo al factotum della città largo,] He is _Dr. Bartolo's_ barber, and, learning from the _Count_ of his heart's desire, immediately plots with him to bring about his @@ -10447,7 +10411,7 @@ passion, and at the same time requesting to know her lover's name. Scene 2. Room in _Dr. Bartolo's_ house. _Rosina_ enters. She sings the brilliant "Una voce poco fa" (A little voice I heard just now), -[Music: Una voce poco fa qui nel cor mi risuono] +[Music: Una voce poco fa qui nel cor mi risuonò] followed by "Io sono docile" (With mild and docile air). @@ -10466,7 +10430,7 @@ a scandal about the _Count_ and, in an aria ("La calunnia") remarkable for its descriptive crescendo, depicts how calumny may spread from the first breath to a tempest of scandal. -[Music: La calunnia e un venticello] +[Music: La calunnia è un venticello] To obtain an interview with _Rosina_, the _Count_ disguises himself as a drunken soldier, and forces his way into _Bartolo's_ house. The @@ -10563,7 +10527,7 @@ l'Inutile Precauzione" (Almaviva, or the Useless Precaution). Nevertheless, as soon as the rumour spread that Rossini was making over Paisiello's work, the young composer's enemies hastened to talk -in the cafes about what they called his "underhand action." Paisiello +in the cafés about what they called his "underhand action." Paisiello himself, it is believed, was not foreign to these intrigues. A letter in his handwriting was shown to Rossini. In this he is said to have written from Naples to one of his friends in Rome urging him to @@ -10575,7 +10539,7 @@ their posts as soon as the theatre opened, while Rossini's friends, disappointed by the recent ill luck of "Torvaldo e Dorliska" were timid in their support of the new work. Furthermore, according to Mme. Giorgi-Righetti, Rossini weakly yielded to a suggestion from Garcia, -and permitted that artist, the _Almaviva_ of the premiere, to +and permitted that artist, the _Almaviva_ of the première, to substitute for the air which is sung under _Rosina's_ balcony, a Spanish melody with guitar accompaniment. The scene being laid in Spain, this would aid in giving local colour to the work--such was the @@ -10589,7 +10553,7 @@ another guitar, another fit of laughing and whistling seized them, and the racket rendered the solo completely inaudible. _Rosina_ appeared on the balcony. The public greatly admired Mme. Giorgi-Righetti and was disposed to applaud her. But, as if to cap the climax of -absurdity, she sang: "Segui, o caro, deh segui cosi" (Continue my +absurdity, she sang: "Segui, o caro, deh segui così" (Continue my dear, do always so). Naturally the audience immediately thought of the two guitars, and went on laughing, whistling, and hissing during the entire duet between _Almaviva_ and _Figaro_. The work seemed doomed. @@ -10635,7 +10599,7 @@ Galli-Curci as Rosina in "The Barber of Seville"] Sembrich as Rosina in "The Barber of Seville"] There have been three historic failures of opera. One was the -"Tannhaeuser" fiasco, Paris, 1861; another, the failure of "Carmen," +"Tannhäuser" fiasco, Paris, 1861; another, the failure of "Carmen," Paris, 1875. The earliest I have just described. For the second performance of "Il Barbiere" Rossini replaced the @@ -10694,13 +10658,13 @@ It is a singular fact that the reception of "Il Barbiere" in Paris was much the same as in Rome. The first performance in the Salle Louvois was coldly received. Newspapers compared Rossini's "Barber" unfavourably with that of Paisiello. Fortunately the opposition -demanded a revival of Paisiello's work. Paer, musical director at the -Theatre Italien, not unwilling to spike Rossini's guns, pretended to +demanded a revival of Paisiello's work. Paër, musical director at the +Théâtre Italien, not unwilling to spike Rossini's guns, pretended to yield to a public demand, and brought out the earlier opera. But the opposite of what had been expected happened. The work was found to be superannuated. It was voted a bore. It scored a fiasco. Rossini triumphed. The elder Garcia, the _Almaviva_ of the production in Rome, -played the same role in Paris, as he also did in London, and at the +played the same rôle in Paris, as he also did in London, and at the first Italian performance of the work in New York. Rossini had the reputation of being indolent in the extreme--when he @@ -10719,17 +10683,17 @@ lesson scene by Italian prima donnas. Later there was substituted the air "Di tanti palpiti" from the opera "Tancredi," which is known as the "aria dei rizzi," or "rice aria," because Rossini, who was a great gourmet, composed it while cooking his rice. Pauline Viardot-Garcia -(Garcia's daughter), like her father in the unhappy premiere of the +(Garcia's daughter), like her father in the unhappy première of the opera, sang a Spanish song. This may have been "La Calesera," which Adelina Patti also sang in Paris about 1867. Patti's other selections -at this time included the laughing song, the so-called "L'Eclat de +at this time included the laughing song, the so-called "L'Éclat de Rire" (Burst of Laughter) from Auber's "Manon Lescaut," as highly esteemed in Paris in years gone by as Massenet's "Manon" now is. In New York I have heard Patti sing, in this scene, the Arditi waltz, "Il -Bacio" (The Kiss); the bolero of Helene, from "Les Vepres Siciliennes" +Bacio" (The Kiss); the bolero of Hélène, from "Les Vêpres Siciliennes" (The Sicilian Vespers), by Verdi; the "Shadow Dance" from Meyerbeer's "Dinorah"; and, in concluding the scene, "Home, Sweet Home," which -never failed to bring down the house, although the naivete with which +never failed to bring down the house, although the naïveté with which she sang it was more affected than affecting. Among prima donnas much earlier than Patti there were at least two, @@ -10751,8 +10715,8 @@ waltz, "Se Saran Rose," Massenet's "Sevillana," and the mad scene from "Lucia," ending, like Mme. Sembrich, with a song to which she played her own accompaniment, her choice being Tosti's "Mattinata." Mme. Galli-Curci is apt to begin with the brilliant vengeance air from "The -Magic Flute," her encores being "L'Eclat de Rire" by Auber and -"Charmante Oiseau" (Pretty Bird) from David's "La Perle du Bresil" +Magic Flute," her encores being "L'Éclat de Rire" by Auber and +"Charmante Oiseau" (Pretty Bird) from David's "La Perle du Brésil" (The Pearl of Brazil). "Home, Sweet Home" and "The Last Rose of Summer," both sung by her to her own accompaniment, conclude this interesting "lesson," in which every _Rosina_, although supposedly a @@ -10779,8 +10743,8 @@ Rossini's "Di tanti palpiti" (Ah! these heartbeats) from his opera "Tancredi" (Tancred), not only was invariably sung by prima donnas in the lesson scene, but that it almost became a tradition to use it in this scene. In September, 1821, but little more than five years after -the work had its premiere, it was brought out in France (Grand -Theatre, Lyons) with French text by Castil-Blaze, who also +the work had its première, it was brought out in France (Grand +Théâtre, Lyons) with French text by Castil-Blaze, who also superintended the publication of the score. "I give this score," he says, "as Rossini wrote it. But as several @@ -10794,10 +10758,10 @@ in the lesson scene. It is "Di tanti palpiti" from "Tancredi." Readers familiar with the history of opera, therefore aware that Alboni was a contralto, will wonder at her having appeared as -_Rosina_, when that role is associated with prima donnas whose voices -are extremely high and flexible. But the role was written for low +_Rosina_, when that rôle is associated with prima donnas whose voices +are extremely high and flexible. But the rôle was written for low voice. Giorgi-Righetti, the first _Rosina_, was a contralto. As it now -is sung by high sopranos, the music of the role is transposed from the +is sung by high sopranos, the music of the rôle is transposed from the original to higher keys in order to give full scope for brilliant vocalization on high notes. @@ -10835,10 +10799,10 @@ favourite duet with Miss Leesugg, of 'I love thee.'" (One wonders what was left of Rossini's score.) In 1821 he appeared again with Miss Holman as _Rosina_. -That Phillips should have sung _Figaro_, a baritone role in "Le Nozze +That Phillips should have sung _Figaro_, a baritone rôle in "Le Nozze di Figaro," and _Almaviva_, a tenor part, in "Il Barbiere," may seem odd. But in the Mozart opera he appeared in Bishop's adaptation, in -which the _Figaro_ role is neither too high for a baritone, nor too +which the _Figaro_ rôle is neither too high for a baritone, nor too low for a tenor. In fact the liberties Bishop took with Mozart's score are so great (and so outrageous) that Phillips need have hesitated at nothing. @@ -10857,9 +10821,9 @@ in Italian. SEMIRAMIDE Opera in two acts by Rossini, words by Gaetana Rossi, - founded on Voltaire's tragedy, "Semiramis." Produced, + founded on Voltaire's tragedy, "Sémiramis." Produced, February 3, 1823, Fenice Theatre, Venice; London, King's - Theatre, July 15, 1824; Paris, July 9, 1860, as Semiramis; + Theatre, July 15, 1824; Paris, July 9, 1860, as Sémiramis; New York, April 25, 1826; 1855 (with Grisi and Vestivalli); 1890 (with Patti and Scalchi). @@ -10881,7 +10845,7 @@ SEMIRAMIDE _Place_--Babylon. "Semiramide" seems to have had its day. Yet, were a soprano and a -contralto, capable of doing justice to the roles of _Semiramide_ and +contralto, capable of doing justice to the rôles of _Semiramide_ and _Arsaces_, to appear in conjunction in the operatic firmament the opera might be successfully revived, as it was for Patti and Scalchi. The latter, in her prime when she first appeared here, was one of the @@ -10967,12 +10931,12 @@ WILLIAM TELL Opera by Rossini, originally in five acts, cut down to three by omitting the third act and condensing the fourth and fifth into one, then rearranged in four; words by "Jouy" - (V.J. Etienne), rearranged by Hippolyte and Armand Marast. - Produced, Grand Opera, Paris, August 3, 1829, Nourrit being + (V.J. Étienne), rearranged by Hippolyte and Armand Marast. + Produced, Grand Opéra, Paris, August 3, 1829, Nourrit being the original _Arnold_; revived with Duprez, 1837. Italy, "Guglielmo Tell," at Lucca, September 17, 1831. London, Drury Lane, 1830, in English; Her Majesty's Theatre, 1839, - in Italian. In New York the title role has been sung by Karl + in Italian. In New York the title rôle has been sung by Karl Formes, who made his first American tour in 1857. The interpreters of _Arnold_ have included the Polish tenor Mierzwinski at the Academy of Music, and Tamagno. @@ -11316,7 +11280,7 @@ The villagers are proceeding to the castle to beg _Rodolpho_ to intercede with _Elvino_ for _Amina_. _Elvino_ meets _Amina_. Still enraged at what he considers her perfidy, he snatches from her finger the ring he gave her. _Amina_ still loves him. She expresses her -feelings in the air: "Ah! perche non posso odiarti" (Ah! Why is it I +feelings in the air: "Ah! perchè non posso odiarti" (Ah! Why is it I cannot hate him [Transcriber's Note: should be 'hate you']). Scene 2. The village, near _Teresa's_ mill. Water runs through the @@ -11356,10 +11320,10 @@ Still walking in her sleep, she advances to where stand the villagers and _Rodolpho_. She kneels and prays for _Elvino_. Then rising, she speaks of the ring he has taken from her, and draws from her bosom the flowers given to her by him on the previous day. "Ah! non credea -mirarti si presto estinto, o fiore" (Scarcely could I believe it that +mirarti sì presto estinto, o fiore" (Scarcely could I believe it that so soon thou would'st wither, O blossoms). -[Music: Ah! non credea mirarti si presto estinto, o fiore,] +[Music: Ah! non credea mirarti sì presto estinto, o fiore,] Gently _Elvino_ replaces the ring upon her finger, and kneels before her. "Viva Amina!" cry the villagers. She awakens. Instead of sorrow, @@ -11389,14 +11353,14 @@ out of which so many works far more ambitious have been dropped. Opera-goers of the old Academy of Music days will recall the bell-like tones of Etelka Gerster's voice in "Ah! non giunge"; nor will they -ever forget the bird-like, spontaneous singing in this role of Adelina +ever forget the bird-like, spontaneous singing in this rôle of Adelina Patti, gifted with a voice and an art such as those who had the privilege of hearing her in her prime have not heard since, nor are likely to hear again. Admirers of Mme. Sembrich's art also are justly -numerous, and it is fortunate for habitues of the Metropolitan that +numerous, and it is fortunate for habitués of the Metropolitan that she was so long in the company singing at that house. She was a charming _Amina_. Tetrazzini was brilliant in "La Sonnambula." -_Elvino_ is a stick of a role for tenor. _Rodolpho_ has the redeeming +_Elvino_ is a stick of a rôle for tenor. _Rodolpho_ has the redeeming grace of chivalry. _Amina_ is gentle, charming, appealing. The story of "Sonnambula" is simple and thoroughly intelligible, which @@ -11409,7 +11373,7 @@ who sometimes may have more embonpoint than voice, into the mill-race. All these elements contribute to the success of "La Sonnambula," which, produced in 1831, still is a good evening's entertainment. -_Amina_ was one of Jenny Lind's favourite roles. There is a beautiful +_Amina_ was one of Jenny Lind's favourite rôles. There is a beautiful portrait of her in the character by Eichens. It shows her, in the last act, kneeling and singing "Ah! non credea," and is somewhat of a rarity. A copy of it is in the print department of the New York Public @@ -11421,7 +11385,7 @@ NORMA Opera in two acts, by Bellini; words by Felice Romani, based on an old French story. Produced, December 26, 1831, Milan. King's Theatre, June 20, 1833, in Italian; Drury Lane, June - 24, 1837, in English. Paris, Theatre des Italiens, 1833. + 24, 1837, in English. Paris, Théâtre des Italiens, 1833. New York, February 25, 1841, at the Park Theatre; October 2, 1854, for the opening of the Academy of Music, with Grisi, Mario, and Susini; December 19, 1891, Metropolitan Opera @@ -11517,7 +11481,7 @@ invoke the chaste goddess of the moon in the famous "Casta diva." Prima donnas of a later period found further inspiration thereto in the beautiful portrait of Grisi as _Norma_. Perhaps the last to yield to the temptation was Lilli Lehmann, who, not content with having -demonstrated her greatness as _Bruennhilde_ and _Isolde_, desired in +demonstrated her greatness as _Brünnhilde_ and _Isolde_, desired in 1891, to demonstrate that she was also a great _Norma_, a demonstration which did not cause her audience to become unduly demonstrative. The fact is, it would be difficult to revive @@ -11557,7 +11521,7 @@ I PURITANI THE PURITANS Opera in three acts, by Bellini; words by Count Pepoli. - Produced, Paris, Theatre des Italiens, January 25, 1835, + Produced, Paris, Théâtre des Italiens, January 25, 1835, with Grisi as _Elvira_, Rubini as _Arturo_, Tamburini as _Riccardo_ and Lablache as _Giorgio_. London, King's Theatre, May 21, 1835, in Italian (I Puritani ed i @@ -11622,10 +11586,10 @@ sudden shock of joy restores _Elvira's_ reason. The lovers are united. * * * * * -As an opera "I Puritani" lacks the naivete of "La Sonnambula," nor has +As an opera "I Puritani" lacks the naïveté of "La Sonnambula," nor has it any one number of the serene beauty of the "Casta diva" in "Norma." Occasionally, however, it is revived for a tenor like Bonci, whose -elegance of phrasing finds exceptional opportunity in the role of +elegance of phrasing finds exceptional opportunity in the rôle of _Arthur_; or for some renowned prima donna of the brilliant coloratura type, for whom _Elvira_ is a grateful part. @@ -11657,7 +11621,7 @@ opera." [Music: Suoni la tromba, e intrepido - Io pugnero da forte;] + Io pugnerò da forte;] "A una fonte afflitto e solo" (Sad and lonely by a fountain), a beautiful number for _Elvira_ occurs in the third act. @@ -11820,7 +11784,7 @@ captivating. [Music: Una furtiva lagrima - Negl'occhi suoi spunto;] + Negl'occhi suoi spuntò;] Act I is laid on _Adina's_ farm. _Adina_ has a florid air, "Chiedi all'aura lusinghiera" (Go, demand of yon light zephyr), with which she @@ -11859,7 +11823,7 @@ _Dulcamara_, "Quanto amore!" (What affection!) in which _Adina_ expresses her realization of the death of _Nemorino's_ affection for her. -"The score of 'Elisire d'Amore,'" says the _Dictionnaire des Operas_, +"The score of 'Elisire d'Amore,'" says the _Dictionnaire des Opéras_, "is one of the most pleasing that the Bergamo composer has written in the comic vein. It abounds in charming motifs and graceful melodies. In the first act the duet for tenor and bass between the young @@ -11877,7 +11841,7 @@ LUCREZIA BORGIA Opera, in a prologue and two acts, by Donizetti; words by Felice Romani, after Victor Hugo. Produced, La Scala, Milan, - 1834; Theatre des Italiens, Paris, 1840; London, 1839; in + 1834; Théâtre des Italiens, Paris, 1840; London, 1839; in English, 1843; New York, Astor Place Opera House, 1847; with Grisi, September 5, 1854; with Tietjens and Brignoli, 1876; Academy of Music, October 30, 1882; Metropolitan Opera @@ -11944,21 +11908,21 @@ secret of bliss in perfection"--when heard in the opera. [Music: Il segreto per esser felici - So per prova e l'insegno agli amici] + Sò per prova e l'insegno agli amici] -The tenor role of _Gennaro_ also has tempted to occasional revivals of +The tenor rôle of _Gennaro_ also has tempted to occasional revivals of the work. Mario introduced for this character as a substitute for a -scene in the second act, a recitative and air by Lillo, "Com'e soave +scene in the second act, a recitative and air by Lillo, "Com'è soave quest'ora di silenzio" (Oh! how delightful this pleasing hour of silence), a change which is sometimes followed. Prologue. Terrace of the Grimani palace, Venice. Festival by night. _Gennaro_, weary, separates from his friends and falls asleep on a stone bench of the terrace. Here he is discovered by _Lucrezia_, who -is masked. She regards him with deep affection. "Com'e bello quale +is masked. She regards him with deep affection. "Com'è bello quale incanto" (Holy beauty, child of nature) she sings. -[Music: Com'e bello quale incanto] +[Music: Com'è bello quale incanto] _Gennaro_ awakens. In answer to her questions he tells her that he has been brought up by a poor fisherman, "Di pescatore ignobile" (Deem'd @@ -11988,7 +11952,7 @@ has two solos. The first is "Vieni, la mia vendetta" (Haste then to glut a vengeance); the second, "Qualunque sia l'evento" (On this I stake my fortune). -[Music: Qualunque sia l'evento che puo recar fortuna,] +[Music: Qualunque sia l'evento che può recar fortuna,] _Gennaro_ and his friends come into the Plaza. They see the letters BORGIA under the escutcheon of the palace. _Gennaro_, to show his @@ -12030,7 +11994,7 @@ LUCIA DI LAMMERMOOR Opera in three acts, by Donizetti; words by Salvatore Cammarano, after Scott's novel, "The Bride of Lammermoor." Produced, San Carlo Theatre, Naples, September 26, 1835, - with Persiani as _Lucia_, and Duprez as _Edgardo_, the roles + with Persiani as _Lucia_, and Duprez as _Edgardo_, the rôles having been especially composed for these artists. London, Her Majesty's Theatre, April 5, 1838, and, in English, at the Princess Theatre, January 19, 1848. Paris, 1839. New @@ -12172,12 +12136,12 @@ dark forebodings it inspired. This second solo for _Lucy_, one of the best-known operatic numbers for soprano, is the "Quando rapito" (Then swift as thought). -[Music: Quando rapito in estasi del piu cocente ardore] +[Music: Quando rapito in estasi del più cocente ardore] Another beautiful and familiar number is the duet between _Lucy_ and _Edgar_, who has come to tell her of his impending departure for France and to bid her farewell: "Verranno a te [Transcriber's Note: -original has incorrect "la"] sull'aure" (My sighs shall on the balmy +original has incorrect "lá"] sull'aure" (My sighs shall on the balmy breeze). [Music: Verranno a te sull'aure i miei sospiri ardenti] @@ -12228,7 +12192,7 @@ Caruso as Edgardo in "Lucia di Lammermoor"] Galli-Curci as Lucia in "Lucia di Lammermoor"] The greatest ensemble number in Italian opera, the sextet, has begun. -_Edgardo_: "Chi mi frena in tal momento? Chi tronco dell'ire il +_Edgardo_: "Chi mi frena in tal momento? Chi troncò dell'ire il corso?" (What restrains me at this moment? Why my sword do I not straightway draw?): @@ -12304,7 +12268,7 @@ untypical of _Lucy's_ pure and spiritual personality, is prominent in the instrumental part of the score. Upon a brilliant phrase of vocalization, like "Yet shall we meet, dear Edgar, before the altar," -[Music: Qui ricovriamo, Edgardo, a pie dell'ara] +[Music: Qui ricovriamo, Edgardo, a piè dell'ara] it follows with this phrase: @@ -12321,7 +12285,7 @@ has decided dramatic significance. I also give an example of a passage in which flute and voice combine in a manner that requires impeccable intonation on the singer's part. -[Music: a noi sara, la vita etc.] +[Music: a noi sarà, la vita etc.] The _scena_ ends with a _stretto_, a concluding passage taken in more rapid tempo in order to enhance the effect. @@ -12347,7 +12311,7 @@ another; and the wood-wind in the "Semiramide" duet, "Giorno d'orrore" (Dark day of horror) may also be mentioned. There is a point in the mad scene where it is easy to modulate into -the key of G major. Donizetti has written in that key the aria "Perche +the key of G major. Donizetti has written in that key the aria "Perchè non ho del vento" (Oh, for an eagle's pinions) which sopranos sometimes introduce during the scene, since it was composed for that purpose. @@ -12358,7 +12322,7 @@ heard it sung there, and was interested to know where I had found it. As it is a florid, brilliant piece of music, and well suited to the scene, I quote a line of it, as a possible hint to some prima donna. -[Music: Perche non ho del vento l'infaticabil vole] +[Music: Perchè non ho del vento l'infaticabil vole] During the finale of the opera, laid near the churchyard where lie the bones of _Edgar's_ ancestors, _Lucy's_ lover holds the stage. His @@ -12369,7 +12333,7 @@ equals in Italian opera. [Music: Tu che a Dio spiegasti l'ali, o bell'alma innamorata] Of the singers of former days who have been heard here as _Lucia_, -Adelina Patti interpreted the role with the least effort and the +Adelina Patti interpreted the rôle with the least effort and the greatest brilliancy. Hers was a pure flexible soprano, which seemed to flow forth spontaneously from an inexhaustible reservoir of song. Unfortunately she was heard here by many long after her day had @@ -12391,12 +12355,12 @@ doors--only to find an audience vociferously demanding an encore. Even granted that some of the excitement was "worked up," it was, nevertheless, a remarkable demonstration. -The role of _Enrico_, though, of course, of less importance than +The rôle of _Enrico_, though, of course, of less importance than _Edgardo_, can be made very effective by a baritone of the first rank. Such, for example, was Antonio Galassi, who, like Campanini, was one of Mapleson's singers. He was a tall, well-put-up man; and when, in -the sextet, at the words "E mio rosa inaridita" [Transcriber's Note: -should be 'E mio sangue, l'ho tradita'] (Of thine own blood thou'rt +the sextet, at the words "È mio rosa inaridita" [Transcriber's Note: +should be 'È mio sangue, l'ho tradita'] (Of thine own blood thou'rt the betrayer), he came forward in one stride, and projected his voice into the proceedings, it seemed as if, no matter what happened to the others, he could take the entire affair on his broad shoulders and @@ -12405,15 +12369,15 @@ carry it through to success. LA FIGLIA DEL REGGIMENTO -LA FILLE DU REGIMENT--THE DAUGHTER OF THE REGIMENT. +LA FILLE DU RÉGIMENT--THE DAUGHTER OF THE REGIMENT. Opera in two acts, by Donizetti; words by Bayard and Jules - H. Vernoy (Marquis St. Georges). Produced, Opera Comique, - Paris, as "La Fille du Regiment," February 11, 1840; Milan, + H. Vernoy (Marquis St. Georges). Produced, Opéra Comique, + Paris, as "La Fille du Régiment," February 11, 1840; Milan, October 30, 1840; London, in English, at the Surrey Theatre, December 21, 1847; the same season in Italian, with Jenny Lind. First American performance, New Orleans, March 7, - 1843. _Marie_ was a favorite role with Jenny Lind, Sontag, + 1843. _Marie_ was a favorite rôle with Jenny Lind, Sontag, Lucca, and Patti, all of whom appeared in it in New York; also Sembrich, with Charles Gilibert as _Sulpice_, Metropolitan Opera House, 1902-03; and Hempel, with Scotti @@ -12452,7 +12416,7 @@ why not? Is not the unbeaten Twenty-first Regiment of Grenadiers among them? One of them is coming now, _Sergeant Sulpice_, an old grumbler. After -him comes a pretty girl in uniform, a vivandiere--_Marie_, the +him comes a pretty girl in uniform, a vivandière--_Marie_, the daughter of the regiment, found on the field of battle when she was a mere child, and brought up by a whole regiment of fathers, the spoiled darling of the grenadiers. She sings "Apparvi alla luce, sul campo @@ -12476,7 +12440,7 @@ The _Sergeant_ puts her through a drill. Then they have a "Rataplan" duet, which may be called a repetition of _Marie's_ solo with an accompaniment of rataplans. The drum is the music that is sweetest to her; and, indeed, _Marie's_ manipulation of the drumsticks is a -feature of the role. +feature of the rôle. But for a few days _Marie_ has not been as cheerful as formerly. She has been seen with a young man. _Sulpice_ asks her about him. She @@ -12492,7 +12456,7 @@ other than her rescuer. As he wants to remain near _Marie_, he decides to become a soldier. The grenadiers celebrate his decision by drinking to his health and calling upon _Marie_ to sing the "Song of the Regiment," a dapper tune, which is about the best-known number of the -score: "Ciascun lo dice, ciascun lo sa! E il Reggimento, ch'egual non +score: "Ciascun lo dice, ciascun lo sà! È il Reggimento, ch'egual non ha." (All men confess it, @@ -12503,13 +12467,13 @@ ha." [Music: Ciascun lo dice, - Ciascun lo sa! - E il Reggimento + Ciascun lo sà! + È il Reggimento Ch'egual non ha.] There is then a love scene for _Marie_ and _Tonio_, followed by a duet -for them, "A voti cosi ardente" [Transcriber's Note: should be 'A -confession si ardente'] (No longer can I doubt it). +for them, "A voti così ardente" [Transcriber's Note: should be 'A +confession sì ardente'] (No longer can I doubt it). Afterwards the grenadiers sing a "Rataplan" chorus. @@ -12544,7 +12508,7 @@ cannot go against her mother's wishes. In the end, however, it is _Marie_ herself who saves the situation. The guests have assembled for the signing of the wedding contract, when _Marie_, before them all, sings fondly of her childhood with the -regiment, and of her life as a vivandiere, "Quando il destino, in +regiment, and of her life as a vivandière, "Quando il destino, in mezzo a strage ria" (When I was left, by all abandoned). The society people are scandalized. But the _Marquise_ is so touched @@ -12557,9 +12521,9 @@ LA FAVORITA THE FAVORITE Opera in four acts, by Donizetti; words by Alphonse Royer - and Gustave Waez [Transcriber's Note: more commonly 'Vaez'], + and Gustave Waez [Transcriber's Note: more commonly 'Vaëz'], adapted from the drama "Le Comte de Comminges," of - Baculard-Darnaud. Produced at the Grand Opera, Paris, + Baculard-Darnaud. Produced at the Grand Opéra, Paris, December 2, 1840. London, in English, 1843; in Italian, 1847. New York, Park Theatre, October 4, 1848. @@ -12582,9 +12546,9 @@ THE FAVORITE _Place_--Castile, Spain. _Leonora_, with Campanini as _Fernando_, was, for a number of seasons, -one of the principal roles of Annie Louise Cary at the Academy of +one of the principal rôles of Annie Louise Cary at the Academy of Music. Mantelli as _Leonora_, Cremonini as _Fernando_, Ancona as _King -Alfonso_, and Plancon as _Balthazar_, appeared, 1895-96, at the +Alfonso_, and Plançon as _Balthazar_, appeared, 1895-96, at the Metropolitan, where "La Favorita" [Transcriber's Note: this is the Italian title] was heard again in 1905; but the work never became a fixture, as it had been at the Academy of Music. The fact is that @@ -12592,7 +12556,7 @@ since then American audiences, the most spoiled in the world, have established an operatic convention as irrevocable as the laws of the Medes and Persians. In opera the hero must be a tenor, the heroine a true soprano. "La Favorita" fulfils the first requisite, but not the -second. The heroine is a role for contralto, or mezzo-soprano. Yet the +second. The heroine is a rôle for contralto, or mezzo-soprano. Yet the opera contains some of Donizetti's finest music, both solo and ensemble. Pity 'tis not heard more frequently. @@ -12614,7 +12578,7 @@ vergine, un angel di Dio" (A virgin, an angel of God). [Music: Una vergine, un angel di Dio] -Although this air bears no resemblance to "Celeste Aida" its flowing +Although this air bears no resemblance to "Celeste Aïda" its flowing measures and melodious beauty, combined with its position so early in the opera, recall the Verdi aria--and prepare for it the same fate--which is to be marred by the disturbance caused by late-comers @@ -12664,7 +12628,7 @@ she cannot stoop to wed him, yet expresses her love for him by seeking to advance him. This is confirmed when, on reading the scroll she has given him, he discovers that it gratifies his highest ambition and confers upon him a commission in the army. The act closes with his -martial air, "Si, che un tuo solo accento" (Oh, fame, thy voice +martial air, "Sì, che un tuo solo accento" (Oh, fame, thy voice inspiring). He sees the path to glory open up before him, and with it the hope @@ -12684,7 +12648,7 @@ the expressive air, "Vien, Leonora, a' piedi tuoi" (Come, Leonora, before the kneeling). The object of his love enters, accompanied by her confidante. The -_King_ has prepared a fete in celebration of _Ferdinand's_ victory, +_King_ has prepared a fête in celebration of _Ferdinand's_ victory, but _Leonora_, while rejoicing in the honours destined to be his, is filled with foreboding because of the illicit relations between herself and the _King_, when she truly loves another. Moreover, these @@ -12694,7 +12658,7 @@ minister has intercepted in the hand of _Inez_. The _King's_ angry questions regarding the identity of the writer are interrupted by confused sounds from without. There enters _Balthazar_, preceded by a priest bearing a scroll with the Papal seal. He faces the _King_ and -_Leonora_ while the lords and ladies, who have gathered for the fete, +_Leonora_ while the lords and ladies, who have gathered for the fête, look on in apprehension, though not wholly without knowledge of what is impending. @@ -12796,7 +12760,7 @@ nobles now making a passage for them, and saluting, while they sing We salute, and pardon crave!" Act IV. The cloisters of the Monastery of St. James. Ceremony of -_Ferdinand's_ entry into the order. "Splendon piu belle in ciel le +_Ferdinand's_ entry into the order. "Splendon più belle in ciel le stelle" (Behold the stars in splendour celestial), a distinguished solo and chorus for _Balthazar_ and the monks. @@ -12804,7 +12768,7 @@ Left alone, _Ferdinand_ gives vent to his sorrow, which still persists, in the romance, "Spirto gentil" (Spirit of Light), one of the most exquisite tenor solos in the Italian repertory. -[Music: Spirto gentil, ne' sogni miei brillasti un di, ma ti perdei] +[Music: Spirto gentil, ne' sogni miei brillasti un dì, ma ti perdei] In 1882, thirty-four years after Donizetti's death, there was produced in Rome an opera by him entitled "Il Duca d'Alba" (The Duke of Alba). @@ -12842,7 +12806,7 @@ LINDA OF CHAMOUNIX Opera, in three acts, by Donizetti; words by Rossi. Produced, May 19, 1842, Theatre near the Carinthian Gate - (Kaernthnerthor), Vienna. London, June, 1843. New York, + (Kärnthnerthor), Vienna. London, June, 1843. New York, Palma's Opera House, January 4, 1847, with Clothilda Barili; Academy of Music, March 9, 1861, with Clara Louise Kellogg, later with Patti as _Linda_ and Galassi as _Antonio_; @@ -12875,7 +12839,7 @@ praised for a style as severe and restrained as "O luce di quest'anima" is light and graceful. "Linda di Chamounix" is in three acts, entitled "The Departure," -"Paris," "The Return." The story is somewhat naive, as its exposition +"Paris," "The Return." The story is somewhat naïve, as its exposition will show. Act I. The village of Chamounix. On one side a farmhouse. On an @@ -12902,7 +12866,7 @@ seems kindness itself to the old couple. He asks for _Linda_, but she has gone to prayers in the chapel. We learn from an aside between the _Marquis_ and his _Intendant_, that the _Marquis's_ apparent benevolence is merely part of a libidinous scheme which involves -_Linda_, whose beauty has attracted the titled roue. +_Linda_, whose beauty has attracted the titled roué. After this scene, _Linda_ comes on alone and sings "O luce di quest'anima." @@ -12917,11 +12881,11 @@ I also quote the concluding phrase: [Music: Unita nostra sorte, - In ciel, in ciel sara.] + In ciel, in ciel sarà.] Savoyards are preparing to depart for Paris to go to work there. Among them is _Pierrot_, with his hurdy-gurdy. He sings a charming ballad, -"Per sua madre ando una figlia" (Once a better fortune seeking). +"Per sua madre andò una figlia" (Once a better fortune seeking). There is then a love scene between _Linda_ and _Charles_, with the effective duet, "A consolarmi affrettisi" (Oh! that the blessed day @@ -12937,7 +12901,7 @@ _Antonio_ then learns from the good _Prefect_ of the village that the latter suspects the _Marquis_ of sinister intentions toward _Linda_. Indeed at that moment _Linda_ comes in with a paper from the _Marquis_, which assures to her parents their home; but, she adds, -naively, that she has been invited by the _Marquis_ to the castle. +naïvely, that she has been invited by the _Marquis_ to the castle. Parents and _Prefect_ are alarmed for her safety. The _Prefect_ has a brother in Paris. To his protection it is decided that _Linda_ shall go with her Savoyard friends, who even now are preparing to depart. @@ -12949,7 +12913,7 @@ this instance a mistake, but one, I am sure, made by nine people out of ten of those who see the opera, since the explanation of how she got there consists merely of a few incidental lines in recitative. -_Linda_ herself, but for her incredible naivete would realize the +_Linda_ herself, but for her incredible naïveté would realize the impossibility of the situation. A voice singing in the street she recognizes as _Pierrot's_, calls him @@ -13019,7 +12983,7 @@ first act duet, "O consolarmi affrettisi," her reason returns, and it is "Ah! di tue pene sparve il sogno" (Ah! the vision of my sorrow fades). -In this drama of naivete, an artlessness which I mention again because +In this drama of naïveté, an artlessness which I mention again because I think it is not so much the music as the libretto that has become old-fashioned, even the _Marquis_ comes in for a good word. For when he too offers his congratulations, what does _Linda_ do but refer to @@ -13032,7 +12996,7 @@ DON PASQUALE Opera, in three acts, by Donizetti; words by Salvatore Cammarano, adapted from his earlier libretto, "Ser Marc'Antonio," which Stefano Pavesi had set to music in - 1813. Produced, Paris, January 4, 1843, Theatre des + 1813. Produced, Paris, January 4, 1843, Théâtre des Italiens. London, June 30, 1843. New York, March 9, 1846, in English; 1849, in Italian; revived for Bonci (with di Pasquali, Scotti, and Pini-Corsi) at the New Theatre, @@ -13062,7 +13026,7 @@ them to her. _Pasquale's_ friend, _Dr. Malatesta_, not being able to dissuade him from marriage, pretends to acquiesce in it. He proposes that his -sister shall be the bride, and describes her as a timid, naive, +sister shall be the bride, and describes her as a timid, naïve, ingenuous girl, brought up, he says, in a convent. She is, however, none other than _Norina_, the clever young widow, who is in no degree related to _Malatesta_. She quickly enters into the plot, which @@ -13082,13 +13046,13 @@ an income. Act I plays in a room in _Don Pasquale's_ house and later in a room in _Norina's_, where she is reading a romance. She is singing "Quel -guardo" (Glances so soft) and "So anch'io la virtu magica" (I, too, +guardo" (Glances so soft) and "So anch'io la virtù magica" (I, too, thy magic virtues know) in which she appears to be echoing in thought what she has been reading about in the book. [Music: - So anch'io la virtu magica + So anch'io la virtù magica D'un guardo a tempo e loco] The duet, in which she and _Malatesta_ agree upon the plot--the "duet @@ -13105,16 +13069,16 @@ considered a masterpiece. Act III is in two scenes, the first in _Don Pasquale's_ house, where everything is in confusion; the second in his garden, where _Ernesto_ -sings to _Norina_ the beautiful serenade, "Com'e gentil" (Soft beams +sings to _Norina_ the beautiful serenade, "Com'è gentil" (Soft beams the light). -[Music: Com'e gentil, la notte a mezzo April,] +[Music: Com'è gentil, la notte a mezzo April,] _Don Pasquale_, who has suspected _Norina_ of having a rendezvous in the garden, rushes out of concealment with _Malatesta_. But _Ernesto_ is quick to hide, and _Norina_ pretends no one has been with her. This is too much for _Don Pasquale_, and _Malatesta_ now makes it the -occasion for bringing about the denouement, and secures the old man's +occasion for bringing about the dénouement, and secures the old man's most willing consent to the marriage between _Ernesto_ and _Norina_. When the opera had its original production in Paris, Lablache was _Don @@ -13167,7 +13131,7 @@ later, with "Rigoletto," an amazing progress in dramatic expression and skill in ensemble work. "Il Trovatore" and "La Traviata" were other works of the period ushered in by "Rigoletto." Eighteen years later the composer, then fifty-eight years old, gave evidence of -another and even more notable advance by producing "Aida," a work +another and even more notable advance by producing "Aïda," a work which marks the beginning of a new period in Italian opera. Still not satisfied, Verdi brought forward "Otello" (1887) and "Falstaff" (1893), scores which more nearly resemble music-drama than opera. @@ -13200,7 +13164,7 @@ ERNANI Theatre, March 8, 1845; New York, 1846, at the Astor Place Theatre. Patti, at the Academy of Music, Sembrich at the Metropolitan Opera House, have been notable interpreters of - the role of _Elvira_. + the rôle of _Elvira_. CHARACTERS @@ -13367,7 +13331,7 @@ sprezzo che d'Ernani" (Words that breathe thy name Ernani). The young women go. Enter _Don Carlos_, the _King_. There is a colloquy, in which _Elvira_ protests against his presence; and then a -duet, which the _King_ begins, "Da quel di che t'ho veduta" (From the +duet, which the _King_ begins, "Da quel dì che t'ho veduta" (From the day, when first thy beauty). A secret panel opens. The _King_ is confronted by _Ernani_, and by @@ -13505,7 +13469,7 @@ that heard the work in the Teatro Fenice, went wild over "Ernani Involami" and "Sommo Carlo," has become more remote and undergone more and more changes. To turn back operatic time in its flight requires in the case of "Ernani," a soprano of unusual voice and personality -for _Elvira_, a tenor of the same qualities for the picturesque role +for _Elvira_, a tenor of the same qualities for the picturesque rôle of _Ernani_, a fine baritone for _Don Carlos_, and a sonorous basso, who doesn't look too much like a meal bag, for _Don Ruy Gomez di Silva_, Grandee of Spain. @@ -13519,7 +13483,7 @@ raised objections to its representation, and it was produced in the French capital as "Il Proscritto" (The Proscribed) with the characters changed to Italians. Victor Hugo's "Hernani" was a famous play in Sarah Bernhardt's repertoire during her early engagements in this -country. Her _Dona Sol_ (_Elvira_ in the opera) was one of her finest +country. Her _Doña Sol_ (_Elvira_ in the opera) was one of her finest achievements. On seeing the play, with her in it, I put to test Hanslick's theory. The horn was thrilling in the play. It certainly is less so in the opera. @@ -13530,9 +13494,9 @@ RIGOLETTO Opera in three acts, by Verdi; words by Francesco Maria Piave, founded on Victor Hugo's play, "Le Roi s'Amuse." Produced, Fenice Theatre, Venice, March 11, 1851; London, - Covent Garden, May 14, 1853; Paris, Theatre des Italiens, + Covent Garden, May 14, 1853; Paris, Théâtre des Italiens, January 19, 1857; New York, Academy of Music, November 4, - 1857, with Bignardi and Frezzolini. Caruso made his debut in + 1857, with Bignardi and Frezzolini. Caruso made his début in America at the Metropolitan Opera House, New York, as the _Duke_ in "Rigoletto," November 23, 1903; Galli-Curci hers, as _Gilda_, Chicago, November 18, 1916. @@ -13560,7 +13524,7 @@ RIGOLETTO "Rigoletto" is a distinguished opera. Composed in forty days in 1851, nearing three-quarters of a century of life before the footlights, it still retains its vitality. Twenty years, with all they imply in -experience and artistic growth, lie between "Rigoletto" and "Aida." +experience and artistic growth, lie between "Rigoletto" and "Aïda." Yet the earlier opera, composed so rapidly as to constitute a _tour de force_ of musical creation, seems destined to remain a close second in popularity to the more mature work of its great composer. @@ -13569,25 +13533,25 @@ There are several reasons for the public's abiding interest in "Rigoletto." It is based upon a most effective play by Victor Hugo, "Le Roi s'Amuse," known to English playgoers in Tom Taylor's adaptation as "The Fool's Revenge." The jester was one of Edwin -Booth's great roles. This role of the deformed court jester, +Booth's great rôles. This rôle of the deformed court jester, _Rigoletto_, the hunchback, not only figures in the opera, but has been vividly characterized by Verdi in his music. It is a vital, centralizing force in the opera, concentrating and holding attention, a character creation that appeals strongly both to the singer who -enacts it and to the audience who sees and hears it. The role has +enacts it and to the audience who sees and hears it. The rôle has appealed to famous artists. Ronconi (who taught singing in New York for a few years, beginning in 1867) was a notable _Rigoletto_; so was Galassi, whose intensely dramatic performance still is vividly recalled by the older opera-goers; Renaud at the Manhattan Opera House, Titta Ruffo at the Metropolitan Opera House, Philadelphia, both -made their American debuts as _Rigoletto_. +made their American débuts as _Rigoletto_. -But the opera offers other roles of distinction. Mario was a famous -_Duke_ in other days. Caruso made his sensational debut at the +But the opera offers other rôles of distinction. Mario was a famous +_Duke_ in other days. Caruso made his sensational début at the Metropolitan in the character of the volatile _Duca di Mantua_, November 23, 1903. We have had as _Gilda_ Adelina Patti, Melba, and Tetrazzini, to mention but a few; and the heroine of the opera is one -of the roles of Galli-Curci, who appeared in it in Chicago, November +of the rôles of Galli-Curci, who appeared in it in Chicago, November 18, 1916. No coloratura soprano can, so to speak, afford to be without it. @@ -13635,7 +13599,7 @@ find his own daughter, at the point of death. Act I opens in a salon in the _Duke's_ palace. A suite of other apartments is seen extending into the background. All are brilliantly -lighted for the fete that is in progress. Courtiers and ladies are +lighted for the fête that is in progress. Courtiers and ladies are moving about in all directions. Pages are passing to and fro. From an adjoining salon music is heard and bursts of merriment. @@ -13765,16 +13729,16 @@ retire and, throwing himself at _Gilda's_ feet, takes the words out of her mouth by exclaiming, "I love thee!" No doubt taken by surprise, yet also thrilled with joy, she hearkens -to him rapturously as he declares, "E il sol dell'anima, la vita e +to him rapturously as he declares, "È il sol dell'anima, la vita è amore" (Love is the sun by which passion is kindled). -[Music: E il sol dell'anima, la vita e amore,] +[Music: È il sol dell'anima, la vita è amore,] The meeting is brief, for again there are footsteps outside. But their farewell is an impassioned duet, "Addio speranza ed anima" (Farewell, my hope, my soul, farewell). -He has told her that he is a student, by name Walter Malde. When he +He has told her that he is a student, by name Walter Maldè. When he has gone, she muses upon the name, and, when she has lighted a candle and is ascending the steps to her room, she sings the enchanting coloratura air, "Caro nome che il mio cor" (Dear name, my heart @@ -13789,7 +13753,7 @@ If the _Gilda_ be reasonably slender and pretty, the scene, with the courtyard, the steps leading up to the room, and the young maiden gracefully and tenderly expressing her heart's first romance, is charming, and in itself sufficient to account for the attraction which -the role holds for prima donnas. +the rôle holds for prima donnas. Tiptoeing through the darkness outside come _Marullo_, _Ceprano_, _Borsa_, and other nobles and courtiers, intent upon seeking revenge @@ -13851,7 +13815,7 @@ make this scene one of the most significant in his operas. It is dominated by an orchestral motive, that of the clown who jests while his heart is breaking. -[Music: La ra, la ra, la la, la ra, la ra, la ra, la ra etc.] +[Music: La rà, la rà, la la, la rà, la rà, la rà, la rà etc.] Finally he turns upon the crowd that taunts him, hurls invective upon them; and, when a door opens and _Gilda_, whose story can be read in @@ -13913,12 +13877,12 @@ prove to her the faithlessness of the _Duke_. She sees him in the garb of a soldier coming along the city wall. He descends, enters the inn, and calls for wine and a room for the night. Shuffling a pack of cards, which he finds on the table, and pouring out the wine, he sings -of woman. This is the famous "La donna e mobile" (Fickle is woman +of woman. This is the famous "La donna è mobile" (Fickle is woman fair). [Music: - La donna e mobile + La donna è mobile Qual piuma al vento,] It has been highly praised and violently criticized; and usually gets @@ -13929,9 +13893,9 @@ Trovatore." The song is perfectly in keeping with the _Duke's_ character. It has grace, verve, and buoyancy; and, what is an essential point in the development of the action from this point on, it is easily remembered. In any event I am glad that among my operatic -experiences I can count having heard "La donna e mobile" sung by such +experiences I can count having heard "La donna è mobile" sung by such great artists as Campanini, Caruso, and Bonci, the last two upon their -first appearances in the role in this country. +first appearances in the rôle in this country. At a signal from _Sparafucile_, _Maddalena_ joins the _Duke_. He presses his love upon her. With professional coyness she pretends to @@ -13966,13 +13930,13 @@ through the syncopation of the rhythm. Rising to a beautiful and highly dramatic climax, the quartet ends pianissimo. -This quartet usually is sung as the piece de resistance of the opera, +This quartet usually is sung as the pièce de résistance of the opera, and is supposed to be the great event of the performance. I cannot recall a representation of the work with Nilsson and Campanini in which this was not the case, and it was so at the Manhattan when "Rigoletto" was sung there by Melba and Bonci. But at the Metropolitan, since Caruso's advent, "Rigoletto" has become a "Caruso -opera," and the stress is laid on "La donna e mobile," for which +opera," and the stress is laid on "La donna è mobile," for which numerous encores are demanded, while with the quartet, the encore is deliberately side-stepped--a most interesting process for the initiated to watch. @@ -13999,10 +13963,10 @@ she is to don male attire and start on the way to Verona, where he will join her. He himself also goes out. A storm now gathers. There are flashes of lightning; distant rumblings -of thunder. The wind moans. (Indicated by the chorus, _a bouche -fermee_, behind the scenes.) The _Duke_ has gone to his room, after +of thunder. The wind moans. (Indicated by the chorus, _à bouche +fermée_, behind the scenes.) The _Duke_ has gone to his room, after whispering a few words to _Maddalena_. He lays down his hat and sword, -throws himself on the bed, sings a few snatches of "La donna e +throws himself on the bed, sings a few snatches of "La donna è mobile," and in a short time falls asleep. _Maddalena_, below, stands by the table. _Sparafucile_ finishes the contents of the bottle left by the _Duke_. Both remain silent for awhile. @@ -14043,7 +14007,7 @@ figure of a man and proceeds along the wall toward the city. _Rigoletto_ starts to drag the sack with the body toward the stream. Lightly upon the night fall the notes of a familiar voice singing: - La donna e mobile + La donna è mobile Qual piuma al vento; Muta d'accento, E di pensiero. @@ -14056,7 +14020,7 @@ Lightly upon the night fall the notes of a familiar voice singing: It is the _Duke_. Furiously the hunchback tears open the sack. In it he beholds his daughter. Not yet quite dead, she is able to whisper, "Too much I loved him--now I die for him." There is a duet: _Gilda_, -"Lassu in cielo" (From yonder sky); _Rigoletto_, "Non morir" (Ah, +"Lassù in cielo" (From yonder sky); _Rigoletto_, "Non morir" (Ah, perish not). "Maledizione!"--The music of _Monterone's_ curse upon the ribald @@ -14066,13 +14030,13 @@ resounds on the orchestra. The fool has had his revenge. For political reasons the performance of Victor Hugo's "Le Roi s'Amuse" was forbidden in France after the first representation. In Hugo's play the principal character is Triboulet, the jester of -Francois I. The King, of course, also is a leading character; and +François I. The King, of course, also is a leading character; and there is a pen-portrait of Saint-Vallier. It was considered unsafe, after the revolutionary uprisings in Europe in 1848, to present on the stage so licentious a story involving a monarch. Therefore, to avoid political complications, and copyright ones possibly later, the Italian librettist laid the scene in Mantua. _Triboulet_ became -_Rigoletto_; _Francois I._ the _Duke_, and _Saint-Vallier_ the _Count +_Rigoletto_; _François I._ the _Duke_, and _Saint-Vallier_ the _Count Monterone_. Early in its career the opera also was given under the title of "Viscardello." @@ -14084,8 +14048,8 @@ THE TROUBADOUR Opera in four acts, by Verdi; words by Salvatore Cammarano, based on the Spanish drama of the same title by Antonio Garcia Gutierrez. Produced, Apollo Theatre, Rome, January - 19, 1853. Paris, Theatre des Italiens, December 23, 1854; - Grand Opera, in French as "Le Trouvere," January 12, 1857. + 19, 1853. Paris, Théâtre des Italiens, December 23, 1854; + Grand Opéra, in French as "Le Trouvère," January 12, 1857. London, Covent Garden, May 17, 1855; in English, as "The Gypsy's Vengeance," Drury Lane, March 24, 1856. America: New York, April 30, 1855, with Brignoli (_Manrico_), Steffanone @@ -14443,7 +14407,7 @@ fifty-eight feet long, the record is evidence of its being superbly taken and held. Not infrequently the high C in "Di quella pira" is faked for tenors -who cannot reach it, yet have to sing the role of _Manrico_, or who, +who cannot reach it, yet have to sing the rôle of _Manrico_, or who, having been able to reach it in their younger days and at the height of their prime, still wish to maintain their fame as robust tenors. For such the number is transposed. The tenor, instead of singing high @@ -14499,7 +14463,7 @@ Then _Manrico's_ voice in the tower intones "Ah! che la morte ognora" [Music] One of the most characteristic phrases, suggestions of which occur -also in "La Traviata" and even in "Aida," is the following: +also in "La Traviata" and even in "Aïda," is the following: [Music: a chi desia, a chi desia morir!] @@ -14555,27 +14519,27 @@ LA TRAVIATA THE FRAIL ONE Opera in three acts by Verdi; words by Francesco Maria - Piave, after the play "La Dame aux Camelias," by Alexandre + Piave, after the play "La Dame aux Camélias," by Alexandre Dumas, _fils_. Produced Fenice Theatre, Venice, March 6, 1853. London, May 24, 1856, with Piccolomini. Paris, in French, December 6, 1856; in Italian, October 27, 1864, with Christine Nilsson. New York, Academy of Music, December 3, 1856, with La Grange (_Violetta_), Brignoli (_Alfredo_), and - Amodio (_Germont, pere_). Nilsson, Patti, Melba, Sembrich + Amodio (_Germont, père_). Nilsson, Patti, Melba, Sembrich and Tetrazzini have been among famous interpreters of the - role of _Violetta_ in America. Galli-Curci first sang + rôle of _Violetta_ in America. Galli-Curci first sang _Violetta_ in this country in Chicago, December 1, 1916. CHARACTERS ALFREDO GERMONT, lover of VIOLETTA _Tenor_ GIORGIO GERMONT, his father _Baritone_ - GASTONE DE LETORIERES _Tenor_ + GASTONE DE LETORIÈRES _Tenor_ BARON DOUPHOL, a rival of ALFREDO _Bass_ MARQUIS D'OBIGNY _Bass_ DOCTOR GRENVIL _Bass_ GIUSEPPE, servant to VIOLETTA _Tenor_ - VIOLETTA VALERY, a courtesan _Soprano_ + VIOLETTA VALÉRY, a courtesan _Soprano_ FLORA BERVOIX, her friend _Mezzo-Soprano_ ANNINA, confidante of VIOLETTA _Soprano_ @@ -14594,7 +14558,7 @@ Galli-Curci as Violetta in "La Traviata"] At its production in Venice in 1853 "La Traviata" was a failure, for which various reasons can be advanced. The younger Dumas's play, "La -Dame aux Camelias," familiar to English playgoers under the incorrect +Dame aux Camélias," familiar to English playgoers under the incorrect title of "Camille," is a study of modern life and played in modern costume. When Piave reduced his "Traviata" libretto from the play, he retained the modern period. This is said to have nonplussed an @@ -14605,7 +14569,7 @@ _Violetta_, was inordinately stout. The result was that the scene of her death as a consumptive was received with derision. Varesi, the baritone, who sang _Giorgio Germont_, who does not appear until the second act, and is of no importance save in that part of the opera, -considered the role beneath his reputation--notwithstanding +considered the rôle beneath his reputation--notwithstanding _Germont's_ beautiful solo, "Di Provenza"--and was none too cheerful over it. There is evidence in Verdi's correspondence that the composer had complete confidence in the merits of his score, and attributed its @@ -14620,7 +14584,7 @@ matter of costume is so much a go-as-you-please affair for the principals, as it is in "La Traviata." I do not recall if Christine Nilsson dressed _Violetta_ according to the Louis XIV. period, or not; but certainly Adelina Patti and Marcella Sembrich, both of whom I -heard many times in the role (and each of them the first time they +heard many times in the rôle (and each of them the first time they sang it here) wore the conventional evening gown of modern times. To do this has become entirely permissible for prima donnas in this character. Meanwhile the _Alfredo_ may dress according to the Louis @@ -14628,7 +14592,7 @@ XIV. period, or wear the swallow-tail costume of today, or compromise, as some do, and wear the swallow-tail coat and modern waistcoat with knee-breeches and black silk stockings. As if even this diversity were not yet quite enough, the most notable _Germont_ of recent years, -Renaud, who, at the Manhattan Opera House, sang the role with the most +Renaud, who, at the Manhattan Opera House, sang the rôle with the most exquisite refinement, giving a portrayal as finished as a genre painting by Meissonnier, wore the costume of a gentleman of Provence of, perhaps, the middle of the last century. But, as I have hinted @@ -14668,11 +14632,11 @@ remained behind. She asks him why he has not joined the others. He protests his love for her. At first taking his words in banter, she becomes more serious, as she begins to realize the depth of his affection for her. How long has he loved her? A year, he answers. "Un -di felice, eterea" (One day a rapture ethereal), he sings. +dì felice, eterea" (One day a rapture ethereal), he sings. -In this the words, "Di quell'amor ch'e palpito" (Ah, 'tis with love +In this the words, "Di quell'amor ch'è palpito" (Ah, 'tis with love that palpitates) are set to a phrase which _Violetta_ repeats in the -famous "Ah, fors'e lui," just as she has previously repeated the +famous "Ah, fors'è lui," just as she has previously repeated the drinking song. Verdi thus seems to intend to indicate in his score the effect upon @@ -14682,9 +14646,9 @@ which she is the object. It is when _Alfred_ and the other guests have retired that _Violetta_, lost in contemplation, her heart touched for the first time, sings "Ah -fors'e lui che l'anima" (For him, perchance, my longing soul). +fors'è lui che l'anima" (For him, perchance, my longing soul). -[Music: Ah, fors'e lui che l'anima solinga ne' tumulti, solinga ne' +[Music: Ah, fors'è lui che l'anima solinga ne' tumulti, solinga ne' tumulti] Then she repeats, in the nature of a refrain, the measures already @@ -14740,7 +14704,7 @@ Should the scandal of _Alfred's_ liaison with _Violetta_ continue, the family of a youth, whom the daughter is to marry, threaten to break off the alliance. Therefore it is not only on behalf of his son, it is also for the future of his daughter, that the elder _Germont_ pleads. -As in the play, so in the opera, the reason why the role of the +As in the play, so in the opera, the reason why the rôle of the heroine so strongly appeals to us is that she makes the sacrifice demanded of her--though she is aware that among other unhappy consequences to her, it will aggravate the disease of which she is a @@ -14749,7 +14713,7 @@ She cannot yield at once. She prays, as it were, for mercy: "Non sapete" (Ah, you know not). Finally she yields: "Dite alla giovine" (Say to thy daughter); then -"Imponete" (Now command me); and, after that, "Morro--la mia memoria" +"Imponete" (Now command me); and, after that, "Morrò--la mia memoria" (I shall die--but may my memory). _Germont_ retires. _Violetta_ writes a note, rings for _Annina_, and @@ -14770,7 +14734,7 @@ realizes the import, and would collapse, but that his father, who has quietly entered from the garden, holds out his arms, in which the youth, believing himself betrayed by the woman he loves, finds refuge. -"Di Provenza il mar, il suol chi dal cor ti cancello" (From fair +"Di Provenza il mar, il suol chi dal cor ti cancellò" (From fair Provence's sea and soil, who hath won thy heart away), sings the elder _Germont_, in an effort to soften the blow that has fallen upon his son. @@ -14781,18 +14745,18 @@ _Alfred_ rouses himself. Looking about vaguely, he sees _Flora's_ letter, glances at the contents, and at once concludes that _Violetta's_ first plunge into the vortex of gayety, to return to which she has, as he supposes, abandoned him, will be at _Flora's_ -fete. +fête. "Thither will I hasten, and avenge myself!" he exclaims, and departs precipitately, followed by his father. The scene changes to a richly furnished and brilliantly lighted salon -in _Flora's_ palace. The fete is in full swing. There is a ballet of +in _Flora's_ palace. The fête is in full swing. There is a ballet of women gypsies, who sing as they dance "Noi siamo zingarelle" (We're gypsies gay and youthful). _Gaston_ and his friends appear as matadors and others as picadors. -_Gaston_ sings, while the others dance, "E Piquillo, un bel gagliardo" +_Gaston_ sings, while the others dance, "È Piquillo, un bel gagliardo" ('Twas Piquillo, so young and so daring). It is a lively scene, upon which there enters _Alfred_, to be followed @@ -14875,7 +14839,7 @@ lasceremo" (We shall fly from Paris, beloved), they sing. [Music: Parigi, o cara, noi lasceremo] But it is too late. The hand of death is upon the woman's brow. "Gran -Dio! morir si giovine" (O, God! to die so young). +Dio! morir sì giovine" (O, God! to die so young). The elder _Germont_ and _Dr. Grenvil_ have come in. There is nothing to be done. The cough that racked the poor frail body has ceased. _La @@ -14883,7 +14847,7 @@ traviata_ is dead. Not only were "Il Trovatore" and "La Traviata" produced in the same year, but "La Traviata" was written between the date of "Trovatore's" -premiere at Rome (January 19th) and March 6th. Only four weeks in all +première at Rome (January 19th) and March 6th. Only four weeks in all are said to have been devoted to it, and part of the time Verdi was working on "Trovatore" as well. Nothing could better illustrate the fecundity of his genius, the facility with which he composed. But it @@ -14908,8 +14872,8 @@ believe that today the advantage lies with "La Traviata," and that, as between the two, there belongs to that opera the ultimate chance of survival. I explain this on the ground that, in "Il Trovatore" the hero and heroine are purely musical creations, the real character -drawing, dramatically and musically, being in the role of _Azucena_, -which, while a principal role, has not the prominence of _Leonora_ or +drawing, dramatically and musically, being in the rôle of _Azucena_, +which, while a principal rôle, has not the prominence of _Leonora_ or _Manrico_. In "La Traviata," on the other hand, we have in the original of _Violetta_--the _Marguerite Gauthier_ of Alexandre Dumas, _fils_--one of the great creations of modern drama, the frail woman @@ -14939,12 +14903,12 @@ THE MASKED BALL Opera in three acts, by Verdi; words by Somma, based on Scribe's libretto for Auber's opera, "Gustave III., ou Le - Bal Masque" (Gustavus III., or the Masked Ball). Produced, - Apollo Theatre, Rome, February 17, 1859. Paris, Theatre des + Bal Masqué" (Gustavus III., or the Masked Ball). Produced, + Apollo Theatre, Rome, February 17, 1859. Paris, Théâtre des Italiens, January 13, 1861. London, June 15, 1861. New York, February 11, 1861. Revivals, Metropolitan Opera House, N.Y., with Jean de Reszke, 1903; with Caruso, Eames, Homer, - Scotti, Plancon, and Journet, February 6, 1905; with Caruso, + Scotti, Plançon, and Journet, February 6, 1905; with Caruso, Destinn, Matzenauer, Hempel, and Amato, November 22, 1913. CHARACTERS @@ -14989,7 +14953,7 @@ this no longer exist, it is usually played with the scene laid in Naples. Auber produced, in 1833, an opera on a libretto by Scribe, entitled -"Gustave III., ou Le Bal Masque." Upon this Scribe libretto the book +"Gustave III., ou Le Bal Masqué." Upon this Scribe libretto the book of "Un Ballo in Maschera" is based. Verdi's opera was originally called "Gustavo III.," and, like the Scribe-Auber work, was written around the assassination of Gustavus III., of Sweden, who, March 16, @@ -15029,7 +14993,7 @@ lace. He would never have been satisfied with the title of Earl of Warwick and the office of governor. He preferred to be a grandee of Spain, to call himself the Duke of Olivares, and to disguise himself as a Neapolitan fisherman, besides paying little attention to the -strict accuracy of the role, but rather adapting it to his own gifts +strict accuracy of the rôle, but rather adapting it to his own gifts as an artist." The ballad referred to in this quotation undoubtedly is _Richard's_ barcarolle, "Di' tu se fedele il flutto m'aspetta" (Declare if the waves will faithfully bear me). @@ -15121,10 +15085,10 @@ Although the opera is a subject of only occasional revival, it contains a considerable amount of good music and a quintet of exceptional quality. -Early in the first act comes _Richard's_ solo, "La rivedra +Early in the first act comes _Richard's_ solo, "La rivedrà nell'estasi" (I shall again her face behold). -[Music: La rivedra nell'estasi] +[Music: La rivedrà nell'estasi] This is followed by the faithful _Reinhart's_ "Alla vita che t'arride" (To thy life with joy abounding), with horn solo. @@ -15144,7 +15108,7 @@ flutto m'aspetta" (Declare if the waves will faithfully bear me). [Music: Di' tu se fedele il flutto m'aspetta,] The quintet begins with _Richard's_ laughing disbelief in _Ulrica's_ -prophecy regarding himself, "E scherzo od e follia" ('Tis an idle +prophecy regarding himself, "È scherzo od è follia" ('Tis an idle folly). Concluding the scene is the chorus, in which, after the people have @@ -15165,7 +15129,7 @@ _Tom_. In the last act is _Amelia's_ touching supplication to her husband, in which "The weeping of the violoncello and the veiled key of E-flat minor stretch to the last limits of grief this prayer of the wife and -mother,"--"Morro, ma prima in grazia" (I die, but first in mercy). +mother,"--"Morrò, ma prima in grazia" (I die, but first in mercy). "O dolcezze perdute!" (O delights now lost for ever) sings her husband, in a musical inspiration prefaced by harp and flute. @@ -15184,7 +15148,7 @@ catastrophe. BEFORE AND AFTER "UN BALLO" -Prior to proceeding to a consideration of "Aida," I will refer briefly +Prior to proceeding to a consideration of "Aïda," I will refer briefly to certain works by Verdi, which, although not requiring a complete account of story and music, should not be omitted from a book on opera. @@ -15265,18 +15229,18 @@ parents. The principal musical numbers include _Luisa's_ graceful and brilliant solo in the first act--"Lo vidi, e'l primo palpito" (I saw him and my beating heart). Besides there is _Old Miller's_ air, "Sacra -la scelta e d'un consorte" (Firm are the links that are forged at the +la scelta è d'un consorte" (Firm are the links that are forged at the altar), a broad and beautiful melody, which, were the opera better known, would be included in most of the operatic anthologies for bass. There also should be mentioned _Luisa's_ air in the last act, "La -tomba e un letto sparso di fiori" (The tomb a couch is, covered with +tomba è un letto sparso di fiori" (The tomb a couch is, covered with roses). * * * * * "I Vespri Siciliani" (The Sicilian Vespers) had its first performance -at the Grand Opera, Paris, under the French title, "Les Vepres +at the Grand Opéra, Paris, under the French title, "Les Vêpres Siciliennes," June 13, 1855. It was given at La Scala, Milan, 1856; London, Drury Lane, 1859; New York, Academy of Music, November 7, 1859; and revived there November, 1868. The work also has been @@ -15284,13 +15248,13 @@ presented under the title of "Giovanna di Guzman." The libretto is by Scribe and deals with the massacre of the French invaders of Sicily, at vespers, on Easter Monday, 1282. The principal characters are _Guy de Montford_, French Viceroy, _baritone_; _Arrigo_, a Sicilian -officer, _tenor_; _Duchess Helene_, a prisoner, _soprano_; _Giovanni +officer, _tenor_; _Duchess Hélène_, a prisoner, _soprano_; _Giovanni di Procida_, a native conspirator, _bass_. _Arrigo_, who afterwards is discovered to be the brutal _Guy de Montford's_ son, is in love with -_Helene_. The plot turns upon his efforts to rescue her. +_Hélène_. The plot turns upon his efforts to rescue her. There is one famous number in the "The Sicilian Vespers." This is the -"Bolero," sung by _Helene_--"Merce, dilette amiche" (My thanks, +"Bolero," sung by _Hélène_--"Mercé, dilette amiche" (My thanks, beloved companions). * * * * * @@ -15331,17 +15295,17 @@ The "Madre pietosa" also is utilized as a theme in the overture. * * * * * -"Don Carlos," produced at the Grand Opera, Paris, March 11, 1867, +"Don Carlos," produced at the Grand Opéra, Paris, March 11, 1867, during the Universal Exposition, was the last opera composed by Verdi -before he took the musical world by storm with "Aida." The work is in -four acts, the libretto, by Mery and du Locle, having been reduced +before he took the musical world by storm with "Aïda." The work is in +four acts, the libretto, by Méry and du Locle, having been reduced from Schiller's tragedy of the same title as the opera. The characters are _Philip II._, of Spain, _bass_; _Don Carlos_, his son, _tenor_; _Rodrigo, Marquis de Posa_, _baritone_; _Grand Inquisitor_, _bass_; _Elizabeth de Valois_, Queen of _Philip II._, and stepmother of _Don Carlos_, _soprano_; _Princess Eboli_, _soprano_. In -the original production the fine role of _Rodrigo_ was taken by Faure. +the original production the fine rôle of _Rodrigo_ was taken by Faure. _Don Carlos_ and _Elizabeth de Valois_ have been in love with each other, but for reasons of state _Elizabeth_ has been obliged to marry @@ -15365,19 +15329,19 @@ him to the Inquisition to be put to death. "La Forza del Destino" and "Don Carlos" lie between Verdi's middle period, ranging from "Luisa Miller" to "Un Ballo in Maschera" and including "Rigoletto," "Il Trovatore," and "La Traviata," and his -final period, which began with "Aida." It can be said that in "La +final period, which began with "Aïda." It can be said that in "La Forza" and "Don Carlos" Verdi had absorbed considerable of Meyerbeer -and Gounod, while in "Aida," in addition to these, he had assimilated +and Gounod, while in "Aïda," in addition to these, he had assimilated as much of Wagner as is good for an Italian. The enrichment of the -orchestration in the two immediate predecessors of "Aida" is apparent, +orchestration in the two immediate predecessors of "Aïda" is apparent, but not so much so as in that masterpiece of operatic composition. He -produced in "Aida" a far more finished score than in "La Forza" or +produced in "Aïda" a far more finished score than in "La Forza" or "Don Carlos," sought and obtained many exquisite instrumental effects, but always remained true to the Italian principle of the supremacy of melody in the voice. -AIDA +AÏDA Grand opera in four acts by Giuseppe Verdi. Plot by Mariette Bey. Written in French prose by Camille du Locle. Translated @@ -15385,16 +15349,16 @@ AIDA Produced in Cairo, Egypt, December 24, 1871; La Scala, Milan, under the composer's direction, February 8, 1872; - Theatre Italien, Paris, April 22, 1876; Covent Garden, + Théâtre Italien, Paris, April 22, 1876; Covent Garden, London, June 22, 1876; Academy of Music, New York, November - 26, 1873; Grand Opera, Paris, March 22, 1880; Metropolitan + 26, 1873; Grand Opéra, Paris, March 22, 1880; Metropolitan Opera House, with Caruso, 1904. CHARACTERS - AIDA, an Ethiopian slave _Soprano_ + AÏDA, an Ethiopian slave _Soprano_ AMNERIS, daughter of the King of Egypt _Contralto_ - AMONASRO, King of Ethiopia, father of Aida _Baritone_ + AMONASRO, King of Ethiopia, father of Aïda _Baritone_ RHADAMES, captain of the Guard _Tenor_ RAMPHIS, High Priest _Bass_ KING OF EGYPT _Bass_ @@ -15407,7 +15371,7 @@ AIDA _Place_--Memphis and Thebes. -"Aida" was commissioned by Ismail Pacha, Khedive of Egypt, for the +"Aïda" was commissioned by Ismail Pacha, Khedive of Egypt, for the Italian Theatre in Cairo, which opened in November, 1869. The opera was produced there December 24, 1871; not at the opening of the house, as sometimes is erroneously stated. Its success was sensational. @@ -15415,10 +15379,10 @@ as sometimes is erroneously stated. Its success was sensational. Equally enthusiastic was its reception when brought out at La Scala, Milan, February 7, 1872, under the direction of Verdi himself, who was recalled thirty-two times and presented with an ivory baton and -diamond star with the name of Aida in rubies and his own in other +diamond star with the name of Aïda in rubies and his own in other precious stones. -It is an interesting fact that "Aida" reached New York before it did +It is an interesting fact that "Aïda" reached New York before it did any of the great European opera houses save La Scala. It was produced at the Academy of Music under the direction of Max Strakosch, November 26, 1873. I am glad to have heard that performance and several other @@ -15427,35 +15391,35 @@ gave a representation that for brilliancy has not been surpassed if, indeed, it has been equalled. In support of this statement it is only necessary to say that Italo Campanini was _Rhadames_, Victor Maurel _Amonasro_, and Annie Louise Cary _Amneris_. No greater artists have -appeared in these roles in this country. Mlle. Torriani, the _Aida_, +appeared in these rôles in this country. Mlle. Torriani, the _Aïda_, while not so distinguished, was entirely adequate. Nannetti as _Ramphis_, the high priest, Scolara as the _King_, and Boy as the _Messenger_, completed the cast. I recall some of the early comment on the opera. It was said to be -Wagnerian. In point of fact "Aida" is Wagnerian only as compared with +Wagnerian. In point of fact "Aïda" is Wagnerian only as compared with Verdi's earlier operas. Compared with Wagner himself, it is Verdian--purely Italian. It was said that the fine melody for the trumpets on the stage in the pageant scene was plagiarized from a -theme in the Coronation March of Meyerbeer's "Prophete." Slightly +theme in the Coronation March of Meyerbeer's "Prophète." Slightly reminiscent the passage is, and, of course, stylistically the entire scene is on Meyerbeerian lines; but these resemblances no longer are of importance. -Paris failed to hear "Aida" until April, 1876, and then at the Theatre -Italien, instead of at the Grand Opera, where it was not heard until -March, 1880, when Maurel was the _Amonasro_ and Edouard de Reszke, +Paris failed to hear "Aïda" until April, 1876, and then at the Théâtre +Italien, instead of at the Grand Opéra, where it was not heard until +March, 1880, when Maurel was the _Amonasro_ and Édouard de Reszke, later a favourite basso at the Metropolitan Opera House, the _King_. -In 1855 Verdi's opera, "Les Vepres Siciliennes" (The Sicilian Vespers) -had been produced at the Grand Opera and occurrences at the rehearsals +In 1855 Verdi's opera, "Les Vêpres Siciliennes" (The Sicilian Vespers) +had been produced at the Grand Opéra and occurrences at the rehearsals had greatly angered the composer. The orchestra clearly showed a disinclination to follow the composer's minute directions regarding the manner in which he wished his work interpreted. When, after a conversation with the chef d'orchestre, the only result was plainly an attempt to annoy him, he put on his hat, left the theatre, and did not -return. In 1867 his "Don Carlos" met only with a _succes d'estime_ at -the Opera. He had not forgotten these circumstances, when the Opera -wanted to give "Aida." He withheld permission until 1880. But when at +return. In 1867 his "Don Carlos" met only with a _succès d'estime_ at +the Opéra. He had not forgotten these circumstances, when the Opéra +wanted to give "Aïda." He withheld permission until 1880. But when at last this was given, he assisted at the production, and the public authorities vied in atoning for the slights put upon him so many years before. The President of France gave a banquet in his honour and he @@ -15465,29 +15429,29 @@ Honour. When the Khedive asked Verdi to compose a new opera especially for the new opera house at Cairo, and inquired what the composer's terms would be, Verdi demanded $20,000. This was agreed upon and he was then given -the subject he was to treat, "Aida," which had been suggested to the +the subject he was to treat, "Aïda," which had been suggested to the Khedive by Mariette Bey, the great French Egyptologist. The composer received the rough draft of the story. From this Camille du Locle, a -former director of the Opera Comique, who happened to be visiting +former director of the Opéra Comique, who happened to be visiting Verdi at Busseto, wrote a libretto in French prose, "scene by scene, sentence by sentence," as he has said, adding that the composer showed the liveliest interest in the work and himself suggested the double scene in the finale of the opera. The French prose libretto was translated into Italian verse by Antonio Ghislanzoni, who wrote more -than sixty opera librettos, "Aida" being the most famous. Mariette Bey +than sixty opera librettos, "Aïda" being the most famous. Mariette Bey brought his archeological knowledge to bear upon the production. "He revived Egyptian life of the time of the Pharaohs; he rebuilt ancient Thebes, Memphis, the Temple of Phtah; he designed the costumes and arranged the scenery. And under these exceptional circumstances, Verdi's new opera was produced." -Verdi's score was ready a year before the work had its premiere. The +Verdi's score was ready a year before the work had its première. The production was delayed by force of circumstances. Scenery and costumes were made by French artists. Before these accessories could be shipped to Cairo, the Franco-Prussian war broke out. They could not be gotten out of Paris. Their delivery was delayed accordingly. -Does the score of "Aida" owe any of its charm, passion, and dramatic +Does the score of "Aïda" owe any of its charm, passion, and dramatic stress to the opportunity thus afforded Verdi of going over it and carefully revising it, after he had considered it finished? Quite possibly. For we know that he made changes, eliminating, for instance, @@ -15514,37 +15478,37 @@ the sacred city itself is threatened. [Illustration: Copyright photo by Dupont -Emma Eames as Aida] +Emma Eames as Aïda] [Illustration: Copyright photo by Dupont -Saleza as Rhadames in "Aida"] +Saléza as Rhadames in "Aïda"] While the priests are sacrificing to Isis in order to learn from the goddess whom she advises them to choose as leader of the Egyptian forces, _Rhadames_, a young warrior, indulges in the hope that he may be the choice. To this hope he joins the further one that, -returning victorious, he may ask the hand in marriage of _Aida_, an +returning victorious, he may ask the hand in marriage of _Aïda_, an Ethiopian slave of the Egyptian King's daughter, _Amneris_. To these -aspirations he gives expression in the romance, "Celeste Aida" -(Radiant Aida). +aspirations he gives expression in the romance, "Celeste Aïda" +(Radiant Aïda). -[Music: Celeste Aida] +[Music: Celeste Aïda] It ends effectively with the following phrase: [Music: un trono vicino al sol, un trono vicino al sol] -He little knows that _Aida_ is of royal birth or that _Amneris_ +He little knows that _Aïda_ is of royal birth or that _Amneris_ herself, the Princess Royal, is in love with him and, having noted the -glances he has cast upon _Aida_, is fiercely jealous of her--a +glances he has cast upon _Aïda_, is fiercely jealous of her--a jealousy that forms the mainspring of the story and leads to its -tragic denouement. +tragic dénouement. A premonition of the emotional forces at work in the plot is given in the "Vieni, O diletta" (Come dearest friend), beginning as a duet -between _Amneris_ and _Aida_ and later becoming a trio for them and -_Rhadames_. In this the _Princess_ feigns friendship for _Aida_, but, +between _Amneris_ and _Aïda_ and later becoming a trio for them and +_Rhadames_. In this the _Princess_ feigns friendship for _Aïda_, but, in asides, discloses her jealous hatred of her. Meanwhile the Egyptian hosts have gathered before the temple. There @@ -15555,11 +15519,11 @@ moment in his career, places the royal standard in his hands. But amid the acclaims that follow, as _Rhadames_, to the strains of march and chorus, is conducted by the priests to the temple of Phtah to be invested with the consecrated armour, _Amneris_ notes the fiery look -he casts upon _Aida_. Is this the reason _Rhadames_, young, handsome, +he casts upon _Aïda_. Is this the reason _Rhadames_, young, handsome, brave, has failed to respond to her own guarded advances? Is she, a princess, to find a successful rival in her own slave? -Meanwhile _Aida_ herself is torn by conflicting emotions. She loves +Meanwhile _Aïda_ herself is torn by conflicting emotions. She loves _Rhadames_. When the multitude shouts "Return victorious!" she joins in the acclamation. Yet it is against her own people he is going to give battle, and the Ethiopians are led by their king, _Amonasro_, her @@ -15569,7 +15533,7 @@ her father has so swiftly rallied his army and invaded Egypt in a desperate effort to rescue her, facts which for obvious reasons she carefully has concealed from her captors. -It is easy to imagine _Aida's_ agonized feelings since _Rhadames_ has +It is easy to imagine _Aïda's_ agonized feelings since _Rhadames_ has been chosen head of the Egyptian army. If she prays to her gods for the triumph of the Ethiopian arms, she is betraying her lover. If she asks the gods of victory to smile upon _Rhadames_, she is a traitress @@ -15581,18 +15545,18 @@ wretched state: of father, lover, I can neither utter nor remember. For the one--for the other--I would weep, I would pray!" -This scene for _Aida_, beginning "Ritorna vincitor" (Return +This scene for _Aïda_, beginning "Ritorna vincitor" (Return victorious), in which she echoes the acclamation of the martial chorus immediately preceding, is one of the very fine passages of the score. The lines to which it is set also have been highly praised. They furnished the composer with opportunity, of which he made full use, to express conflicting emotions in music of dramatic force and, in its -concluding passage, "Numi pieta" (Pity, kind heaven), of great +concluding passage, "Numi pietà" (Pity, kind heaven), of great beauty. [Music: - Numi pieta + Numi pietà Del mio soffrir! Speme non v'ha pel mio dolor.] @@ -15622,7 +15586,7 @@ fascinating, is due to his employment of certain intervals peculiar to the music of Eastern people. The interval, which, falling upon Western ears, gives an Oriental clang to the scale, consists of three semi-tones. In the very Eastern sounding themes in the temple scenes -in "Aida," these intervals are G to F-flat, and D to C-flat. +in "Aïda," these intervals are G to F-flat, and D to C-flat. The sacred chant, @@ -15646,11 +15610,11 @@ dance. Act II. Scene 1. In this scene, which takes place in a hall in the apartments of _Amneris_, the Princess adopts strategy to discover if -_Aida_ returns the passion which she suspects in _Rhadames_. +_Aïda_ returns the passion which she suspects in _Rhadames_. Messengers have arrived from the front with news that _Rhadames_ has put the Ethiopians to utter rout and is returning with many trophies -and captives. Naturally _Aida_ is distraught. Is her lover safe? Was -her father slain? It is while _Aida's_ mind and heart are agitated by +and captives. Naturally _Aïda_ is distraught. Is her lover safe? Was +her father slain? It is while _Aïda's_ mind and heart are agitated by these questions that _Amneris_ chooses the moment to test her feelings and wrest from her the secret she longs yet dreads to fathom. The Princess is reclining on a couch in her apartment in the palace at @@ -15664,7 +15628,7 @@ delectation and her attendants sing: Let songs of glory mingle With strains of tender love. -In the midst of these festive preparations _Aida_ enters, and +In the midst of these festive preparations _Aïda_ enters, and _Amneris_, craftily feigning sympathy for her lest she be grieving over the defeat of her people and the possible loss in battle of someone dear to her, affects to console her by telling her that @@ -15676,7 +15640,7 @@ announcement. Almost as suddenly, having feasted her eyes on the slave girl's grief, the Princess exclaims: "I have deceived you; _Rhadames_ lives!" -"He lives!" Tears of gratitude instead of despair now moisten _Aida's_ +"He lives!" Tears of gratitude instead of despair now moisten _Aïda's_ eyes as she raises them to Heaven. "You love him; you cannot deny it!" cries _Amneris_, forgetting in her @@ -15693,17 +15657,17 @@ Egyptian army: prostrate in the dust, I on the throne beside the king!" What has just been described is formulated by Verdi in a duet for -_Amneris_ and _Aida_, "Amore! gaudio tormento" (Oh, love! Oh, joy and +_Amneris_ and _Aïda_, "Amore! gaudio tormento" (Oh, love! Oh, joy and sorrow!), which expresses the craftiness and subtlety of the Egyptian -Princess, the conflicting emotions of _Aida_, and the dramatic stress +Princess, the conflicting emotions of _Aïda_, and the dramatic stress of the whole episode. This phrase especially seems to express the combined haughtiness and -jealousy in the attitude of _Amneris_ toward _Aida_: +jealousy in the attitude of _Amneris_ toward _Aïda_: [Music] -Scene 2. Brilliant indeed is the spectacle to which _Aida_ is +Scene 2. Brilliant indeed is the spectacle to which _Aïda_ is compelled to proceed with the Princess. It is near a group of palms at the entrance to the city of Thebes that the _King_ has elected to give _Rhadames_ his triumph. Here stands the temple of Ammon. Beyond it a @@ -15732,41 +15696,41 @@ be denied to you this day!" [Illustration: Copyright photo by Dupont -Louise Homer as Amneris in "Aida"] +Louise Homer as Amneris in "Aïda"] [Illustration: Copyright photo by Mishkin -Rosina Galli in the Ballet of "Aida"] +Rosina Galli in the Ballet of "Aïda"] But although no wish is nearer the heart of _Rhadames_ than to obtain -freedom for _Aida_, he does not consider the moment as yet opportune. +freedom for _Aïda_, he does not consider the moment as yet opportune. Therefore he requests that first the prisoners of war be brought before the _King_. When they enter, one of them, by his proud mien and spirited carriage, easily stands forth from the rest. Hardly has -_Aida_ set eyes upon him than she utters the startled exclamation, "My +_Aïda_ set eyes upon him than she utters the startled exclamation, "My father!" It is indeed none other than _Amonasro_, the Ethiopian king, who, his identity unknown to the Egyptians, has been made captive by them. -Swiftly gliding over to where _Aida_ stands, he whispers to her not to +Swiftly gliding over to where _Aïda_ stands, he whispers to her not to betray his rank to his captors. Then, turning to the Egyptian monarch, he craftily describes how he has seen the king of Ethiopia dead at his feet from many wounds, and concludes by entreating clemency for the -conquered. Not only do the other captives and _Aida_ join in his +conquered. Not only do the other captives and _Aïda_ join in his prayer, but the people, moved by his words and by his noble aspect, beg their king to spare the prisoners. The priests, however, protest. The gods have delivered these enemies into the hands of Egypt; let them be put to death lest, emboldened by a pardon so easily obtained, they should rush to arms again. -Meanwhile _Rhadames_ has had eyes only for _Aida_, while _Amneris_ +Meanwhile _Rhadames_ has had eyes only for _Aïda_, while _Amneris_ notes with rising jealousy the glances he turns upon her hated slave. At last _Rhadames_, carried away by his feelings, himself joins in the appeal for clemency. "Oh, _King_," he exclaims, "by the sacred gods and by the splendour of your crown, you swore to grant my wish this day! Let it be life and liberty for the Ethiopian prisoners." But the high priest urges that even if freedom is granted to the others, -_Aida_ and her father be detained as hostages and this is agreed upon. +_Aïda_ and her father be detained as hostages and this is agreed upon. Then the _King_, as a crowning act of glory for _Rhadames_, leads _Amneris_ forth, and addressing the young warrior, says: @@ -15775,12 +15739,12 @@ the hand of _Amneris_. With her one day you shall reign over Egypt." A great shout goes up from the multitude. Unexpectedly _Amneris_ sees herself triumphant over her rival, the dream of her heart fulfilled, -and _Aida_ bereft of hope, since for _Rhadames_ to refuse the hand of +and _Aïda_ bereft of hope, since for _Rhadames_ to refuse the hand of his king's daughter would mean treason and death. And so while all seemingly are rejoicing, two hearts are sad and bewildered. For -_Aida_, the man she adores appears lost to her forever and all that is +_Aïda_, the man she adores appears lost to her forever and all that is left to her, the tears of hopeless love; while to _Rhadames_ the heart -of _Aida_ is worth more than the throne of Egypt, and its gift, with +of _Aïda_ is worth more than the throne of Egypt, and its gift, with the hand of _Amneris_, is like the unjust vengeance of the gods descending upon his head. @@ -15829,7 +15793,7 @@ The recognition of _King Amonasro_ by his daughter; the supplication of the captives; the plea of _Rhadames_ and the people in their favour; the vehement protests of the priests who, in the name of the gods of Egypt, demand their death; the diverse passions which agitate -_Rhadames_, _Aida_, and _Amneris_; the hope of vengeance that +_Rhadames_, _Aïda_, and _Amneris_; the hope of vengeance that _Amonasro_ cherishes--all these conflicting feelings are musically expressed with complete success. The structure is reared upon _Amonasro's_ plea to the _King_ for mercy for the Ethiopian captives, @@ -15838,12 +15802,12 @@ lord). [Music] -When the singer who takes the role of _Amonasro_ also is a good actor, +When the singer who takes the rôle of _Amonasro_ also is a good actor, he will know how to convey, between the lines of this supplication, his secret thoughts and unavowed hope for the reconquest of his freedom and his country. After the Egyptian _King_ has bestowed upon _Rhadames_ the hand of _Amneris_, the chorus, "Gloria all'Egitto," is -heard again, and, above its sonorous measures, _Aida's_ cry: +heard again, and, above its sonorous measures, _Aïda's_ cry: What hope now remains to me? To him, glory and the throne; @@ -15851,12 +15815,12 @@ heard again, and, above its sonorous measures, _Aida's_ cry: Of hopeless love. It is largely due to Verdi's management of the score to this elaborate -scene that "Aida" not only has superseded all spectacular operas that +scene that "Aïda" not only has superseded all spectacular operas that came before it, but has held its own against and survived practically all those that have come since. The others were merely spectacular. In -"Aida" the surface radiates and glows because beneath it seethe the +"Aïda" the surface radiates and glows because beneath it seethe the fires of conflicting human passion. In other operas spectacle is -merely spectacle. In "Aida" it clothes in brilliant habiliments the +merely spectacle. In "Aïda" it clothes in brilliant habiliments the forces of impending and on-rushing tragedy. Act III. That tragedy further advances toward its consummation in the @@ -15876,17 +15840,17 @@ enter upon a vigil in the temple to implore the favour of the goddess before her nuptials with _Rhadames_. For a while after they have entered the temple, the shore seems -deserted. But from the shadow of a grove of palms _Aida_ cautiously +deserted. But from the shadow of a grove of palms _Aïda_ cautiously emerges into the moonlight. In song she breathes forth memories of her native land: _Oh, patria mia!--O cieli azzurri!_ (Oh, native land!--Oh, skies of tender blue!). [Music: O cieli azzurri, o dolci aure native,] -The phrase, _O patria mia! mai piu ti rivedro_ (Oh, native land! I +The phrase, _O patria mia! mai più ti rivedrò_ (Oh, native land! I ne'er shall see thee more)--a little further on--recalls the famous "Non ti scordar" from the "Miserere" in "Trovatore." Here _Rhadames_ -has bid _Aida_ meet him. Is it for a last farewell? If so, the Nile +has bid _Aïda_ meet him. Is it for a last farewell? If so, the Nile shall be her grave. She hears a swift footfall, and turning, in expectation of seeing _Rhadames_, beholds her father. He has fathomed her secret and divined that she is here to meet _Rhadames_--the @@ -15896,16 +15860,16 @@ Again _Rhadames_ is to lead the Egyptians against them. Let her draw from him the path which he intends to take with his army and that path shall be converted into a fatal ambuscade. -At first the thought is abhorrent to _Aida_; but her father by +At first the thought is abhorrent to _Aïda_; but her father by craftily inciting her love of country and no less her jealousy and despair, at last is able to wrest consent from her; then draws back into the shadow as he hears _Rhadames_ approaching. -This duet of _Aida_ and _Amonasro_ is and will remain one of the +This duet of _Aïda_ and _Amonasro_ is and will remain one of the beautiful dramatic efforts of the Italian repertory. The situation is one of those in which Verdi delights; he is in his element. -It is difficult to bring _Aida_ to make the designs of her father +It is difficult to bring _Aïda_ to make the designs of her father agree with her love for the young Egyptian chief. But the subtlety of the score, its warmth, its varied and ably managed expression, almost make plausible the submission of the young girl to the adjurations of @@ -15936,13 +15900,13 @@ dramatically contrasting with the force of her father's savage imprecation, she whispers, _O patria! quanto mi costi!_ (Oh, native land! how much thou demandest of me!). -_Amonasro_ leaves. _Aida_ awaits her lover. When she somewhat coldly +_Amonasro_ leaves. _Aïda_ awaits her lover. When she somewhat coldly meets _Rhadames's_ renewed declaration of love with the bitter protest that the rites of another love are awaiting him, he unfolds his plan to her. He will lead the Egyptians to victory and on returning with these fresh laurels, he will prostrate himself before the _King_, lay -bare his heart to him, and ask for the hand of _Aida_ as a reward for -his services to his country. But _Aida_ is well aware of the power of +bare his heart to him, and ask for the hand of _Aïda_ as a reward for +his services to his country. But _Aïda_ is well aware of the power of _Amneris_ and that her vengeance would swiftly fall upon them both. She can see but one course to safety--that _Rhadames_ join her in flight to her native land, where, amid forest groves and the scent of @@ -15956,18 +15920,18 @@ else save love; and exclaiming, "Love shall be our guide!" turns to fly with her. This duet, charged with exotic rapture, opens with recitativo phrases -for _Aida_. I have selected three passages for quotation: "La tra +for _Aïda_. I have selected three passages for quotation: "Là tra foreste vergini" (There 'mid the virgin forest groves); "Di fiori profumate" (And 'mid the scent of flowers); and "In estasi la terra scorderem" (In ecstasy the world forgotten). -[Music: La tra foreste vergini,] +[Music: Là tra foreste vergini,] [Music: In estasi beate la terra scorderem,] [Music: in estasi la terra scorderem,] -But Aida, feigning alarm, asks: +But Aïda, feigning alarm, asks: "By what road shall we avoid the Egyptian host?" @@ -15982,7 +15946,7 @@ A voice echoes his words, "The pass of Napata." "Who hears us?" exclaims _Rhadames_. -"The father of _Aida_ and king of the Ethiopians," and _Amonasro_ +"The father of _Aïda_ and king of the Ethiopians," and _Amonasro_ issues forth from his hiding place. He has uncovered the plan of the Egyptian invasion, but the delay has been fatal. For at the same moment there is a cry of "Traitor!" from the temple. @@ -15990,7 +15954,7 @@ moment there is a cry of "Traitor!" from the temple. It is the voice of _Amneris_, who with the high priest has overheard all. _Amonasro_, baring a dagger, would throw himself upon his daughter's rival, but _Rhadames_ places himself between them and bids -the Ethiopian fly with _Aida_. _Amonasro_, drawing his daughter away +the Ethiopian fly with _Aïda_. _Amonasro_, drawing his daughter away with him, disappears in the darkness; while _Rhadames_, with the words, "Priest, I remain with you," delivers himself a prisoner into his hands. @@ -16000,7 +15964,7 @@ passage, under guard, of _Rhadames_ to the dungeon where the priests are to sit in judgment upon him. There is a duet between _Rhadames_ and this woman, who now bitterly repents the doom her jealousy is about to bring upon the man she loves. She implores him to exculpate -himself. But _Rhadames_ refuses. Not being able to possess _Aida_ he +himself. But _Rhadames_ refuses. Not being able to possess _Aïda_ he will die. He is conducted to the dungeon, from where, as from the bowels of the @@ -16047,21 +16011,21 @@ In the temple _Amneris_ and the priestesses kneel in prayer. And _Rhadames_? Immured in the dungeon and, as he thought, to perish alone, a form slowly takes shape in the darkness, and his own name, uttered by the tender accents of a familiar voice, falls upon his ear. -It is _Aida_. Anticipating the death to which he will be sentenced, +It is _Aïda_. Anticipating the death to which he will be sentenced, she has secretly made her way into the dungeon before his trial and there hidden herself to find reunion with him in death. And so, while in the temple above them the unhappy _Amneris_ kneels and implores the gods to vouchsafe Heaven to him whose death she has compassed, -_Rhadames_ and _Aida_, blissful in their mutual sacrifice, await the +_Rhadames_ and _Aïda_, blissful in their mutual sacrifice, await the end. -From "Celeste Aida," _Rhadames's_ apostrophe to his beloved, with +From "Celeste Aïda," _Rhadames's_ apostrophe to his beloved, with which the opera opens, to "O, terra, addio; addio, valle di pianti!" (Oh, earth, farewell! Farewell, vale of tears!), [Music: O terra addio; addio valle di pianti] -which is the swan-song of _Rhadames_ and _Aida_, united in death in +which is the swan-song of _Rhadames_ and _Aïda_, united in death in the stone-sealed vault,--such is the tragic fate of love, as set forth in this beautiful and eloquent score by Giuseppe Verdi. @@ -16070,7 +16034,7 @@ OTELLO OTHELLO - Opera in four acts, by Verdi. Words by Arrigo Boito, after + Opera in four acts, by Verdi. Words by Arrigo Boïto, after Shakespeare. Produced, La Scala, Milan, February 5, 1887, with Tamagno (_Otello_), and Maurel (_Iago_). London, Lyceum Theatre, July 5, 1889. New York, Academy of Music, under @@ -16103,9 +16067,9 @@ OTHELLO _Place_--A port of the island of Cyprus. -Three years after the success of "Aida," Verdi produced at Milan his +Three years after the success of "Aïda," Verdi produced at Milan his "Manzoni Requiem"; but nearly sixteen years were to elapse between -"Aida" and his next work for the lyric stage. "Aida," with its far +"Aïda" and his next work for the lyric stage. "Aïda," with its far richer instrumentation than that of any earlier work by Verdi, yet is in form an opera. "Otello" more nearly approaches a music-drama, but still is far from being one. It is only when Verdi is compared with @@ -16135,7 +16099,7 @@ public of Verdi's last two scores for the lyric stage, "Otello" and "Falstaff." Musicians fully appreciate them. Indeed "Falstaff," which followed "Otello," is considered one of the greatest achievements in the history of opera. Yet it is rarely given, and even "Otello" has -already reached the "revival" stage, while "Aida," "Rigoletto," "La +already reached the "revival" stage, while "Aïda," "Rigoletto," "La Traviata," and "Il Trovatore" are fixtures, although "Rigoletto" was composed thirty-six years before "Otello" and forty-two before "Falstaff." Can it be that critics (including myself) and professional @@ -16199,7 +16163,7 @@ crudel,' but 'crudel' was possibly omitted deliberately, as 'cruel' is also missing from the translation] (I believe in a God, who has created me in his image). This is justly regarded as a masterpiece of invective. It does not appear in Shakespeare, so that the lines are as -original with Boito as the music is with Verdi. Trumpets, employed in +original with Boïto as the music is with Verdi. Trumpets, employed in what may be termed a declamatory manner, are conspicuous in the accompaniment. @@ -16282,7 +16246,7 @@ The Venetian ambassadors arrive. There follows the scene in which the recall of _Othello_ to Venice and the appointment of _Cassio_ as Governor of Cyprus are announced. This is the scene in which, also, the _Moor_ strikes down _Desdemona_ in the presence of the -ambassadors, and she begs for mercy--"A terra--si--nel livido fango" +ambassadors, and she begs for mercy--"A terra--sì--nel livido fango" (Yea, prostrate here, I lie in the dust); and "Quel sol sereno e vivido che allieta il cielo e il mare" (The sun who from his cloudless sky illumes the heavens and sea). @@ -16325,15 +16289,15 @@ act. _Emilia_ discloses _Iago's_ perfidy. _Othello_ kills himself. FALSTAFF - Opera in three acts, by Verdi; words by Arrigo Boito, after + Opera in three acts, by Verdi; words by Arrigo Boïto, after Shakespeare's "Merry Wives of Windsor" and "King Henry IV." - Produced, La Scala, Milan, March 12, 1893. Paris, Opera + Produced, La Scala, Milan, March 12, 1893. Paris, Opéra Comique, April 18, 1894. London, May 19, 1894. New York, Metropolitan Opera House, February 4, 1895. This was the first performance of "Falstaff" in North America. It had been heard in Buenos Aires, July 19, 1893. The Metropolitan cast included Maurel as _Falstaff_, Eames as _Mistress - Ford_, Zelie de Lussan as _Nannetta_ (_Anne_), Scalchi as + Ford_, Zélie de Lussan as _Nannetta_ (_Anne_), Scalchi as _Dame Quickly_, Campanini as _Ford_, Russitano as _Fenton_. Scotti, Destinn, Alda, and Gay also have appeared at the Metropolitan in "Falstaff." The London production was at @@ -16363,21 +16327,21 @@ FALSTAFF Note. In the Shakespeare comedy _Anne Ford_ is _Anne Page_. Shakespeare's comedy, "The Merry Wives of Windsor," did not have its -first lyric adaptation when the composer of "Rigoletto" and "Aida," +first lyric adaptation when the composer of "Rigoletto" and "Aïda," influenced probably by his distinguished librettist, penned the score of his last work for the stage. "Falstaff," by Salieri, was produced in Vienna in 1798; another "Falstaff," by Balfe, came out in London in 1838. Otto Nicolai's opera "The Merry Wives of Windsor" is mentioned on p. 80 of this book. The character of _Falstaff_ also -appears in "Le Songe d'une Nuit d'Ete" (The Midsummer Night's Dream) +appears in "Le Songe d'une Nuit d'Été" (The Midsummer Night's Dream) by Ambroise Thomas, Paris, 1850, "where the type is treated with an adept's hand, especially in the first act, which is a masterpiece of -pure comedy in music." "Le Songe d'une Nuit d'Ete" was, in fact, +pure comedy in music." "Le Songe d'une Nuit d'Été" was, in fact, Thomas's first significant success. A one-act piece, "Falstaff," by -Adolphe Adam, was produced at the Theatre Lyrique in 1856. +Adolphe Adam, was produced at the Théâtre Lyrique in 1856. The comedy of the "Merry Wives," however, was not the only Shakespeare -play put under contribution by Boito. At the head of the "Falstaff" +play put under contribution by Boïto. At the head of the "Falstaff" score is this note: "The present comedy is taken from 'The Merry Wives of Windsor' and from several passages in 'Henry IV.' by Shakespeare." @@ -16392,7 +16356,7 @@ interests of the two universities of Oxford and Cambridge, to the foundation of which he had largely contributed. To us, however, he is known almost wholly as an enormously stout comic character. -The first scene in the first act of the work by Boito and Verdi shows +The first scene in the first act of the work by Boïto and Verdi shows _Falstaff_ in a room of the Garter Inn. He is accompanied by those two good-for-nothings in his service, _Bardolph_ and _Pistol_, ragged blackguards, whom he treats with a disdain measured by their own low @@ -16534,7 +16498,7 @@ While not divided into distinct "numbers," there are passages in characteristic episodes. In the first scene of the first act occurs _Falstaff's_ lyric in praise of _Mistress Ford_, "O amor! Sguardo di stella!" (O Love, with star-like eyes). I quote the beautiful passage -at "Alice e il nome" (And Alice is her name). +at "Alice è il nome" (And Alice is her name). [Music: (Copyright, 1893, by G. Ricordi & Co.)] @@ -16558,7 +16522,7 @@ between _Anne_ and _Fenton_. As the curtain falls _Mistress Ford_ roguishly quotes a line from _Falstaff's_ verses, the four women together add another quotation, -"Come una stella sull'immensita" (Like some sweet star that sparkles +"Come una stella sull'immensità" (Like some sweet star that sparkles all the night), and go out laughing. In fact the music for the women takes many a piquant turn. @@ -16611,14 +16575,14 @@ vocalized--and a final fugue. -Arrigo Boito, 1842- +Arrigo Boïto, 1842- MEFISTOFELE (MEPHISTOPHELES) - Opera in four acts; words and music by Arrigo Boito, the + Opera in four acts; words and music by Arrigo Boïto, the book based on Goethe's _Faust_. Produced, without success, La Scala, Milan, March 5, 1868; revised and revived, with success, Bologna, October 4, 1875. London, Her Majesty's @@ -16626,8 +16590,8 @@ MEFISTOFELE 24, 1880, with Campanini, Valleria, Cary, and Novara; and Metropolitan Opera House, December 5, 1883, Campanini, Nilsson, Trebelli, and Mirabella. Revivals: Metropolitan - Opera House, 1889 (Lehmann); 1896 (Calve); 1901 (Margaret - McIntyre, Homer, and Plancon); 1904 (Caruso and Eames); 1907 + Opera House, 1889 (Lehmann); 1896 (Calvé); 1901 (Margaret + McIntyre, Homer, and Plançon); 1904 (Caruso and Eames); 1907 (Chaliapine); later with Caruso, Hempel, Destinn, and Amato. Manhattan Opera House, 1906, with Renaud. Chicago Opera Company, with Ruffo. The singer of _Margaret_ usually takes @@ -16662,7 +16626,7 @@ _Marguerite_--succinct, dramatic, and absorbing. Only for the ballet did they reach into the second part of Goethe's play and appropriate the scene on the Brocken, which, however, is frequently omitted. -Boito, himself a poet, based his libretto on both parts of Goethe's +Boïto, himself a poet, based his libretto on both parts of Goethe's work, and endeavoured to give it the substratum of philosophy upon which the German master reared his dramatic structure. This, however, resulted in making "Mefistofele" two operas in one. Wherever the work @@ -16811,12 +16775,12 @@ utmost limit); his prayer, and the choiring of salvation. * * * * * -Arrigo Boito was, it will be recalled, the author of the books to +Arrigo Boïto was, it will be recalled, the author of the books to Ponchielli's opera "La Gioconda," and Verdi's "Otello" and "Falstaff." He was born in Padua, February 24, 1842. From 1853 to 1862 he was a pupil of the Milan Conservatory. During a long sojourn in Germany and Poland he became an ardent admirer of Wagner's music. Since -"Mefistofele" Boito has written and composed another opera, "Nerone" +"Mefistofele" Boïto has written and composed another opera, "Nerone" (Nero), but has withheld it from production. @@ -16852,7 +16816,7 @@ regarded by students of music as the founder of the modern school of Italian opera. What really happened is that there was going on in Italy, influenced by a growing appreciation of Wagner's works among musicians, a movement for a more advanced style of lyric drama. -Ponchielli and Boito were leaders in this movement. Verdi, a far +Ponchielli and Boïto were leaders in this movement. Verdi, a far greater genius than either of these, was caught up in it, and, because of his genius, accomplished more in it than the actual leaders. Ponchielli's influence still is potent. For he was the teacher of the @@ -16863,15 +16827,15 @@ LA GIOCONDA THE BALLAD SINGER - Opera in four acts by Ponchielli, libretto by Arrigo Boito, - after Victor Hugo's play, "Angelo, Tyrant of Padua." Boito + Opera in four acts by Ponchielli, libretto by Arrigo Boïto, + after Victor Hugo's play, "Angelo, Tyrant of Padua." Boïto signed the book with his anagram, "Tobia Gorrio." Produced in its original version, La Scala, Milan, April 8, 1876; and with a new version of the libretto in Genoa, December, 1876. London, Covent Garden, May 31, 1883. New York, December 20, 1883 (for details, see below); revived, Metropolitan Opera House, November 28, 1904, with Nordica, Homer, Edyth Walker, - Caruso, Giraldoni, and Plancon; later with Destinn, Ober, + Caruso, Giraldoni, and Plançon; later with Destinn, Ober, and Amato. CHARACTERS @@ -16883,8 +16847,8 @@ THE BALLAD SINGER LAURA, his wife _Mezzo-Soprano_ ENZO GRIMALDO, a Genoese noble _Tenor_ BARNABA, a spy of the Inquisition _Baritone_ - ZUANE, a boatman _Bass_ - ISEPO, a public letter-writer _Tenor_ + ZUÀNE, a boatman _Bass_ + ISÈPO, a public letter-writer _Tenor_ A PILOT _Bass_ Monks, senators, sailors, shipwrights, ladies, gentlemen, @@ -16913,7 +16877,7 @@ re-engaged for this country, and did not reappear at the Metropolitan until fourteen years later. "La Gioconda" was produced at that house December 20, 1883, with -Christine Nilsson in the title role; Scalchi as _La Cieca_; +Christine Nilsson in the title rôle; Scalchi as _La Cieca_; Fursch-Madi as _Laura_; Stagno as _Enzo_; Del Puente as _Barnaba_; and Novara as _Alvise_. Cavalazzi, one of the leading dancers of her day, appeared in the "Danza delle Ore" (Dance of the Hours). It was a good @@ -16983,9 +16947,9 @@ grasp and runs away, leaving her mother seated by the church door. _Barnaba_ is eager to get _La Cieca_ into his power in order to compel _Gioconda_ to yield to his sinister desires. Opportunity soon offers. For, now the regatta is over, the crowd returns bearing in triumph the -victor in the contest. With them enter _Zuane_, the defeated +victor in the contest. With them enter _Zuàne_, the defeated contestant, _Gioconda_, and _Enzo_. _Barnaba_ subtly insinuates to -_Zuane_ that _La Cieca_ is a witch, who has caused his defeat by +_Zuàne_ that _La Cieca_ is a witch, who has caused his defeat by sorcery. The report quickly spreads among the defeated boatman's friends. The populace becomes excited. _La Cieca_ is seized and dragged from the church steps. _Enzo_ calls upon his sailors, who are @@ -17026,16 +16990,16 @@ to show her how false _Enzo_ is, promises him that he will arrange for _Laura_, on that night, to be aboard _Enzo's_ vessel, ready to escape with him to sea. -_Enzo_ departs. _Barnaba_ summons one of his tools, _Isepo_, the +_Enzo_ departs. _Barnaba_ summons one of his tools, _Isèpo_, the public letter-writer, whose stand is near the Lion's Mouth. At that moment _Gioconda_ and _La Cieca_ emerge from the church, and _Gioconda_, seeing _Barnaba_, swiftly draws her mother behind a column, where they are hidden from view. The girl hears the spy -dictate to _Isepo_ a letter, for whom intended she does not know, +dictate to _Isèpo_ a letter, for whom intended she does not know, informing someone that his wife plans to elope that evening with _Enzo_. Having thus learned that _Enzo_ no longer loves her, she vanishes with her mother into the church. _Barnaba_ drops the letter -into the Lion's Mouth. _Isepo_ goes. The spy, as keen in intellect as +into the Lion's Mouth. _Isèpo_ goes. The spy, as keen in intellect as he is cruel and unrelenting in action, addresses in soliloquy the Doge's palace. "O monumento! Regia e bolgia dogale!" (O mighty monument, palace and den of the Doges). @@ -17059,7 +17023,7 @@ Several cabin boys are seen, some clinging to the shrouds, some seated. Remaining thus grouped, they sing a _Marinaresca_, in part a sailors' "chanty," in part a regular melody. -In a boat _Barnaba_ appears with _Isepo_. They are disguised as +In a boat _Barnaba_ appears with _Isèpo_. They are disguised as fishermen. _Barnaba_ sings a fisherman's ballad, "Ah! Pescator, affonda l'esca" (Fisher-boy, thy net now lower). @@ -17118,7 +17082,7 @@ fire to it. Act III. "The House of Gold." A room in _Alvise's_ house. _Alvise_ sings of the vengeance he will wreak upon _Laura_ for her betrayal of -his honour. "Si! morir ella de'" (Yes, to die is her doom). +his honour. "Sì! morir ella de'" (Yes, to die is her doom). He summons _Laura_. Nocturnal serenaders are heard singing without, as they wend their way in gondolas along the canal. _Alvise_ draws the @@ -17151,11 +17115,11 @@ between the powers of darkness and light. _Barnaba_ enters, dragging in with him _La Cieca_, whom he has found concealed in the house. _Enzo_ also has managed to gain admittance. _La Cieca_, questioned as to her purpose in the House of Gold, -answers, "For her, just dead, I prayed." A hush falls upon the fete. +answers, "For her, just dead, I prayed." A hush falls upon the fête. The passing bell for the dead is heard slowly tolling. "For whom?" asks _Enzo_ of _Barnaba_. "For Laura," is the reply. The guests -shudder. "D'un vampiro fatal l'ala fredda passo" (As if over our brows -a vampire's wing had passed), chants the chorus. "Gia ti vedo immota e +shudder. "D'un vampiro fatal l'ala fredda passò" (As if over our brows +a vampire's wing had passed), chants the chorus. "Già ti vedo immota e smorta" (I behold thee motionless and pallid), sings _Enzo_. _Barnaba_, _Gioconda_, _La Cieca_, and _Alvise_ add their voices to an ensemble of great power. _Alvise_ draws back the curtains of the @@ -17210,7 +17174,7 @@ _Gioconda_. The girl has provided everything for flight. A boat, propelled by two of her friends, is ready to convey them to a barque, which awaits them. What a blessing, after all, the rosary, bestowed upon the queenly _Laura_ by an old blind woman has proved to be. "Che -vedo la! Il rosario!" (What see I there! 'Tis the rosary!) Thus sings +vedo là! Il rosario!" (What see I there! 'Tis the rosary!) Thus sings _Gioconda_, while _Enzo_ and _Laura_ voice their thanks: "Sulle tue mani l'anima tutta stempriamo in pianto" (Upon thy hands thy generous tears of sympathy are falling). The scene works up to a powerful @@ -17245,15 +17209,15 @@ by individual characteristics, there succeeded Bellini, Donizetti, and Verdi. The second stream of opera which found its source in Mozart was -German. The score of "Die Zauberfloete" showed how successfully the +German. The score of "Die Zauberflöte" showed how successfully the rich vein of popular melody, or folk music, could be worked for the lyric stage. The hint was taken by Weber, from whom, in the course of gradual development, there derived Richard Wagner. Meanwhile, however, there was another development which came direct -from Gluck. His "Iphigenie en Aulide," "Orphee et Eurydice," -"Alceste," and "Armide" were produced at the Academie Royale de -Musique, founded by Lully in 1672, and now the Grand Opera, Paris. +from Gluck. His "Iphigénie en Aulide," "Orphée et Eurydice," +"Alceste," and "Armide" were produced at the Académie Royale de +Musique, founded by Lully in 1672, and now the Grand Opéra, Paris. They contributed materially to the development of French grand opera, which derives from Gluck, as well as from Lully (pp. 1, 4, and 6), and Rameau (p. 1). French opera also was sensibly influenced, and its @@ -17261,7 +17225,7 @@ development in the serious manner furthered, by one of the most learned of composers, Luigi Cherubini, for six years professor of composition and for twenty years thereafter (1821-1841) director of the Paris Conservatoire and at one time widely known as the composer -of the operas "Les Deux Journees" (Paris, 1800; London, as "The +of the operas "Les Deux Journées" (Paris, 1800; London, as "The Water-carrier," 1801); and "Faniska," Vienna, 1806. To the brief statement regarding French grand opera on p. 2, I may @@ -17291,7 +17255,7 @@ few predecessors to Bizet. -Mehul to Meyerbeer +Méhul to Meyerbeer Certain early French operas still are in the Continental repertoire, @@ -17300,35 +17264,35 @@ are of sufficient significance to be referred to in this book. The pianoforte pupils abroad are few who, in the course of their first years of instruction, fail to receive a potpourri of the three-act -opera "Joseph" (Joseph in Egypt), by Etienne Nicholas Mehul +opera "Joseph" (Joseph in Egypt), by Étienne Nicholas Méhul (1763-1817). The score is chaste and restrained. The principal air for -_Joseph_ (tenor), "A peine au sortir de l'enfance" (Whilst yet in +_Joseph_ (tenor), "À peine au sortir de l'enfance" (Whilst yet in tender childhood), and the prayer for male voice, "Dieu d'Israel" (Oh, God of Israel), are the best-known portions of the score. In constructing the libretto Alexander Duval followed the Biblical story. When the work opens, not only has the sale of _Joseph_ by his brethren -taken place, but the young Jew has risen to high office. Roles, -besides _Joseph_, are _Jacob_ (bass), _Simeon_ (baritone) +taken place, but the young Jew has risen to high office. Rôles, +besides _Joseph_, are _Jacob_ (bass), _Siméon_ (baritone) [Transcriber's Note: should be 'tenor'], _Benjamin_ (soprano), _Utobal_, _Joseph's_ confidant (bass). "Joseph en Egypte" was produced -at the Theatre Feydeau, Paris, February 17, 1808. +at the Théâtre Feydeau, Paris, February 17, 1808. "Le Calife de Bagdad," "Jean de Paris," and "La Dame Blanche" (The -White Lady), by Francois Adrien Boieldieu (1775-1834), are still known +White Lady), by François Adrien Boieldieu (1775-1834), are still known by their graceful overtures. In "La Dame Blanche" the composer has used the song of "Robin Adair," the scene of the opera being laid in Scotland, and drawn by Scribe from Scott's novels, "The Monastery" and -"Guy Mannering." _George Brown_ was a favorite role with Wachtel. He +"Guy Mannering." _George Brown_ was a favorite rôle with Wachtel. He sang it in this country. The graceful invocation to the white lady was especially well suited to his voice. "La Dame Blanche" was produced at -the Opera Comique, Paris, December 10, 1825. +the Opéra Comique, Paris, December 10, 1825. Boieldieu's music is light and graceful, in perfect French taste, and full of charm. It has the spirit of comedy and no doubt helped develop -the comic vein in the lighter scores of Daniel Francois Esprit Auber +the comic vein in the lighter scores of Daniel François Esprit Auber (1782-1871). But in his greatest work, "Masaniello," the French title of which is "La Muette de Portici" (The Dumb Girl of Portici), Auber -is, musically, a descendant of Mehul. The libretto is by Scribe and +is, musically, a descendant of Méhul. The libretto is by Scribe and Delavigne. The work was produced in Paris, February 29, 1828. It is one of the foundation stones of French grand opera. Eschewing vocal ornament merely as such, and introducing it only when called for by @@ -17345,14 +17309,14 @@ inspired thereto both by the wrongs the people have suffered and by his sister _Fenella's_ betrayal by _Alfonso_, Spanish viceroy of Naples. The revolution fails, its leader loses his mind and is killed, and, during an eruption of Vesuvius, _Fenella_ casts herself into the -sea. _Fenella_ is dumb. Her role is taken by a pantomimist, usually +sea. _Fenella_ is dumb. Her rôle is taken by a pantomimist, usually the _prima ballerina_. Greatly admired by musicians though the score be, "Masaniello's" hold upon the repertory long has been precarious. I doubt if it has been given in this country upon any scale of significance since the earliest days of opera in German at the Metropolitan, when Dr. -Leopold Damrosch revived it with Anton Schott in the title role. Even +Leopold Damrosch revived it with Anton Schott in the title rôle. Even then it was difficult to imagine that, when "Masaniello" was played in Brussels, in 1830, the scene of the uprising so excited the people that they drove the Dutch out of Belgium, which had been joined to @@ -17368,25 +17332,25 @@ runway among the canvas rocks, over which the dashing bandit--the villain of the piece--is attempting to escape, when shot. "Fra Diavolo" was given here with considerable frequency at one time. -But in a country where opera comique (in the French sense of the term) +But in a country where opéra comique (in the French sense of the term) has ceased to exist, it has no place. We swing from one extreme to the other--from grand opera, with brilliant accessories, to musical -comedy, with all its slap-dash. The sunlit middle road of opera +comedy, with all its slap-dash. The sunlit middle road of opéra comique we have ceased to tread. Two other works, once of considerable popularity, also have disappeared from our stage. The overture to "Zampa," by Louis J.F. -Herold (1791-1833) still is played; the opera no more. It was produced -in Paris May 3, 1831. The libretto, by Melesville, is based on the old +Hérold (1791-1833) still is played; the opera no more. It was produced +in Paris May 3, 1831. The libretto, by Mélésville, is based on the old tale of "The Statue Bride." -The high tenor role of _Chappelou_ in "Le Postillon de Longjumeau," by +The high tenor rôle of _Chappelou_ in "Le Postillon de Longjumeau," by Adolphe Charles Adam (1802-1856), with its postillion song, "Ho! ho!--Ho! ho!--Postillion of Longjumeau!" was made famous by Theodore Wachtel, who himself was a postillion before his voice was discovered by patrons of his father's stable, with whom he chanced to join in singing quartet. It was he who introduced the rhythmic cracking of the -whip in the postillion's song. Wachtel sang the role in this country +whip in the postillion's song. Wachtel sang the rôle in this country in the season of 1871-72, at the Stadt Theatre, and in 1875-76 at the Academy of Music. Then, having accumulated a fortune, chiefly out of the "Postillon," in which he sang more than 1200 times, he practically @@ -17394,14 +17358,14 @@ retired, accepting no fixed engagements. During the Metropolitan Opera House season of 1884-85, Dr. Leopold Damrosch revived, in German, "La Juive," a five-act opera by Jacques -Francois Fromental Elie Halevy (1799-1862), the libretto by Scribe. +François Fromental Élie Halévy (1799-1862), the libretto by Scribe. Materna was the Jewess, _Rachel_ (in German _Recha_). I cannot recall any production of the work here since then, and a considerable period -had elapsed since its previous performance here. It had its _premiere_ +had elapsed since its previous performance here. It had its _première_ in Paris, February 23, 1835. Meyerbeer's "Robert le Diable" had been produced in 1831. Nevertheless "La Juive" scored a triumph. But with the production of Meyerbeer's "Les Huguenots," that composer became -the operatic idol of the public, and Halevy's star paled, although +the operatic idol of the public, and Halévy's star paled, although musicians continued for many years to consider "La Juive" one of the finest opera scores composed in France; and there are many who would be glad to see an occasional revival of this work, as well as of @@ -17425,7 +17389,7 @@ French grand opera. It has been said of him that "he joined to the flowing melody of the Italians the solid harmony of the Germans, the poignant declamation and varied, piquant rhythm of the French"; which is a good description of the opera that flourishes on the stage of the -Academie or Grand Opera, Paris. The models for elaborate spectacular +Académie or Grand Opéra, Paris. The models for elaborate spectacular scenes and finales furnished by Meyerbeer's operas have been followed ever since by French composers; nor have they been ignored by Italians. He understood how to write effectively for the voice, and he @@ -17457,19 +17421,19 @@ lightly to be thrust aside. Meyerbeer came of a Jewish family. His real name was Jacob Liebmann Beer. He prefixed "Meyer" to his patronymic at the request of a wealthy relative who made him his heir. He was a pupil in pianoforte -of Clementi; also studied under Abbe Vogler, being a fellow pupil of +of Clementi; also studied under Abbé Vogler, being a fellow pupil of C.M. von Weber. His first operas were German. In 1815 he went to Italy and composed a series of operas in the style of Rossini. Going to Paris in 1826, he became "immersed in the study of French opera, from Lully onward." The first result was "Robert le Diable" (Robert the -Devil), Grand Opera, Paris, 1831. This was followed by "Les -Huguenots," 1836; "Le Prophete," 1849; "L'Etoile du Nord," Opera -Comique, 1854; "Dinorah, ou le Pardon de Ploermel" (Dinorah, or the -Pardon of Ploermel), Opera Comique, 1859. Much of the music of -"L'Etoile du Nord" came from an earlier score, "Das Feldlager in +Devil), Grand Opéra, Paris, 1831. This was followed by "Les +Huguenots," 1836; "Le Prophète," 1849; "L'Étoile du Nord," Opéra +Comique, 1854; "Dinorah, ou le Pardon de Ploërmel" (Dinorah, or the +Pardon of Ploërmel), Opéra Comique, 1859. Much of the music of +"L'Étoile du Nord" came from an earlier score, "Das Feldlager in Schlesien" (The Camp in Silesia), Berlin, 1843. Meyerbeer died May 2, 1864, in Paris, where his "L'Africaine" was produced at the Grand -Opera in 1865. +Opéra in 1865. ROBERT LE DIABLE @@ -17477,7 +17441,7 @@ ROBERT LE DIABLE ROBERT THE DEVIL Opera in five acts, by Meyerbeer; words by Scribe and - Delavigne. Produced, Grand Opera, Paris, November 22, 1831. + Delavigne. Produced, Grand Opéra, Paris, November 22, 1831. Drury Lane, London, February 20, 1832, in English, as "The Demon, or the Mystic Branch"; Covent Garden, February 21, 1832, in English, as "The Fiend Father, or Robert of @@ -17505,11 +17469,11 @@ ROBERT THE DEVIL _Place_--Sicily. The production of "Robert le Diable" in Paris was such a sensational -success that it made the fortune of the Grand Opera. Nourrit was +success that it made the fortune of the Grand Opéra. Nourrit was _Robert_, Levasseur, _Bertram_ (the prototype of _Mephistopheles_); the women of the cast were Mlle. Dorus as _Alice_, Mme. Cinti-Damoreau as _Isabella_, and Taglioni, the famous danseuse, as the _Abbess_. -Jenny Lind made her debut in London as _Alice_, in the Italian +Jenny Lind made her début in London as _Alice_, in the Italian production of the work. In New York Carl Formes was heard as _Bertram_ at the Astor Place Theatre, November 30, 1857. @@ -17577,7 +17541,7 @@ LES HUGUENOTS THE HUGUENOTS Opera in five acts; music by Meyerbeer, words by Scribe and - Deschamps. Produced, Grand Opera, Paris, February 29, 1836. + Deschamps. Produced, Grand Opéra, Paris, February 29, 1836. New York, Astor Place Opera House, June 24, 1850, with Salvi (_Raoul_), Coletti (_de Nevers_), Setti (_St. Bris_), Marini (_Marcel_), Signorina Bosio (_Marguerite_), Steffanone @@ -17587,8 +17551,8 @@ THE HUGUENOTS Music, 1873, with Nilsson, Cary, Del Puente, and Campanini; Metropolitan Opera House, beginning 1901, with Melba or Sembrich as _Marguerite de Valois_, Nordica (_Valentine_), - Jean de Reszke (_Raoul_), Edouard de Reszke (_Marcel_), - Plancon (_St. Bris_), Maurel (_de Nevers_), and Mantelli + Jean de Reszke (_Raoul_), Édouard de Reszke (_Marcel_), + Plançon (_St. Bris_), Maurel (_de Nevers_), and Mantelli (_Urbain_) (performances known as "the nights of the seven stars"); Metropolitan Opera House, 1914, with Caruso, Destinn, Hempel, Matzenauer, Braun, and Scotti. The first @@ -17604,7 +17568,7 @@ THE HUGUENOTS COUNT DE ST. BRIS } Catholic noblemen { _Baritone_ COUNT DE NEVERS } { _Baritone_ COSSE _Tenor_ - MERU } { _Baritone_ + MÉRU } { _Baritone_ THORE } Catholic gentlemen { _Baritone_ TAVANNES } { _Tenor_ DE RETZ _Baritone_ @@ -17620,11 +17584,11 @@ THE HUGUENOTS _Time_--August, 1572. It has been said that, because Meyerbeer was a Jew, he chose for two -of his operas, "Les Huguenots" and "Le Prophete," subjects dealing +of his operas, "Les Huguenots" and "Le Prophète," subjects dealing with bloody uprisings due to religious differences among Christians. "Les Huguenots" is written around the massacre of the Huguenots by the Catholics, on the night of St. Bartholomew's, Paris, August 24, 1572; -"Le Prophete" around the seizure and occupation of Muenster, in 1555, +"Le Prophète" around the seizure and occupation of Münster, in 1555, by the Anabaptists, led by John of Leyden. Even the ballet of the spectral nuns, in "Robert le Diable," has been suggested as due to Meyerbeer's racial origin and a tendency covertly to attack the @@ -17638,9 +17602,9 @@ wrote in the love duet in Act IV. As it stands, the story has been handled with keen appreciation of its dramatic possibilities. Act I. Touraine. _Count de Nevers_, one of the leaders of the Catholic -party, has invited friends to a banquet at his chateau. Among these is +party, has invited friends to a banquet at his château. Among these is _Raoul de Nangis_, a Huguenot. He is accompanied by an old retainer, -the Huguenot soldier, _Marcel_. In the course of the fete it is +the Huguenot soldier, _Marcel_. In the course of the fête it is proposed that everyone shall toast his love in a song. _Raoul_ is the first to be called upon. The name of the beauty whom he pledges in his toast is unknown to him. He had come to her assistance while she was @@ -17671,7 +17635,7 @@ however, is not disclosed. _Raoul's_ eyes having been bandaged, he is conducted to a carriage and departs with _Urbain_, wondering what his next adventure will be. -Act II. In the Garden of Chenonceaux, _Queen Marguerite de Valois_ +Act II. In the Garden of Chenonçeaux, _Queen Marguerite de Valois_ receives _Valentine_, daughter of the _Count de St. Bris_. The _Queen_ knows of her rescue from the students by _Raoul_. Desiring to put an end to the differences between Huguenots and Catholics, which have @@ -17683,7 +17647,7 @@ him summoned from the banquet in order to ask him to release her from her engagement to him--a request which, however reluctantly, he granted. -Here, in the Gardens of Chenonceaux, _Valentine_ and _Raoul_ are, +Here, in the Gardens of Chenonçeaux, _Valentine_ and _Raoul_ are, according to the Queen's plan, to meet again, but she intends first to receive him alone. He is brought in, the bandage is removed from his eyes, he does homage to the _Queen_, and when, in the presence of the @@ -17700,7 +17664,7 @@ intervention prevents bloodshed. Act III. The scene is an open place in Paris before a chapel, where _de Nevers_, who has renewed his engagement with _Valentine_, is to -take her in marriage. The nuptial cortege enters the building. The +take her in marriage. The nuptial cortège enters the building. The populace is restless, excited. Religious differences still are the cause of enmity. The presence of Royalist and Huguenot soldiers adds to the restlessness of the people. _De Nevers_, _St. Bris_, and @@ -17755,14 +17719,14 @@ closed door to block his egress. Rushing to a casement, he throws back the window and leaps to the street. Act V. Covered with blood, _Raoul_ rushes into the ballroom of the -Hotel de Nesle, where the Huguenot leaders, ignorant of the massacre +Hôtel de Nesle, where the Huguenot leaders, ignorant of the massacre that has begun, are assembled, and summons them to battle. Already Coligny, their great commander, has fallen. Their followers are being massacred. [Illustration: Copyright photo by A. Dupont -Plancon as Saint Bris in "The Huguenots"] +Plançon as Saint Bris in "The Huguenots"] [Illustration: Copyright photo by Dupont @@ -17798,24 +17762,24 @@ Massenet's opera, "La Navarraise"--and that is saying a good deal. The performances of "Les Huguenots," during the most brilliant revivals of that work at the Metropolitan Opera House, New York, under -Maurice Grau, were known as "les nuits de sept etoiles" (the nights of +Maurice Grau, were known as "les nuits de sept étoiles" (the nights of the seven stars). The cast to which the performances owed this designation is given in the summary above. A manager, in order to put "Les Huguenots" satisfactorily upon the stage, should be able to give it with seven first-rate principals, trained as nearly as possible in the same school of opera. The work should be sung preferably in French and by singers who know something of the traditions of the -Grand Opera, Paris. Mixed casts of Latin and Teutonic singers mar a +Grand Opéra, Paris. Mixed casts of Latin and Teutonic singers mar a performance of this work. If "Les Huguenots" appears to have fallen off in popularity since "the nights of the seven stars," I am inclined to attribute this to inability or failure to give the opera with a cast either as fine or as homogeneous as that which flourished at the -Metropolitan during the era of "les nuits de sept etoiles," when there +Metropolitan during the era of "les nuits de sept étoiles," when there not only were seven stars on the stage, but also seven dollars in the box office for every orchestra stall that was occupied--and they all were. -Auber's "Masaniello," Rossini's "William Tell," Halevy's "La Juive," +Auber's "Masaniello," Rossini's "William Tell," Halévy's "La Juive," and Meyerbeer's own "Robert le Diable" practically having dropped out of the repertoire in this country, "Les Huguenots," composed in 1836, is the earliest opera in the French grand manner that maintains itself @@ -17846,7 +17810,7 @@ _Marcel_ tries to drown the festive sounds by intoning the stern phrases of Luther's hymn. This he follows with the Huguenot battle song, with its "Piff, piff, piff," which has been rendered famous by the great bassos who have sung it, including, in this country, Formes -and Edouard de Reszke. +and Édouard de Reszke. _De Nevers_ then is called away to his interview with the lady, whom _Raoul_ recognizes as the unknown beauty rescued by him from the @@ -17857,7 +17821,7 @@ there enters _Urbain_, the page of _Marguerite de Valois_. He greets the assembly with the brilliant recitative, "Nobles Seigneurs salut!" This is followed by a charming cavatina, "Une dame noble et sage" (A wise and noble lady). Originally this was a soprano number, _Urbain_ -having been composed as a soprano role, which it remained for twelve +having been composed as a soprano rôle, which it remained for twelve years. Then, in 1844, when "Les Huguenots" was produced in London, with Alboni as _Urbain_, Meyerbeer transposed it, and a contralto, or mezzo-soprano, part it has remained ever since, its interpreters in @@ -17875,9 +17839,9 @@ _Urbain_. Following the original score and regarding what is now the second scene of Act I as the second act, this opens with _Marguerite de -Valois's_ apostrophe to the fair land of Touraine (O beau pays de la -Touraine), which, with the air immediately following, "A ce mot tout -s'anime et renait la nature" (At this word everything revives and +Valois's_ apostrophe to the fair land of Touraine (Ô beau pays de la +Touraine), which, with the air immediately following, "À ce mot tout +s'anime et renaît la nature" (At this word everything revives and Nature renews itself), [Music] @@ -17892,7 +17856,7 @@ non, non, non, non! Vous n'avez jamais, je gage" (No!--no, no, no, no, no! You have never heard, I wager). _Raoul_ enters, the bandage is removed from his eyes, and there -follows a duet, "Beaute divine, enchanteresse" (Beauty brightly +follows a duet, "Beauté divine, enchanteresse" (Beauty brightly divine, enchantress), between him and _Marguerite_, all graciousness on her side and courtly admiration on his. The nobles and their followers come upon the scene. _Marguerite de Valois's_ plan to end @@ -17907,7 +17871,7 @@ interposition of _Marguerite_. Act III opens with the famous chorus of the Huguenot soldiers in which, while they imitate with their hands the beating of drums, they sing their spirited "Rataplan." By contrast, the Catholic maidens, who -accompany the bridal cortege of _Valentine_ and _de Nevers_ to the +accompany the bridal cortège of _Valentine_ and _de Nevers_ to the chapel, intone a litany, while Catholic citizens, students, and women protest against the song of the Huguenot soldiers. These several choral elements are skilfully worked out in the score. _Marcel_, @@ -17925,22 +17889,22 @@ the barge containing _de Nevers_ and his retinue. A brilliant chorus, supported by the orchestra and by a military band on the stage, with ballet to add to the spectacle forms the finale, as _de Nevers_ conducts _Valentine_ to the barge, and is followed on board by _St. -Bris_ and the nuptial cortege. +Bris_ and the nuptial cortège. The fourth act, in the home of _de Nevers_, opens with a romance for -_Valentine_, "Parmi les pleurs mon reve se ranime" (Amid my tears, by +_Valentine_, "Parmi les pleurs mon rêve se ranime" (Amid my tears, by dreams once more o'ertaken), which is followed by a brief scene between her and _Raoul_, whom the approach of the conspirators quickly obliges her to hide in an adjoining apartment. The scene of the consecration of the swords is one of the greatest in opera; but that it shall have its full effect _St. Bris_ must be an artist like -Plancon, who, besides being endowed with a powerful and beautifully +Plançon, who, besides being endowed with a powerful and beautifully managed voice, was superb in appearance and as _St. Bris_ had the bearing of the dignified, commanding yet fanatic nobleman of old France. Musically and dramatically the scene rests on _St. Bris's_ shoulders, and broad they must be, since his is the most conspicuous part in song and action, from the intonation of his solo, "Pour cette -cause sainte, obeisses sans crainte" (With sacred zeal and ardor let +cause sainte, obéisses sans crainte" (With sacred zeal and ardor let now your soul be burning), [Music] @@ -17992,13 +17956,13 @@ good deal of the _bourgeois_. Pro or con, when "Les Huguenots" is sung with a fully adequate cast, it cannot fail of making a deep impression--as witness "les nuits de -sept etoiles." +sept étoiles." A typical night of the seven stars at the Metropolitan Opera House, -New York, was that of December 26, 1894. The _sept etoiles_ were +New York, was that of December 26, 1894. The _sept étoiles_ were Nordica (_Valentine_), Scalchi (_Urbain_), Melba (_Marguerite de -Valois_), Jean de Reszke (_Raoul_), Plancon (_St. Bris_), Maurel (_de -Nevers_), and Edouard de Reszke (_Marcel_). Two Academy of Music casts +Valois_), Jean de Reszke (_Raoul_), Plançon (_St. Bris_), Maurel (_de +Nevers_), and Édouard de Reszke (_Marcel_). Two Academy of Music casts are worth referring to. April 30, 1872, Parepa-Rosa, for her last appearance in America, sang _Valentine_. Wachtel was _Raoul_ and Santley _St. Bris_. The other Academy cast was a "Night of six stars," @@ -18008,15 +17972,15 @@ December 24, 1874. Nilsson was _Valentine_, Cary _Urbain_, Maresi _Marguerite de Valois_, Campanini _Raoul_, Del Puente _St. Bris_, Maurel _de Nevers_, and Nannetti _Marcel_. With a more distinguished _Marguerite de Valois_, this performance would have anticipated the -"nuits de sept etoiles." +"nuits de sept étoiles." -LE PROPHETE +LE PROPHÈTE THE PROPHET Opera in five acts, by Meyerbeer; words by Scribe. Produced, - Grand Opera, Paris, April 6, 1849. London, Covent Garden, + Grand Opéra, Paris, April 6, 1849. London, Covent Garden, July 24, 1849, with Mario, Viardot-Garcia, Miss Hayes, and Tagliafico. New Orleans, April 2, 1850. New York, Niblo's Garden, November 25, 1853, with Salvi (_John of Leyden_), @@ -18025,10 +17989,10 @@ THE PROPHET 17, 1884, with Anton Schott as _John of Leyden_, Marianne Brandt as _Fides_ and Schroeder-Hanfstaengl as _Bertha_. It was given ten times during the season, in which it was - equalled only by "Tannhaeuser" and "Lohengrin." Also, + equalled only by "Tannhäuser" and "Lohengrin." Also, Metropolitan Opera House, 1898-99, with Jean de Reszke, Brema (_Fides_), Lehmann (_Bertha_); January 22, 1900, - Alvarez, Schumann-Heink, Suzanne Adams, Plancon and Edouard + Alvarez, Schumann-Heink, Suzanne Adams, Plançon and Édouard de Reszke; by Gatti-Casazza, February 7, 1918, with Caruso, Matzenauer, Muzio, Didur, and Mardones. @@ -18047,7 +18011,7 @@ THE PROPHET _Time_--1534-35. - _Place_--Dordrecht, Holland, and Muenster. + _Place_--Dordrecht, Holland, and Münster. Act I. At the foot of _Count Oberthal's_ castle, near Dordrecht, Holland, peasants and mill hands are assembled. _Bertha_ and _Fides_ @@ -18074,7 +18038,7 @@ Act II. In _John's_ inn at Leyden are the three Anabaptists and a throng of merry-making peasants. Full of longing for _Bertha_, _John_ is thinking of the morrow. The Anabaptists discover that he bears a remarkable resemblance to the picture of King David in the Cathedral -of Muenster. They believe this resemblance can be made of service to +of Münster. They believe this resemblance can be made of service to their plans. _John_ tells them of a strange dream he has had, and in which he found himself standing under the dome of a temple with people prostrate before him. They interpret it for him as evidence that he @@ -18096,29 +18060,29 @@ once, without even saying farewell to his mother, who must be kept in ignorance of their plans. John consents and hurries off with them. Act III. In the winter camp of the Anabaptists in a forest of -Westphalia, before Muenster. On a frozen lake people are skating. The +Westphalia, before Münster. On a frozen lake people are skating. The people have risen against their oppressors. _John_ has been proclaimed a prophet of God. At the head of the Anabaptists he is besieging -Muenster. +Münster. The act develops in three scenes. The first reveals the psychological medley of fanaticism and sensuality of the Anabaptists and their followers. In the second _John_ enters. _Oberthal_ is delivered into his hands. From him _John_ learns that _Bertha_ again has escaped from -the castle and is in Muenster. The three Anabaptist leaders wish to put +the castle and is in Münster. The three Anabaptist leaders wish to put the _Count_ to death. But _John_, saying that _Bertha_ shall be his judge, puts off the execution, much to the disgust of the three fanatics, who find _John_ assuming more authority than is agreeable to them. This scene, the second of the act, takes place in _Zachariah's_ tent. The third scene shows again the camp of the Anabaptists. The leaders, fearing _John's_ usurpation of power, have themselves headed -an attack by their followers on Muenster and met with defeat. The +an attack by their followers on Münster and met with defeat. The rabble they have led is furious and ready to turn even against _John_. He, however, by sheer force of personality coupled with his assumption of superhuman inspiration, rallies the crowd to his standard, and leads it to victory. -Act IV. A public place in Muenster. The city is in possession of the +Act IV. A public place in Münster. The city is in possession of the Anabaptists. _John_, once a plain innkeeper of Leyden, has been swept along on the high tide of success and decides to have himself proclaimed Emperor. Meanwhile _Fides_ has been reduced to beggary. The @@ -18128,7 +18092,7 @@ _Prophet_ and her son are one and the same--left in the inn a bundle of _John's_ clothes stained with blood, together with a script stating that he had been murdered by the _Prophet_ and his followers. -The poor woman has come to Muenster to beg. There she meets _Bertha_, +The poor woman has come to Münster to beg. There she meets _Bertha_, who, when _Fides_ tells her that _John_ has been murdered, vows vengeance upon the _Prophet_. @@ -18148,7 +18112,7 @@ son--that her eyes, dimmed by age, have deceived her. Act V. The three Anabaptists, _Jonas_, _Matthisen_, and _Zacharias_, had intended to use _John_ only as an instrument to attain power for -themselves. The German Emperor, who is moving on Muenster with a large +themselves. The German Emperor, who is moving on Münster with a large force, has promised them pardon if they will betray the _Prophet_ and usurper into his hands. To this they have agreed, and are ready on his coronation day to betray him. @@ -18184,17 +18148,17 @@ smoke and flame. _John of Leyden's_ name was Jan Beuckelszoon. He was born in 1509. In business he was successively a tailor, a small merchant, and an -innkeeper. After he had had himself crowned in Muenster, that city +innkeeper. After he had had himself crowned in Münster, that city became a scene of orgy and cruelty. It was captured by the imperial forces June 24, 1535. The following January the "prophet" was put to -death by torture. The same fate was meted out to Knipperdoelling, his +death by torture. The same fate was meted out to Knipperdölling, his henchman, who had conveniently rid him of one of his wives by cutting off her head. * * * * * -The music of the first act of "Le Prophete" contains a cheerful chorus -for peasants, a cavatina for _Bertha_, "Mon coeur s'elance" (My +The music of the first act of "Le Prophète" contains a cheerful chorus +for peasants, a cavatina for _Bertha_, "Mon coeur s'élance" (My heart throbs wildly), in which she voices her joy over her expected union with _John_; the Latin chant of the three Anabaptists, gloomy yet stirring; the music of the brief revolt of the peasantry against @@ -18208,7 +18172,7 @@ with a sense of the tyranny by which they are oppressed. Opening the second act, in _John's_ tavern, in the suburbs of Leyden, are the chorus and dance of _John's_ friends, who are rejoicing over his prospective wedding. When the three Anabaptists have recognized -his resemblance to the picture of David in the cathedral at Muenster, +his resemblance to the picture of David in the cathedral at Münster, _John_, observing their sombre yet impressive bearing, tells them of his dream, and asks them to interpret it: "Sous les vastes arceaux d'un temple magnifique" (Under the great dome of a splendid temple). @@ -18229,7 +18193,7 @@ the fantastic trio for _Jonas_, _Zacharias_, and _Oberthal_, especially in the descriptive passage in which in rhythm with the music, _Jonas_ strikes flint and steel, ignites a lantern and by its light recognizes _Oberthal_. When _John_ rallies the Anabaptists, who -have been driven back from under the walls of Muenster and promises to +have been driven back from under the walls of Münster and promises to lead them to victory, the act reaches a superb climax in a "Hymne Triomphal" for _John_ and chorus, "Roi du Ciel et des Anges" (Ruler of Heaven and the Angels). At the most stirring moment of this finale, as @@ -18239,17 +18203,17 @@ hanging over the lake are dispelled. The sun bursts forth in glory. [Music] In the next act there is a scene for _Fides_ in the streets of -Muenster, in which, reduced to penury, she begs for alms. There also is +Münster, in which, reduced to penury, she begs for alms. There also is the scene at the meeting of _Fides_ and _Bertha_. The latter believing, like _Fides_, that _John_ has been slain by the Anabaptists, vows vengeance upon the _Prophet_. The great procession in the cathedral with its march and chorus has -been, since the production of "Le Prophete" in 1849, a model of +been, since the production of "Le Prophète" in 1849, a model of construction for striking spectacular scenes in opera. The march is famous. Highly dramatic is the scene in which _Fides_ first proclaims and then denies that John is her son. The climax of the fifth act is -the drinking song, "Versez, que tout respire l'ivresse et le delire" +the drinking song, "Versez, que tout respire l'ivresse et le délire" (Quaff, quaff, in joyous measure; breathe, breathe delirious pleasure), in the midst of which the building is blown up, and _John_ perishes with those who would betray him. @@ -18274,13 +18238,13 @@ L'AFRICAINE THE AFRICAN Opera in five acts, by Meyerbeer; words by Scribe. Produced - Grand Opera, Paris, April 28, 1865. London, in Italian, + Grand Opéra, Paris, April 28, 1865. London, in Italian, Covent Garden, July 22, 1865; in English, Covent Garden, October 21, 1865. New York, Academy of Music, December 1, 1865, with Mazzoleni as _Vasco_, and Zucchi as _Selika_; September 30, 1872, with Lucca as _Selika_; Metropolitan Opera House, January 15, 1892, Nordica (_Selika_), - Pettigiani (_Inez_), Jean de Reszke (_Vasco_), Edouard de + Pettigiani (_Inez_), Jean de Reszke (_Vasco_), Édouard de Reszke (_Don Pedro_), Lasalle (_Nelusko_). CHARACTERS @@ -18304,17 +18268,17 @@ THE AFRICAN _Place_--Lisbon; on a ship at sea; and India. In 1838 Scribe submitted to Meyerbeer two librettos: that of "Le -Prophete" and that of "L'Africaine." For the purposes of immediate -composition he gave "Le Prophete" the preference, but worked +Prophète" and that of "L'Africaine." For the purposes of immediate +composition he gave "Le Prophète" the preference, but worked simultaneously on the scores of both. As a result, in 1849, soon after -the production of "Le Prophete," a score of "L'Africaine" was +the production of "Le Prophète," a score of "L'Africaine" was finished. The libretto, however, never had been entirely satisfactory to the composer. Scribe was asked to retouch it. In 1852 he delivered an amended version to Meyerbeer who, so far as his score had gone, adapted it to the revised book, and finished the entire work in 1860. -"Thus," says the _Dictionnaire des Operas_, "the process of creating +"Thus," says the _Dictionnaire des Opéras_, "the process of creating 'L'Africaine' lasted some twenty years and its birth appears to have cost the life of its composer, for he died, in the midst of preparations for its production, on Monday, May 2, 1864, the day after @@ -18466,20 +18430,20 @@ powerful ensemble. The slumber song for _Selika_ in the second act, as she watches over _Vasco_, "Sur mes genoux, fils du soleil" (On my knees, offspring of the sun) is charming, and entirely original, with many exotic and fascinating touches. _Nelusko's_ air of homage, "Fille -des rois, a toi l'hommage" (Daughter of Kings, my homage thine), +des rois, à toi l'hommage" (Daughter of Kings, my homage thine), expresses a sombre loyalty characteristic of the savage whose passion for his queen amounts to fanaticism. The finale of the act is an unaccompanied septette for _Inez_, _Selika_, _Anna_, _Vasco_, _d'Alvar_, _Nelusko_, and _Don Pedro_. In the act which plays aboardship, are the graceful chorus of women, -"Le rapide et leger navire" (The swiftly gliding ship), the prayer of -the sailors, "O grand Saint Dominique," and Nelusko's song, +"Le rapide et léger navire" (The swiftly gliding ship), the prayer of +the sailors, "Ô grand Saint Dominique," and Nelusko's song, "Adamastor, roi des vagues profondes" (Adamastor, monarch of the trackless deep), a savage invocation of sea and storm, chanted to the rising of a hurricane, by the most dramatic figure among the characters in the opera. For like _Marcel_ in "Les Huguenots" and -_Fides_ in "Le Prophete," _Nelusko_ is a genuine dramatic creation. +_Fides_ in "Le Prophète," _Nelusko_ is a genuine dramatic creation. The Indian march and the ballet, which accompanies the ceremony of the crowning of _Selika_, open the fourth act. The music is exotic, @@ -18487,7 +18451,7 @@ piquant, and in every way effective. The scene is a masterpiece of its kind. There follow the lovely measures of the principal tenor solo of the opera, _Vasco's_ "Paradis sorti du sein de l'onde" (Paradise, lulled by the lisping sea). Then comes the love duet between _Vasco_ -and _Selika_, "O transport, o douce extase" (Oh transport, oh sweet +and _Selika_, "Ô transport, ô douce extase" (Oh transport, oh sweet ecstacy). One authority says of it that "rarely have the tender passion, the ecstacy of love been expressed with such force." Now it would be set down simply as a tiptop love duet of the old-fashioned @@ -18501,17 +18465,17 @@ _Selika_--"D'ici je vois la mer immense" (From here I gaze upon the boundless deep). -L'ETOILE DU NORD AND DINORAH +L'ÉTOILE DU NORD AND DINORAH Two other operas by Meyerbeer remain for mention. One of them has completely disappeared from the repertoire of the lyric stage. The other suffers an occasional revival for the benefit of some prima donna extraordinarily gifted in lightness and flexibility of vocal -phrasing. These operas are "L'Etoile du Nord" (The Star of the North), -and "Dinorah, ou Le Pardon de Ploermel" (Dinorah, or The Pardon of -Ploermel). +phrasing. These operas are "L'Étoile du Nord" (The Star of the North), +and "Dinorah, ou Le Pardon de Ploërmel" (Dinorah, or The Pardon of +Ploërmel). -Each of these contains a famous air. "L'Etoile du Nord" has the high +Each of these contains a famous air. "L'Étoile du Nord" has the high soprano solo with _obbligato_ for two flutes, which was one of Jenny Lind's greatest show-pieces, but has not sufficed to keep the opera alive. In "Dinorah" there is the "Shadow Song," in which _Dinorah_ @@ -18519,23 +18483,23 @@ dances and sings to her own shadow in the moonlight--a number which, at long intervals of time, galvanizes the rest of the score into some semblance of life. -The score of "L'Etoile du Nord," produced at the Opera Comique, Paris, +The score of "L'Étoile du Nord," produced at the Opéra Comique, Paris, February 16, 1854, was assembled from an earlier work, "Das Feldlager in Schlesien" (The Camp in Silesia), produced for the opening of the Berlin Opera House, February 17, 1847; but the plots differ. The story -of "L'Etoile du Nord" relates to the love of _Peter the Great_ for -_Catherine_, a cantiniere. Their union finally takes place, but not +of "L'Étoile du Nord" relates to the love of _Peter the Great_ for +_Catherine_, a cantinière. Their union finally takes place, but not until _Catherine_ has disguised herself as a soldier and served in the Russian camp. After surreptitiously watching _Peter_ and a companion drink and roister in the former's tent with a couple of girls, she loses her reason. When it is happily restored by Peter playing familiar airs to her on his flute, she voices her joy in the -show-piece, "La, la, la, air cheri" (La, la, la, beloved song), to +show-piece, "La, la, la, air chéri" (La, la, la, beloved song), to which reference already has been made. In the first act _Catherine_ -has a "Ronde bohemienne" (Gypsy rondo), the theme of which Meyerbeer +has a "Ronde bohémienne" (Gypsy rondo), the theme of which Meyerbeer took from his opera "Emma de Rohsburg." -"L'Etoile du Nord" is in three acts. There is much military music in +"L'Étoile du Nord" is in three acts. There is much military music in the second act--a cavalry chorus, "Beau cavalier au coeur d'acier" (Brave cavalier with heart of steel); a grenadier song with chorus, "Grenadiers, fiers Moscovites" (grenadiers, proud Muscovites), in @@ -18550,14 +18514,14 @@ Peter's palace in Petrograd. Time, about 1700. * * * * * -Barbier and Carre wrote the words of "Dinorah," founding their -libretto on a Breton tale. Under the title, "Le Pardon de Ploermel" +Barbier and Carré wrote the words of "Dinorah," founding their +libretto on a Breton tale. Under the title, "Le Pardon de Ploërmel" (the scene of the opera being laid near the Breton village of -Ploermel) the work was produced at the Opera Comique, Paris, April 4, +Ploërmel) the work was produced at the Opéra Comique, Paris, April 4, 1859. It has three principal characters--a peasant girl, _Dinorah_, -_soprano_; _Hoel_, a goat-herd, _baritone_; _Corentino_, a bagpiper, -_tenor_. The famous baritone, Faure, was the _Hoel_ of the Paris -production. Cordier (_Dinorah_), Amodio (_Hoel_), Brignoli +_soprano_; _Hoël_, a goat-herd, _baritone_; _Corentino_, a bagpiper, +_tenor_. The famous baritone, Faure, was the _Hoël_ of the Paris +production. Cordier (_Dinorah_), Amodio (_Hoël_), Brignoli (_Corentino_) were heard in the first American production, Academy of Music, New York, November 24, 1864. As _Dinorah_ there also have been heard here Ilma di Murska (Booth's Theatre, 1867), Marimon (with @@ -18565,11 +18529,11 @@ Campanini as _Corentino_), December 12, 1879; Adelina Patti (1882); Tetrazzini (Manhattan Opera House, 1907); and Galli-Curci (Lexington Theatre, January 28, 1918), with the Chicago Opera Company. -_Dinorah_ is betrothed to _Hoel_. Her cottage has been destroyed in a -storm. _Hoel_, in order to rebuild it, goes into a region haunted by +_Dinorah_ is betrothed to _Hoël_. Her cottage has been destroyed in a +storm. _Hoël_, in order to rebuild it, goes into a region haunted by evil spirits, in search of hidden treasure. _Dinorah_, believing herself deserted, loses her reason and, with her goat, whose tinkling -bell is heard, wanders through the mountains in search of _Hoel_. +bell is heard, wanders through the mountains in search of _Hoël_. The opera is in three acts. It is preceded by an overture during which there is sung by the villagers behind the curtain the hymn to Our Lady @@ -18582,22 +18546,22 @@ his cornemuse. _Dinorah_ enters the hut, and makes him dance with her, while she sings. When someone is heard approaching, she jumps out of the window. It is -_Hoel_. Both he and _Corentino_ think she is a sprite. _Hoel_ sings of +_Hoël_. Both he and _Corentino_ think she is a sprite. _Hoël_ sings of the gold he expects to find, and offers _Corentino_ a share in the treasure if he will aid him lift it. According to the legend, however, -the first one to touch the treasure must die, and _Hoel's_ seeming +the first one to touch the treasure must die, and _Hoël's_ seeming generosity is a ruse to make _Corentino_ the victim of the discovery. -The tinkle of the goat's bell is heard. _Hoel_ advises that they +The tinkle of the goat's bell is heard. _Hoël_ advises that they follow the sound as it may lead to the treasure. The act closes with a trio, "Ce tintement que l'on entend" (The tinkling tones that greet -the ear). _Dinorah_ stands among the high rocks, while _Hoel_ and +the ear). _Dinorah_ stands among the high rocks, while _Hoël_ and _Corentino_, the latter reluctantly, make ready to follow the tinkle of the bell. A wood of birches by moonlight is the opening scene of the second act. It is here _Dinorah_ sings of "Le vieux sorcier de la montagne" (The ancient wizard of the mountain), following it with the "Shadow Song," -"Ombre legere qui suis mes pas" (Fleet shadow that pursues my +"Ombre légère qui suis mes pas" (Fleet shadow that pursues my steps)--"Ombra leggiera" in the more familiar Italian version. [Music] @@ -18611,28 +18575,28 @@ The scene changes to a wild landscape. A ravine bridged by an uprooted tree. A pond, with a sluiceway which, when opened, gives on the ravine. The moon has set. A storm is rising. -_Hoel_ and _Corentino_ enter; later _Dinorah_. Through the night, that +_Hoël_ and _Corentino_ enter; later _Dinorah_. Through the night, that is growing wilder, she sings the legend of the treasure, "Sombre -destinee, ame condamnee" (O'ershadowing fate, soul lost for aye). +destinée, âme condamnée" (O'ershadowing fate, soul lost for aye). Her words recall the tragic story of the treasure to _Corentino_, who -now sees through _Hoel's_ ruse, and seeks to persuade the girl to go +now sees through _Hoël's_ ruse, and seeks to persuade the girl to go after the treasure. She sings gaily, in strange contrast to the gathering storm. Lightning flashes show her her goat crossing the ravine by the fallen tree. She runs after her pet. As she is crossing the tree, a thunderbolt crashes. The sluice bursts, the tree is -carried away by the flood, which seizes _Dinorah_ in its swirl. _Hoel_ +carried away by the flood, which seizes _Dinorah_ in its swirl. _Hoël_ plunges into the wild waters to save her. Not enough of the actual story remains to make a third act. But as there has to be one, the opening of the act is filled in with a song for a _Hunter_ (_bass_), another for a _Reaper_ (_tenor_), and a duet -for _Goat-herds_ (_soprano and contralto_). _Hoel_ enters bearing -_Dinorah_, who is in a swoon. _Hoel_ here has his principal air, "Ah! +for _Goat-herds_ (_soprano and contralto_). _Hoël_ enters bearing +_Dinorah_, who is in a swoon. _Hoël_ here has his principal air, "Ah! mon remords te venge" (Ah, my remorse avenges you). _Dinorah_ comes to. Her reason is restored when she finds herself in her lover's arms. The villagers chant the "Hymn of the Pardon." A procession forms -for the wedding, which is to make happy _Dinorah_ and _Hoel_, every +for the wedding, which is to make happy _Dinorah_ and _Hoël_, every one, in fact, including the goat. Except for the scene of the "Shadow Dance," the libretto is incredibly @@ -18648,16 +18612,16 @@ Hector Berlioz (1803-1869) -This composer, born Cote-Saint-Andre, near Grenoble, December 11, +This composer, born Côte-Saint-André, near Grenoble, December 11, 1803; died Paris, March 9, 1869, has had comparatively little influence upon opera considered simply as such. But, as a musician whose skill in instrumentation, and knowledge of the individual tone quality of every instrument in the orchestra amounted to positive genius, his influence on music in general was great. In his symphonies--"Episode de la Vie d'un Artiste" (characterized by him as -a _symphonie phantastique_), its sequel, "Lelio, ou la Retour a la +a _symphonie phantastique_), its sequel, "Lelio, ou la Retour à la Vie," "Harold en Italie," in which Harold is impersonated by the -viola, and the _symphonie dramatique_, "Romeo et Juliette," he proved +viola, and the _symphonie dramatique_, "Roméo et Juliette," he proved the feasibility of producing, by means of orchestral music, the effect of narrative, personal characterization and the visualization of dramatic action, as well as of scenery and material objects. He thus @@ -18673,10 +18637,10 @@ composer's death. BENVENUTO CELLINI Opera in three acts, by Berlioz. Words by du Wailly and - Barbier. Produced, and failed completely, Grand Opera, + Barbier. Produced, and failed completely, Grand Opéra, Paris, September 3, 1838, and London a fortnight later. Revived London, Covent Garden, 1853, under Berlioz's own - direction; by Liszt, at Weimar, 1855; by von Buelow, Hanover, + direction; by Liszt, at Weimar, 1855; by von Bülow, Hanover, 1879. CHARACTERS @@ -18764,7 +18728,7 @@ potent plea for the inspired master. Once more have Art and her faithful servant triumphed over all rivals. The statue of Perseus, by Benvenuto Cellini, one of the most famous -creations of mediaeval Italy, is one of the art treasures of Florence. +creations of mediæval Italy, is one of the art treasures of Florence. BEATRICE AND BENEDICT @@ -18815,7 +18779,7 @@ THE CAPTURE OF TROY HECTOR'S ghost _Bass_ ANDROMACHE } _Mutes_ ASTYONAX } - AENEAS _Tenor_ + ÆNEAS _Tenor_ ASCANIUS _Soprano_ PANTHEUS _Bass_ CHOROEBUS _Baritone_ @@ -18836,7 +18800,7 @@ in vain to flee. Act II. In a grove near the walls of the city the Trojan people, with their princes at their head, are celebrating the return of peace. _Andromache_, however, sees no happiness for herself, since _Hector_ -has fallen. Suddenly _AEneas_ hurries in with the news that the priest +has fallen. Suddenly _Æneas_ hurries in with the news that the priest _Laocoon_, who had persisted in seeing in the wooden horse only a stratagem of the Greeks, has been strangled by a serpent. Athena must be propitiated; the horse must be taken into the city, to the sacred @@ -18844,16 +18808,16 @@ Palladium, and there set up for veneration. Of no avail is _Cassandra's_ wailing, when the goddess has so plainly indicated her displeasure. -Act III. _AEneas_ is sleeping in his tent. A distant sound of strife +Act III. _Æneas_ is sleeping in his tent. A distant sound of strife awakens him. _Hector's Ghost_ appears to him. Troy is lost; far away, -to Italy, must _AEneas_ go, there to found a new kingdom. The _Ghost_ +to Italy, must _Æneas_ go, there to found a new kingdom. The _Ghost_ disappears. The priest, _Pantheus_, rushes in, bleeding from wounds. He announces that Greeks have come out of the belly of the horse and have opened the gates of the city to the Greek army. Troy is in -flames. _AEneas_ goes forth to place himself at the head of his men. +flames. _Æneas_ goes forth to place himself at the head of his men. The scene changes to the vestal sanctuary in _Priam's_ palace. To the -women gathered in prayer _Cassandra_ announces that _AEneas_ has +women gathered in prayer _Cassandra_ announces that _Æneas_ has succeeded in saving the treasure and covering a retreat to Mount Ida. But her _Choroebus_ has fallen and she desires to live no longer. Shall she become the slave of a Greek? She paints the fate of the @@ -18862,7 +18826,7 @@ with her. Just as the Greeks rush in, the women stab themselves, and grief overcomes even the hardened warriors. -PART II. "LES TROYENS A CARTHAGE" +PART II. "LES TROYENS À CARTHAGE" THE TROJANS IN CARTHAGE @@ -18870,14 +18834,14 @@ THE TROJANS IN CARTHAGE Produced, Paris, November 4, 1863, when it failed completely. Revived, 1890, in Karlsruhe, under the direction of Felix Mottl. Mottl's performances in Karlsruhe, in 1890, - of "La Prise de Troie" and "Les Troyens a Carthage" + of "La Prise de Troie" and "Les Troyens à Carthage" constituted the first complete production of "Les Troyens." CHARACTERS DIDO _Soprano_ ANNA _Contralto_ - AENEAS _Tenor_ + ÆNEAS _Tenor_ ASCANIUS _Soprano_ PANTHEUS _Bass_ NARBAL _Bass_ @@ -18893,26 +18857,26 @@ that the savage Numidian King, Jarbas, has asked for her hand, but she has decided to live only for the memory of her dead husband. Today, however, shall be devoted to festive games. The lyric poet _Jopas_ enters and announces the approach of strangers, who have escaped from -the dangers of the sea. They arrive and _Ascanius_, son of _AEneas_, +the dangers of the sea. They arrive and _Ascanius_, son of _Æneas_, begs entertainment for a few days for himself and his companions. This _Dido_ gladly grants them. Her Minister, _Narbal_, rushes in. The Numidian king has invaded the country. Who will march against him? -_AEneas_, who had concealed himself in disguise among his sailors, +_Æneas_, who had concealed himself in disguise among his sailors, steps forth and offers to defend the country against the enemy. Act II. A splendid festival is in progress in Dido's garden in honour -of the victor, _AEneas_. _Dido_ loves _AEneas_, who tells her of +of the victor, _Æneas_. _Dido_ loves _Æneas_, who tells her of Andromache, and how, in spite of her grief over _Hector_, she has laid aside her mourning and given her hand to another. Why should _Dido_ not do likewise? Night closes in, and under its cover both pledge their love and faith. -Has _AEneas_ forgotten his task? To remind him, Mercury appears and +Has _Æneas_ forgotten his task? To remind him, Mercury appears and strikes resoundingly on the weapons that have been laid aside, while -invisible voices call out to _AEneas_: "Italie!" +invisible voices call out to _Æneas_: "Italie!" Act III. Public festivities follow the betrothal of _Dido_ and -_AEneas_. But _Dido's_ faithful Minister knows that, although _AEneas_ +_Æneas_. But _Dido's_ faithful Minister knows that, although _Æneas_ is a kingly lover, it is the will of the gods that the Trojan proceed to Italy; and that to defy the gods is fatal. @@ -18920,14 +18884,14 @@ Meanwhile the destiny of the lovers is fulfilled. During a hunt they seek shelter from a thunderstorm in a cave. There they seal their love compact. (This scene is in pantomime.) -Act IV. The Trojans are incensed that _AEneas_ places love ahead of +Act IV. The Trojans are incensed that _Æneas_ places love ahead of duty. They have determined to seek the land of their destiny without -him. Finally _AEneas_ awakes from his infatuation and, when the voices +him. Finally _Æneas_ awakes from his infatuation and, when the voices of his illustrious dead remind him of his duty, he resolves, in spite of _Dido's_ supplications, to depart at once. Act V. Early morning brings to _Dido_ in her palace the knowledge that -she has lost _AEneas_ forever. She decides not to survive her loss. On +she has lost _Æneas_ forever. She decides not to survive her loss. On the sea beach she orders a huge pyre erected. All the love tokens of the faithless one are fed to the flames. She herself ascends the pyre. Her vision takes in the great future of Carthage and the greater one @@ -18941,8 +18905,8 @@ THE DAMNATION OF FAUST In its original form a "dramatic legend" in four parts for the concert stage. Music by Hector Berlioz. Words, after Gerald de Nerval's version of Goethe's play, by Berlioz, - Gerard, and Gandonniere. Produced in its original form as a - concert piece at the Opera Comique, Paris, December 6, 1846; + Gérard, and Gandonnière. Produced in its original form as a + concert piece at the Opéra Comique, Paris, December 6, 1846; London, two parts of the work, under Berlioz's direction, Drury Lane, February 7, 1848; first complete performance in England, Free Trade Hall, Manchester, February 5, 1880. New @@ -18950,18 +18914,18 @@ THE DAMNATION OF FAUST for the operatic stage by Raoul Gunsberg, and produced by him at Monte Carlo, February 18, 1893, with Jean de Reszke as _Faust_; revived there March, 1902, with Melba, Jean de - Reszke, and Maurice Renaud. Given in Paris with Calve, + Reszke, and Maurice Renaud. Given in Paris with Calvé, Alvarez, and Renaud, to celebrate the centennial of Berlioz's birth, December 11, 1903. New York, Metropolitan Opera House, December 7, 1906; Manhattan Opera House, - November 6, 1907, with Dalmores as _Faust_ and Renaud as - _Mephistopheles_. + November 6, 1907, with Dalmorès as _Faust_ and Renaud as + _Méphistophélès_. CHARACTERS MARGUERITE _Soprano_ FAUST _Tenor_ - MEPHISTOPHELES _Bass_ + MÉPHISTOPHÉLÈS _Bass_ BRANDER _Bass_ Students, soldiers, citizens, men and women, fairies, etc. @@ -18973,7 +18937,7 @@ THE DAMNATION OF FAUST In the first part of Berlioz's dramatic legend _Faust_ is supposed to be on the Plains of Hungary. Introspectively he sings of nature and solitude. There are a chorus and dance of peasants and a recitative. -Soldiers march past to the stirring measures of the "Rakoczy March," +Soldiers march past to the stirring measures of the "Rákóczy March," the national air of Hungary. This march Berlioz orchestrated in Vienna, during his tour of 1845, @@ -18983,7 +18947,7 @@ that he laid the first scene of his dramatic legend on the plains of Hungary. Liszt claimed that his pianoforte transcription of the march had freely been made use of by Berlioz, "especially in the harmony." -In the operatic version Gunsbourg shows _Faust_ in a mediaeval chamber, +In the operatic version Gunsbourg shows _Faust_ in a mediæval chamber, with a view, through a window, of the sally-port of a castle, out of which the soldiers march. At one point in the march, which Berlioz has treated contrapuntally, and where it would be difficult for marchers @@ -18997,7 +18961,7 @@ congregation, kneeling, sings the Easter canticle, "Christ is Risen." Change of scene to Auerbach's cellar, Leipsic. Revel of students and soldiers. _Brander_ sings the "Song of the Rat," whose death is mockingly grieved over by a "Requiescat in pace" and a fugue on the -word "Amen," sung by the roistering crowd. _Mephistopheles_ then +word "Amen," sung by the roistering crowd. _Méphistophélès_ then "obliges" with the song of the flea, in which the skipping about of the elusive insect is depicted in the accompaniment. @@ -19007,7 +18971,7 @@ the score, the "Dance of the Sylphs," a masterpiece of delicate and airy illustration. Violoncellos, _con sordini_, hold a single note as a pedal point, over which is woven a gossamer fabric of melody and harmony, ending with the faintest possible pianissimo from drum and -harps. Gunsbourg employed here, with admirable results, the aerial +harps. Gunsbourg employed here, with admirable results, the aërial ballet, and has given a rich and beautiful setting to the scene, including a vision of _Marguerite_. The ballet is followed by a chorus of soldiers and a students' song in Latin. @@ -19020,10 +18984,10 @@ wall, the same as in _Sparafucile's_ house, in the last act of "Rigoletto." Soldiers and students are strolling and singing in the street. _Marguerite_ sings the ballad of the King of Thule. Berlioz's setting of the song is primitive. He aptly characterizes the number as -a "Chanson Gothique." The "Invocation" of _Mephistopheles_ is followed -by the "Dance of Will-o'-the-Wisps." Then comes _Mephistopheles's_ +a "Chanson Gothique." The "Invocation" of _Méphistophélès_ is followed +by the "Dance of Will-o'-the-Wisps." Then comes _Méphistophélès's_ barocque serenade. _Faust_ enters _Marguerite's_ pavilion. There is a -love duet, which becomes a trio when _Mephistopheles_ joins the +love duet, which becomes a trio when _Méphistophélès_ joins the lovers and urges _Faust's_ departure. _Marguerite_ is alone. Berlioz, instead of using Goethe's song, "Meine @@ -19036,8 +19000,8 @@ The singing of the students and the soldiers grows fainter. The by the drums and trumpets. _Marguerite_, overcome by remorse, swoons at the window. -A mountain gorge. _Faust's_ soliloquy, "Nature, immense, impenetrable -et fiere" (Nature, vast, unfathomable and proud). The "Ride to Hell"; +A mountain gorge. _Faust's_ soliloquy, "Nature, immense, impénétrable +et fière" (Nature, vast, unfathomable and proud). The "Ride to Hell"; moving panorama; pandemonium; redemption of _Marguerite_, whom angels are seen welcoming in the softly illumined heavens far above the town, in which the action is supposed to have transpired. @@ -19053,17 +19017,17 @@ and Musicians_, "has happily not been permanently successful." Why distinguished a composer as Berlioz could find a permanent place in the repertoire. -Gounod's "Faust," Boito's "Mefistofele," and Berlioz's "La Damnation +Gounod's "Faust," Boïto's "Mefistofele," and Berlioz's "La Damnation de Faust" are the only settings of the Faust legend, or, more properly speaking, of Goethe's "Faust," with which a book on opera need concern itself. Gounod's "Faust," with its melodious score, and full of a sentiment that more than occasionally verges on sentimentality, has genuine popular appeal, and is likely long to maintain itself in the repertoire. "Mefistofele," nevertheless, is the profounder work. -Boito, in his setting, sounds Goethe's drama to greater depths than +Boïto, in his setting, sounds Goethe's drama to greater depths than Gounod. It always will be preferred by those who do not have to be written down to. "La Damnation de Faust," notwithstanding its -brilliant and still modern orchestration, is the most truly mediaeval +brilliant and still modern orchestration, is the most truly mediæval of the three scores. Berlioz himself characterizes the ballad of the King of Thule as "Gothic." The same spirit of the Middle Ages runs through much of the work. In several important details the operatic @@ -19083,14 +19047,14 @@ MARTHA pantomime by Jules H. Vernoy and Marquis St. Georges (see p. 559). Produced at the Imperial Opera House, Vienna, November 25, 1847. Covent Garden, London, July 1, 1858, in Italian; - in English at Drury Lane, October 11, 1858. Paris, Theatre + in English at Drury Lane, October 11, 1858. Paris, Théâtre Lyrique, December 16, 1865, when was interpolated the famous - air "M'appari," from Flotow's two-act opera, "L'Ame en - Peine," produced at the Grand Opera, Paris, June, 1846. New + air "M'apparì," from Flotow's two-act opera, "L'Âme en + Peine," produced at the Grand Opéra, Paris, June, 1846. New York, Niblo's Garden, November 1, 1852, with Mme. Anna Bishop; in French, at New Orleans, January 27, 1860. An opera of world-wide popularity, in which, in this country, - the title role has been sung by Nilsson, Patti, Gerster, + the title rôle has been sung by Nilsson, Patti, Gerster, Kellogg, Parepa-Rosa, and Sembrich, and _Lionel_ by Campanini and Caruso. @@ -19470,7 +19434,7 @@ moment later, he held his "Martha" in his arms. * * * * * "Martha" teems with melody. The best-known airs are "The Last Rose of -Summer" and _Lionel's_ "M'appari" (Like a dream). The best ensemble +Summer" and _Lionel's_ "M'apparì" (Like a dream). The best ensemble piece, a quintet with chorus, occurs near the close of Act III.--"Ah! che a voi perdoni Iddio" (Ah! May Heaven to you grant pardon). The spinning-wheel quartet in Act II is most sprightly. But, as indicated, @@ -19491,7 +19455,7 @@ stricken with heart failure and dropped dead upon the stage. A capital quartet opens Act II, in the farmhouse, and leads to the spinning-wheel quartet, "Di vederlo" (What a charming occupation). There is a duet between _Lady Harriet_ and _Lionel_, in which their -growing attraction for each other finds expression, "Il suo sguardo e +growing attraction for each other finds expression, "Il suo sguardo è dolce tanto" (To his eye, mine gently meeting). Then follows "Qui sola, vergin rosa" ('Tis the last rose of summer), the words a poem by Tom Moore, the music an old Irish air, "The Groves of Blarney," to @@ -19512,8 +19476,8 @@ may dreams transport thee). Act III, played in a hunting park in Richmond forest, on the left a small inn, opens with a song in praise of porter, the "Canzone del -Porter" by _Plunkett_, "Chi mi dira?" (Will you tell me). The pieces -de resistance of this act are the "M'appari"; a solo for _Nancy_, "Il +Porter" by _Plunkett_, "Chi mi dirà?" (Will you tell me). The pièces +de résistance of this act are the "M'apparì"; a solo for _Nancy_, "Il tuo stral nel lanciar" [Music] @@ -19524,7 +19488,7 @@ with chorus. [Music] -In Act IV there are a solo for _Plunkett_, "Il mio Lionel perira" +In Act IV there are a solo for _Plunkett_, "Il mio Lionel perirà" (Soon my Lionel will perish), and a repetition of some of the sprightly music of the fair scene. @@ -19546,17 +19510,17 @@ remain until the revolution in March, 1848, once more drove him away. After living in Paris again, 1863-8, he settled near Vienna, making, however, frequent visits to that city, the French capital, and Italy. -During his second stay in Paris he composed for the Grand Opera the +During his second stay in Paris he composed for the Grand Opéra the first act of a ballet, "Harriette, ou la Servante de Greenwiche." This -ballet, the text by Vernoy and St. George, was for Adele Dumilatre. +ballet, the text by Vernoy and St. George, was for Adèle Dumilâtre. The reason Flotow was entrusted with only one of the three acts was the short time in which it was necessary to complete the score. The -other acts were assigned, one each, to Robert Bergmueller and Edouard +other acts were assigned, one each, to Robert Bergmüller and Édouard Deldevez. Of this ballet, written and composed for a French dancer and a French audience, "Martha" is an adaptation. This accounts for its being so typically French and not in the slightest degree German. Flotow's opera "Alessandro Stradella" also is French in origin. It is -adapted from a one-act _piece lyrique_, brought out by him in Paris, +adapted from a one-act _pièce lyrique_, brought out by him in Paris, in 1837. Few works produced so long ago as "Martha" have its freshness, vivacity, and charm. Pre-eminently graceful, it yet carries in a large auditorium like the Metropolitan, where so many operas of @@ -19565,31 +19529,31 @@ the lighter variety have been lost in space. -Charles Francois Gounod +Charles François Gounod (1818-1893) The composer of "Faust" was born in Paris, June 17, 1818. His father -had, in 1783, won the second prix de Rome for painting at the Ecole +had, in 1783, won the second prix de Rome for painting at the École des Beaux Arts. In 1837, the son won the second prix de Rome for music, and two years later captured the grand prix de Rome, by twenty-five votes out of twenty-seven, at the Paris Conservatoire. His -instructors there had been Reicha in harmony, Halevy in counterpoint +instructors there had been Reicha in harmony, Halévy in counterpoint and fugue, and Leseur in composition. Gounod's first works, in Rome and after his return from there, were -religious. At one time he even thought of becoming an abbe, and on the -title-page of one of his published works he is called Abbe Charles +religious. At one time he even thought of becoming an abbé, and on the +title-page of one of his published works he is called Abbé Charles Gounod. A performance of his "Messe Solenelle" in London evoked so -much praise from both English and French critics that the Grand Opera +much praise from both English and French critics that the Grand Opéra commissioned him to write an opera. The result was "Sapho," performed April 16, 1851, without success. It was his "Faust" which gave him -European fame. "Faust" and his "Romeo et Juliette" (both of which see) +European fame. "Faust" and his "Roméo et Juliette" (both of which see) suffice for the purposes of this book, none of his other operas having made a decided success. -"La Redemption," and "Mors et Vita," Birmingham, England, 1882 and +"La Rédemption," and "Mors et Vita," Birmingham, England, 1882 and 1885, are his best-known religious compositions. They are "sacred trilogies." Gounod died, Paris, October 17, 1893. @@ -19604,11 +19568,11 @@ as true today as when they were written, seventeen years ago. FAUST - Opera, in five acts, by Gounod; words by Barbier and Carre. - Produced, Theatre Lyrique, Paris, March 19, 1859, with - Miolan-Carvalho as _Marguerite_; Grand Opera, Paris, March + Opera, in five acts, by Gounod; words by Barbier and Carré. + Produced, Théâtre Lyrique, Paris, March 19, 1859, with + Miolan-Carvalho as _Marguerite_; Grand Opéra, Paris, March 3, 1869, with Christine Nilsson as _Marguerite_, Colin as - _Faust_, and Faure as _Mephistopheles_. London, Her + _Faust_, and Faure as _Méphistophélès_. London, Her Majesty's Theatre, June 11, 1863; Royal Italian Opera, Covent Garden, July 2, 1863, in Italian, as "Faust e Margherita"; Her Majesty's Theatre, January 23, 1864, in an @@ -19619,7 +19583,7 @@ FAUST Music, November 26, 1863, in Italian, with Clara Louise Kellogg (_Margherita_), Henrietta Sulzer (_Siebel_), Fanny Stockton (_Martha_), Francesco Mazzoleni (_Faust_), Hannibal - Biachi (_Mephistopheles_), G. Yppolito (_Valentine_), D. + Biachi (_Méphistophélès_), G. Yppolito (_Valentine_), D. Coletti (_Wagner_). Metropolitan Opera House, opening night, October 22, 1883, with Nilsson, Scalchi, Lablache, Campanini, Novara, Del Puente. @@ -19627,7 +19591,7 @@ FAUST CHARACTERS FAUST, a learned doctor _Tenor_ - MEPHISTOPHELES, Satan _Bass_ + MÉPHISTOPHÉLÈS, Satan _Bass_ MARGUERITE _Soprano_ VALENTINE, a soldier, brother to Marguerite _Baritone_ @@ -19638,7 +19602,7 @@ FAUST to Marguerite _Mezzo-Soprano_ Students, soldiers, villagers, angels, demons, Cleopatra, - Lais, Helen of Troy, and others. + Laïs, Helen of Troy, and others. _Time_--16th Century. @@ -19646,13 +19610,13 @@ FAUST [Illustration: Copyright photo by Dupont -Plancon as Mephistopheles in "Faust"] +Plançon as Méphistophélès in "Faust"] Popular in this country from the night of its American production, Gounod's "Faust" nevertheless did not fully come into its own here -until during the Maurice Grau regime at the Metropolitan Opera House. +until during the Maurice Grau régime at the Metropolitan Opera House. Sung in French by great artists, every one of whom was familiar with -the traditions of the Grand Opera, Paris, the work was given so often +the traditions of the Grand Opéra, Paris, the work was given so often that William J. Henderson cleverly suggested "Faustspielhaus" as an appropriate substitute for the name of New York's yellow brick temple of opera; a _mot_ which led Krehbiel, in a delightful vein of banter, @@ -19660,14 +19624,14 @@ to exclaim, "Henderson, your German jokes are better than your serious German!" Several distinguished singers have been heard in this country in the -role of _Faust_. It is doubtful if that beautiful lyric number, +rôle of _Faust_. It is doubtful if that beautiful lyric number, _Faust's_ romance, "Salut! demeure chaste et pure" (Hail to the dwelling chaste and pure), ever has been delivered here with more exquisite vocal phrasing than by Campanini, who sang the Italian version, in which the romance becomes "Salve! dimora casta e pura." That was in the old Academy of Music days, with Christine Nilsson as _Marguerite_, which she had sung at the revival of the work by the -Paris Grand Opera. The more impassioned outbursts of the _Faust_ role +Paris Grand Opéra. The more impassioned outbursts of the _Faust_ rôle also were sung with fervid expression by Campanini, so great an artist, in the best Italian manner, that he had no Italian successor until Caruso appeared upon the scene. @@ -19677,14 +19641,14 @@ Reszke remains the ideal _Faust_ of memory. With a personal appearance distinguished beyond that of any other operatic artist who has been heard here, an inborn chivalry of deportment that made him a lover after the heart of every woman, and a refinement of musical expression -that clarified every role he undertook, his _Faust_ was the most +that clarified every rôle he undertook, his _Faust_ was the most finished portrayal of that character in opera that has been heard here. Jean de Reszke's great distinction was that everything he did was in perfect taste. Haven't you seen _Faust_ after _Faust_ keep his hat on while making love to _Marguerite_? Jean de Reszke, a gentleman, removed his before ever he breathed of romance. Muratore is an admirable _Faust_, with all the refinements of phrasing and acting -that characterize the best traditions of the Grand Opera, Paris. +that characterize the best traditions of the Grand Opéra, Paris. Great tenors do not, as a rule, arrive in quick succession. In this country we have had two distinct tenor eras and now are in a third. We @@ -19695,29 +19659,29 @@ may be said to have begun the era of Jean de Reszke. It lasted until that artist's voluntary retirement. We are now in the era of Enrico Caruso, whose repertoire includes _Faust_ in French. -Christine Nilsson, Adelina Patti, Melba, Eames, Calve, have been among +Christine Nilsson, Adelina Patti, Melba, Eames, Calvé, have been among the famous _Marguerites_ heard here. Nilsson and Eames may have seemed -possessed of too much natural reserve for the role; but Gounod's +possessed of too much natural reserve for the rôle; but Gounod's librettists made _Marguerite_ more refined than Goethe's _Gretchen_. Patti acted the part with great simplicity and sang it flawlessly. In -fact her singing of the ballad "Il etait un roi de Thule" (There once +fact her singing of the ballad "Il était un roi de Thulé" (There once was a king of Thule) was a perfect example of the artistically artless in song. It seemed to come from her lips merely because it chanced to be running through her head. Melba's type of beauty was somewhat mature for the impersonation of the character, but her voice lent -itself beautifully to it. Calve's _Marguerite_ is recalled as a +itself beautifully to it. Calvé's _Marguerite_ is recalled as a logically developed character from first note to last, and as one of the most original and interesting of _Marguerites_. But Americans -insisted on Calve's doing nothing but _Carmen_. When she sang in +insisted on Calvé's doing nothing but _Carmen_. When she sang in "Faust" she appeared to them a _Carmen_ masquerading as _Marguerite_. So back to _Carmen_ she had to go. Sembrich and Farrar are other _Marguerites_ identified with the Metropolitan Opera House. -Plancon unquestionably was the finest _Mephistopheles_ in the history +Plançon unquestionably was the finest _Méphistophélès_ in the history of the opera in America up to the present time--vivid, sonorous, and -satanically polished or fantastical, as the role demanded. +satanically polished or fantastical, as the rôle demanded. -Gounod's librettists, Michel Carre and Jules Barbier, with a true +Gounod's librettists, Michel Carré and Jules Barbier, with a true Gallic gift for practicable stage effect, did not seek to utilize the whole of Goethe's "Faust" for their book, but contented themselves with the love story of _Faust_ and _Marguerite_, which also happens to @@ -19727,8 +19691,8 @@ whole of "Faust," Germany, where Gounod's work enjoys great popularity, refuses to accept it under the same title as the play, and calls it "Margarethe" after the heroine. -As reconstructed for the Grand Opera, where it was brought out ten -years after its production at the Theatre Lyrique, "Faust" develops as +As reconstructed for the Grand Opéra, where it was brought out ten +years after its production at the Théâtre Lyrique, "Faust" develops as follows: There is a brief prelude. A _ff_ on a single note, then mysterious, @@ -19749,22 +19713,22 @@ women unite. _Faust_, beside himself at these sounds of joy and youth, curses life and advancing age, and calls upon Satan to aid him. There is a flash of red light and out of it, up through the floor, -rises _Mephistopheles_, garbed as a cavalier, and in vivid red. +rises _Méphistophélès_, garbed as a cavalier, and in vivid red. Alternately suave, satirical, and demoniacal in bearing, he offers to _Faust_ wealth and power. The philosopher, however, wants neither, unless with the gift also is granted youth. "Je veux la jeunesse" (What I long for is youth). That is easy for his tempter, if the aged philosopher, with pen dipped in his blood, will but sign away his -soul. _Faust_ hesitates. At a gesture from _Mephistopheles_ the scene +soul. _Faust_ hesitates. At a gesture from _Méphistophélès_ the scene at the back opens and discloses _Marguerite_ seated at her -spinning-wheel, her long blond braid falling down her back. "O +spinning-wheel, her long blond braid falling down her back. "Ô Merveille!" (A miracle!) exclaims _Faust_, at once signs the parchment, and drains to the vision of _Marguerite_ a goblet proffered -him by _Mephistopheles_. The scene fades away, the philosopher's garb +him by _Méphistophélès_. The scene fades away, the philosopher's garb drops off _Faust_. The grey beard and all other marks of old age vanish. He stands revealed a youthful gallant, eager for adventure, instead of the disappointed scholar weary of life. There is an -impetuous duet for _Faust_ and _Mephistopheles_: "A moi les plaisirs" +impetuous duet for _Faust_ and _Méphistophélès_: "À moi les plaisirs" ('Tis pleasure I covet). They dash out of the cell-like study in which _Faust_ vainly has devoted himself to science. @@ -19787,32 +19751,32 @@ which Gounod composed for Santley. As most if not all the performances of "Faust" in America, up to the time Grau introduced the custom of giving opera in the language of the original score, were in Italian, this cavatina is familiarly known as the "Dio possente" (To thee, O -Father!). In French it is "A toi, Seigneur et Roi des Cieux" (To Thee, +Father!). In French it is "À toi, Seigneur et Roi des Cieux" (To Thee, O God, and King of Heaven). Both in the Italian and French, _Valentine_ prays to Heaven to protect his sister during his absence. In English, "Even bravest heart may swell," the number relates chiefly to _Valentine's_ ambitions as a soldier. _Wagner_ mounts a table and starts the "Song of the Rat." After a few -lines he is interrupted by the sudden appearance of _Mephistopheles_, +lines he is interrupted by the sudden appearance of _Méphistophélès_, who, after a brief parley, sings "Le veau d'or" (The golden calf), a cynical dissertation on man's worship of mammon. He reads the hands of those about him. To _Siebel_ he prophesies that every flower he touches shall wither. Rejecting the wine proffered him by _Wagner_, he strikes with his sword the sign of the inn, the keg, astride of which sits Bacchus. Like a stream of wine fire flows from the keg into the -goblet held under the spout by _Mephistopheles_, who raising the +goblet held under the spout by _Méphistophélès_, who raising the vessel, pledges the health of _Marguerite_. -This angers _Valentine_ and leads to the "Scene des epees" (The scene -of the swords). _Valentine_ unsheathes his blade. _Mephistopheles_, +This angers _Valentine_ and leads to the "Scène des épées" (The scene +of the swords). _Valentine_ unsheathes his blade. _Méphistophélès_, with his sword describes a circle about himself. _Valentine_ makes a pass at his foe. As the thrust carries his sword into the magic circle, the blade breaks. He stands in impotent rage, while -_Mephistopheles_ mocks him. At last, realizing who his opponent is, +_Méphistophélès_ mocks him. At last, realizing who his opponent is, _Valentine_ grasps his sword by its broken end, and extends the cruciform hilt toward the red cavalier. The other soldiers follow -their leader's example. _Mephistopheles_, no longer mocking, cowers +their leader's example. _Méphistophélès_, no longer mocking, cowers before the cross-shaped sword hilts held toward him, and slinks away. A sonorous chorus, "Puisque tu brises le fer" (Since you have broken the blade) for _Valentine_ and his followers distinguishes this scene. @@ -19820,11 +19784,11 @@ the blade) for _Valentine_ and his followers distinguishes this scene. The crowd gathers for the kermis dance--"the waltz from Faust," familiar the world round, and undulating through the score to the end of the gay scene, which also concludes the act. While the crowd is -dancing and singing, _Mephistopheles_ enters with _Faust_. +dancing and singing, _Méphistophélès_ enters with _Faust_. _Marguerite_ approaches. She is on her way from church, prayerbook in hand. _Siebel_ seeks to join her. But every time the youth steps toward her he confronts the grinning yet sinister visage of -_Mephistopheles_, who dexterously manages to get in his way. Meanwhile +_Méphistophélès_, who dexterously manages to get in his way. Meanwhile _Faust_ has joined her. There is a brief colloquy. He offers his arm and conduct through the crowd. She modestly declines. The episode, though short, is charmingly melodious. The phrases for _Marguerite_ @@ -19839,14 +19803,14 @@ window facing the audience. Trees, shrubs, flower beds, etc. _Siebel_ enters by the wicket. Stopping at one of the flower beds and about to pluck a nosegay, he sings the graceful "Faites-lui mes aveux" (Bear my avowal to her). But when he culls a flower, it shrivels in -his hand, as _Mephistopheles_ had predicted. The boy is much +his hand, as _Méphistophélès_ had predicted. The boy is much perturbed. Seeing, however, a little font with holy water suspended by the wall of the house, he dips his fingers in it. Now the flowers no longer shrivel as he culls them. He arranges them in a bouquet, which he lays on the house step, where he hopes _Marguerite_ will see it. He then leaves. -_Faust_ enters with _Mephistopheles_, but bids the latter withdraw, as +_Faust_ enters with _Méphistophélès_, but bids the latter withdraw, as if he sensed the incongruity of his presence near the home of a maiden so pure as _Marguerite_. The tempter having gone, _Faust_ proceeds to apostrophize _Marguerite's_ dwelling in the exquisite romance, "Salut! @@ -19854,7 +19818,7 @@ demeure chaste et pure." [Music] -_Mephistopheles_ returns. With him he brings a casket of jewels and a +_Méphistophélès_ returns. With him he brings a casket of jewels and a handsome bouquet. With these he replaces _Siebel's_ flowers. The two men then withdraw into a shadowy recess of the garden to await _Marguerite's_ return. @@ -19863,7 +19827,7 @@ She enters by the wicket. Her thoughts are with the handsome stranger--above her in station, therefore the more flattering and fascinating in her eyes--who addressed her at the kermis. Pensively she seats herself at her spinning-wheel and, while turning it, without -much concentration of mind on her work, sings "Le Roi de Thule," the +much concentration of mind on her work, sings "Le Roi de Thulé," the ballad of the King of Thule, her thoughts, however, returning to _Faust_ before she resumes and finishes the number, which is set in the simple fashion of a folk-song. @@ -19902,7 +19866,7 @@ _Martha_, the neighbour and companion of _Marguerite_, joins her. In the manner of the average duenna, whose chief duty in opera is to encourage love affairs, however fraught with peril to her charge, she is not at all disturbed by the gift of the jewels or by the entrance -upon the scene of _Faust_ and _Mephistopheles_. Nor, when the latter +upon the scene of _Faust_ and _Méphistophélès_. Nor, when the latter tells her that her husband has been killed in the wars, does she hesitate, after a few exclamations of rather forced grief, to seek consolation on the arm of the flatterer in red, who leads her off into @@ -19913,15 +19877,15 @@ _Faust's_ "Prenez mon bras un moment" (Pray lean upon mine arm). It is artistically individualized. The couples and each member thereof are deftly characterized in Gounod's score. -For a moment _Mephistopheles_ holds the stage alone. Standing by a bed +For a moment _Méphistophélès_ holds the stage alone. Standing by a bed of flowers in an attitude of benediction, he invokes their subtle -perfume to lull _Marguerite_ into a false sense of security. "Il etait +perfume to lull _Marguerite_ into a false sense of security. "Il était temps!" (It was the hour), begins the soliloquy. For a moment, as it -ends, the flowers glow. _Mephistopheles_ withdraws into the shadows. +ends, the flowers glow. _Méphistophélès_ withdraws into the shadows. _Faust_ and _Marguerite_ appear. _Marguerite_ plucks the petals of a flower: "He loves me--he loves me not--he loves!" There are two ravishing duets for the lovers, "Laisse-moi contempler ton visage" -(Let me gaze upon thy beauty), and "O nuit d'amour ... ciel radieux!" +(Let me gaze upon thy beauty), and "Ô nuit d'amour ... ciel radieux!" [Music] @@ -19933,10 +19897,10 @@ listener in its enchanting measures. _Faust_ and _Marguerite_ part, agreeing to meet on the morrow--"Oui, demain! des l'aurore!" (Yes, tomorrow! at dawn!). She enters the house. _Faust_ turns to leave the garden. He is confronted by -_Mephistopheles_, who points to the window. The casement is opened by +_Méphistophélès_, who points to the window. The casement is opened by _Marguerite_, who believes she is alone. Kneeling in the window, she gazes out upon the night flooded with moonlight. "Il m'aime; ... Ah! -presse ton retour, cher bien-aime! Viens!" (He loves me; ah! haste +presse ton retour, cher bien-aimé! Viens!" (He loves me; ah! haste your return, dearly beloved! Come!). With a cry, _Faust_ rushes to the open casement, sinks upon his @@ -19944,23 +19908,23 @@ knees. _Marguerite_, with an ecstatic exclamation, leans out of the embrasure and allows him to take her into his arms. Her head rests upon his shoulder. -At the wicket is _Mephistopheles_, shaking with laughter. +At the wicket is _Méphistophélès_, shaking with laughter. Act IV. The first scene in this act takes place in _Marguerite's_ -room. No wonder _Mephistopheles_ laughed when he saw her in _Faust's_ +room. No wonder _Méphistophélès_ laughed when he saw her in _Faust's_ arms. She has been betrayed and deserted. The faithful _Siebel_, -however, still offers her his love--"Si la bonheur a sourire t'invite" +however, still offers her his love--"Si la bonheur à sourire t'invite" (When all was young and pleasant, May was blooming)--but _Marguerite_ still loves the man who betrayed her, and hopes against hope that he will return. This episode is followed by the cathedral scene. _Marguerite_ has entered the edifice and knelt to pray. But, invisible to her, -_Mephistopheles_ stands beside her and reminds her of her guilt. A -chorus of invisible demons calls to her accusingly. _Mephistopheles_ -foretells her doom. The "Dies irae," accompanied on the organ, is +_Méphistophélès_ stands beside her and reminds her of her guilt. A +chorus of invisible demons calls to her accusingly. _Méphistophélès_ +foretells her doom. The "Dies iræ," accompanied on the organ, is heard. _Marguerite's_ voice joins with those of the worshippers. But -_Mephistopheles_, when the chant is ended, calls out that for her, a +_Méphistophélès_, when the chant is ended, calls out that for her, a lost one, there yawns the abyss. She flees in terror. This is one of the most significant episodes of the work. @@ -19968,13 +19932,13 @@ Now comes a scene in the street, in front of _Marguerite's_ house. The soldiers return from war and sing their familiar chorus, "Gloire immortelle" (Glory immortal). _Valentine_, forewarned by _Siebel's_ troubled mien that all is not well with _Marguerite_, goes into the -house. _Faust_ and _Mephistopheles_ come upon the scene. Facing the +house. _Faust_ and _Méphistophélès_ come upon the scene. Facing the house, and accompanying himself on his guitar, the red gallant sings an offensive serenade. _Valentine_, aroused by the insult, which he correctly interprets as aimed at his sister, rushes out. There is a -spirited trio, "Redouble, o Dieu puissant" (Give double strength, +spirited trio, "Redouble, ô Dieu puissant" (Give double strength, great God on high). _Valentine_ smashes the guitar with his sword, -then attacks _Faust_, whose sword-thrust, guided by _Mephistopheles_, +then attacks _Faust_, whose sword-thrust, guided by _Méphistophélès_, mortally wounds _Marguerite's_ brother. _Marguerite_ comes into the street, throws herself over _Valentine's_ body. With his dying breath her brother curses her. @@ -19985,27 +19949,27 @@ aloof from _Marguerite_. Here the brief meeting between the girl and _Siebel_ takes place. _Marguerite_ then goes into the house; the soldiers return, etc. The act then ends with the cathedral scene. -Act V. When Gounod revised "Faust" for the Grand Opera, Paris, the +Act V. When Gounod revised "Faust" for the Grand Opéra, Paris, the traditions of that house demanded a more elaborate ballet than the dance in the kermis scene afforded. Consequently the authors reached beyond the love story of _Faust_ and _Marguerite_ into the second part of Goethe's drama and utilized the legendary revels of Walpurgis Night (eve of May 1st) on the Brocken, the highest point of the Hartz -mountains. Here _Faust_ meets the courtesans of antiquity--Lais, -Cleopatra, Helen of Troy, Phryne. "Les Nubiennes," "Cleopatra et la +mountains. Here _Faust_ meets the courtesans of antiquity--Laïs, +Cleopatra, Helen of Troy, Phryne. "Les Nubiennes," "Cléopatra et la Coupe d'Or" (Cleopatra and the Goblet of Gold), "Les Troyennes" (The Troyan Women), "Variation," and "Dance de Phryne" are the dances in this ballet. More frequently than not the scene is omitted. To connect it with the main story, there comes to _Faust_, in the midst of the revels, a vision of _Marguerite_. Around her neck he beholds a red -line, "like the cut of an axe." He commands _Mephistopheles_ to take +line, "like the cut of an axe." He commands _Méphistophélès_ to take him to her. They find her in prison, condemned to death for killing her child. There is an impassioned duet for _Faust_ and _Marguerite_. He begs her to make her escape with him. But her mind is wandering. In snatches of melody from preceding scenes, she recalls the episode at the kermis, -the night in the garden. She sees _Mephistopheles_, senses his +the night in the garden. She sees _Méphistophélès_, senses his identity with the arch-fiend. There is a superb trio, in which _Marguerite_ ecstatically calls upon angels to intervene and save her--"Anges purs! Anges radieux!" (Angels pure, radiant, bright). @@ -20015,39 +19979,39 @@ her--"Anges purs! Anges radieux!" (Angels pure, radiant, bright). The voices mount higher and higher, _Marguerite's_ soaring to a splendid climax. She dies. -"Condemned!" cries _Mephistopheles_. +"Condemned!" cries _Méphistophélès_. "Saved," chant ethereal voices. The rear wall of the prison opens. Angels are seen bearing _Marguerite_ heavenward. _Faust_ falls on his knees in prayer. -_Mephistopheles_ turns away, "barred by the shining sword of an +_Méphistophélès_ turns away, "barred by the shining sword of an archangel." During the ten years that elapsed between the productions at the -Theatre Lyrique and the Grand Opera, "Faust" had only thirty-seven +Théâtre Lyrique and the Grand Opéra, "Faust" had only thirty-seven performances. Within eight years (1887) after it was introduced to the -Grand Opera, it had 1000 performances there. From 1901-1910 it was +Grand Opéra, it had 1000 performances there. From 1901-1910 it was given nearly 3000 times in Germany. After the score had been declined by several publishers, it was brought out by Choudens, who paid Gounod 10,000 francs ($2000) for it, and made a fortune out of the venture. -For the English rights the composer is said to have received only L40 +For the English rights the composer is said to have received only £40 ($200) and then only upon the insistence of Chorley, the author of the English version. -ROMEO ET JULIETTE +ROMÉO ET JULIETTE ROMEO AND JULIET - Opera in five acts, by Gounod; words by Barbier and Carre, - after the tragedy by Shakespeare. Produced Paris, Theatre + Opera in five acts, by Gounod; words by Barbier and Carré, + after the tragedy by Shakespeare. Produced Paris, Théâtre Lyrique, April 27, 1867; January, 1873, taken over by the - Opera Comique; Grand Opera, November 28, 1888. London, + Opéra Comique; Grand Opéra, November 28, 1888. London, Covent Garden, in Italian, July 11, 1867. New York, Academy of Music, November 15, 1867, with Minnie Hauck as _Juliet_; Metropolitan Opera House, December 14, 1891, with Eames - (_Juliet_), Jean de Reszke (_Romeo_), Edouard de Reszke + (_Juliet_), Jean de Reszke (_Romeo_), Édouard de Reszke (_Friar Lawrence_). Chicago, December 15, 1916, with Muratore as _Romeo_ and Galli-Curci as _Juliet_. @@ -20073,26 +20037,26 @@ ROMEO AND JULIET _Place_--Verona. Having gone to Goethe for "Faust," Gounod's librettists, Barbier and -Carre, went to Shakespeare for "Romeo et Juliette," which, like -"Faust," reached the Paris Grand Opera by way of the Theatre Lyrique. +Carré, went to Shakespeare for "Roméo et Juliette," which, like +"Faust," reached the Paris Grand Opéra by way of the Théâtre Lyrique. Mme. Miolan-Carvalho, the original _Marguerite_, also created _Juliette_. -"Romeo et Juliette" has been esteemed more highly in France than +"Roméo et Juliette" has been esteemed more highly in France than elsewhere. In America, save for performances in New Orleans, it was -only during the Grau regime at the Metropolitan Opera House, when it +only during the Grau régime at the Metropolitan Opera House, when it was given in French with casts familiar with the traditions of the -Grand Opera, that it can be said regularly to have held a place in the +Grand Opéra, that it can be said regularly to have held a place in the repertoire. Eames is remembered as a singularly beautiful _Juliette_, -vocally and personally; Capoul, Jean de Reszke, and Saleza, as -_Romeos_; Edouard de Reszke as _Frere Laurent_. +vocally and personally; Capoul, Jean de Reszke, and Saléza, as +_Roméos_; Édouard de Reszke as _Frère Laurent_. -Nicolini, who became Adelina Patti's second husband, sang _Romeo_ at -the Grand Opera to her _Juliette_. She was then the Marquise de Caux, +Nicolini, who became Adelina Patti's second husband, sang _Roméo_ at +the Grand Opéra to her _Juliette_. She was then the Marquise de Caux, her marriage to the Marquis having been brought about by the Empress -Eugenie. But that this marriage was not to last long, and that the +Eugénie. But that this marriage was not to last long, and that the _Romeo_ and _Juliet_ were as much in love with each other in actual -life as on the stage, was revealed one night to a Grand Opera +life as on the stage, was revealed one night to a Grand Opéra audience, when, during the balcony scene, prima donna and tenor--so the record says--imprinted twenty-nine real kisses on each other's lips. @@ -20102,7 +20066,7 @@ text, Shakespeare's tragedy. There is a prologue in which the characters and chorus briefly rehearse the story that is to unfold itself. -Act I. The grand hall in the palace of the Capulets. A fete is in +Act I. The grand hall in the palace of the Capulets. A fête is in progress. The chorus sings gay measures. _Tybalt_ speaks to _Paris_ of _Juliet_, who at that moment appears with her father. _Capulet_ bids the guests welcome and to be of good cheer--"Soyez les bienvenus, @@ -20111,17 +20075,17 @@ belles dames!" (Bestir ye, young nobles! And ye, too, fair ladies!). _Romeo_, _Mercutio_, _Benvolio_, and half-a-dozen followers come masked. Despite the deadly feud between the two houses, they, -Montagues, have ventured to come as maskers to the fete of the +Montagues, have ventured to come as maskers to the fête of the Capulets. _Mercutio_ sings of Queen Mab, a number as gossamerlike in the opera as the monologue is in the play; hardly ever sung as it -should be, because the role of _Mercutio_ rarely is assigned to a +should be, because the rôle of _Mercutio_ rarely is assigned to a baritone capable of doing justice to the airy measures of "Mab, la reine des mensonges" (Mab, Queen Mab, the fairies' midwife). The Montagues withdraw to another part of the palace. _Juliet_ returns with _Gertrude_, her nurse. Full of high spirits, she sings the -graceful and animated waltz, "Dans ce reve, qui m'enivre" -[Transcriber's Note: correct title is 'Je veux vivre dans le reve'] +graceful and animated waltz, "Dans ce rêve, qui m'enivre" +[Transcriber's Note: correct title is 'Je veux vivre dans le rêve'] (Fair is the tender dream of youth). [Music] @@ -20137,7 +20101,7 @@ utterance of his suspicions, _Juliet_ learns that the handsome youth, to whom her heart has gone out, is none other than _Romeo_, scion of the Montagues, the sworn enemies of her house. The fiery _Tybalt_ is for attacking _Romeo_ and his followers then and there. But old -_Capulet_, respecting the laws of hospitality, orders that the fete +_Capulet_, respecting the laws of hospitality, orders that the fête proceed. Act II. The garden of the Capulets. The window of _Juliet's_ @@ -20146,7 +20110,7 @@ _Stephano_, a character introduced by the librettists, holds a ladder by which _Romeo_ ascends to the balcony. _Stephano_ leaves, bearing the ladder with him. -_Romeo_ sings, "Ah! leve-toi, soleil" (Ah! fairest dawn arise). The +_Romeo_ sings, "Ah! lève-toi, soleil" (Ah! fairest dawn arise). The window opens, _Juliet_ comes out upon the balcony. _Romeo_ conceals himself. From her soliloquy he learns that, although he is a Montague, she loves him. He discloses his presence. The interchange of pledges @@ -20156,7 +20120,7 @@ retainer, _Gregory_, and servants of the house, suspecting that an intruder is in the garden, for they have seen _Stephano_ speeding away, search unsuccessfully and depart. -The nurse calls. _Juliet_ re-enters her apartment. _Romeo_ sings, "O +The nurse calls. _Juliet_ re-enters her apartment. _Romeo_ sings, "Ô nuit divine" (Oh, night divine). _Juliet_ again steals out upon the balcony. "Ah! je te l'ai dit, je t'adore!" (Ah, I have told you that I adore you), sings _Romeo_. There is a beautiful duet, "Ah! ne fuis @@ -20167,7 +20131,7 @@ Act III, Part I. _Friar Lawrence's_ cell. Here takes place the wedding of _Romeo_ and _Juliet_, the good friar hoping that their union may lead to peace between the two great Veronese houses of Montague and Capulet. There are in this part of the act _Friar Lawrence's_ prayer, -"Dieu, qui fis l'homme a ton image" (God, who made man in Thine +"Dieu, qui fis l'homme à ton image" (God, who made man in Thine image); a trio, in which the friar chants the rubric, and the pair respond; and an effective final quartet for _Juliet_, _Gertrude_, _Romeo_, and _Friar Lawrence_. @@ -20185,19 +20149,19 @@ kinsman, and, in consequence, is banished from Verona by the _Duke_. [Illustration: Photo copyright, 1916, by Victor Georg -Galli-Curci as Juliette in "Romeo et Juliette"] +Galli-Curci as Juliette in "Roméo et Juliette"] Act IV. It is the room of _Juliet_, to which _Romeo_ has found access, in order to bid her farewell, before he goes into exile. The lingering _adieux_, the impassioned accents in which the despair of parting is expressed--these find eloquent utterance in the music. There is the -duet, "Nuit d'hymenee, O douce nuit d'amour" (Night hymeneal, sweetest +duet, "Nuit d'hyménée, Ô douce nuit d'amour" (Night hymeneal, sweetest night of love). _Romeo_ hears the lark, sure sign of approaching day, but _Juliet_ protests. "Non, non, ce n'est pas le jour" (No, no! 'Tis not yet the day). Yet the parting time cannot be put off longer. -_Romeo:_ "Ah! reste! reste encore dans mes bras enlaces" (Ah! rest! +_Romeo:_ "Ah! reste! reste encore dans mes bras enlacés" (Ah! rest! rest once more within mine entwining arms); then both, "Il faut -partir, helas" (Now we must part, alas). +partir, hélas" (Now we must part, alas). Hardly has _Romeo_ gone when _Gertrude_ runs in to warn _Juliet_ that her father is approaching with _Friar Lawrence_. _Tybalt's_ dying @@ -20215,7 +20179,7 @@ as dead. The scene changes to the grand hall of the palace. Guests arrive for the nuptials. There is occasion for the ballet, so essential for a -production at the Grand Opera. _Juliet_ drains the vial, falls as if +production at the Grand Opéra. _Juliet_ drains the vial, falls as if dead. Act V. The tomb of the Capulets. _Romeo_, having heard in his exile @@ -20224,19 +20188,19 @@ from the effects of the philtre, finds him dying, plunges a dagger into her breast, and expires with him. In the music there is an effective prelude. _Romeo_, on entering the -tomb, sings, "O ma femme! o ma bien aimee" (O wife, dearly beloved). +tomb, sings, "Ô ma femme! ô ma bien aimée" (O wife, dearly beloved). _Juliet_, not yet aware that _Romeo_ has taken poison, and _Romeo_ forgetting for the moment that death's cold hand already is reaching out for him, they sing, "Viens fuyons au bout du monde" (Come, let us fly to the ends of the earth). Then _Romeo_ begins to feel the effect of the poison, and tells _Juliet_ what he has done. "Console-toi, -pauvre ame" (Console thyself, sad heart). But _Juliet_ will not live +pauvre âme" (Console thyself, sad heart). But _Juliet_ will not live without him, and while he, in his wandering mind, hears the lark, as at their last parting, she stabs herself. * * * * * -As "Romeo et Juliette" contains much beautiful music, people may +As "Roméo et Juliette" contains much beautiful music, people may wonder why it lags so far behind "Faust" in popularity. One reason is that, in the layout of the libretto the authors deliberately sought to furnish Gounod with another "Faust," and so challenged comparison. @@ -20248,8 +20212,8 @@ scene, which it appears to be in the opera. The "balcony scene" is an obvious attempt to create another "garden scene." But in "Faust," what would be the too long-drawn-out sweetness of too much love music is overcome, in the most natural manner, by the brilliant "Jewel Song," -and by _Mephistopheles's_ sinister invocation of the flowers. In -"Romeo et Juliette," on the other hand, the interruption afforded by +and by _Méphistophélès's_ sinister invocation of the flowers. In +"Roméo et Juliette," on the other hand, the interruption afforded by _Gregory_ and the chorus is too artificial not to be merely disturbing. @@ -20267,8 +20231,8 @@ Ambroise Thomas MIGNON Opera in three acts by Ambroise Thomas, words, based on - Goethe's "Wilhelm Meister," by Barbier and Carre. Produced, - Opera Comique, Paris, November 17, 1866. London, Drury Lane, + Goethe's "Wilhelm Meister," by Barbier and Carré. Produced, + Opéra Comique, Paris, November 17, 1866. London, Drury Lane, July 5, 1870. New York, Academy of Music, November 22, 1871, with Nilsson, Duval (_Filina_), Mlle. Ronconi (_Frederick_) and Capoul; Metropolitan Opera House, October 21, 1883, with @@ -20279,7 +20243,7 @@ MIGNON MIGNON, stolen in childhood from an Italian castle _Mezzo-Soprano_ PHILINE, an actress _Soprano_ - FREDERIC, a young nobleman _Buffo Tenor or Contralto_ + FRÉDÉRIC, a young nobleman _Buffo Tenor or Contralto_ WILHELM, a student on his travels _Tenor_ LAERTES, an actor _Tenor_ LOTHARIO _Bass_ @@ -20304,12 +20268,12 @@ risk it. The early performances of "Mignon" in this country were in Italian, and were more successful than the later revivals in French, by which -time the opera had become somewhat passe. From these early impressions +time the opera had become somewhat passé. From these early impressions we are accustomed to call _Philine_ by her Italian equivalent of -_Filina_. _Frederic_, since Trebelli appeared in the role in London, +_Filina_. _Frédéric_, since Trebelli appeared in the rôle in London, has become a contralto instead of a buffo tenor part. The "Rondo Gavotte" in Act II, composed for her by Thomas, has since then been a -fixture in the score. She appeared in the role at the Metropolitan +fixture in the score. She appeared in the rôle at the Metropolitan Opera House, December 5, 1883, with Nilsson and Capoul. Act I. Courtyard of a German inn. Chorus of townspeople and @@ -20335,8 +20299,8 @@ she sings "Connais-tu le pays" (Knowest thou the land). _Wilhelm_ decides to purchase her freedom, and enters the inn with _Giarno_ to conclude the negotiations. _Lothario_, who is about to wander on, has been attracted to her, and, before leaving, bids her farewell. They -have the charming duet, "Legeres hirondelles" (O swallows, lightly -gliding). There is a scene for _Filina_ and _Frederic_, a booby, who +have the charming duet, "Légères hirondelles" (O swallows, lightly +gliding). There is a scene for _Filina_ and _Frédéric_, a booby, who is in love with her. _Filina_ is after better game. She is setting her cap for _Wilhelm_. _Lothario_ wishes to take _Mignon_ with him. But _Wilhelm_ fears for her safety with the old man, whose mind sometimes @@ -20351,7 +20315,7 @@ pensive, remains seated. _Mignon's_ gaze is directed toward _Wilhelm_. Act II. _Filina's_ boudoir at the castle. The actress sings of her pleasure in these elegant surroundings and of _Wilhelm_. _Laertes_ is -heard without, singing a madrigal to _Filina_, "Belle, ayez pitie de +heard without, singing a madrigal to _Filina_, "Belle, ayez pitié de nous" (Fair one, pity take on us). He ushers in _Wilhelm_ and _Mignon_, then withdraws. _Mignon_, @@ -20364,11 +20328,11 @@ the girl dons one of _Filina's_ costumes, seats herself at the mirror and puts on rouge and other cosmetics, as she has seen _Filina_ do. In a spirit of abandon she sings a "Styrienne," "Je connais un pauvre enfant" (A gypsy lad I well do know). She then withdraws into an -adjoining room. _Frederic_ enters the boudoir in search of _Filina_. +adjoining room. _Frédéric_ enters the boudoir in search of _Filina_. He sings the gavotte, "Me voici dans son boudoir" (Here am I in her boudoir). _Wilhelm_ comes in, in search of _Mignon_. The men meet. There is an exchange of jealous accusations. They are about to fight, -when _Mignon_ rushes between them. _Frederic_ recognizes _Filina's_ +when _Mignon_ rushes between them. _Frédéric_ recognizes _Filina's_ costume on her, and goes off laughing. _Wilhelm_, realizing the awkward situation that may arise from the girl's following him about, tells her they must part. "Adieu, Mignon, courage" (Farewell, Mignon, @@ -20382,7 +20346,7 @@ driven to distraction, is about to throw herself into the lake, when she hears the strains of a harp. _Lothario_, who has wandered into the park, is playing. There is an exchange of affection, almost paternal on his part, almost filial on hers, in their duet, "As-tu souffert? -As-tu pleuree?" (Hast thou known sorrow? Hast thou wept?). _Mignon_ +As-tu pleureé?" (Hast thou known sorrow? Hast thou wept?). _Mignon_ hears applause and acclaim from the conservatory for _Filina's_ acting. In jealous rage she cries out that she wishes the building might be struck by lightning and destroyed by fire; then runs off and @@ -20407,7 +20371,7 @@ Act III. Gallery in an Italian castle, to which _Wilhelm_ has brought _Mignon_ and _Lothario_. _Mignon_ has been dangerously ill. A boating chorus is heard from the direction of a lake below. _Lothario_, standing by the door of _Mignon's_ sick-room, sings a lullaby, "De son -coeur j'ai calme la fievre" (I've soothed the throbbing of her +coeur j'ai calmé la fièvre" (I've soothed the throbbing of her aching heart). _Wilhelm_ tells _Lothario_ that they are in the Cipriani castle, which he intends to buy for _Mignon_. At the name of the castle _Lothario_ is strangely agitated. @@ -20429,15 +20393,15 @@ it is heard the refrain of "Connais-tu le pays." * * * * * -"Hamlet," the words by Barbier and Carre, based on Shakespeare's +"Hamlet," the words by Barbier and Carré, based on Shakespeare's tragedy, is another opera by Ambroise Thomas. It ranks high in France, -where it was produced at the Grand Opera, March 9, 1868, with Nilsson -as _Ophelia_ and Faure in the title role; but outside of France it +where it was produced at the Grand Opéra, March 9, 1868, with Nilsson +as _Ophelia_ and Faure in the title rôle; but outside of France it never secured any approach to the popularity that "Mignon" at one time enjoyed. It was produced in London, in Italian, as "Amleto," Covent Garden, June 19, 1869, with Nilsson and Santley. In America, where it was produced in the Academy of Music, March 22, 1872, with Nilsson, -Cary, Brignoli, Barre, and Jamet, it has met the fate of practically +Cary, Brignoli, Barré, and Jamet, it has met the fate of practically all operas in which the principal character is a baritone--esteem from musicians, but indifference on the part of the public. It was revived in 1892 for Lasalle, and by the Chicago Opera Company for Ruffo. @@ -20477,31 +20441,31 @@ Georges Bizet CARMEN Opera in four acts by Georges Bizet; words by Henri Meilhac - and Ludovic Halevy, founded on the novel by Prosper Merimee. - Produced, Opera Comique, Paris, March 3, 1875, the title - role being created by Galli-Marie. Her Majesty's Theatre, + and Ludovic Halévy, founded on the novel by Prosper Mérimée. + Produced, Opéra Comique, Paris, March 3, 1875, the title + rôle being created by Galli-Marié. Her Majesty's Theatre, London, in Italian, June 22, 1878; same theatre, February 5, 1879, in English; same theatre, November 8, 1886, in French, - with Galli-Marie. Minnie Hauck, who created _Carmen_, in - London, also created the role in America, October 23, 1879, + with Galli-Marié. Minnie Hauck, who created _Carmen_, in + London, also created the rôle in America, October 23, 1879, at the Academy of Music, New York, with Campanini (_Don - Jose_), Del Puente (_Escamillo_), and Mme. Sinico + José_), Del Puente (_Escamillo_), and Mme. Sinico (_Micaela_). The first New Orleans _Carmen_, January 14, - 1881, was Mme. Ambre. Calve made her New York debut as + 1881, was Mme. Ambré. Calvé made her New York début as _Carmen_ at the Metropolitan Opera House, December 20, 1893, - with Jean de Reszke (_Don Jose_), and Eames (_Micaela_). - Bressler-Gianoli, and afterwards Calve, sang the role at the + with Jean de Reszke (_Don José_), and Eames (_Micaela_). + Bressler-Gianoli, and afterwards Calvé, sang the rôle at the Manhattan Opera House. Farrar made her first appearance as _Carmen_ at the Metropolitan Opera House, November 19, 1914. Campanini, Jean de Reszke, and Caruso are the most - famous _Don Joses_ who have appeared in this country; but - the role also has been admirably interpreted by Saleza and - Dalmores. No singer has approached Emma Eames as _Micaela_; + famous _Don Josés_ who have appeared in this country; but + the rôle also has been admirably interpreted by Saléza and + Dalmorès. No singer has approached Emma Eames as _Micaela_; nor has any interpreter of _Escamillo_ equalled Del Puente, who had the range and quality of voice and buoyancy of - action which the role requires. Galassi, Campanari, Plancon, + action which the rôle requires. Galassi, Campanari, Plançon, and Amato should be mentioned as other interpreters of the - role. + rôle. February 13, 1912, Mary Garden appeared as _Carmen_ at the Metropolitan Opera House, with the Chicago Opera Company. @@ -20511,7 +20475,7 @@ CARMEN CHARACTERS - DON JOSE, a corporal of dragoons _Tenor_ + DON JOSÉ, a corporal of dragoons _Tenor_ ESCAMILLO, a toreador _Baritone_ EL DANCAIRO } smugglers { _Baritone_ EL REMENDADO } { _Tenor_ @@ -20531,7 +20495,7 @@ CARMEN [Illustration: Photo by White -Calve as Carmen with Sparkes as Frasquita and Braslau as Mercedes] +Calvé as Carmen with Sparkes as Frasquita and Braslau as Mercedes] Act I. A square in Seville. On the right the gate of a cigarette factory. At the back, facing the audience, is a practicable bridge @@ -20555,11 +20519,11 @@ shyly has approached the soldiers lounging outside the guard-house. "I am one," _Morales_ says, gallantly. -"But not _the_ one. His name is Jose." +"But not _the_ one. His name is José." The soldiers, scenting amusement in trying to flirt with a pretty creature, whose innocence is as apparent as her charm, urge her to -remain until _Don Jose_ comes at change of guard. But, saying she will +remain until _Don José_ comes at change of guard. But, saying she will return then, she runs away like a frightened deer, past the cigarette factory, across the square, and down one of the side streets. @@ -20568,11 +20532,11 @@ in the distance, then gradually nearer. The change of guard arrives, preceded by a band of street lads, imitating the step of the dragoons. After the lads come _Captain -Zuniga_ and _Corporal Jose_; then dragoons, armed with lances. The +Zuniga_ and _Corporal José_; then dragoons, armed with lances. The ceremony of changing guard is gone through with, to the accompaniment of a chorus of gamins and grown-up spectators. It is a lively scene. -"It must have been Micaela," says _Don Jose_, when they tell him of +"It must have been Micaela," says _Don José_, when they tell him of the girl with tresses of fair hair and dress of blue, who was looking for him. "Nor do I mind saying," he adds, "that I love her." And indeed, although there are some sprightly girls in the crowd that have @@ -20606,7 +20570,7 @@ oiseau rebelle," etc. [Music] -Often she glances toward _Jose_, often dances so close to him that she +Often she glances toward _José_, often dances so close to him that she almost touches him, and by subtle inflections in her voice seeks to attract his attention. But he seems unaware of her presence. Indeed if, thinking of _Micaela_, he has steeled himself against the gypsy, @@ -20628,7 +20592,7 @@ minds of the audience--the gypsy girl, passionate yet fickle, quick to love and quick to tire. Hers the dash of fatalism that flirts with death. -At _Jose's_ feet lies the cassia flower thrown by _Carmen_, the glance +At _José's_ feet lies the cassia flower thrown by _Carmen_, the glance of whose dark eyes had checked him. Hesitatingly, yet as if in spite of himself, he stoops and picks it up, presses it to his nostrils and draws in its subtle perfume in a long breath. Then, still as if @@ -20638,30 +20602,30 @@ the flower under his blouse and over his heart. He no more than has concealed it there, when _Micaela_ again enters the square and hurries to him with joyful exclamations. She brings him tidings from home, and some money from his mother's savings, with -which to eke out his small pay. They have a charming duet, "Ma mere, +which to eke out his small pay. They have a charming duet, "Ma mère, je la vois, je revois mon village" (My home in yonder valley, my mother, lov'd, again I'll see). It is evident that _Micaela's_ coming gives him a welcome change of thought, and that, although she cannot remain long, her sweet, pure presence has for the time being lifted the spell the gypsy has cast -over him. For, when _Micaela_ has gone, _Jose_ grasps the flower under +over him. For, when _Micaela_ has gone, _José_ grasps the flower under his blouse, evidently intending to draw it out and cast it away. [Illustration: Copyright photo by A. Dupont -Caruso as Don Jose in "Carmen"] +Caruso as Don José in "Carmen"] [Illustration: Copyright photo by Mishkin -Caruso as Don Jose in "Carmen"] +Caruso as Don José in "Carmen"] Just then, however, there are cries of terror from the cigarette factory and, in a moment, the square is filled with screaming girls, soldiers, and others. From the excited utterances of the cigarette girls it is learned that there has been a quarrel between _Carmen_ and another girl, and that _Carmen_ has wounded the latter with a -knife. _Zuniga_ promptly orders _Jose_ to take two dragoons with him +knife. _Zuniga_ promptly orders _José_ to take two dragoons with him into the factory and arrest her. None abashed, and smirking, she comes out with them. When the captain begins questioning her, she answers with a gay "Tra la la, tra la la," pitching her voice on a higher note @@ -20670,7 +20634,7 @@ makes her dark beauty the more fascinating. Losing patience, the officer orders her hands tied behind her back, while he makes out the warrant for her imprisonment. The soldiers -having driven away the crowd, _Don Jose_ is left to guard _Carmen_. +having driven away the crowd, _Don José_ is left to guard _Carmen_. Pacing up and down the square, he appears to be avoiding her. But she, as if speaking to herself, or thinking aloud, and casting furtive @@ -20680,12 +20644,12 @@ fallen in love. "He is not a captain, nor even a lieutenant--only a corporal. But he will do what I ask--because he is in love with me!" -"I?--I love you?" _Jose_ pauses beside her. +"I?--I love you?" _José_ pauses beside her. With a coquettish toss of the head and a significant glance she asks, "Where is the flower I threw at you? What have you done with it?" Then, softly, she sings another, alluring melody in typical Spanish -dance measure, a "Seguidilla," "Pres des remparts de Seville." +dance measure, a "Seguidilla," "Près des remparts de Séville." "Near by the ramparts of Seville, Is the inn of my friend, Lillas Pastia, @@ -20694,7 +20658,7 @@ dance measure, a "Seguidilla," "Pres des remparts de Seville." [Music] -"Carmen!" cries _Jose_, "you have bewitched me...." +"Carmen!" cries _José_, "you have bewitched me...." "Near by the ramparts of Seville.... And the dance with my lover I'll share!" she murmurs insinuatingly, and at the same time she holds back @@ -20704,7 +20668,7 @@ when the captain comes from the guard-house with the warrant. He is followed by the soldiers, and the crowd, drawn by curiosity to see _Carmen_ led off to prison, again fills the square. -_Jose_ places her between two dragoons, and the party starts for the +_José_ places her between two dragoons, and the party starts for the bridge. When they reach the steps, _Carmen_ quickly draws her hands free of the rope, shoves the soldiers aside, and, before they know what has happened, dashes up to the bridge and across it, tossing the @@ -20734,10 +20698,10 @@ characteristic and effective bit. There are shouts outside, "Long live the torero! Long live Escamillo!" The famous bullfighter, the victor of the bull ring at Granada, is -approaching. He sings the famous "Couplets du Toreador," a rousing +approaching. He sings the famous "Couplets du Toréador," a rousing song with refrain and chorus. "Votre toast je peux vous le rendre" (To your toast I drink with pleasure) begins the number. The refrain, with -chorus, is "Toreador, en garde" (Toreador, e'er watchful be). +chorus, is "Toréador, en garde" (Toreador, e'er watchful be). [Music] @@ -20752,7 +20716,7 @@ It is late. The tavern keeper closes the shutters and leaves the room. _Carmen_, _Frasquita_, and _Mercedes_ are quickly joined by the smugglers, _El Dancairo_ and _El Remendado_. The men need the aid of the three girls in wheedling the coast-guard, and possibly others, -into neglect of duty. Their sentiments, "En matiere de tromperie," +into neglect of duty. Their sentiments, "En matière de tromperie," etc. [Transcriber's Note: Correct lyrics are 'Quand il s'agit de tromperie'] (When it comes to a matter of cheating ... let women in on the deal), are expressed in a quintet that is full of spontaneous @@ -20760,12 +20724,12 @@ merriment--in fact, nowhere in "Carmen," not even in the most dramatic passages, is the music forced. The men want the girls to depart with them at once. _Carmen_ wishes to -await _Jose_. The men suggest that she win him over to become one of +await _José_. The men suggest that she win him over to become one of their band. Not a bad idea, she thinks. They leave it to her to carry out the plan. -Even now _Jose_ is heard singing, as he approaches the tavern, "Halte -la! Qui va la? Dragon d'Alcala!" (Halt there! Who goes there? Dragoon +Even now _José_ is heard singing, as he approaches the tavern, "Halte +là! Qui va là? Dragon d'Alcala!" (Halt there! Who goes there? Dragoon of Alcala!). He comes in. Soon she has made him jealous by telling him that she was obliged to dance for _Morales_ and the officers. But now she will dance for him. @@ -20774,11 +20738,11 @@ She begins to dance. His eyes are fastened on her. From the distant barracks a bugle call is heard. It is the "retreat," the summons to quarters. The dance, the bugle call, which comes nearer, passes by and into the distance, the lithe, swaying figure, the wholly obsessed look -of _Jose_--these are details of a remarkably effective scene. _Jose_ +of _José_--these are details of a remarkably effective scene. _José_ starts to obey the summons to quarters. _Carmen_ taunts him with placing duty above his love for her. He draws from his breast the flower she gave him, and, showing it to her in proof of his passion, -sings the pathetic air, "La fleur que tu m'avais jetee" (The flower +sings the pathetic air, "La fleur que tu m'avais jetée" (The flower that once to me you gave). [Music] @@ -20786,15 +20750,15 @@ that once to me you gave). Despite her lure, he hesitates to become a deserter and follow her to the mountains. But at that moment _Morales_, thinking to find _Carmen_ alone, bursts open the tavern door. There is an angry scene between -_Morales_ and _Jose_. They draw their sabres. The whole band of +_Morales_ and _José_. They draw their sabres. The whole band of smugglers comes in at _Carmen's_ call. _El Dancairo_ and _El Remandado_ cover _Morales_ with their pistols, and lead him off. -"And you? Will you now come with us?" asks _Carmen_ of _Don Jose_. +"And you? Will you now come with us?" asks _Carmen_ of _Don José_. [Illustration: Copyright photo by Dupont -Calve as Carmen] +Calvé as Carmen] [Illustration: Copyright photo by Mishkin @@ -20808,14 +20772,14 @@ Act III. A rocky and picturesque spot among rocks on a mountain. At the rising of the curtain there is complete solitude. After a few moments a smuggler appears on the summit of a rock, then two, then the whole band, descending and scrambling down the mass of rocks. Among -them are _Carmen_, _Don Jose_, _El Dancairo_, _El Remendado_, +them are _Carmen_, _Don José_, _El Dancairo_, _El Remendado_, _Frasquita_, and _Mercedes_. The opening chorus has a peculiarly attractive lilt. -_Don Jose_ is unhappy. _Carmen's_ absorbing passion for him has been +_Don José_ is unhappy. _Carmen's_ absorbing passion for him has been of brief duration. A creature of impulse, she is fickle and wayward. -_Don Jose_, a soldier bred, but now a deserter, is ill at ease among +_Don José_, a soldier bred, but now a deserter, is ill at ease among the smugglers, and finds cause to reproach himself for sacrificing everything to a fierce and capricious beauty, in whose veins courses the blood of a lawless race. Yet he still loves her to distraction, @@ -20824,10 +20788,10 @@ jealousy. It is quite apparent that the impression made upon her by _Escamillo_, the dashing toreador and victor in many bullfights, is deepening. _Escamillo_ has been caught in the lure of her dangerous beauty, but he doesn't annoy her by sulking in her presence, like _Don -Jose_, but goes on adding to his laurels by winning fresh victories in +José_, but goes on adding to his laurels by winning fresh victories in the bull ring. -Now that _Don Jose_ is more than usually morose, she says, with a +Now that _Don José_ is more than usually morose, she says, with a sarcastic inflection in her voice: "If you don't like our mode of life here, why don't you leave?" @@ -20839,7 +20803,7 @@ With a shrug of her shoulders _Carmen_ replies: "What matter--I shall die as fate wills." And, indeed, she plays with fate as with men's hearts. For whatever else this gypsy may be, she is fearless. -While _Don Jose_ wanders moodily about the camp, she joins _Frasquita_ +While _Don José_ wanders moodily about the camp, she joins _Frasquita_ and _Mercedes_, who are telling their fortunes by cards. The superstitious creatures are merry because the cards favour them. _Carmen_ takes the pack and draws. @@ -20850,17 +20814,17 @@ the bravado of the fatalist does not long desert her. "What matters it?" she calls to the two girls. "If you are to die, try the cards a hundred times, they will fall the same--spades, a grave!" -Then, glancing in the direction where _Don Jose_ stood, she adds, in a +Then, glancing in the direction where _Don José_ stood, she adds, in a low voice, "First I, then he!" -The "Card Trio," "Melons! Coupons!" (Shuffle! Throw!) is a brilliant +The "Card Trio," "Mêlons! Coupons!" (Shuffle! Throw!) is a brilliant passage of the score, broken in upon by _Carmen's_ fatalistic soliloquy. A moment later, when the leader of the smugglers announces that it is an opportune time to attempt to convey their contraband through the mountain pass, she is all on the alert and aids in making ready for -the departure. _Don Jose_ is posted behind a screen of rocks above the +the departure. _Don José_ is posted behind a screen of rocks above the camp, to guard against a surprise from the rear, while the smugglers make their way through the pass. @@ -20870,8 +20834,8 @@ passage of nature, where desperate characters but a few moments before were encamped, and where _Carmen_ had darkly hinted at fate, as foretold by the stars, there descends _Micaela_, the emblem of sweetness and purity in this tragedy of the passions. She is seeking -_Don Jose_, in hopes of reclaiming him. Her romance, "Je dis que rien -ne m'epouvante" (I try not to own that I tremble), is characterized +_Don José_, in hopes of reclaiming him. Her romance, "Je dis que rien +ne m'épouvante" (I try not to own that I tremble), is characterized by Mr. Upton as "the most effective and beautiful number in the whole work." The introduction for horns is an exquisite passage, and the expectations it awakens are fully met by the melodious measures of the @@ -20879,10 +20843,10 @@ romance. [Music] -Having looked about her, and failing to find _Don Jose_, she -withdraws. Meanwhile _Don Jose_, from the place where he stands guard, +Having looked about her, and failing to find _Don José_, she +withdraws. Meanwhile _Don José_, from the place where he stands guard, has caught sight of a man approaching the camp. A shot rings out. It -is _Don Jose_ who has fired at the man coming up the defile. He is +is _Don José_ who has fired at the man coming up the defile. He is about to fire again, but the nonchalant manner in which the stranger comes on, and, waving his hat, calls out, "An inch lower and it would have been all over with me!" causes him to lower his gun and advance @@ -20893,19 +20857,19 @@ a lover here, a dragoon, who deserted from his troop for her. She adored him, but that, I understand, is all over with now. The loves of Carmen never last long." -"Slowly, my friend," replies _Don Jose_. "Before any one can take our +"Slowly, my friend," replies _Don José_. "Before any one can take our gypsy girls away, he must pay the price." "So, so. And what is it?" -"It is paid with the knife," grimly answers _Jose_, as he draws his +"It is paid with the knife," grimly answers _José_, as he draws his blade. "Ah," laughs the _Toreador_, "then you are the dragoon of whom Carmen has wearied. I am in luck to have met you so soon." He, too, draws. The knives clash, as the men, the one a soldier, the -other a bullfighter, skilfully thrust and parry. But _Don Jose's_ is +other a bullfighter, skilfully thrust and parry. But _Don José's_ is the better weapon, for, as he catches one of _Escamillo's_ thrusts on his blade, the _Toreador's_ knife snaps short. It would be a fatal mishap for _Escamillo_, did not at that moment the gypsies and @@ -20917,11 +20881,11 @@ figure. With a glad shout they assent. "Don't be angry, dragoon," he adds tauntingly. "We may meet again." -For answer _Don Jose_ seeks to rush at him, but some of the smugglers +For answer _Don José_ seeks to rush at him, but some of the smugglers hold him back, while the _Toreador_ leisurely goes his way. The smugglers make ready to depart again. One of them, however, spies -_Micaela_. She is led down. _Don Jose_ is reluctant to comply with her +_Micaela_. She is led down. _Don José_ is reluctant to comply with her pleas to go away with her. The fact that _Carmen_ urges him to do what the girl says only arouses his jealousy. But when at last _Micaela_ tells him that his mother is dying of a broken heart for him, he makes @@ -20935,7 +20899,7 @@ In the distance _Escamillo_ is heard singing: Her love is the prize!" _Carmen_ listens, as if enraptured, and starts to run after him. _Don -Jose_ with bared knife bars the way; then leaves with _Micaela_. +José_ with bared knife bars the way; then leaves with _Micaela_. Act IV. A square in Seville. At the back the entrance to the arena. It is the day of the bullfight. The square is animated. Watersellers, @@ -20964,12 +20928,12 @@ whispers to _Carmen_: "If you value your life, Carmen, don't stay here. He is lurking in the crowd and watching you." -"He?--Jose?--I am no coward.--I fear no one.--If he is here, we will +"He?--José?--I am no coward.--I fear no one.--If he is here, we will have it over with now," she answers, defiantly, motioning to the girl to pass on into the arena into which the square is rapidly emptying itself. _Carmen_ lingers until she is the only one left, then, with a shrug of contempt, turns to enter--but finds herself facing _Don -Jose_, who has slunk out from one of the side streets to intercept +José_, who has slunk out from one of the side streets to intercept her. "I was told you were here. I was even warned to leave here, because my @@ -20979,7 +20943,7 @@ die, yours I shall never be again." Her speech is abrupt, rapid, but there is no tremor of fear in her voice. -_Don Jose_ is pale and haggard. His eyes are hollow, but they glow +_Don José_ is pale and haggard. His eyes are hollow, but they glow with a dangerous light. His plight has passed from the pitiable to the desperate stage. @@ -20992,7 +20956,7 @@ anything. Free I was born, free I die." The band in the arena strikes up a fanfare. There are loud vivos for _Escamillo_. _Carmen_ starts to rush for the entrance. Driven to the fury of despair, his knife drawn, as it had been when he barred her -way in the smugglers' camp, _Don Jose_ confronts her. He laughs +way in the smugglers' camp, _Don José_ confronts her. He laughs grimly. "The man for whom they are shouting--he is the one for whom you have @@ -21008,7 +20972,7 @@ Escamillo, the toreador of Granada!" A cry of triumph escapes _Carmen_. -"You love him!" hisses _Don Jose_. +"You love him!" hisses _Don José_. "Yes, I love him! If I must die for it, I love him! Victory for Escamillo, victory! I go to the victor of the arena!" @@ -21025,14 +20989,14 @@ _Escamillo_, out pours the crowd, suddenly to halt, hushed and horror-stricken, at the body of a woman dead at the foot of the steps. -"I am your prisoner," says _Don Jose_ to an officer. "I killed her." +"I am your prisoner," says _Don José_ to an officer. "I killed her." Then, throwing himself over the body, he cries: "Carmen!--Carmen! I love you!--Speak to me!--I adore you!" * * * * * -At its production at the Opera Comique, "Carmen" was a failure. In +At its production at the Opéra Comique, "Carmen" was a failure. In view of the world-wide popularity the work was to achieve, that failure has become historic. It had, however, one lamentable result. Bizet, utterly depressed and discouraged, died exactly three months @@ -21052,46 +21016,46 @@ distinctive melodies--ensemble, concerted, and solo--was considered too Wagnerian. More than one trace of this curious attitude toward an opera, in which the melodies, or tunes, if you choose so to call them, crowd upon each other almost as closely as in "Il Trovatore," and -certainly are as numerous as in "Aida," still can be found in the -article on "Carmen" in the _Dictionnaire des Operas_, one of the most +certainly are as numerous as in "Aïda," still can be found in the +article on "Carmen" in the _Dictionnaire des Opéras_, one of the most unsatisfactory essays in that work. Nor, speaking with the authority of Berton, who saw the second performance, was the failure due to -defects in the cast. He speaks of Galli-Marie (_Carmen_), Chapuis -(_Micaela_), Lherie (_Don Jose_), and Bouhy (_Escamillo_), as "equal +defects in the cast. He speaks of Galli-Marié (_Carmen_), Chapuis +(_Micaela_), Lherie (_Don José_), and Bouhy (_Escamillo_), as "equal to their tasks ... an admirable quartet." America has had its _Carmen_ periods. Minnie Hauck established an -individuality in the role, which remained potent until the appearance -in this country of Calve. When Grau wanted to fill the house, all he -had to do was to announce Calve as _Carmen_. She so dominated the +individuality in the rôle, which remained potent until the appearance +in this country of Calvé. When Grau wanted to fill the house, all he +had to do was to announce Calvé as _Carmen_. She so dominated the character with her beauty, charm, _diablerie_, and vocal art that, after she left the Metropolitan Opera House, it became impossible to revive the opera there with success, until Farrar made her appearance in it, November 19, 1914, with Alda as _Micaela_, Caruso as _Don -Jose_, and Amato as _Escamillo_. +José_, and Amato as _Escamillo_. A season or two before Oscar Hammerstein gave "Carmen" at the Manhattan Opera House, a French company, which was on its last legs when it struck New York, appeared in a performance of "Carmen" at the Casino, and the next day went into bankruptcy. The _Carmen_ was Bressler-Gianoli. Her interpretation brought out the coarse fibre in -the character, and was so much the opposite of Calve's, that it was +the character, and was so much the opposite of Calvé's, that it was interesting by contrast. It seemed that had the company been able to survive, "Carmen" could have been featured in its repertoire, by -reason of Bressler-Gianoli's grasp of the character as Merimee had +reason of Bressler-Gianoli's grasp of the character as Mérimée had drawn it in his novel, where _Carmen_ is of a much coarser personality than in the opera. The day after the performance I went to see Heinrich Conried, then director of the Metropolitan Opera House, and told him of the impression she had made, but he did not engage her. -The _Carmen_ of Bressler-Gianoli (with Dalmores, Trentini, Ancona, and +The _Carmen_ of Bressler-Gianoli (with Dalmorès, Trentini, Ancona, and Gilibert) was one of the principal successes of the Manhattan Opera House. It was first given December 14, 1906, and scored the record for -the season with nineteen performances, "Aida" coming next with twelve, +the season with nineteen performances, "Aïda" coming next with twelve, and "Rigoletto" with eleven. Mary Garden's _Carmen_ is distinctive and highly individualized on the acting side. It lacks however the lusciousness of voice, the vocal -lure, that a singer must lavish upon the role to make it a complete +lure, that a singer must lavish upon the rôle to make it a complete success. One of the curiosities of opera in America was the appearance at the @@ -21099,34 +21063,34 @@ Metropolitan Opera House, November 25, 1885, of Lilli Lehmann as _Carmen_. A word is due Bizet's authors for the admirable libretto they have -made from Merimee's novel. The character of _Carmen_ is, of course, +made from Mérimée's novel. The character of _Carmen_ is, of course, the creation of the novelist. But in his book the _Toreador_ is not introduced until almost the very end, and is but one of a succession -of lovers whom _Carmen_ has had since she ensnared _Don Jose_. In the +of lovers whom _Carmen_ has had since she ensnared _Don José_. In the opera the _Toreador_ is made a principal character, and figures prominently from the second act on. _Micaela_, so essential for contrast in the opera, both as regards plot and music, is a creation of the librettists. But their master-stroke is the placing of the scene of the murder just outside the arena where the bullfight is in -progress, and in having _Carmen_ killed by _Don Jose_ at the moment +progress, and in having _Carmen_ killed by _Don José_ at the moment _Escamillo_ is acclaimed victor by the crowd within. In the book he slays her on a lonely road outside the city of Cordova the day after the bullfight. -LES PECHEURS DE PERLES +LES PÊCHEURS DE PERLES THE PEARL FISHERS -Besides "Carmen," Bizet was the composer of "Les Pecheurs de Perles" +Besides "Carmen," Bizet was the composer of "Les Pêcheurs de Perles" (The Pearl Fishers) and "Djamileh." -"Les Pecheurs de Perles," the words by Carre and Cormon, is in three -acts. It was produced at the Theatre Lyrique, Paris, September 29, +"Les Pêcheurs de Perles," the words by Carré and Cormon, is in three +acts. It was produced at the Théâtre Lyrique, Paris, September 29, 1863. London saw it under the title of "Leila," April 22, 1887, at Covent Garden; as "Pescatori di Perle," May 18, 1899. The New York production was at the Metropolitan Opera House, January 11, 1896, -with Calve; and November 13, 1916, with Caruso. The scene is Ceylon, +with Calvé; and November 13, 1916, with Caruso. The scene is Ceylon, the period barbaric. The first act shows a company of pearl fishers on the coast. They @@ -21169,7 +21133,7 @@ funeral pyre. Just as the guilty lovers are to be led to their death, a distant glow is seen. _Zurga_ cries out that the camp is on fire. The people rush away to fight the flames. _Zurga_ tells _Leila_ and _Nadir_ that he set fire to the camp. He then unfastens their chains -and bids them flee. Terzet: "O lumiere sainte" (O sacred light). +and bids them flee. Terzet: "Ô lumière sainte" (O sacred light). From a hiding place _Nourabad_ has witnessed the scene. When the people return, he denounces _Zurga's_ act in setting fire to the camp @@ -21180,15 +21144,15 @@ people prostrate themselves to Brahma, whose wrath they fear. _Leila_ is for soprano, _Nadir_ tenor, _Zurga_ baritone, _Nourabad_ bass. -In the performance with Calve only two acts were given. The rest of +In the performance with Calvé only two acts were given. The rest of the program consisted of "La Navarraise," by Massenet. DJAMILEH -"Djamileh," produced at the Opera Comique, is in one act, words by +"Djamileh," produced at the Opéra Comique, is in one act, words by Louis Gallet, based on Alfred de Musset's poem, "Namouna." The scene -is Cairo, the time mediaeval. +is Cairo, the time mediæval. _Djamileh_, a beautiful slave, is in love with her master, _Prince Haroun_, a Turkish nobleman, who is tired of her and is about to sell @@ -21202,10 +21166,10 @@ _Haroun_ is entranced, and immediately buys her. When she discloses her identity, and pleads that her ruse was prompted by her love for him, he receives her back into his affections. -_Djamileh_ is for mezzo-soprano, the men's roles for tenor. Besides +_Djamileh_ is for mezzo-soprano, the men's rôles for tenor. Besides the dance, there are a duet for the men, "Que l'esclave soit brune ou blonde" (Let the slave be dark or fair); a trio, "Je voyais au loin la -mer s'etendre" (The distant sea have I beheld extending); and the +mer s'étendre" (The distant sea have I beheld extending); and the chorus, "Quelle est cette belle" (Who is the charmer). @@ -21379,7 +21343,7 @@ RUSTIC CHIVALRY Bohner (_Lucia_), Payne Clarke (_Turiddu_), Herman Gerold (_Alfio_), Adolph Neuendorff, conductor. Metropolitan Opera House, December 30, 1891, with Eames as _Santuzza_; November - 29, 1893, with Calve (debut) as _Santuzza_. + 29, 1893, with Calvé (début) as _Santuzza_. CHARACTERS @@ -21399,7 +21363,7 @@ RUSTIC CHIVALRY and tense, by Giovanni Verga. From it was made the stage tragedy, in which Eleonora Duse displayed her great powers as an actress. It is a drama of swift action and intense emotion; of passion, betrayal, and -retribution. Much has been made of the role played by the "book" in +retribution. Much has been made of the rôle played by the "book" in contributing to the success of the opera. It is a first-rate libretto--one of the best ever put forth. It inspired the composer to what so far has remained his only significant achievement. But only in @@ -21433,7 +21397,7 @@ of the day, there also is the lilt of religious ecstasy, follows. Like a refrain the women voice and repeat "Gli aranci olezzano sui verdi margini" (Sweet is the air with the blossoms of oranges). They intone "La Vergine serena allietasi del Salvator" (The Holy Mother mild, in -ecstasy fondles the child), and sing of "Tempo e si mormori," etc. +ecstasy fondles the child), and sing of "Tempo è si mormori," etc. (Murmurs of tender song tell of a joyful world). The men, meanwhile, pay a tribute to the industry and charm of woman. Those who have not entered the church, go off singing. Their voices die away in the @@ -21474,7 +21438,7 @@ to check her. _Alfio_ goes his way. A choir in the church intones the "Regina Coeli." The people in the square join in the "Allelujas." Then they kneel and, led by _Santuzza's_ voice, sing the Resurrection hymn, -"Inneggiamo, il Signor non e morto" (Let us sing of the Lord now +"Inneggiamo, il Signor non è morto" (Let us sing of the Lord now victorious). The "Allelujas" resound in the church, which all, save _Mamma Lucia_ and _Santuzza_, enter. @@ -21595,7 +21559,7 @@ supported by some of the women. A tragedy of Sicily, hot in the blood, is over. When "Cavalleria Rusticana" was produced, no Italian opera had -achieved such a triumph since "Aida"--a period of nearly twenty years. +achieved such a triumph since "Aïda"--a period of nearly twenty years. It was hoped that Mascagni would prove to be Verdi's successor, a hope which, needless to say, has not been fulfilled. @@ -21615,7 +21579,7 @@ FRIEND FRITZ [Transcriber's Note: later editions have P. Suardon (N. Daspuro)], from the story by Erckmann-Chatrian. Produced, Rome, 1891. Philadelphia, by Gustav Hinrichs, June 8, 1892. - New York, Metropolitan Opera House, with Calve as _Suzel_, + New York, Metropolitan Opera House, with Calvé as _Suzel_, January 10, 1894. CHARACTERS @@ -21676,7 +21640,7 @@ IRIS OSAKA _Tenor_ KYOTO, a _takiomati_ _Baritone_ - Ragpickers, shopkeepers, geishas, _mousmes_ (laundry girls), + Ragpickers, shopkeepers, geishas, _mousmés_ (laundry girls), _samurai_, citizens, strolling players, three women representing Beauty, Death, and the Vampire; a young girl. @@ -21698,7 +21662,7 @@ philosophy, to which this opening gives the key, runs through "Iris." Fujiyama glows in the early morning light, as _Iris_, who loves only her blind father, comes to the door of her cottage. She has dreamed that monsters sought to injure her doll, asleep under a rosebush. With -the coming of the sun the monsters have fled. _Mousmes_ come to the +the coming of the sun the monsters have fled. _Mousmés_ come to the bank of the stream and sing prettily over their work. _Iris_ is young and beautiful. She is desired by _Osaka_, a wealthy @@ -21754,12 +21718,12 @@ allegory of the work. Elsewhere he employs instruments associated by us with Oriental music, but the spirit of the Orient is lacking. In a score requiring subtlety of invention, skill in instrumentation, and, in general, the gift for poetic expression in music, these qualities -are not. The scene of the _mousmes_ in the first act with _Iris's_ +are not. The scene of the _mousmés_ in the first act with _Iris's_ song to the flowers of her garden, "In pure stille" ([Transcriber's Note: translation left blank in original; should probably be 'In pure droplets']); the vague, yet unmistakable hum of Japanese melody in the opening of Act II; and her narrative in the scene with _Osaka_ in the -same act, "Un di al tempio" (One day at the temple)--these, with the +same act, "Un dì al tempio" (One day at the temple)--these, with the hymn to the sun, are about the only passages that require mention. @@ -21849,7 +21813,7 @@ there is small dramatic significance in the music. In the second act the stage setting is the same, except that the season is autumn. There is a song for _Lodoletta_, and, as in Act I, episodes for her and the children, who exclaim delightedly when they -see the picture _Flammen_ has been painting, "E Lodoletta viva, com'e +see the picture _Flammen_ has been painting, "È Lodoletta viva, com'è bella" (See! Lodoletta, and so pretty!). But there is little progress made in this act. Much of it has the effect of repetition. @@ -21869,7 +21833,7 @@ Vernon in the N.Y. _Tribune_. ISABEAU -With Rosa Raisa in the title role, the Chicago Opera Company produced +With Rosa Raisa in the title rôle, the Chicago Opera Company produced Mascagni's "Isabeau" at the Auditorium, Chicago, November 12, 1918. The company repeated it at the Lexington Theatre, New York, February 13, 1918, also with Rosa Raisa as _Isabeau_. The opera had its first @@ -21923,7 +21887,7 @@ and set to music a trilogy, "Crepusculum" (Twilight): I. "I Medici"; II. "Gerolamo Savonarola"; III. "Cesare Borgia." The performing rights to Part I were acquired by the Ricordi publishing house, but, no preparations being made for its production, he set off again on his -travels as a pianist; officiating also as a repetiteur for opera +travels as a pianist; officiating also as a répétiteur for opera singers, among them Maurel, in Paris, where he remained several years. His friendship with that singer bore unexpected fruit. Despairing of ever seeing "I Medici" performed, and inspired by the success of @@ -21931,10 +21895,10 @@ ever seeing "I Medici" performed, and inspired by the success of and sent it to Ricordi's rival, the music publisher Sonzogno. The latter accepted "Pagliacci" immediately after reading the libretto. Maurel then not only threw his influence in favour of the work, but -even offered to create the role of _Tonio_; and in that character he +even offered to create the rôle of _Tonio_; and in that character he was in the original cast (1892). "I Medici" was now produced (La Scala, Milan, 1893), but failed of success. Later operas by -Leoncavallo, "La Boheme" (La Fenice Theatre, Venice, 1897) and "Zaza" +Leoncavallo, "La Bohème" (La Fenice Theatre, Venice, 1897) and "Zaza" (Milan, 1900), fared somewhat better, and the latter is played both in Italy and Germany. But "Roland of Berlin," commissioned by the German Emperor and performed December 13, 1904, was a complete failure. In @@ -21972,7 +21936,7 @@ CLOWNS "Pagliacci" opens with a prologue. There is an instrumental introduction. Then _Tonio_ pokes his head through the curtains,--"Si -puo? Signore, Signori" (By your leave, Ladies and Gentlemen),--comes +può? Signore, Signori" (By your leave, Ladies and Gentlemen),--comes out, and sings. The prologue rehearses, or at least hints at, the story of the opera, and does so in musical phrases, which we shall hear again as the work progresses--the bustle of the players as they @@ -22065,7 +22029,7 @@ looked and watched me!--Heavens, if he should suspect me!" But the birds are singing, the birds, whose voices her mother understood. Her thoughts go back to her childhood. She sings, "Oh! che volo d'augelli" (Ah, ye beautiful song-birds), which leads up to her vivacious -_ballatella_, "Stridono lassu, liberamente" (Forever flying through +_ballatella_, "Stridono lassù, liberamente" (Forever flying through the boundless sky). _Tonio_ comes on from behind the theatre. He makes violent love to @@ -22090,7 +22054,7 @@ has pledged her love to him, that she will run away with him from her husband after the performance that night. She does not consent at once, not because of any moral scruples, but because she is afraid. After a little persuasion, however, she yields. The scene reaches its -climax in an impassioned love duet, "E allor perche, di', tu m'hai +climax in an impassioned love duet, "E allor perchè, di', tu m'hai stregato" (Why hast thou taught me Love's magic story). The lovers prepare to separate, but agree not to do so until after the play, when they are to meet and elope. @@ -22201,7 +22165,7 @@ and scorn." Still desperately striving to keep in the play, and avert the inevitable, _Nedda_, as if she were _Columbine_, sings a chic gavotte, -"Suvvia, cosi terribile" (I never knew, my dear, that you were such a +"Suvvia, così terribile" (I never knew, my dear, that you were such a tragic fellow). [Music] @@ -22233,14 +22197,14 @@ steel blade flashes. _Silvio_ falls dead beside _Nedda_. instruments of the orchestra. _Canio_ stands stupefied. The knife falls from his hand: -"La commedia e finita" (The comedy is ended). +"La commedia è finita" (The comedy is ended). There are plays and stories in which, as in "Pagliacci," the drama on a mimic stage suddenly becomes real life, so that the tragedy of the play changes to the life-tragedy of one or more of the characters. "Yorick's Love," in which I saw Lawrence Barrett act, and of which I wrote a review for _Harper's Weekly_, was adapted by William D. -Howells from "Drama Nuevo" by Estebanez, which is at least fifty years +Howells from "Drama Nuevo" by Estébanez, which is at least fifty years older than "Pagliacci." In it the actor _Yorick_ really murders the actor, whom in character, he is supposed to kill in the play. In the plot, as in real life, this actor had won away the love of _Yorick's_ @@ -22250,7 +22214,7 @@ periodical published by students of Columbia University, in which the player of _Othello_, impelled by jealousy, actually kills his wife, who is the _Desdemona_, and then, as in the play, slays himself. Yet, although the _motif_ is an old one, this did not prevent Catulle -Mendes, who himself had been charged with plagiarizing, in "La Femme +Mendès, who himself had been charged with plagiarizing, in "La Femme de Tabarin," Paul Ferrier's earlier play, "Tabarin," from accusing Leoncavallo of plagiarizing "Pagliacci" from "La Femme de Tabarin," and from instituting legal proceedings to enjoin the performance of @@ -22259,7 +22223,7 @@ publisher, stated that during his childhood at Montalto a jealous player killed his wife after a performance, that his father was the judge at the criminal's trial--circumstances which so impressed the occurrence on his mind that he was led to adapt the episode for his -opera. Catulle Mendes accepted the explanation and withdrew his suit. +opera. Catulle Mendès accepted the explanation and withdrew his suit. There has been some discussion regarding the correct translation of "Pagliacci." It is best rendered as "Clowns," although it only is @@ -22309,7 +22273,7 @@ four acts, a criticism I consider applicable even to Mascagni's Metropolitan Opera House, New York, which I believe largely due to unusual conditions produced by the European war. Puccini, on the other hand, is represented in the repertoire of the modern opera house by -four large works: "Manon Lescaut" (1870), "La Boheme" (1896), "Tosca" +four large works: "Manon Lescaut" (1870), "La Bohème" (1896), "Tosca" (1900), and "Madama Butterfly" (1904). His early two-act opera, "Le Villi" (The Willis, Dal Verme Theatre, Milan, 1884), and his three-act opera, "La Fanciulla del West" (The Girl of the Golden West), 1910, @@ -22328,7 +22292,7 @@ LE VILLI their lovers, is the title of a two-act opera by Puccini, words by Ferdinando Fortuna, produced May 31, 1884, Dal Verme Theatre, Milan, after it had been rejected in a prize competition at the Milan -Conservatory, but revised by the composer with the aid of Boito. It is +Conservatory, but revised by the composer with the aid of Boïto. It is Puccini's first work for the lyric stage. When produced at the Dal Verme Theatre, it was in one act, the composer later extending it to two, in which form it was brought out at the Reggio Theatre, Turin, @@ -22368,7 +22332,7 @@ MANON LESCAUT Theatre, New York, May 27, 1898, by the Milan Royal Italian Opera Company of La Scala; Metropolitan Opera House, New York, January 18, 1907, with Caruso, Cavalieri, and Scotti. - The libretto, founded on Abbe Prevost's novel, is by + The libretto, founded on Abbé Prévost's novel, is by Puccini, assisted by a committee of friends. The composer himself directed the production at the Metropolitan Opera House. @@ -22424,7 +22388,7 @@ mountain, gentle Chloe). [Music] Then a dancing master enters. _Manon_, _Lescaut_, _Geronte_, and old -beaus and abbes, who have come in with _Geronte_, form for the dance, +beaus and abbés, who have come in with _Geronte_, form for the dance, and a lesson in the minuet begins. [Music] @@ -22447,7 +22411,7 @@ abandoned woman. Her sentence is banishment, with other women of loose character, to the then French possession of Louisiana. The journey to Havre for embarkation is represented by an intermezzo in the score, and an -extract from Abbe Prevost's story in the libretto. The theme of the +extract from Abbé Prévost's story in the libretto. The theme of the "Intermezzo," a striking composition, is as follows: [Music] @@ -22468,13 +22432,13 @@ sad duet between _Des Grieux_ and _Manon_. _Manon_ dies of exhaustion. _Des Grieux_ falls senseless upon her body. -LA BOHEME +LA BOHÈME THE BOHEMIANS Opera in four acts by Puccini; words by Giuseppe Giacosa and Luigi Illica, founded on Henri Murger's book, _La Vie de - Boheme_. Produced, Teatro Reggio, Turin, February 1, 1896. + Bohème_. Produced, Teatro Reggio, Turin, February 1, 1896. Manchester, England, in English, as "The Bohemians," April 22, 1897. Covent Garden, London, in English, October 2, 1897; in Italian, July 1, 1899. San Francisco, March, 1898, @@ -22506,15 +22470,15 @@ THE BOHEMIANS _Place_--Latin Quarter, Paris. -"La Boheme" is considered by many Puccini's finest score. There is +"La Bohème" is considered by many Puccini's finest score. There is little to choose, however, between it, "Tosca," and "Madama Butterfly." Each deals successfully with its subject. It chances that, -as "La Boheme" is laid in the Quartier Latin, the students' quarter of +as "La Bohème" is laid in the Quartier Latin, the students' quarter of Paris, where gayety and pathos touch elbows, it laughs as well as weeps. Authors and composers who can tear passion to tatters are more numerous than those who have the light touch of high comedy. The latter, a distinguished gift, confers distinction upon many passages -in the score of "La Boheme," which anon sparkles with merriment, anon +in the score of "La Bohème," which anon sparkles with merriment, anon is eloquent of love, anon is stressed by despair. Act I. The garret in the Latin Quarter, where live the inseparable @@ -22538,11 +22502,11 @@ hungry. [Illustration: Copyright photo by Dupont -Farrar as Mimi in "La Boheme"] +Farrar as Mimi in "La Bohème"] [Illustration: Photo by Hall -Cafe Momus Scene, "La Boheme," Act II +Café Momus Scene, "La Bohème," Act II Mimi (Rennyson), Musette (Joel), Rudolph (Sheehan)] @@ -22557,7 +22521,7 @@ _Schaunard_ cannot make himself heard. _Rudolph_ locks the door. Then all go to the table and pour out wine. It is Christmas eve. _Schaunard_ suggests that, when they have emptied -their glasses, they repair to their favourite resort, the Cafe Momus, +their glasses, they repair to their favourite resort, the Café Momus, and dine. Agreed. Just then there is a knock. It is _Benoit_, their landlord, for the rent. They let him in and invite him to drink with them. The sight of the money on the table reassures him. He joins @@ -22567,7 +22531,7 @@ married man, engaged in such disreputable proceedings! They seize him, lift him to his feet, and eject him, locking the door after him. The money on the table was earned by _Schaunard_, but, according to -their custom, they divide it. Now, off for the Cafe Momus--that is, +their custom, they divide it. Now, off for the Café Momus--that is, all but _Rudolph_, who will join them soon--when he has finished an article he has to write for a new journal, the _Beaver_. He stands on the landing with a lighted candle to aid the others in making their @@ -22636,7 +22600,7 @@ the course of the opera, and always in association with _Mimi_. Especially in the last act does it recur with poignant effect. Act II. A meeting of streets, where they form a square, with shops of -all sorts, and the Cafe Momus. The square is filled with a happy +all sorts, and the Café Momus. The square is filled with a happy Christmas eve crowd. Somewhat aloof from this are _Rudolph_ and _Mimi_. _Colline_ stands near the shop of a clothes dealer. _Schaunard_ is haggling with a tinsmith over the price of a horn. @@ -22644,7 +22608,7 @@ _Marcel_ is chaffing the girls who jostle against him in the crowd. There are street venders crying their wares; citizens, students, and work girls, passing to and fro and calling to each other; people at -the cafe giving orders--a merry whirl, depicted in the music by +the café giving orders--a merry whirl, depicted in the music by snatches of chorus, bits of recitative, and an instrumental accompaniment that runs through the scene like a many-coloured thread, and holds the pattern together. @@ -22659,7 +22623,7 @@ a new bonnet trimmed with roses. She looks about. "The man in love is always jealous." -_Rudolph's_ friends are at a table outside the cafe. _Rudolph_ joins +_Rudolph's_ friends are at a table outside the café. _Rudolph_ joins them with _Mimi_. He introduces her to them as one who will make their party complete, for he "will play the poet, while she's the muse incarnate." @@ -22733,7 +22697,7 @@ them? She weeps, and tells him that _Rudolph_ is so jealous of her she fears they must part. When _Rudolph_, having missed _Marcel_, comes out to look for him, _Mimi_ hides behind a plane tree, from where she hears her lover tell his friend that he wishes to give her up because -of their frequent quarrels. "Mimi e una civetta" (Mimi is a heartless +of their frequent quarrels. "Mimi è una civetta" (Mimi is a heartless creature) is the burden of his song. Her violent coughing reveals her presence. They decide to part--not angrily, but regretfully: "Addio, senza rancor" (Farewell, then, I wish you well), sings _Mimi_. @@ -22756,7 +22720,7 @@ time for parting's when the roses blow." Act IV. The scene is again the attic of the four Bohemians. _Rudolph_ is longing for _Mimi_, of whom he has heard nothing, _Marcel_ for _Musetta_, who, having left him, is indulging in one of her gay -intermezzos with one of her wealthy patrons. "Ah, Mimi, tu piu" (Ah, +intermezzos with one of her wealthy patrons. "Ah, Mimi, tu più" (Ah, Mimi, fickle-hearted), sings _Rudolph_, as he gazes at the little pink bonnet he bought her at the milliner's shop Christmas eve. _Schaunard_ thrusts the water bottle into _Colline's_ hat as if the latter were a @@ -23290,7 +23254,7 @@ MADAM BUTTERFLY "Madame Butterfly," Act I -(Francis Maclennan, Renee Vivienne, and Thomas Richards)] +(Francis Maclennan, Renée Vivienne, and Thomas Richards)] Although "Madama Butterfly" is in two acts, the division of the second act into two parts by the fall of the curtain, there also being an @@ -23355,7 +23319,7 @@ The Japanese theme, which I have spoken of as forming the introduction to the act, besides, the background to the greater part of it, in fact up to the scene with the _Bonze_, never becomes monotonous because it is interrupted by several other musical episodes. Such are the short -theme to which _Pinkerton_ sings "Tutto e pronto" (All is ready), and +theme to which _Pinkerton_ sings "Tutto è pronto" (All is ready), and the skippy little theme when _Goro_ tells _Pinkerton_ about those who will be present at the ceremony. When _Pinkerton_ sings, "The whole world over, on business or pleasure the Yankee travels," a motif based @@ -23383,7 +23347,7 @@ which forms a dramatic contrast. It is customary with Puccini to create "atmosphere" of time and place through the medium of the early scenes of his operas. It is only necessary to recall the opening episodes in the first acts of "La -Boheme" and "Tosca." He has done the same thing in "Madam Butterfly," +Bohème" and "Tosca." He has done the same thing in "Madam Butterfly," by the employment of the Japanese theme already referred to, and by the crowded episodes attending the arrival of _Butterfly_ and the performance of the ceremony. These episodes are full of action and @@ -23425,7 +23389,7 @@ convinced that _Pinkerton_ has deserted her mistress, is praying for his return. _Butterfly_ is full of faith and trust. In chiding her devoted maid for doubting that _Pinkerton_ will return, she draws in language and song a vivid picture of his home-coming and of their -mutual joy therein:--"Un bel di vedremo" (Some day he'll come). +mutual joy therein:--"Un bel dì vedremo" (Some day he'll come). [Music] @@ -23527,7 +23491,7 @@ From examples that already have been given of modern Italian opera, it is clear that "atmosphere," local colour, and character delineation are typical features of the art of Italy's lyric stage as it flourishes today. In "Madama Butterfly" we have exotic tone colour to -a degree that has been approached but not equalled by Verdi in "Aida." +a degree that has been approached but not equalled by Verdi in "Aïda." Certain brief scenes in Verdi's opera are Egyptian in tone colour. In "Madama Butterfly" Japanese themes are used _in extenso_, and although the thrilling climaxes in the work are distinctively Italian, the @@ -23609,7 +23573,7 @@ LA FANCIULLA DEL WEST WOWKLE, Billy's squaw _Mezzo-Soprano_ JAKE WALLACE, a travelling camp minstrel _Baritone_ - JOSE CASTRO, a greaser from + JOSÉ CASTRO, a greaser from Ramerrez's gang _Bass_ A POSTILLION _Tenor_ MEN OF THE CAMP @@ -23624,7 +23588,7 @@ LA FANCIULLA DEL WEST Destinn as Minnie, Caruso as Johnson, and Amato as Jack Rance in "The Girl of the Golden West"] -Successful in producing "atmosphere" in "La Boheme," "Tosca," and +Successful in producing "atmosphere" in "La Bohème," "Tosca," and "Madama Butterfly," Puccini has utterly failed in his effort to do so in his "Girl of the Golden West." Based upon an American play, the scene laid in America and given in America for the first time on any @@ -23695,20 +23659,20 @@ reply is that if she is virtuous and honourable, she will be received with open arms. _Magda_ now considers herself (like _Violetta_ in "La Traviata") unworthy of _Ruggero's_ love and lest she shall bring dishonour upon the man she loves, she parts with him. Other principal -roles are _Lisetta_ and _Prunia_, and there are numerous second parts +rôles are _Lisetta_ and _Prunia_, and there are numerous second parts requiring first-rate artists. In the second act of "La Rondine" is a quartet which, it is said, Puccini believes will rival that at the end of the third act in "La -Boheme." "I have let my pen run," he is reported to have said, "and no +Bohème." "I have let my pen run," he is reported to have said, "and no other method suffices to obtain good results, in my opinion. No matter what marvellous technical effects may be worked up by lengthy meditation, I believe in heart in preference to head." The opera was produced in March, 1917, in Monte Carlo, and during the summer of the same year, in Buenos Aires. Puccini intended to compose -it with dialogue as a genuine opera comique, but finally substituted -recitative. The work is said to approach opera comique in style. +it with dialogue as a genuine opéra comique, but finally substituted +recitative. The work is said to approach opéra comique in style. Reports regarding its success vary. After the first Italian performance, San Carlo Theatre, Naples, @@ -23880,7 +23844,7 @@ kind to have come out of modern Italy. Act II. The scene is the interior of a round tower in the fortified castle of the Malatestas. The summit of the tower is crowned with engines of war and arms. There are heavy cross-bows, ballistas, a -catapult, and other mediaeval machinery of battle. The castle is a +catapult, and other mediæval machinery of battle. The castle is a stronghold of the Guelfs. In the distance, beyond the city of Rimini, are seen the battlements of the highest Ghibelline Tower. A narrow fortified window looks out on the Adriatic. @@ -23893,7 +23857,7 @@ despairingly seeks death, to which _Francesca_ also exposes herself by remaining on the platform of the tower during the combat. The relation between these two principal characters of the opera is clearly enough set forth, and the impression made by it would be forcible, were not -attention distracted by the fiercely raging mediaeval combat. +attention distracted by the fiercely raging mediæval combat. The Malatestas are victorious. The attacking foes are driven off. _Gianciotto_ comes upon the platform and brings news to _Paolo_ of his @@ -23909,7 +23873,7 @@ from an old tome, she is reading to her women the story of _Lancelot and Guenevere_. This episode has somewhat of the same charm as that which pervaded portions of the first act. Especially is this true, when to the accompaniment of archaic instruments, the women sing their -measures in praise of spring, "Marzo e giunto, e Febbraio gito se n'e +measures in praise of spring, "Marzo è giunto, e Febbraio gito se n'è col ghiado" (March comes, and February goes with the wind today). [Music] @@ -24139,8 +24103,8 @@ THE LOVE OF THREE KINGS Milan, April 10, 1913; Metropolitan Opera House, New York, January 2, 1914, with Didur (_Archibaldo_), Amato (_Manfredo_), Ferrari-Fontana (_Avito_), Bori (_Fiora_). - Covent Garden Theatre, London, May 27, 1914. Theatre des - Champs Elysees, Paris, April 25, 1914. In the Milan + Covent Garden Theatre, London, May 27, 1914. Théâtre des + Champs Elysées, Paris, April 25, 1914. In the Milan production Luisa Villani was _Fiora_, and Ferrari-Fontana _Avito_. @@ -24173,7 +24137,7 @@ progressing fatefully toward an inevitable human cataclysm. While there is little or no set melody in Montemezzi's score, nevertheless it is melodious--a succession of musical phrases that clothe the words, the thought behind them, their significance, their most subtle -suggestion, in the weft and woof of expressive music. It is a mediaeval +suggestion, in the weft and woof of expressive music. It is a mediæval tapestry, the colours of which have not faded, but still glow with their original depth and opulence. Of the many scores that have come out of Italy since the death of Verdi, "L'Amore dei Tre Re" is one of @@ -24220,7 +24184,7 @@ himself a native of the country, which _Archibaldo_ has conquered. When _Flaminio_ reminds _Archibaldo_ that _Avito_ was to have wedded _Fiora_, the blind king bids his guide look out into the valley for -any sign of _Manfredo's_ approach. "Nessuno, mio signore! Tutto e +any sign of _Manfredo's_ approach. "Nessuno, mio signore! Tutto è pace!" is Flaminio's reply. (No one, my lord! All is quiet!) [Music] @@ -24239,7 +24203,7 @@ _Avito_ and _Fiora_ come out of her room. The woman's hair hangs in disorder around her face, her slender figure is draped in a very fine ivory-white garment. The very quiet that prevails fills _Avito_ with apprehension. It is the woman, confident through love, that seeks to -reassure him. "Dammi le labbra, e tanta ti daro di questa pace!" (Give +reassure him. "Dammi le labbra, e tanta ti darò di questa pace!" (Give me thy lips, and I will give thee of this peace). [Music] @@ -24305,7 +24269,7 @@ whispers Fiora. [Music] -"Guarda in su! Siamo in cielo!" (Look up! We are in heaven!) responds +"Guarda in sù! Siamo in cielo!" (Look up! We are in heaven!) responds _Avito_. [Music] @@ -24341,10 +24305,10 @@ while from within the chapel voices of a choir are heard. Out of the darkness comes _Avito_. The others depart in order that he may be alone with his beloved dead, for he too is of their country, -and they know. "Fiora! Fiora!--E silenzio!" (Fiora! Fiora!--Silence +and they know. "Fiora! Fiora!--È silenzio!" (Fiora! Fiora!--Silence surrounds us) are his first words, as he gazes upon her. -[Music: Fiora, Fiora! E silenzio.] +[Music: Fiora, Fiora! È silenzio.] Then, desperately, he throws himself beside her and presses his lips on hers. A sudden chill, as of approaching death, passes through him. @@ -24394,7 +24358,7 @@ win and rule over an unwilling people. Truly, he is blind. Italo Montemezzi was born in 1875, in Verona. A choral work by him, "Cantico dei Cantici," was produced at the Milan Conservatory, 1900. Besides "L'Amore dei Tre Re," he has composed the operas "Giovanni -Gallurese," Turin, 1905, and "Hellera," Turin, 1909. +Gallurese," Turin, 1905, and "Hélléra," Turin, 1909. @@ -24440,7 +24404,7 @@ I GIOJELLI DELLA MADONNA 1912; Metropolitan Opera House, New York, March 5, 1912, both the Chicago and New York productions by the Chicago Opera Company, conducted by Cleofonte Campanini, with - Carolina White, Louis Berat, Bassi, and Sammares. + Carolina White, Louis Bérat, Bassi, and Sammares. CHARACTERS @@ -24566,7 +24530,7 @@ accompaniment of their mandolins and guitars he sings to _Maliella_ a lively waltzlike serenade. The girl, in a white wrapper, a light scarlet shawl over her shoulders descends to the garden. There is a love duet--"in a torrent of passion," according to the libretto, but -not so torrential in the score:--"T'amo, si, t'amo" (I love you, I +not so torrential in the score:--"T'amo, sì, t'amo" (I love you, I love you), for _Maliella_; "Stringimi forte" (Cling fast to me) for _Rafaele_; "Oh! strette ardenti" (Rapture enthralling) for both. She promises that on the morrow she will join him. Then _Rafaele's_ @@ -24620,7 +24584,7 @@ women fall to their knees. _Rafaele_ curses the girl. At his command, the band disperses. _Maliella_ goes out to drown herself in the sea. "Madonna dei dolor! Miserere!" (Madonna of our pain, have pity), prays _Gennaro_. His thoughts revert to his mother. "Deh non piangere, O -Mamma mia" (Ah! Weep not, beloved mother mine). Among the debris he +Mamma mia" (Ah! Weep not, beloved mother mine). Among the débris he finds a knife and plunges it into his heart. * * * * * @@ -24663,7 +24627,7 @@ in the earlier days of Rossini's Opera, "Il Barbiere di Siviglia," was introduced by prima donnas in the lesson scene. In the Metropolitan production Farrar was _Rosaura_, Jadlowker -_Florindo_, and Scotti _Lelio_. Toscanini conducted. The roles of +_Florindo_, and Scotti _Lelio_. Toscanini conducted. The rôles of _Colombina_ and _Arlecchino_ (Harlequin) are survivals of old Italian comedy, which Goldoni still retained in some of his plays. @@ -24693,7 +24657,7 @@ a mock marriage, with himself as bridegroom. The father consents, and an actual marriage takes place. The scene of "L'Amore Medico" (Doctor Cupid), words by Golisciani -after Moliere's "L'Amour Medecin," is a villa near Paris, about 1665 +after Molière's "L'Amour Médecin," is a villa near Paris, about 1665 (Louis XIV). The characters are _Arnolfo_, a rich, elderly landowner (_Bass_); _Lucinda_, his daughter (_Soprano_); _Clitandro_, a young cavalier, (_Tenor_); _Drs. Tomes_ (_Bass_); _Desfonandres_ (_Bass_); @@ -24710,7 +24674,7 @@ was at the Dresden Royal Opera House, December 4, 1913. Umberto Giordano -Umberto Giordano was born at Foggia, August 26, 1867. Paolo Serrao was +Umberto Giordano was born at Foggia, August 26, 1867. Paolo Serrão was his teacher in music at the Naples Conservatory. With a one-act opera, "Marina," he competed for the Sonzogno prize, which Mascagni won with "Cavalleria Rusticana." "Marina," however, secured for him a @@ -24718,7 +24682,7 @@ commission for the three-act opera, "Mala Vita," Rome, 1892. Then followed the operas which have been noticed above. -MADAME SANS-GENE +MADAME SANS-GÊNE Opera in four acts by Umberto Giordano, words by Renato Simoni after the play by Victorien Sardou and E. Moreau. @@ -24732,23 +24696,23 @@ MADAME SANS-GENE LEFEBVRE, sergeant of the National Guards, later a Marshal of France and Duke of Danzig _Tenor_ - FOUCHE, officer of the National Guards, + FOUCHÉ, officer of the National Guards, later Minister of Police _Baritone_ COUNT DE NEIPPERG _Tenor_ VINAIGRE, drummer boy _Tenor_ - DESPREAUX, dancing master _Tenor_ + DESPRÉAUX, dancing master _Tenor_ GELSOMINO, page _Baritone_ LEROY, tailor _Baritone_ DE BRIGODE, chamberlain _Baritone_ ROUSTAN, head of the Mamelukes _Baritone_ - CATHERINE HUEBSCHER, "Madame Sans-Gene," + CATHERINE HUEBSCHER, "Madame Sans-Gêne," laundress; later Duchess of Danzig _Soprano_ TOINETTE } { _Soprano_ JULIA } laundresses { _Soprano_ LA ROSSA } { _Soprano_ QUEEN CAROLINE } sisters of { _Soprano_ PRINCESS ELISA } NAPOLEON { _Soprano_ - LADY DE BUeLOW, matron of honour to + LADY DE BÜLOW, matron of honour to the Empress _Soprano_ _Maturino_, _Constant_ (valet to _Napoleon_), the voice of @@ -24760,22 +24724,22 @@ MADAME SANS-GENE _Place_--Paris. -"Madame Sans-Gene" is an opera that maintains itself in the repertoire -largely because of the play that underlies it. The title role is +"Madame Sans-Gêne" is an opera that maintains itself in the repertoire +largely because of the play that underlies it. The title rôle is delightful. It has been among the successes of several clever actresses, including Ellen Terry, to whose _Catherine_ Henry Irving was the _Napoleon_. Its creator in the opera was Geraldine Farrar, to whose vivacity in interesting the character, far more than to the musical merit of the work itself, is due the fact that the opera has not dropped out of the repertoire. In point of fact the same -composer's "Andre Chenier" is of greater musical interest, but the +composer's "André Chénier" is of greater musical interest, but the leading character does not offer the same scope for acting, which accounts for its having dropped almost entirely out of the repertoire in America. -In "Madame Sans-Gene," _Catherine_ (in the Italian libretto +In "Madame Sans-Gêne," _Catherine_ (in the Italian libretto _Caterina_) is a laundress. The first act opens in her laundry in -Paris during the French Revolution. The nickname of Madame Sans-Gene, +Paris during the French Revolution. The nickname of Madame Sans-Gêne, usually translated Madame Free-and-Easy, is given her because of her vivacity, originality, straightforwardness in speech, and charm. @@ -24784,12 +24748,12 @@ on in the streets. Three women employed by _Catherine_ are at work in the laundry. _Catherine_ comes in from the street. She tells of her adventures with a lot of rough soldiers. She does this amazingly, but her experience has cured her of her curiosity to see what is going on -outside. There is a scene between _Catherine_ and _Fouche_, a +outside. There is a scene between _Catherine_ and _Fouché_, a time-server, waiting to observe how matters go, before he decides whether to cast his fortunes with the Royalists or the people. They gossip about a Corsican officer, who owes _Catherine_ for laundry, but is so poor he has been obliged to pawn his watch for bread. -Nevertheless, the good-hearted, lively _Madame Sans-Gene_ continues to +Nevertheless, the good-hearted, lively _Madame Sans-Gêne_ continues to do his laundry work for him, and trusts to the future for the bill. _Catherine_ is left alone. Rifle shots are heard. _Count Neipperg_, a @@ -24816,25 +24780,25 @@ Like most modern composers who do not possess the gift for sustained melody, Giordano would make up for it by great skill in the handling of his orchestra and constant depiction of the varying phases of the action. There is considerable opportunity for a display of this talent -in the first act of "Madame Sans-Gene," and the composer has furnished +in the first act of "Madame Sans-Gêne," and the composer has furnished a musical background, in which the colours are laid on in short, quick, and crisp strokes. "The Marseillaise" is introduced as soldiers and mob surge past _Catherine's_ laundry. -Act II. The drawing-room of the Chateau de Compiegne. The Empire has +Act II. The drawing-room of the Château de Compiègne. The Empire has been established. _Lefebvre_ is a Marshal and has been created Duke of Danzig. _Catherine_ is his duchess. She scandalizes the court with her frequent breaches of etiquette. [Illustration: Photo by White -Farrar as Catherine in "Mme. Sans-Gene"] +Farrar as Catherine in "Mme. Sans-Gêne"] -When the act opens _Despreaux_, the dancing master, _Gelsomino_, the +When the act opens _Despréaux_, the dancing master, _Gelsomino_, the valet, and _Leroy_, the ladies' tailor, are engaged in passing criticisms upon her. She enters, is as unconventional as ever, and amusingly awkward, when she tries on the court train, or is being -taught by _Despreaux_ how to deport herself, when she receives the +taught by _Despréaux_ how to deport herself, when she receives the Emperor's sisters, whom she is expecting. _Lefebvre_ comes in like a thunder cloud. _Napoleon_, he tells her, has heard how she has scandalized the court by her conduct and has intimated that he wishes @@ -24843,7 +24807,7 @@ melodious in the opera--between the couple who love each other sincerely. _Neipperg_, who now is Austrian Ambassador, comes upon the scene to bid his old friends good-bye. _Napoleon_ suspects that there is an intrigue between him and the Empress, and has had him recalled. -_Fouche_, Minister of Police, announces _Napoleon's_ sisters--_Queen +_Fouché_, Minister of Police, announces _Napoleon's_ sisters--_Queen Carolina_ and _Princess Elisa_. _Catherine's_ court train bothers her. She is unrestrained in her language. The royal ladies and their suite at first laugh contemptuously, then as _Catherine_, in her resentment, @@ -24851,7 +24815,7 @@ recalls to _Carolina_ that _King Murat_, her husband, once was a waiter in a tavern, the scene becomes one of growing mutual recrimination, until, to the measures of "The Marseillaise," _Catherine_ begins to recount her services to _Napoleon's_ army as -_Cantiniere_. Enraged, the royal ladies and their suite leave. _De +_Cantinière_. Enraged, the royal ladies and their suite leave. _De Brigode_, the court chamberlain, summons _Catherine_ to the presence of the _Emperor_. Not at all disconcerted, she salutes in military fashion the men who have remained behind, and follows _De Brigode_. @@ -24880,7 +24844,7 @@ an officer, when _Neipperg_ is apprehended, as he is approaching the _Empress's_ door. Infuriated, _Napoleon_ tears the string of medals from the Ambassador's breast and appears about to strike him in the face with it. _Neipperg_ draws his sword. Officers rush in. _Napoleon_ -orders that he be shot ere dawn, and that _Fouche_ and _Lefebvre_ have +orders that he be shot ere dawn, and that _Fouché_ and _Lefebvre_ have charge of the execution. Act IV. The scene is the same, but it is far into the night. The @@ -24893,12 +24857,12 @@ door, at _Napoleon's_ command, is guarded by _Roustan_. But _Napoleon_, when he comes in, is sufficiently impressed by _Catherine's_ faith in the _Empress's_ loyalty to put it to the test. At his direction, she knocks at the _Empress's_ door, and pretending -to be her Matron of Honour, Mme. de Buelow, says, "Majesty, Neipperg is +to be her Matron of Honour, Mme. de Bülow, says, "Majesty, Neipperg is here." The _Empress_ passes out a letter. "Give this to him--and my farewell." _Napoleon_ takes the letter, breaks the seal. The letter is to the _Empress's_ father, the Emperor of Austria, whom she asks to entertain _Neipperg_ in Vienna as his assiduity troubles her and the -_Emperor_. _Napoleon_ orders _Fouche_ to restore _Neipperg's_ sword +_Emperor_. _Napoleon_ orders _Fouché_ to restore _Neipperg's_ sword and let him depart. "As for your divorce," he says to _Lefebvre_, with a savage look, "My @@ -24908,9 +24872,9 @@ for ever true. Give thanks to heaven for giving her to you." Hunting-horns and the chorus of hunters are heard outside. -ANDRE CHENIER +ANDRÉ CHÉNIER -"Andre Chenier" was produced at La Scala, Milan, March 23, 1896. It +"André Chénier" was produced at La Scala, Milan, March 23, 1896. It was given in London, in English, April 26, 1903. Long before that, November 13, 1896, New York heard it at the Academy of Music, under Mapleson. It had a single performance, under the management of Oscar @@ -24918,24 +24882,24 @@ Hammerstein, at the Manhattan Opera House in 1908, and eight years later was given by, and endured through the season of, the Boston-National Opera Company, both in Boston and on tour. -Historical as a character though Andre Chenier be, Giordano's -librettist, Luigi Illica, has turned his life into fiction. Chenier +Historical as a character though André Chénier be, Giordano's +librettist, Luigi Illica, has turned his life into fiction. Chénier was a poet, dreamer, and patriot. Born at Constantinople, he went to Paris for his education. Later he became a participant in and victim of the French Revolution. CHARACTERS - ANDRE CHENIER _Tenor_ - CHARLES GERARD _Baritone_ + ANDRÉ CHÉNIER _Tenor_ + CHARLES GÉRARD _Baritone_ COUNTESS DE COIGNY _Soprano_ MADELEINE, her daughter _Soprano_ BERSI, her maid _Mezzo-Soprano_ ROUCHER _Bass_ MATHIEU _Baritone_ MADELON _Soprano_ - FLEVILLE _Tenor_ - THE ABBE _Tenor_ + FLÉVILLE _Tenor_ + THE ABBÉ _Tenor_ SCHMIDT, jailer at St. Lazare _Bass_ A SPY _Tenor_ [Transcriber's Note: "Tenor" missing in original] @@ -24948,40 +24912,40 @@ of the French Revolution. _Place_--Paris. -Act I. Ballroom in a chateau. _Gerard_, a servant, but also a +Act I. Ballroom in a château. _Gérard_, a servant, but also a revolutionist, is secretly in love with _Madeleine_, the _Countess's_ -daughter. Among the guests at a ball is _Andre Chenier_, a poet with +daughter. Among the guests at a ball is _André Chénier_, a poet with revolutionary tendencies. _Madeleine_ asks him to improvise a poem on -love. Instead, he sings of the wrongs of the poor. _Gerard_ appears +love. Instead, he sings of the wrongs of the poor. _Gérard_ appears with a crowd of ragged men and women, but at the _Countess's_ command -servants force the intruders out. _Chenier_ and _Madeleine_, the +servants force the intruders out. _Chénier_ and _Madeleine_, the latter weary of the routine of fashion, have been attracted to each other. -Act II. Cafe Hottot in Paris, several years later. _Chenier_ has +Act II. Café Hottot in Paris, several years later. _Chénier_ has offended the Revolutionists by denouncing Robespierre. A spy is -watching _Bersi_, _Madeleine's_ old nurse, and sees her hand _Chenier_ +watching _Bersi_, _Madeleine's_ old nurse, and sees her hand _Chénier_ a letter. It is from _Madeleine_. She loves him. She is dogged by spies, begs him come to her aid, and arranges a meeting. -Robespierre passes, followed by a mob. _Gerard_, now high in favour, +Robespierre passes, followed by a mob. _Gérard_, now high in favour, seeks to possess _Madeleine_, who comes to meet the poet. They are -about to flee, when _Gerard_, notified by the spy, interposes. -_Chenier_ and _Gerard_ fight with swords. _Gerard_ is wounded. The +about to flee, when _Gérard_, notified by the spy, interposes. +_Chénier_ and _Gérard_ fight with swords. _Gérard_ is wounded. The lovers escape. Act III. Revolutionary Tribunal. The crowd sings the "Carmagnole." -_Chenier_ has been captured. _Gerard_ writes the indictment for his +_Chénier_ has been captured. _Gérard_ writes the indictment for his rival. _Madeleine_ pleads for her lover, finally promising to give -herself to _Gerard_ if _Chenier_ is spared. _Gerard_, moved by the -girl's love, agrees to save _Chenier_ if he can. At the trial he -declares that the indictment against _Chenier_ is false. But the mob, +herself to _Gérard_ if _Chénier_ is spared. _Gérard_, moved by the +girl's love, agrees to save _Chénier_ if he can. At the trial he +declares that the indictment against _Chénier_ is false. But the mob, thirsting for more blood, demands the poet's death. -Act IV. Prison of Lazare at midnight. _Madeleine_ enters to _Chenier_ -with _Gerard_. She has bribed the _jailer_ to allow her to substitute +Act IV. Prison of Lazare at midnight. _Madeleine_ enters to _Chénier_ +with _Gérard_. She has bribed the _jailer_ to allow her to substitute for another woman prisoner. If she cannot live for her lover, she can, -at least, die with him. Together she and _Chenier_ go to the scaffold. +at least, die with him. Together she and _Chénier_ go to the scaffold. * * * * * @@ -24998,10 +24962,10 @@ Modern Italian Opera ERO E LEANDRO -Opera in three acts by Luigi Mancinelli; libretto by Arrigo Boito. +Opera in three acts by Luigi Mancinelli; libretto by Arrigo Boïto. First produced in America at the Metropolitan Opera House, March 10, 1899, with the composer conducting and the following cast: _Hero_, -Mme. Eames; _Leandro_, Saleza, and Plancon as _Ariofarno_. +Mme. Eames; _Leandro_, Saléza, and Plançon as _Ariofarno_. In the first act the lovers meet at a festival. _Leandro_, victor in the Aphrodisian games both as a swordsman and cytharist, is crowned by @@ -25035,7 +24999,7 @@ dying to the ground, while the archon rages. CONCHITA Opera in four acts by Riccardo Zandonai; text by Vaucaire - and Zangarini, based on Pierre Louys's "La Femme et le + and Zangarini, based on Pierre Louÿs's "La Femme et le Pantin" (The Woman and the Puppet). Produced, Milan, 1911. CHARACTERS @@ -25068,7 +25032,7 @@ given her mother money, she is furious and vows never to see _Mateo_ again, because she thinks he has endeavoured to purchase her love. In her anger she leaves her home. -Act II. A dance hall, where _Conchita_ earns a living by her risque +Act II. A dance hall, where _Conchita_ earns a living by her risqué dances. _Mateo_, who finds her after a long search, is astounded. He begs her to go away with him. She refuses, and executes a most daring dance for a group of visitors. _Mateo_, watching her from outside, and @@ -25189,7 +25153,7 @@ librettists are Messrs. D'Ormeville and Zanardini. The legendary siren who sits combing her hair on a rock in the traditional manner, is in this opera the reincarnated spirit of a -young orphan, who has been jilted by her fiance, _Walter_, Lord of +young orphan, who has been jilted by her fiancé, _Walter_, Lord of Oberwessel. When the faithless young man is about to marry another beautiful maiden, _Anna_, _Loreley_ casts her spell upon him, and _Anna_, too, is thrown over. _Walter_ follows _Loreley_ to a watery @@ -25261,8 +25225,8 @@ GERMANIA JANE, her sister _Mezzo-Soprano_ LENA ARMUTH, a peasant woman _Mezzo-Soprano_ JEBBEL, her nephew _Soprano_ - LUIGI LUeTZOW, an officer _Bass_ - CARLO KOeRNER, an officer _Tenor_ + LUIGI LÜTZOW, an officer _Bass_ + CARLO KÖRNER, an officer _Tenor_ PETERS, a herdsman _Bass_ SIGNORA HEDVIGE _Mezzo-Soprano_ CHIEF OF POLICE _Bass_ @@ -25310,15 +25274,15 @@ Modern French Opera charming operas that for years have given pleasure to large audiences. French opera has had generous representation in New York. Offenbach's "Tales of Hoffmann," Delibes's - "Lakme," Saint-Saens's "Samson et Dalila," Massenet's + "Lakmé," Saint-Saëns's "Samson et Dalila," Massenet's "Manon" are among the most distinguished works of this school. "Les Contes d'Hoffmann"; a fanciful opera in four acts; words by MM. -Michel Carre and Jules Barbier; posthumous music by Jacques Offenbach, -produced at the Opera Comique on February 10, 1881. "Les Contes +Michel Carré and Jules Barbier; posthumous music by Jacques Offenbach, +produced at the Opéra Comique on February 10, 1881. "Les Contes d'Hoffmann" had been played thirty years before, on March 31, 1851, at -the Odeon, in the shape of a comedy. Such as it was designed to be, +the Odéon, in the shape of a comedy. Such as it was designed to be, the work offers an excellent frame for the music, bringing on the stage in their fantastic form three of the prettiest tales of the German story-teller, connected with each other in an ingenious @@ -25329,46 +25293,46 @@ came to surprise him. At the same time he had not put his score into orchestral form and it was Ernest Girard who was charged with finishing this and writing the instrumentation, which it was easy to perceive at hearing it, Girard being a musician taught differently -from the author of the "Belle Helene" and "Orphee aux Enfers." It is +from the author of the "Belle Hélène" and "Orphée aux Enfers." It is right to say that several passages of the Contes d'Hoffmann were welcome and testify to a real effort by the composer. If to that be added the interest that the libretto offers and the excellence of an -interpretation entrusted to Mlle. Adele Isaac (_Stella_, _Olympia_, +interpretation entrusted to Mlle. Adèle Isaac (_Stella_, _Olympia_, _Antonia_), to MM. Talazac (_Hoffmann_), Taskin (_Lindorf_, -_Coppelius_, _Dr. Miracle_), Belhomme (_Crespel_), Grivot (_Andres_, +_Coppélius_, _Dr. Miracle_), Belhomme (_Crespel_), Grivot (_Andrès_, _Cochenille_, _Frantz_), Gourdon (_Spalanzani_), Collin (_Wilhelm_), -Mlles. Marguerite Ugalde (_Nicklausse_), Mole (_the nurse_), one will +Mlles. Marguerite Ugalde (_Nicklausse_), Molé (_the nurse_), one will understand the success which greeted the work. The Contes d'Hoffmann was reproduced in 1893 at the Renaissance, during the transient -directorship of M. Detroyat, who gave to this theatre the title of -Theatre Lyrique. +directorship of M. Détroyat, who gave to this theatre the title of +Théâtre Lyrique. -LAKME +LAKMÉ Opera in three acts by Delibes; libretto by Gille and Gondinet. [Illustration: Photo copyright, 1916, by Victor Georg -Galli-Curci as Lakme] +Galli-Curci as Lakmé] -_Lakme_ is the daughter of _Nilakantha_, a fanatical Brahmin priest. +_Lakmé_ is the daughter of _Nilakantha_, a fanatical Brahmin priest. While he nurses his hatred of the British invader, his daughter strolls in her garden, singing duets with her slave _Mallika_. An English officer, one _Gerald_, breaks through the bambou fence that surrounds _Nilakantha's_ retreat, in a ruined temple in the depths of -an Indian forest. He courts _Lakme_ who immediately returns his love. +an Indian forest. He courts _Lakmé_ who immediately returns his love. _Nilakantha_ seeing the broken fence at once suspects an English invader. In act two the old man disguised as a beggar is armed with a -dagger. _Lakme_ is disguised as a street singer. Together they search +dagger. _Lakmé_ is disguised as a street singer. Together they search for the profaner of the sacred spot at a market. It is here that she -sings the famous Bell Song. _Gerald_ recognizes _Lakme_ as +sings the famous Bell Song. _Gerald_ recognizes _Lakmé_ as _Nilakantha_ recognizes the disturber of his peace. A dagger thrust -lays _Gerald_ low. _Lakme_ and her slave carry him to a hut hidden in +lays _Gerald_ low. _Lakmé_ and her slave carry him to a hut hidden in the forest. During his convalescence the time passes pleasantly. The lovers sing duets and exchange vows of undying love. But _Frederick_, a brother officer and a slave to duty, informs _Gerald_ that he must -march with his regiment. _Lakme_ makes the best of the situation by +march with his regiment. _Lakmé_ makes the best of the situation by eating a poisonous flower which brings about her death. The story is based by Gondinet and Gille upon "Le Mariage de Loti." @@ -25376,17 +25340,17 @@ _Ellen_, _Rose_, and _Mrs. Benson_, Englishwomen, hover in the background of the romance. But their parts are of negligible importance, and in fact when Miss Van Zandt and a French Company first gave the opera in London they were omitted altogether, some said -wisely. The opera was first presented in Paris at the Opera Comique +wisely. The opera was first presented in Paris at the Opéra Comique with Miss Van Zandt. It was first sung in New York by the American Opera Company at the Academy of Music, March 1, 1886. The first -_Lakme_ to be heard in New York was Pauline L'Allemand, the second +_Lakmé_ to be heard in New York was Pauline L'Allemand, the second Adelina Patti, this time in 1890 and at the Metropolitan Opera House. Mme. Sembrich and Luisa Tetrazzini sang it later. SAMSON ET DALILA - Opera in three acts and four scenes. Music by Saint-Saens; + Opera in three acts and four scenes. Music by Saint-Saëns; text by Ferdinand Lemaire. Produced: Weimar, December 2, 1877. @@ -25454,7 +25418,7 @@ people and their conqueror. LE ROI D'YS -Opera by Lalo, produced at the Opera Comique in 1888, and given in +Opera by Lalo, produced at the Opéra Comique in 1888, and given in London in 1901. The story is founded upon a Breton legend. _Margared_ and _Rozenn_, daughters of the King of Ys, love _Mylio_. But the warrior has only eyes for _Rozenn_. In revenge _Margared_ betrays her @@ -25465,11 +25429,11 @@ remorse throws herself into the sea. St. Corentin, patron saint of Ys, accepts her sacrifice and the sea abates. -GRISELIDIS +GRISÉLIDIS -Massenet's "Griselidis," a lyric tale in three acts and a prologue, -poem by Armand Silvestre and Eugene Morand based on the "Mystery" in -free verse by the same authors, produced at the Comedie-Francaise, +Massenet's "Grisélidis," a lyric tale in three acts and a prologue, +poem by Armand Silvestre and Eugène Morand based on the "Mystery" in +free verse by the same authors, produced at the Comédie-Française, Paris, May 15, 1891, was given for the first time in America, January 19, 1910, at the Manhattan Opera House, New York. The story of the patient _Griselda_ has been handed down to posterity by Boccaccio in @@ -25479,7 +25443,7 @@ Clerk of Oxenforde. [Illustration: Copyright photo by Mishkin -Mary Garden as Griselidis] +Mary Garden as Grisélidis] The old ballad of "Patient Grissell" begins thus: @@ -25517,17 +25481,17 @@ person that he might win a wager made with the marquis. When the _Griseldis_; Coquelin cadet as _Le Diable_; Silvain as the _Marquis de Saluce_ and A. Lambert, fils, as _Alain_. It was played at fifty-one consecutive performances. According to Mr. Destranges, Bizet wrote -music for a "Griselidis" with a libretto by Sardou, but most of this +music for a "Grisélidis" with a libretto by Sardou, but most of this was destroyed. Only one air is extant, that is the air sung by Micaela in "Carmen." According to the same authority Massenet's score lay "En magasin" for nearly ten years. Thus the music antedated that of -"Thais" (1894), "La Navarraise" (1894), "Sapho" (1897), "Cendrillon" +"Thaïs" (1894), "La Navarraise" (1894), "Sapho" (1897), "Cendrillon" (1899), and it was not performed until 1901. -"Griselidis" was produced at the Opera Comique, Paris, November 20, -1901, with Lucienne Breval, Lucien Fugere, Messrs. Marechal and -Dufranne. Andre Messager conducted. On November 23, 1901, the opera -drew the largest receipts known thus far in the history of the Opera +"Grisélidis" was produced at the Opéra Comique, Paris, November 20, +1901, with Lucienne Bréval, Lucien Fugère, Messrs. Maréchal and +Dufranne. André Messager conducted. On November 23, 1901, the opera +drew the largest receipts known thus far in the history of the Opéra Comique--9538 francs. Mr. Philip Hale tells the story of the opera as follows: @@ -25536,7 +25500,7 @@ Mr. Philip Hale tells the story of the opera as follows: of Saluzzo_, strolling about in his domains, met _Griselda_, a shepherdess, and he loved her at first sight. Her heart was pure; her hair was ebon black; her eyes shone with celestial light. He married -her and the boy _Loys_ was born to them. The happy days came to an +her and the boy _Loÿs_ was born to them. The happy days came to an end, for the _Marquis_ was called to the war against the Saracens. Before he set out, he confided to the prior his grief at leaving _Griselda_. The prior was a Job's comforter: 'Let my lord look out for @@ -25562,21 +25526,21 @@ himself at her feet and made hot love. _Griselda_ thought of her husband who had wounded her to the quick, and was about to throw herself into _Alain's_ arms, when her little child appeared. _Griselda_ repulsed _Alain_, and the devil in his rage bore away the -boy, _Loys_. The devil came again, this time as a corsair, who told +boy, _Loÿs_. The devil came again, this time as a corsair, who told her that the pirate chief was enamoured of her beauty; she would regain the child if she would only yield; she would see him if she would go to the vessel. She ran to the ship, but lo! the _Marquis_, home from the East. And then the devil, in another disguise, spoke foully of _Griselda's_ behaviour, and the _Marquis_ was about to believe him, but he saw _Griselda_ and his suspicions faded away. The -devil in the capital of a column declared that _Loys_ belonged to him. +devil in the capital of a column declared that _Loÿs_ belonged to him. Foolish devil, who did not heed the patron saint before whom the _Marquis_ and _Griselda_ were kneeling. The cross on the altar was bathed in light; the triptych opened; there, at the feet of St. Agnes, -was little _Loys_ asleep. +was little _Loÿs_ asleep. "The opera begins with a prologue which is not to be found in the -version played at the Comedie-Francaise in 1891. The prologue +version played at the Comédie-Française in 1891. The prologue acquaints us with the hope of the shepherd _Alain_ that he may win _Griselda_: with the _Marquis_ meeting _Griselda_ as he returns from the chase, his sudden passion for her, his decision to take the young @@ -25589,7 +25553,7 @@ and truly poetic. "The first act pictures the oratory of _Griselda_, and ends with the departure of the _Marquis_. -"The second act passes before the chateau, on a terrace adorned with +"The second act passes before the château, on a terrace adorned with three orange trees, with the sea glittering in the distance. It is preceded by an entr'acte of an idyllic nature. It is in this act that the devil and his wife enter disguised, the former as a slave @@ -25598,32 +25562,32 @@ old tricks, orders the flowers to pour madding perfumes into the air that they may aid in the fall of _Griselda_. And in this act _Alain_ again woos his beloved, and the devil almost wins his wager. -"The third act is in _Griselda's_ oratory. At the end, when _Loys_ is +"The third act is in _Griselda's_ oratory. At the end, when _Loÿs_ is discovered at the feet of St. Agnes, the retainers rush in and all intone the 'Magnificat' and through a window the devil is seen in a hermitage, wearing cloak and hood. "The passages that have excited the warmest praise are the prologue, -_Griselda's_ scene in the first act, 'L'Oiseau qui pars a +_Griselda's_ scene in the first act, 'L'Oiseau qui pars à tire-d'aile,' and the quiet ending of the act after the tumult of the departure to the East; in the second act, the prelude, the song, 'Il partit au printemps,' the invocation, and the duet; in the third act, a song from the _Marquis_, and the final and mystic scene." -THAIS +THAÏS -"Thais," a lyric comedy in three acts and seven scenes, libretto by M. +"Thaïs," a lyric comedy in three acts and seven scenes, libretto by M. Louis Gallet, taken from the novel by M. Anatole France which bears -the same title; music by Massenet; produced at the Opera on March 16, -1894. It had been, I think, more than sixty years since the Opera had +the same title; music by Massenet; produced at the Opéra on March 16, +1894. It had been, I think, more than sixty years since the Opéra had applied the designation of "lyric comedy" to a work produced on its stage, which is a little too exclusively solemn. As a matter of fact -there is no question in Thais of one of those powerful and passionate +there is no question in Thaïs of one of those powerful and passionate dramas, rich in incidents and majestic dramatic strokes, or one of those subjects profoundly pathetic like those of "Les Huguenots," "La -Juive," or "Le Prophete." One could extract from the intimate and -mystic novel of "Thais" only a unity and simplicity of action without +Juive," or "Le Prophète." One could extract from the intimate and +mystic novel of "Thaïs" only a unity and simplicity of action without circumlocutions or complications, developing between two important persons and leaving all the others in a sort of discreet shadow, the latter serving only to emphasize the scenic movement and to give to @@ -25631,31 +25595,31 @@ the work the necessary life, color, and variety. [Illustration: Copyright photo by Mishkin -Mary Garden as Thais] +Mary Garden as Thaïs] [Illustration: Photo by White -Farrar and Amato as Thais and Athanael] +Farrar and Amato as Thaïs and Athanaël] The librettist had the idea of writing his libretto in prose, rhymed, if not entirely in blank verse, in a measured prose to which, in a too -long article reviewing it, he gave the name of "poesie melique." This +long article reviewing it, he gave the name of "poésie mélique." This explanation left the public indifferent, the essential for them being that the libretto be good and interesting and that it prove useful to -the musician. The action of "Thais" takes place at the end of the +the musician. The action of "Thaïs" takes place at the end of the fourth century. The first act shows us in a corner of the Theban plain on the banks of the Nile a refuge of cenobites. The good fathers are finishing a modest repast at their common table. One place near them -remains empty, that of their comrade _Athanael_ (Paphnuce in the +remains empty, that of their comrade _Athanaël_ (Paphnuce in the novel) who has gone to Alexandria. Soon he comes back, still greatly scandalized at the sensation caused in the great city by the presence -of a shameless courtesan, the famous actress and dancer, _Thais_, who +of a shameless courtesan, the famous actress and dancer, _Thaïs_, who seems to have turned the sceptical and light heads of its inhabitants. -Now in his younger days _Athanael_ had known this _Thais_, and in +Now in his younger days _Athanaël_ had known this _Thaïs_, and in Alexandria too, which he left to consecrate himself to the Lord and to take the robe of a religious. -_Athanael_ is haunted by the memory of _Thais_. He dreams that it +_Athanaël_ is haunted by the memory of _Thaïs_. He dreams that it would be a pious and meritorious act to snatch her from her unworthy profession and from a life of debauchery which dishonours her and of which she does not even seem to be conscious. He goes to bed and @@ -25665,59 +25629,59 @@ the theatre of Alexandria, representing the Loves of Venus. He can refrain no longer and on awaking he goes to find her again, firmly resolved to do everything to bring about her conversion. -Arrived at Alexandria, _Athanael_ meets an old friend, the beau +Arrived at Alexandria, _Athanaël_ meets an old friend, the beau _Nicias_, to whom he makes himself known and who is the lover of -_Thais_ for a day longer because he has purchased her love for a week -which is about to end. _Athanael_ confides his scheme to _Nicias_ who +_Thaïs_ for a day longer because he has purchased her love for a week +which is about to end. _Athanaël_ confides his scheme to _Nicias_ who receives him like a brother and makes him put on clothes which will -permit him to attend a fete and banquet which he is to give that very -night in honour of _Thais_. Soon he finds himself in the presence of +permit him to attend a fête and banquet which he is to give that very +night in honour of _Thaïs_. Soon he finds himself in the presence of the courtesan who laughs at him at his first words and who engages him to come to see her at her house if he expects to convert her. He does -not fail to accept this invitation and once in _Thais's_ house tells +not fail to accept this invitation and once in _Thaïs's_ house tells her to be ashamed of her disorderly life and with eloquent words reveals to her the heavenly joys and the felicities of religion. -_Thais_ is very much impressed; she is on the point of yielding to his +_Thaïs_ is very much impressed; she is on the point of yielding to his advice when afar off in a song are heard the voices of her companions in pleasure. Then she repels the monk, who, without being discouraged, goes away, saying to her: "At thy threshold until daylight I will await thy coming." In fact here we find him at night seated on the front steps of -_Thais's_ house. Time has done its work and a few hours have sufficed +_Thaïs's_ house. Time has done its work and a few hours have sufficed for the young woman to be touched by grace. She goes out of her house, having exchanged her rich garments for a rough woollen dress, finds the monk, and begs him to lead her to a convent. The conversion is accomplished. -But _Athanael_ has deceived himself. It was not love of God but it was +But _Athanaël_ has deceived himself. It was not love of God but it was jealousy that dictated his course without his being aware of it. When -he has returned to the Thebaid after having conducted _Thais_ to a +he has returned to the Thebaid after having conducted _Thaïs_ to a convent and thinks he has found peace again, he perceives with horror that he loves her madly. His thoughts without ceasing turn to her and -in a new dream, a cruel dream, he seems to see _Thais_, sanctified and +in a new dream, a cruel dream, he seems to see _Thaïs_, sanctified and purified by remorse and prayer, on the point of dying in the convent where she took refuge. On awaking, under the impression of this -sinister vision, he hurries to the convent where _Thais_ in fact is +sinister vision, he hurries to the convent where _Thaïs_ in fact is near to breathing her last breath. But he does not wish that she die; and while she, in ecstasy, is only thinking of heaven and of her purification, he wants to snatch her from death and only talks to her -of his love. The scene is strange and of real power. _Thais_ dies at -last and _Athanael_ falls stricken down beside her. +of his love. The scene is strange and of real power. _Thaïs_ dies at +last and _Athanaël_ falls stricken down beside her. [Illustration: Copyright photo by Dupont -Farrar as Thais] +Farrar as Thaïs] [Illustration: Photo by White -Farrar and Amato as Thais and Athanael] +Farrar and Amato as Thaïs and Athanaël] This subject, half mystic, half psychological, was it really a favourable one for theatrical action? Was it even treated in such a way as to mitigate the defects it might present in this connection? We may doubt it. Nevertheless M. Massenet has written on this libretto of -"Thais" a score which, if it does not present the firm unity of those +"Thaïs" a score which, if it does not present the firm unity of those of "Manon" and of "Werther," certainly does not lack either inspiration or colour or originality and in which moreover are found in all their force and all their expansion the astonishing technical @@ -25726,63 +25690,63 @@ music of the first act, which shows us the retreat of the cenobites, is of a sober and severe colour, with which will be contrasted the movement and the gracefulness of the scene at the house of _Nicias_. There should be noted the peaceful chorus of monks, the entrance of -_Athanael_, the fine phrase which follows his dream: "Toi qui mis la -pitie dans nos ames," and the very curious effect of the scene where +_Athanaël_, the fine phrase which follows his dream: "Toi qui mis la +pitié dans nos âmes," and the very curious effect of the scene where he goes away again from his companions to return to Alexandria. In the second act the kind of invocation placed in the mouth of the same -_Athanael_: "Voila donc la terrible cite," written on a powerful +_Athanaël_: "Voilà donc la terrible cité," written on a powerful rhythm, is followed by a charming quartette, a passage with an emphasis full of grace and the end of which especially is delightful. I would indicate again in this act the rapid and kindly dialogue of -_Nicias_ and of _Thais_: "Nous nous sommes aimes une longue semaine," +_Nicias_ and of _Thaïs_: "Nous nous sommes aimés une longue semaine," which seems to conceal under its apparent indifference a sort of sting -of melancholy. I pass over the air of _Thais_: "Dis-moi que je suis +of melancholy. I pass over the air of _Thaïs_: "Dis-moi que je suis belle," an air of bravado solely destined to display the finish of a singer, to which I much prefer the whole scene that follows, which -is only a long duet in which _Athanael_ tries to convert _Thais_. The +is only a long duet in which _Athanaël_ tries to convert _Thaïs_. The severe and stern accents of the monk put in opposition to the raillery and the voluptuous outbreaks (buoyancy) of the courtesan produce a striking contrast which the composer has known how to place in relief with a rare felicity and a real power. The symphonic intermezzo which, -under the name of "Meditation," separates this act from the following, +under the name of "Méditation," separates this act from the following, is nothing but an adorable violin solo, supported by the harps and the development of which, on the taking up again of the first motif by the violin, brings about the entrance of an invisible chorus, the effect of which is purely exquisite. The curtain then rises on the scene in -which _Thais_, who has put on a rough woollen dress, goes to seek the +which _Thaïs_, who has put on a rough woollen dress, goes to seek the monk to flee with him. Here there is a duet in complete contrast with -the preceding. _Athanael_ wants _Thais_ to destroy and burn whatever +the preceding. _Athanaël_ wants _Thaïs_ to destroy and burn whatever may preserve the memory of her past. She obeys, demanding favour only for a little statue of Eros: "L'amour est un vertu rare." It is a sort of invocation to the purity of love, written, if one may say so, in a sentiment of chaste melancholy and entirely impressed with gracefulness and poetry. But what should be praised above all is the -final scene, that of the death of _Thais_. This scene, truly pathetic +final scene, that of the death of _Thaïs_. This scene, truly pathetic and powerful, has been treated by the composer with a talent of the first order and an incontestable superiority. There again he knew wonderfully well how to seize the contrast between the pious thoughts -of _Thais_, who at the moment of quitting life begins to perceive -eternal happiness, and the powerless rage of _Athanael_, who, devoured +of _Thaïs_, who at the moment of quitting life begins to perceive +eternal happiness, and the powerless rage of _Athanaël_, who, devoured by an impious love, reveals to her, without her understanding or comprehending it, all the ardour of a passion that death alone can -extinguish in him. The touching phrases of _Thais_, the despairing -accents of _Athanael_, interrupted by the desolate chants of the nuns, +extinguish in him. The touching phrases of _Thaïs_, the despairing +accents of _Athanaël_, interrupted by the desolate chants of the nuns, companions of the dying woman, provoke in the hearer a poignant and sincere emotion. That is one of the finest pages we owe to the pen of M. Massenet. We must point out especially the return of the beautiful violin phrase which constitutes the foundation of the intermezzo of the second act. -The work has been very well played by Mlle. Sybil Sanderson (_Thais_), -M. Delmas (_Athanael_), M. Alvarez (_Nicias_), Mmes. Heglon and Marcy, +The work has been very well played by Mlle. Sybil Sanderson (_Thaïs_), +M. Delmas (_Athanaël_), M. Alvarez (_Nicias_), Mmes. Héglon and Marcy, and M. Delpouget. MANON Opera in five acts by Massenet; words by Henri Meilhac and - Philippe Gille, after the story by Abbe Prevost. Produced - Opera Comique, Paris, January 19, 1884; Theatre de la + Philippe Gille, after the story by Abbé Prévost. Produced + Opéra Comique, Paris, January 19, 1884; Théâtre de la Monnaie, Brussels, March 15, 1884. In English, by the Carl Rosa Company, Liverpool, January 17, 1885; and at Drury Lane, London, May 7, 1885, with Marie Roze, Barton McGuckin, @@ -25801,7 +25765,7 @@ MANON cousin to Manon _Baritone_ GUILLOT DE MORFONTAINE, Minister of Finance, an old beau _Bass_ - DE BRETIGNY, a nobleman _Baritone_ + DE BRÉTIGNY, a nobleman _Baritone_ MANON _Soprano_ POUSSETTE, JAVOTTE, ROSETTE, actresses _Sopranos_ @@ -25814,7 +25778,7 @@ MANON _Place_--Amiens, Paris, Havre. -Act I. Courtyard of the inn at Amiens. _Guillot_ and _De Bretigny_, +Act I. Courtyard of the inn at Amiens. _Guillot_ and _De Brétigny_, who have just arrived with the actresses _Poussette_, _Javotte_, and _Rosette_, are shouting for the innkeeper. Townspeople crowd about the entrance to the inn. They descry a coach approaching. _Lescaut_, who @@ -25824,15 +25788,15 @@ part of the townspeople. He is awaiting his cousin _Manon_, whom he is to conduct to a convent school, and who presently appears and gives a sample of her character, which is a mixture of demureness and vivacity, of serious affection and meretricious preferment, in her -opening song, "Je suis encore tout etourdie" (A simple maiden fresh +opening song, "Je suis encore tout étourdie" (A simple maiden fresh from home), in which she tells how, having left home for the first time to travel to Amiens, she sometimes wept and sometimes laughed. It is a chic little song. _Lescaut_ goes out to find her luggage. From the balcony of the inn -the old roue _Guillot_ sees her. She is not shocked, but laughs at his +the old roué _Guillot_ sees her. She is not shocked, but laughs at his hints that he is rich and can give her whatever she wants. _De -Bretigny_, who, accompanied by the actresses, comes out on the balcony +Brétigny_, who, accompanied by the actresses, comes out on the balcony in search of _Guillot_, also is much struck with her beauty. _Guillot_, before withdrawing with the others from the balcony, softly calls down to her that his carriage is at her disposal, if she will @@ -25850,16 +25814,16 @@ upon the scene. He loves _Manon_ at first sight. Nor does she long remain unimpressed by the wooing of the _Chevalier_. Beginning with his words, "If I knew but your name," and her reply, "I am called Manon," the music soon becomes an impassioned love duet. To him she is -an "enchantress." As for her--"A vous ma vie et mon ame" (To you my +an "enchantress." As for her--"À vous ma vie et mon âme" (To you my life and my soul). _Manon_ sees _Guillot's_ postilion, who has been told by his master to take his orders from _Manon_. She communicates to _Des Grieux_ that -they will run away to Paris in _Guillot's_ conveyance. "Nous vivrons a +they will run away to Paris in _Guillot's_ conveyance. "Nous vivrons à Paris" ('Tis to Paris we go), they shout in glad triumph, and are off. There is much confusion when the escape is discovered. Ridicule is heaped upon _Guillot_. For is it not in his carriage, in which the old -roue hoped to find _Manon_ awaiting him, that she has driven off with +roué hoped to find _Manon_ awaiting him, that she has driven off with her young lover! Act II. The apartment of _Des Grieux_ and _Manon_, Rue Vivienne, @@ -25874,17 +25838,17 @@ Caruso as Des Grieux in "Manon"] The scene is interrupted by knocking and voices without. The maid servant announces that two guardsmen demand admission. She whispers to _Manon_, "One of them loves you--the nobleman, who lives near here." -The pair are _Lescaut_ and _De Bretigny_, the latter masquerading as a +The pair are _Lescaut_ and _De Brétigny_, the latter masquerading as a soldier in _Lescaut's_ regiment. _Lescaut_ scents more profit for himself and for his cousin _Manon_ in a liaison between her and the wealthy nobleman than in her relations with _Des Grieux_. Purposely he is gruff and demands "yes" or "no" to his question as to whether or not _Des Grieux_ intends to marry the girl. _Des Grieux_ shows the letter he is about to despatch to his father. Apparently everything is -satisfactory. But _De Bretigny_ manages to convey to _Manon_ the +satisfactory. But _De Brétigny_ manages to convey to _Manon_ the information that the _Chevalier's_ father is incensed at his son's mode of life, and has arranged to have him carried off that night. If -she will keep quiet about it, he (_De Bretigny_) will provide for her +she will keep quiet about it, he (_De Brétigny_) will provide for her handsomely and surround her with the wealth and luxury she craves. She protests that she loves _Des Grieux_--but is careful not to warn him of the impending abduction. @@ -25893,9 +25857,9 @@ _Lescaut_ and the nobleman depart, after _Lescaut_, sly fellow, has blessed his "children," as he calls _Manon_ and _Des Grieux_. Shortly afterwards the latter goes out to despatch the letter to his father. _Manon_, approaching the table, which is laid for supper, sings the -charming air, "Adieu, notre petite table" (Farewell, dear little +charming air, "Adieu, nôtre petite table" (Farewell, dear little table). This is followed by the exquisite air with harp accompaniment, -"Le Reve de Manon" (A vision of Manon), which is sung by _Des Grieux_, +"Le Rève de Manon" (A vision of Manon), which is sung by _Des Grieux_, who has re-entered and describes her as he saw her in a dream. There is a disturbance outside. _Manon_ knows that the men who will @@ -25906,14 +25870,14 @@ half-hearted attempt. He goes. The noise of a struggle is heard. _Manon_, "overcome with grief," exclaims, "He has gone." Act III. Scene I. The Cours de la Reine, Paris, on the day of a -popular fete. Stalls of traders are among the trees. There is a +popular fête. Stalls of traders are among the trees. There is a pavilion for dancing. After some lively preliminary episodes between -the three actresses and _Guillot_, _De Bretigny_ enters with _Manon_. -She sings a clever "Gavotte." It begins, "Obeissons, quand leur voix +the three actresses and _Guillot_, _De Brétigny_ enters with _Manon_. +She sings a clever "Gavotte." It begins, "Obéissons, quand leur voix appelle" (List to the voice of Youth when it calleth). The _Count des Grieux_, father of the _Chevalier_, comes upon the -scene. From a conversation between him and _De Bretigny_, which +scene. From a conversation between him and _De Brétigny_, which _Manon_ overhears, she learns that the _Chevalier_ is about to enter the seminary of St. Sulpice and intends to take holy orders. After a duet between _Manon_ and the _Count_, who retires, the girl enters her @@ -25923,7 +25887,7 @@ seminary. Scene II. Parlour in the Seminary of St. Sulpice. Nuns and visitors, who have just attended religious service, are praising the sermon delivered by _Des Grieux_, who enters a little later attired in the -garb of an abbe. The ladies withdraw, leaving _Des Grieux_ with his +garb of an abbé. The ladies withdraw, leaving _Des Grieux_ with his father, who has come in unobserved, and now vainly endeavours to dissuade his son from taking holy orders. Left alone, _Des Grieux_ cannot banish _Manon_ from his thoughts. "Ah! fuyez douce image" (Ah! @@ -25950,12 +25914,12 @@ through her lover's money, counsels the _Chevalier_ to stake what he has left on the game. _Des Grieux_ plays in amazing luck against _Guillot_ and gathers in winning after winning. "Faites vos jeux, Messieurs," cry the croupiers, while _Manon_ joyously sings, "Ce bruit -de l'or, ce rire, et ces eclats joyeux" (Music of gold, of laughter, +de l'or, ce rire, et ces éclats joyeux" (Music of gold, of laughter, and clash of joyous sounds). The upshot of it all, however, is that _Guillot_ accuses the _Chevalier_ of cheating, and after an angry scene goes out. Very soon afterwards, the police, whom _Guillot_ has summoned, break in. Upon _Guillot's_ accusation they arrest _Manon_ -and the _Chevalier_. "O douleur, l'avenir nous separe" (Oh despair! +and the _Chevalier_. "Ô douleur, l'avenir nous sépare" (Oh despair! Our lives are divided for ever), sings _Manon_, her accents of grief being echoed by those of her lover. @@ -25974,20 +25938,20 @@ asserts itself. Feebly opening her eyes, almost at the last, she imagines she sees jewels and exclaims, "Oh! what lovely gems!" She turns to _Des Grieux_: "I love thee! Take thou this kiss. 'Tis my farewell for ever." It is, of course, this dual nature which makes the -character drawn by Abbe Prevost so interesting. +character drawn by Abbé Prévost so interesting. * * * * * "Manon" by Massenet is one of the popular operas in the modern repertoire. Its music has charm, and the leading character, in which Miss Farrar appears with such distinction, is both a good singing and -a good acting role, a valuable asset to a prima donna. I have an +a good acting rôle, a valuable asset to a prima donna. I have an autograph letter of Massenet's written, presumably to Sibyl Sanderson, -half an hour before the curtain rose on the _premiere_ of "Manon," +half an hour before the curtain rose on the _première_ of "Manon," January 19, 1884. In it he writes that within that brief space of time they will know whether their hopes are to be confirmed, or their illusions dissipated. In New York, eleven years later, Miss Sanderson -failed to make any impression in the role. +failed to make any impression in the rôle. The beauty of Massenet's score is responsible for the fact that audiences are not troubled over the legal absurdity in the sentence of @@ -25998,7 +25962,7 @@ The last act is original with the librettists. In the story the final scene is laid in Louisiana (see Puccini's _Manon Lescaut_). The effective scene in the convent of St. Sulpice was overlooked by Puccini, as it also was by Scribe, who wrote the libretto for Auber's -"Manon." This latter work survives in the laughing song, "L'Eclat de +"Manon." This latter work survives in the laughing song, "L'Éclat de Rire," which Patti introduced in the lesson scene in "Il Barbiere di Siviglia," and which Galli-Curci has revived for the same purpose. @@ -26006,12 +25970,12 @@ Siviglia," and which Galli-Curci has revived for the same purpose. LE CID "Le Cid"; opera in four acts and ten scenes; the poem by MM. d'Ennery, -Louis Gallet, and Edouard Blau; music by Massenet; produced at the -Opera on November 30, 1885. The authors of the libretto of "Le Cid" +Louis Gallet, and Édouard Blau; music by Massenet; produced at the +Opéra on November 30, 1885. The authors of the libretto of "Le Cid" declared at the start of it that they had been inspired by Guillen de Castro and by Corneille. The sole masterpiece of Corneille which is built about a sort of psychological analysis of the character of -_Chimene_ and of the continual conflict of the two feelings which +_Chimène_ and of the continual conflict of the two feelings which divide her heart, in fact would not have given them sufficient action; on the other hand they would not have been able to find in it the pretext for adornments, for sumptuousness, for the rich stage setting @@ -26019,29 +25983,29 @@ which the French opera house has been accustomed for two centuries to offer to its public. This is the way the opera is arranged: First act, first scene: at the -house of the _Comte de Gormas_; scene between _Chimene_ and the +house of the _Comte de Gormas_; scene between _Chimène_ and the _Infanta_. Second scene: entering the cathedral of Burgos. _Rodrigo_ is armed as a knight by the _King_. The _King_ tells _Don Diego_ that he names him governor of the _Infanta_. Quarrel of _Don Diego_ and _Don Gormas_. Scene of _Don Diego_ and _Don Rodrigo_: "Rodrigue, as-tu du coeur?" Second act, third scene: A street in Burgos at -night. Stanzas by _Rodrigo_: "Perce jusques au fond du coeur." -_Rodrigo_ knocks at the door of _Don Gormas_: "A moi, comte, deux -mots!" Provocation; duel; death of _Don Gormas_. _Chimene_ discovers +night. Stanzas by _Rodrigo_: "Percé jusques au fond du coeur." +_Rodrigo_ knocks at the door of _Don Gormas_: "À moi, comte, deux +mots!" Provocation; duel; death of _Don Gormas_. _Chimène_ discovers that _Rodrigo_ is the slayer of her father. Fourth scene: The public -square in Burgos. A popular festival. Ballet. _Chimene_ arrives to ask +square in Burgos. A popular festival. Ballet. _Chimène_ arrives to ask the _King_ for justice. _Don Diego_ defends his son. A Moorish courier arrives to declare war on the _King_ on the part of his master. The _King_ orders _Rodrigo_ to go and fight the infidels. Third act, fifth -scene: The chamber of _Chimene_: "Pleurez, pleurez, mes yeux, et -fondez-vous en eau." Scene of _Chimene_ and _Rodrigo_. Sixth scene: +scene: The chamber of _Chimène_: "Pleurez, pleurez, mes yeux, et +fondez-vous en eau." Scene of _Chimène_ and _Rodrigo_. Sixth scene: the camp of _Rodrigo_. Seventh scene: _Rodrigo's_ tent. The vision. St. James appears to him. Eighth scene: the camp. The battle. Defeat of the Moors. Fourth act, ninth scene: The palace of the Kings at -Granada. _Rodrigo_ is believed to be dead. _Chimene_ mourns for him: -"Eclate o mon amour, tu n'as plus rien a craindre." Tenth scene: A +Granada. _Rodrigo_ is believed to be dead. _Chimène_ mourns for him: +"Éclate ô mon amour, tu n'as plus rien à craindre." Tenth scene: A courtyard in the palace. _Rodrigo_ comes back as a conqueror. -_Chimene_ forgives him. The end. +_Chimène_ forgives him. The end. DON QUICHOTTE @@ -26052,7 +26016,7 @@ DON QUICHOTTE CHARACTERS - LA BELLE DULCINEE _Contralto_ + LA BELLE DULCINÉE _Contralto_ DON QUICHOTTE _Bass_ SANCHO _Baritone_ PEDRO, burlesquer _Soprano_ @@ -26061,17 +26025,17 @@ DON QUICHOTTE JUAN _Tenor_ TWO VALETS _Baritone_ - TENEBRUN, chief, and other bandits, friends of Dulcinee, and + TENEBRUN, chief, and other bandits, friends of Dulcinée, and others. _Time_--The Middle Ages. _Place_--Spain. -Act I. Square in front of the house of _Dulcinee_, whose beauty people +Act I. Square in front of the house of _Dulcinée_, whose beauty people praise in song. Into the midst of the throng ride _Don Quichotte_ and his comical companion, _Sancho_. Night and moonlight. _Don Quichotte_ -serenades _Dulcinee_, arousing the jealousy of _Juan_, a lover of the +serenades _Dulcinée_, arousing the jealousy of _Juan_, a lover of the professional beauty, who now appears and prevents a duel. She is amused by the avowals of _Don Quichotte_, and promises to become his beloved if he will recover a necklace stolen from her by brigands. @@ -26081,19 +26045,19 @@ with the windmill. Act III. Camp of the brigands. _Don Quichotte_ attacks them. _Sancho_ retreats. The Knight is captured. He expects to be put to death. But -his courage, his grave courtesy, and his love for his _Dulcinee_, +his courage, his grave courtesy, and his love for his _Dulcinée_, deeply impress the bandits. They free him and give him the necklace. -Act IV. Fete at _Dulcinee's_. To the astonishment of all _Don -Quichotte_ and _Sancho_ put in their appearance. _Dulcinee_, overjoyed +Act IV. Fête at _Dulcinée's_. To the astonishment of all _Don +Quichotte_ and _Sancho_ put in their appearance. _Dulcinée_, overjoyed at the return of the necklace, embraces the Knight. He entreats her to -marry him at once. Touched by his devotion, _Dulcinee_ disillusions +marry him at once. Touched by his devotion, _Dulcinée_ disillusions him as to the kind of woman she is. Act V. A forest. _Don Quichotte_ is dying. He tells _Sancho_ that he has given him the island he promised him in their travels; the most beautiful island in the world--the "Island of Dreams." In his delirium -he sees _Dulcinee_. The lance falls from his hand. The gaunt figure in +he sees _Dulcinée_. The lance falls from his hand. The gaunt figure in its rusty suit of armour--no longer grotesque, but tragic--stiffens in death. @@ -26103,14 +26067,14 @@ CENDRILLON CINDERELLA Opera, in four acts, by Massenet, text by Henri Cain. - Produced, Opera Comique, Paris, May 24, 1899. + Produced, Opéra Comique, Paris, May 24, 1899. CHARACTERS CINDERELLA _Soprano_ - MME. DE LA HALTIERE, her stepmother _Mezzo-Soprano_ - NOEMIE, her stepsister _Soprano_ - DOROTHEE, her stepsister _Soprano_ + MME. DE LA HALTIÈRE, her stepmother _Mezzo-Soprano_ + NOÉMIE, her stepsister _Soprano_ + DOROTHÉE, her stepsister _Soprano_ PANDOLFE, her father _Baritone_ THE PRINCE CHARMING _Soprano_ THE FAIRY _Soprano_ @@ -26142,19 +26106,19 @@ LA NAVARRAISE Opera in one act by Massenet; libretto by Jules Claretie and Henri Cain. It was performed for the first time at Covent Garden, June 20, -1894, by Mme. Calve and Messrs. Alvarez, Plancon, Gilibert, Bonnard, +1894, by Mme. Calvé and Messrs. Alvarez, Plançon, Gilibert, Bonnard, and Dufriche. The opera is one of other days. Now it is seldom given. There were two -famous _Anitas_--Emma Calve and Jeanne Gerville-Reache. The +famous _Anitas_--Emma Calvé and Jeanne Gerville-Réache. The extraordinary success of "Cavalleria Rusticana" no doubt impelled -Massenet to try his hand at a tragic one-act opera, just as "Haensel +Massenet to try his hand at a tragic one-act opera, just as "Hänsel and Gretel" was responsible for his "Cendrillon." It is among the best of his works. The music is intensely dramatic. It has colour, vitality. The action is swift and stirring, uninterrupted by sentimental romanzas. The libretto is based on a short story, "La Cigarette," written by Jules Claretie and published in the _Figaro -Illustre_ about 1890. Later it gave the title to a collection of short +Illustré_ about 1890. Later it gave the title to a collection of short stories. The time is during the last days of the Carlist war. The place is @@ -26172,24 +26136,24 @@ _Araquil_ became _Anita_ and the peasant with the cigarette became _La Navarraise_. -LE JONGLEUR DE NOTRE DAME +LE JONGLEUR DE NÔTRE DAME -Opera in three acts by Jules Massenet. Libretto by Maurice Lena. +Opera in three acts by Jules Massenet. Libretto by Maurice Léna. [Illustration: Copyright photo by Dupont -Mary Garden in "Le Jongleur de Notre Dame"] +Mary Garden in "Le Jongleur de Nôtre Dame"] The opera was first sung at Monte Carlo, February 18, 1902, when the -part of Jean was taken by Mr. Marechal, for this miracle play with +part of Jean was taken by Mr. Maréchal, for this miracle play with music was composed originally for male singers. The only two women in the cast were represented as angels. The part of _Boniface_ the cook was created by Mr. Renaud. The story was first published by Gaston Paris as "Le Tombeor de Nostre -Dame" in 1874-75 in the review, _Romania_, and later in his "Etude sur -la Poesie Francaise au Moyen Age." The story is better known, however, -by Anatole France's version, included in his "Etui de Nacre" (1912). +Dame" in 1874-75 in the review, _Romania_, and later in his "Étude sur +la Poésie Française au Moyen Âge." The story is better known, however, +by Anatole France's version, included in his "Étui de Nacre" (1912). A poor juggler after performing in the streets to earn his bread, begins to think of the future life and enters a monastery. There he @@ -26214,7 +26178,7 @@ in the university. WERTHER -Opera in four acts by Jules Massenet with a libretto by Edouard Blau, +Opera in four acts by Jules Massenet with a libretto by Édouard Blau, Paul Milliet, and G. Hartmann. First performance in New York, April 19, 1894, with Mme. Eames and Sigrid Arnoldson and Jean de Reszke. @@ -26250,12 +26214,12 @@ made happy by her confession that she has loved him from the moment when she first saw him. -HERODIADE +HÉRODIADE -Massenet's "Herodiade," with a libretto by Paul Milliet, had its +Massenet's "Hérodiade," with a libretto by Paul Milliet, had its first performance in New York at the Manhattan Opera House, November, -1908, with Lina Cavalieri, Jeanne Gerville-Reache, Charles Dalmores, -and Maurice Renaud in the principal roles. The scene is Jerusalem and +1908, with Lina Cavalieri, Jeanne Gerville-Réache, Charles Dalmorès, +and Maurice Renaud in the principal rôles. The scene is Jerusalem and the first act shows _Herod's_ palace. _Salome_ does not know that she is the daughter of _Herodias_, for she was mysteriously separated from her mother in childhood. With a caravan of Jewish merchants, who bring @@ -26275,7 +26239,7 @@ _Herodias_, mad with jealousy, consults the astrologer _Phanuel_ who tells her that her daughter is her rival. In the temple _Herod_ offers his love to _Salome_, who repulses him -crying: "I love another who is mightier than Caesar, stronger than any +crying: "I love another who is mightier than Cæsar, stronger than any hero." In his fury _Herod_ orders both _Salome_ and _John_, who has been seized and put in chains, delivered into the hands of the executioner. _John_ in his dungeon clasps _Salome_ in his arms. @@ -26289,25 +26253,25 @@ _Salome_, turning the weapon upon herself. SAPHO -Massenet's "Sapho," with a libretto by Henri Cain and Arthur Bernede, +Massenet's "Sapho," with a libretto by Henri Cain and Arthur Bernède, based on Daudet's famous novel, was a complete failure in New York when it was sung for three performances in 1909. Its favourable -reception in Paris, where it was produced at the Opera Comique in -1897, was chiefly due to the vivid impersonation of Emma Calve. The +reception in Paris, where it was produced at the Opéra Comique in +1897, was chiefly due to the vivid impersonation of Emma Calvé. The story concerns an artist's model who captivates an unsophisticated young man from the country and wrecks his life in attempting to rise above her past. -CLEOPATRE +CLÉOPÂTRE Opera by J. Massenet. Written for Lucy Arbell, the opera was produced by Raoul Gunsbourg, at Monte Carlo, in his season of 1914-15 with -Marie Kousnezova in the title role. The first performance in America +Marie Kousnezova in the title rôle. The first performance in America took place in Chicago, at the Auditorium, January 10, 1916, with the same singer. The first performance in New York was on January 23, -1919, with Miss Mary Garden as the Queen of Egypt and Alfred Maguenat, -who created the role at Monte Carlo and in Chicago, as the _Marc +1919, with Miss Mary Garden as the Queen of Egypt and Alfred Maguénat, +who created the rôle at Monte Carlo and in Chicago, as the _Marc Anthony_. The story is the traditional one. @@ -26324,10 +26288,10 @@ LOUISE THE MOTHER _Contralto_ IRMA _Soprano_ -The opera was produced at the Opera Comique, Paris, February 2, 1900. +The opera was produced at the Opéra Comique, Paris, February 2, 1900. The part of _Louise_ was created by Miss Rioton, who then sang for the -first time in an opera house; that of _Julien_ by Marechal; that of -the father by Fugere, and that of the mother by Mme. Deschamps-Jehin. +first time in an opera house; that of _Julien_ by Maréchal; that of +the father by Fugère, and that of the mother by Mme. Deschamps-Jéhin. [Illustration: Photo by Mishkin @@ -26370,31 +26334,31 @@ soul--Paris, the voluptuous city, the great city of light, pleasure, and joy, which calls her irresistibly towards an undaunted future." -SALAMMBO +SALAMMBÔ -Reyer's "Salammbo" received a gorgeous production at the Metropolitan -Opera House on March 20, 1901, with the following cast: _Salammbo_, -Lucienne Breval; _Taanach_, Miss Carrie Bridewell; _Matho_, Albert -Saleza; _Shahabarim_, Mr. Salignac; _Narr'Havas_, Mr. Journet; +Reyer's "Salammbô" received a gorgeous production at the Metropolitan +Opera House on March 20, 1901, with the following cast: _Salammbô_, +Lucienne Bréval; _Taanach_, Miss Carrie Bridewell; _Mathô_, Albert +Saléza; _Shahabarim_, Mr. Salignac; _Narr'Havas_, Mr. Journet; _Spendius_, Mr. Sizes; _Giscon_, Mr. Gilibert; _Autharite_, Mr. Dufriche; _Hamilcar_, Mr. Scotti. Mr. Mancinelli conducted. The exquisitely painted scenes were copies of the Paris models, and the -costumes were gorgeous. Miss Breval's radiant Semitic beauty shone in -the title role. Flaubert's novel was made into a libretto by Camille +costumes were gorgeous. Miss Bréval's radiant Semitic beauty shone in +the title rôle. Flaubert's novel was made into a libretto by Camille du Locle. History supplied the background for romance in the shape of the suppression of a mutiny among the mercenaries of the Carthaginians in the first Punic war. Against this is outlined in bold relief the story of the rape of the sacred veil of Tanit by the leader of the -revolting mercenaries, his love for _Salammbo_, daughter of the +revolting mercenaries, his love for _Salammbô_, daughter of the Carthaginian general; her recovery of the veil, bringing in its train disaster to her lover and death to both. [Illustration: Photo by Histed -Lucienne Breval as Salammbo] +Lucienne Bréval as Salammbô] -PELLEAS ET MELISANDE +PELLÉAS ET MÉLISANDE Opera in five acts (12 scenes). Music by Debussy; text by Maurice Maeterlinck. Produced: Paris, April 30, 1902. New @@ -26403,10 +26367,10 @@ PELLEAS ET MELISANDE CHARACTERS ARKEL, King of Allemonde _Bass_ - GENOVEVA, mother of Pelleas and Golo _Alto_ - PELLEAS } King Arkel's { _Tenor_ + GENOVEVA, mother of Pelléas and Golo _Alto_ + PELLÉAS } King Arkel's { _Tenor_ GOLO } grandsons { _Baritone_ - MELISANDE _Soprano_ + MÉLISANDE _Soprano_ LITTLE YNIOLD, Golo's son by first marriage _A child's voice_ A PHYSICIAN _Bass_ @@ -26415,33 +26379,33 @@ Act I. Scene I. In a forest. _Golo_ while hunting has lost his way following a wild boar and come to a place unknown to him. There he sees a woman sitting by a spring. She acts like a figure in a fairy tale and behaves like a person stranger to and isolated from the -world. Finally _Golo_ succeeds in inducing _Melisande_--she at last +world. Finally _Golo_ succeeds in inducing _Mélisande_--she at last tells him her name after being urged--to follow him out of the dark woods. Scene II. A room in the castle. _Genoveva_ is reading to the aged, almost blind _King Arkel_ a letter which _Golo_ has written to his -half-brother _Pelleas_. From this letter we learn that _Golo_ has -already been married six months to the mysterious _Melisande_. He has +half-brother _Pelléas_. From this letter we learn that _Golo_ has +already been married six months to the mysterious _Mélisande_. He has great love for his wife, about whom, however, he knows no more today than he did at first in the woods. So he fears that his grandfather, -the _King_, may not forgive him for this union and asks _Pelleas_ to +the _King_, may not forgive him for this union and asks _Pelléas_ to give him a sign in case the _King_ is ready "to honour the stranger as his daughter." Otherwise he will steer the keel of his ship to the most remote land. _King Arkel_ has arrived at that time of life when the wisdom of experience tends to make one forgiving toward everything that happens. So he pardons _Golo_ and commissions his grandson -_Pelleas_ to give his brother the sign agreed upon. +_Pelléas_ to give his brother the sign agreed upon. Scene III. Before the castle. The old queen _Genoveva_ seeks to calm -_Melisande's_ distress at the gloominess of the world into which she -has wandered. _Pelleas_ too is there. He would like to go to see a +_Mélisande's_ distress at the gloominess of the world into which she +has wandered. _Pelléas_ too is there. He would like to go to see a distant friend who is ill but fate holds him here. Or rather have not chains been wound about the twain of which they yet have no anticipation? -Act II. Scene IV. A fountain in the park. _Pelleas_ and _Melisande_ -have arrived at this thickly shaded spot. Is _Melisande_ a +Act II. Scene IV. A fountain in the park. _Pelléas_ and _Mélisande_ +have arrived at this thickly shaded spot. Is _Mélisande_ a Melusine-like creature? Water attracts her wonderfully. She bends over her reflection. Because she cannot reach it, she is tempted to play with the ring that _Golo_ sent her. It slips from her hand and sinks. @@ -26449,58 +26413,58 @@ with the ring that _Golo_ sent her. It slips from her hand and sinks. Scene V. There must have been some peculiar condition attached to the ring. At the same hour that it fell in the fountain _Golo's_ horse shied while hunting so that he was hurt and now lies wounded in bed. -_Melisande_ is taking care of him. She tells _Golo_ that she did not +_Mélisande_ is taking care of him. She tells _Golo_ that she did not feel well the day before. She is oppressed by a certain foreboding, she does not know what it is. _Golo_ seizes her hands to console her and sees that the ring is missing. Then he drives her out into the night to look for it. "Sooner would I give away everything I have, my -fortune and goods, rather than have lost the precious ring." _Pelleas_ +fortune and goods, rather than have lost the precious ring." _Pelléas_ will help her. -Scene VI. Before a grotto in the rocks. _Melisande_ has deceived +Scene VI. Before a grotto in the rocks. _Mélisande_ has deceived _Golo_ by telling him that the ring has slipped from her hand into the -sea. So _Pelleas_ must now lead her to this grotto in order that she +sea. So _Pelléas_ must now lead her to this grotto in order that she may know at least the place in which she can claim that she lost the ring. A dreadful place in which the shudder of death stalks. Act III. Scene VII. A tower in the castle. At the window of the tower -_Melisande_ is standing combing her hair that she has let down. Then -_Pelleas_ comes along the road that winds around under her window. -_Pelleas_ is coming to say farewell. Early the next morning he is -going away. So _Melisande_ will at least once more reach out her hand +_Mélisande_ is standing combing her hair that she has let down. Then +_Pelléas_ comes along the road that winds around under her window. +_Pelléas_ is coming to say farewell. Early the next morning he is +going away. So _Mélisande_ will at least once more reach out her hand to him that he may press it to his lips. Love weaves a web about the twain with an ever thicker netting without their noticing it. Their -hands do not touch but as _Melisande_ leans forward so far her long -hair falls over _Pelleas's_ head and fills the youth with passionate +hands do not touch but as _Mélisande_ leans forward so far her long +hair falls over _Pelléas's_ head and fills the youth with passionate feelings. Their words become warmer--then _Golo_ comes near and reproves their "childishness." [Illustration: Copyright photo by Davis & Sanford Co. -Mary Garden as Melisande in "Pelleas and Melisande"] +Mary Garden as Mélisande in "Pelléas and Mélisande"] Scene VIII. In the vault under the castle. Like a gloomy menace _Golo_ -leads _Pelleas_ into these underground rooms where the breeze of death +leads _Pelléas_ into these underground rooms where the breeze of death blows. Seized with shuddering they go out. On the terrace at the -entrance to the vault _Golo_ in earnest words warns _Pelleas_ to keep -away from _Melisande_ and to refrain from confidential conversations +entrance to the vault _Golo_ in earnest words warns _Pelléas_ to keep +away from _Mélisande_ and to refrain from confidential conversations with her. Scene IX. Before the castle. In vain _Golo_ has sought to quiet himself by saying that it was all only childishness. Jealousy devours his heart. So now he seeks with hypocritical calm his little son _Yniold_, offspring of his first marriage, to inquire about the -intimacy of _Pelleas_ and _Melisande_. The child cannot tell him of +intimacy of _Pelléas_ and _Mélisande_. The child cannot tell him of anything improper yet _Golo_ feels how it is with the couple. And he -feels that he himself is old, much older than _Pelleas_ and -_Melisande_. +feels that he himself is old, much older than _Pelléas_ and +_Mélisande_. -Act IV. Scene X. In a room in the castle _Pelleas_ and _Melisande_ +Act IV. Scene X. In a room in the castle _Pelléas_ and _Mélisande_ meet. This evening he must see her. She promises to go in the park to the old fountain where she formerly lost the ring. It will be their -last meeting. Yet _Melisande_ does not understand what is driving the +last meeting. Yet _Mélisande_ does not understand what is driving the youth away. The old _King Arkel_ enters the room. The aged man has -taken _Melisande_ to his heart. He feels that the young wife is +taken _Mélisande_ to his heart. He feels that the young wife is unhappy. Now _Golo_ also enters. He can scarcely remain master of his inner commotion. The sight of his wife, who appears the picture of innocence, irritates him so much that he finally in a mad rage throws @@ -26508,23 +26472,23 @@ her on her knees and drags her across the room by her hair. Scene XI. By the old spring in the park. There is an oppressive feeling of disaster in the air. Only little _Yniold_ does not suffer -this gripping burden. It is already growing dark when _Melisande_ goes -to _Pelleas_. And yet in their farewell, perhaps also on account of +this gripping burden. It is already growing dark when _Mélisande_ goes +to _Pelléas_. And yet in their farewell, perhaps also on account of _Golo's_ outburst of anger, the couple clearly see what has caused their condition. And there comes over them something like the affirmation of death and the joy of dying. How fate shuts the gates upon them; like a fate they see _Golo_ coming. They rejoice in the -idea of death. _Pelleas_ falls by _Golo's_ sword, _Melisande_ flees +idea of death. _Pelléas_ falls by _Golo's_ sword, _Mélisande_ flees from her husband's pursuit into the night. -Act V. Scene XII. A room in the castle. _Melisande_ lies stretched out +Act V. Scene XII. A room in the castle. _Mélisande_ lies stretched out in bed. _Arkel_, _Golo_, and the physician are conversing softly in -the room. No; _Melisande_ is not dying from the insignificant wound +the room. No; _Mélisande_ is not dying from the insignificant wound _Golo_ has given her. Perhaps her life will be saved. She awakes as if from dreaming. Everything that has happened is like a dream to her. Desperately _Golo_ rushes to her couch, begs her pardon, and asks her for the truth. He is willing to die too but before his death he wants -to know whether she had betrayed him with _Pelleas_. She denies it. +to know whether she had betrayed him with _Pelléas_. She denies it. _Golo_ presses her so forcibly and makes her suffer so that she is near death. Then earthly things fall away from her as if her soul were already free. It is not possible to bring her back now. The aged @@ -26536,57 +26500,57 @@ tears of persons left behind. APHRODITE A lyric drama in five acts and seven scenes after the story - by Pierre Louys. Adapted by Louis de Gramont. Music by - Camille Erlanger. First given at the Opera Comique, Paris, + by Pierre Louÿs. Adapted by Louis de Gramont. Music by + Camille Erlanger. First given at the Opéra Comique, Paris, March 23, 1906, with Mary Garden as _Chrysis_, Leon Beyle as - _Demetrios_, Gustave Huberdeau as the _Jailor_, Mmes. + _Démétrios_, Gustave Huberdeau as the _Jailor_, Mmes. Mathieu-Lutz and Demellin as _Myrto_ and _Rhodis_, and Claire Friche as _Bacchis_. CHARACTERS - DEMETRIOS _Tenor_ + DÉMÉTRIOS _Tenor_ TIMON _Baritone_ - PHILODEME _Tenor_ - LE GRAND PRETRE _Bass_ - CALLIDES _Bass_ - LE GEOLIER _Bass_ + PHILODÈME _Tenor_ + LE GRAND PRÊTRE _Bass_ + CALLIDÈS _Bass_ + LE GEÔLIER _Bass_ CHRYSIS _Soprano_ BACCHIS _Mezzo-Soprano_ MYRTO _Soprano_ RHODIS _Mezzo-Soprano_ CHIMARIS _Mezzo-Soprano_ - SESO _Soprano_ + SÉSO _Soprano_ Act I. The wharf at Alexandria. Act II. The temple of Aphrodite. Act -III. At the house of _Bacchis_. Act IV. The studio of _Demetrios_. Act +III. At the house of _Bacchis_. Act IV. The studio of _Démétrios_. Act V. Scene I. The lighthouse; Scene II. The prison; Scene III. The garden of Hermanubis. Act I. The throng moves back and forth on the crowded wharf. There are young people, courtesans, philosophers, sailors, beggars, fruit-sellers. _Rhodis_ and _Myrto_ play on their flutes while -_Theano_ dances. _Demetrios_ the sculptor approaches and leans on the +_Théano_ dances. _Démétrios_ the sculptor approaches and leans on the parapet overlooking the sea. The Jewess _Chimaris_, a fortune-teller, reads his hand. She tells him that she sees past happiness and love in the future, but that this love will be drowned first in the blood of one woman, then in that of a second, and finally in his own. -_Chrysis_, a beautiful courtesan, appears on the wharf. _Demetrios_ +_Chrysis_, a beautiful courtesan, appears on the wharf. _Démétrios_ wishes to follow her, but she declines his advances. To possess her he must bring her three gifts, the silver mirror of _Bacchis_, the courtesan, the ivory comb of _Touni_, wife of the High Priest, and the pearl necklace clasped around the neck of the statue of the goddess -Aphrodite in the temple. _Demetrios_ is appalled but swears to fulfil +Aphrodite in the temple. _Démétrios_ is appalled but swears to fulfil her wishes. She embraces him and disappears. In Act II the temple guards and eunuchs perform their sacred offices. -_Demetrios_ enters the temple. He has committed two of the three +_Démétrios_ enters the temple. He has committed two of the three crimes. He has stolen the mirror from _Bacchis_ and stabbed Touni to take her comb. The celebration of the first day of the Aphrodisiacs begins. Courtesans bring offerings to the goddess. _Rhodis_ and _Myrto_ bring a caged dove. _Chrysis_ hands the High Priest her bronze mirror, her copper comb, and her emerald necklace, as -offerings. When the crowd leaves the temple, _Demetrios_ snatches the +offerings. When the crowd leaves the temple, _Démétrios_ snatches the necklace from the statue and disappears. Act III shows the feast and the bacchanale at the house of _Bacchis_. @@ -26594,8 +26558,8 @@ The theft of the mirror is discovered. _Corinna_, a slave, is accused and crucified. _Chrysis_ is inwardly exultant that her wish has been obeyed. -In Act IV _Chrysis_ goes to _Demetrios_ to receive the gifts and to -bestow the reward. _Demetrios_, mad with passion, clasps her in his +In Act IV _Chrysis_ goes to _Démétrios_ to receive the gifts and to +bestow the reward. _Démétrios_, mad with passion, clasps her in his embrace. The clamour without reminds him of his misdeed. In a fit of disgust he demands that the beautiful woman shall not hoard her treasures in secret, but appear in public decked with them, as an @@ -26613,7 +26577,7 @@ goddess in person. Soon they realize the truth and _Chrysis_ is seized and taken to prison. The _Jailor_ brings a poisoned goblet to her cell. She -drinks--_Demetrios_ arrives too late, to find her dead. +drinks--_Démétrios_ arrives too late, to find her dead. Her friends, _Myrto_ and _Rhodis_, bury her body in the Garden of Hermanubis. @@ -26624,16 +26588,16 @@ L'ATTAQUE DU MOULIN THE ATTACK ON THE MILL This is a four-act music-drama by Alfred Bruneau, the libretto by -Louis Gallet, based on a story from Zola's "Soirees de Medan." It was -produced at the Opera Comique, Paris, November 23, 1893, and in this +Louis Gallet, based on a story from Zola's "Soirées de Medan." It was +produced at the Opéra Comique, Paris, November 23, 1893, and in this country in 1908. The tale is an episode of the Franco-Prussian War. In the first act we -see the betrothal of _Francoise_, daughter of the miller, _Merlier_, +see the betrothal of _Françoise_, daughter of the miller, _Merlier_, to _Dominique_. The _Town Crier_ announces the declaration of war. In the second act the mill is attacked and captured by the Germans. -_Dominique_ is made a prisoner and locked in the mill. _Francoise_ +_Dominique_ is made a prisoner and locked in the mill. _Françoise_ gets a knife to him. While (in the third act) the girl engages the attention of the sentinel, _Dominique_ makes his way out of the mill, kills the sentinel, and escapes. In the fourth act the French, guided @@ -26661,11 +26625,11 @@ ARIADNE AND BLUE-BEARD BLUE-BEARD _Bass_ ARIANE, wife of _Blue-Beard_ _Soprano_ THE NURSE _Contralto_ - SELYSETTE, wife of _Blue-Beard_ _Mezzo-Soprano_ + SÉLYSETTE, wife of _Blue-Beard_ _Mezzo-Soprano_ YGRAINE, wife of _Blue-Beard_ _Soprano_ - MELISANDE, wife of _Blue-Beard_ _Soprano_ - BELLANGERE, wife of _Blue-Beard_ _Soprano_ - ALLAINE, wife of _Blue-Beard_ _Acting Role_ + MÉLISANDE, wife of _Blue-Beard_ _Soprano_ + BELLANGÈRE, wife of _Blue-Beard_ _Soprano_ + ALLAINE, wife of _Blue-Beard_ _Acting Rôle_ AN OLD PEASANT _Bass_ Peasants and Mob. @@ -26717,7 +26681,7 @@ popular in this country. MONNA VANNA -Henry Fevrier's "Monna Vanna" was first sung in New York in 1914 by +Henry Février's "Monna Vanna" was first sung in New York in 1914 by Mary Garden and Lucien Muratore. The opera is based upon Maeterlinck's play in which _Monna Vanna_ to save the starving Pisans goes to _Prinzivalle's_ tent clad only in a cloak and her long hair. The @@ -26729,26 +26693,26 @@ composer's other opera, "Gismonda." GISMONDA -Opera in four acts by Henri Fevrier with a libretto based on Sardou's +Opera in four acts by Henri Février with a libretto based on Sardou's famous play had its first performance in America in Chicago, January 14, 1919, with Miss Mary Garden, Charles Fontaine, Gustave Huberdeau, Marcel Journet, and other members of the Chicago Opera Company in the -leading roles. The opera was given on the opening night of the same +leading rôles. The opera was given on the opening night of the same organization's season in New York, January 27, 1919, at the Lexington Theatre with the same cast. The story follows that of the play. _Gismonda_, Duchess of Athens, promises to wed the man who succeeds in rescuing her little son from a tiger's pit, into which he has been pushed by a conspirator who wishes -to help _Zaccaria Franco_ to seize the Duchy. _Almerio_, a young +to help _Zaccaria Franco_ to seize the Duchy. _Almério_, a young falconer, kills the beast and saves the child. But the proud though grateful _Duchess_ will not consider a peasant for her husband. -If _Almerio_ will renounce his claim _Gismonda_ promises to spend a +If _Almério_ will renounce his claim _Gismonda_ promises to spend a night at his hut. When she discovers that _Zaccaria_ has followed her -she slays him. _Almerio_ takes the guilt for the murder upon himself +she slays him. _Almério_ takes the guilt for the murder upon himself but _Gismonda_ makes public confession of her visit to his hut, hands -over the wicked _Gregoras_, who had attempted to murder her little +over the wicked _Grégoras_, who had attempted to murder her little son, to justice, and proclaims the falconer her lord and husband. @@ -26756,7 +26720,7 @@ MAROUF, THE COBBLER OF CAIRO "Marouf" was sung for the first time in America at the Metropolitan Opera House, December 19, 1917, with Frances Alda, Kathleen Howard, -Leon Rothier, Andres de Segurola, Thomas Chalmers, and Giuseppe de +Léon Rothier, Andrés de Segurola, Thomas Chalmers, and Giuseppe de Luca as the Cobbler, in the cast. Pierre Monteux conducted. _Marouf_ is unhappy at home. His wife, _Fatimah_, is ugly and has a @@ -26798,9 +26762,9 @@ professor of the Conservatoire of which he is also a graduate. His second symphony has been played in New York. He has to his credit a string quartet, other smaller works, and an opera, "La Fille de -Roland," which was given some years ago at the Opera Comique. "Marouf" +Roland," which was given some years ago at the Opéra Comique. "Marouf" was produced at that theatre in the spring of 1914. M. Rabaud, for -several years conductor at the Grand Opera and the Opera Comique, was +several years conductor at the Grand Opéra and the Opéra Comique, was called to America in 1918 to be the conductor of the Boston Symphony Orchestra, succeeding Karl Muck, and Pierre Monteux who filled the vacancy for a few weeks before M. Rabaud's arrival from France. @@ -26837,7 +26801,7 @@ _Grasshopper_ commits suicide. M. Lazzari of Paris is by birth a Tyrolean, whose father was an Italian. But the composer has spent most of his life in Paris. He entered the Conservatoire at twenty-four, where his teachers were -Guiraud and Cesar Franck. His operas "L'Ensorcelee" and "La Lepreuse" +Guiraud and César Franck. His operas "L'Ensorcelée" and "La Lépreuse" were first sung in Paris. "Le Sauteriot" would also have had its first performance there. But the war made it possible for Mr. Campanini to acquire it for Chicago. It was presented there on the closing day of @@ -26851,7 +26815,7 @@ LA REINE FIAMMETTE QUEEN FIAMMETTE "La Reine Fiammette," by Xavier Leroux, with a libretto - adapted from his play by Catulle Mendes, had its first + adapted from his play by Catulle Mendès, had its first performance in America at the Metropolitan Opera House, January 24, 1919. The cast was as follows: @@ -26860,7 +26824,7 @@ QUEEN FIAMMETTE ORLANDA _Geraldine Farrar_ DANIELO _Hipolito Lazaro_ GIORGIO D'AST _Adamo Didur_ - CARDINAL SFORZA _Leon Rothier_ + CARDINAL SFORZA _Léon Rothier_ PANTASILLE _Flora Perini_ MOTHER AGRAMENTE _Kathleen Howard_ VIOLINE _Kittie Beale_ @@ -26881,7 +26845,7 @@ QUEEN FIAMMETTE TWO NOVICES { _Phillis White_ { _Veni Warwick_ -While this was the first operatic performance of Catulle Mendes's +While this was the first operatic performance of Catulle Mendès's famous work, Charles Dillingham produced the play for the first time in America at the Hollis Street Theatre, Boston, October 6, 1902, with Julia Marlowe. Paul Kester made the English adaptation. The late Frank @@ -26897,7 +26861,7 @@ not satisfied with the mere dethroning of _Orlanda_. He wishes her to be assassinated, and goes to Bologna to hatch the plot for her doom. The _Prince Consort_ agrees to play his part and to involve several young courtiers in the scheme. It is decided to slay the _Queen_ -during a fete at her palace. +during a fête at her palace. _Danielo_, a young monk, is chosen to strike the blow. The _Cardinal_ tells him that after indulging in a passing fancy for his brother, the @@ -26922,11 +26886,11 @@ for the first time in America at New Orleans in 1911. A jovial wayfarer dallies with _Toinette_, one of the pretty girls working on a farm in Normandy. He loves her and goes his way. In -despair _Toinette_ marries _Francois_. The wayfarer's child, _Toinet_, -is born. Years later when _Francois_ has become a hopeless invalid, +despair _Toinette_ marries _François_. The wayfarer's child, _Toinet_, +is born. Years later when _François_ has become a hopeless invalid, _Toinet_ woos _Aline_, the daughter of _Pierre_, a surly neighbour, who doubting the youth's origin refuses his consent to the match. -Suddenly the wayfarer reappears. _Francois_ expires, after commending +Suddenly the wayfarer reappears. _François_ expires, after commending _Toinette_ to the care of her former lover. But the call of the open road is too strong. The wayfarer refuses to contemplate domesticity. Once more he takes his well-worn hat and goes out into the storm. @@ -26941,8 +26905,8 @@ lyric drama, "Le Vieil Aigle" (The Old Eagle), which was first produced at the Opera House in Monte Carlo, February 13, 1909. The first performance of the opera in New York was given by the Chicago Opera Company at the Lexington Theatre with Georges Baklanoff in the -title role, supported by Yvonne Gall, Charles Fontaine, and Desire -Defrere, February 28, 1919. +title rôle, supported by Yvonne Gall, Charles Fontaine, and Désiré +Defrère, February 28, 1919. The scene of the story is a rocky coast in the Crimea. The time, the fourteenth century. The _Khan Asvezel Moslain_ informs his son @@ -26972,7 +26936,7 @@ Modern German and Bohemian Opera Perhaps the most important contribution to German opera during the decade that followed Wagner's death was - Humperdinck's "Haensel und Gretel." Then came Richard Strauss + Humperdinck's "Hänsel und Gretel." Then came Richard Strauss with his "Feuersnot," "Salome," "Elektra," and "Der Rosenkavalier." @@ -27230,7 +27194,7 @@ which, however, has not sufficed to keep the piece in the repertoire in this country. -KOeNIGSKINDER +KÖNIGSKINDER KING'S CHILDREN @@ -27239,7 +27203,7 @@ KING'S CHILDREN Metropolitan Opera House, December 28, 1910, with the following cast: - DER KOeNIGSSOHN _Herman Jadlowker_ + DER KÖNIGSSOHN _Herman Jadlowker_ DIE GANSEMAGD _Geraldine Farrar_ DER SPIELMANN _Otto Goritz_ DIE HEXE _Louise Homer_ @@ -27255,7 +27219,7 @@ KING'S CHILDREN [Illustration: Photo by White -Farrar as the Goose Girl in "Koenigskinder"] +Farrar as the Goose Girl in "Königskinder"] A king's daughter forced to act as a goose-girl in a forest, by an old witch who has cast a spell upon her, is discovered and loved by a @@ -27295,16 +27259,16 @@ guided by a bird, find them buried under the same tree under which they had first met. -HAeNSEL UND GRETEL +HÄNSEL UND GRETEL A fairy opera in three acts. Music by Engelbert Humperdinck. Book by Adelheid Wette. [Illustration: Copyright photo by Dupont -Van Dyck and Mattfeld as Haensel and Gretel] +Van Dyck and Mattfeld as Hänsel and Gretel] -The first act represents the hut of a broom-maker. _Haensel_ is binding +The first act represents the hut of a broom-maker. _Hänsel_ is binding brooms and _Gretel_ is knitting. The children romp, quarrel, and make up. When their mother, _Gertrude_, enters she is angry to see them idle, but wishing to strike them, she upsets a pitcher of milk @@ -27318,14 +27282,14 @@ He tells her that he has had good luck at the Kirmes and bids her prepare supper. When he asks for the children he is horrified to hear that they have been sent into the woods, for a wicked fairy lives near the Ilsenstein who entices children to bake them in her oven and -devour them. Both parents rush off in search of _Haensel_ and _Gretel_. +devour them. Both parents rush off in search of _Hänsel_ and _Gretel_. -The second act takes place near the Ilsenstein. _Haensel_ has filled +The second act takes place near the Ilsenstein. _Hänsel_ has filled his basket with berries and _Gretel_ has made a wreath with which her brother crowns her. Before they realise what they are doing the children eat all the berries. Then they see that it is both too dark to look for any more or to find their way home. _Gretel_ weeps with -fear. _Haensel_ comforts her. They grow sleepy. The sandman sprinkles +fear. _Hänsel_ comforts her. They grow sleepy. The sandman sprinkles sand into their eyes, but before going to sleep the children are careful not to forget their evening prayer. Fourteen guardian angels are seen descending the heavenly ladder to protect them. @@ -27333,15 +27297,15 @@ are seen descending the heavenly ladder to protect them. Morning comes with the third act. The dew fairy sprinkles dew on the children. Suddenly they notice a little house made of cake and sugar. They start to break off little bits when a voice cries out from within -and the witch opens the door. She throws a rope around _Haensel's_ +and the witch opens the door. She throws a rope around _Hänsel's_ throat, urging them both to enter. Frightened, they try to escape, but -after binding them with a magic spell she imprisons _Haensel_ in a +after binding them with a magic spell she imprisons _Hänsel_ in a kennel, [Transcriber's Note: missing 'and'] she forces _Gretel_ to go into the house. -When she believes _Haensel_ to be asleep she turns her attention to the +When she believes _Hänsel_ to be asleep she turns her attention to the oven, then rides around the house on her broom-stick. When she alights -she orders _Haensel_ to show her his finger. But it is still thin and +she orders _Hänsel_ to show her his finger. But it is still thin and the witch orders more food for him. While she turns her back, _Gretel_, seizing the juniper bough, speaks the magic words and breaks her brother's enchantment. Then the witch tells _Gretel_ to get into @@ -27350,7 +27314,7 @@ be stupid and asks her to show her how to get in. Together the children push the old witch into the oven and slam the door. The oven soon falls to pieces. The children then see a row of boys and girls standing stiffly against the house. _Gretel_ breaks the spell for them -as she had done for _Haensel_. There is general rejoicing. _Gertrude_ +as she had done for _Hänsel_. There is general rejoicing. _Gertrude_ and _Peter_ now appear, the old witch is pulled out of the ruined oven as gigantic honey cake and everyone on the stage joins in a hymn of thanksgiving. @@ -27358,7 +27322,7 @@ thanksgiving. THE GOLDEN CROSS - Opera in two acts. Music by Bruell; text by H. Mosenthal, + Opera in two acts. Music by Brüll; text by H. Mosenthal, after the French. Produced: Berlin, December 22, 1875. CHARACTERS @@ -27366,7 +27330,7 @@ THE GOLDEN CROSS GONTRAN DE L'ANERY, a young nobleman _Tenor_ COLAS, an innkeeper _Baritone_ CHRISTINE, his sister _Soprano_ - THERESE, his bride _Soprano_ + THÉRÈSE, his bride _Soprano_ BOMBARDON, a sergeant _Bass_ _Time_--1812. @@ -27375,7 +27339,7 @@ THE GOLDEN CROSS Act I. The town of Melun is suffering heavily from the great campaign which Napoleon is undertaking against Russia in 1812, so many of the -young men must take the field. Among the hardest hit are _Therese_ and +young men must take the field. Among the hardest hit are _Thérèse_ and _Christine_, the first a bride, the other a beloved sister. Their _Colas_ has been taken away; if he can find no substitute he must go to the war. _Sergeant Bombardon_, who is to take away the drafted men, @@ -27449,7 +27413,7 @@ in vain. But as the couple have decided not to give up each other, they have come to _Frau Gertrud_ to beg her influence with the burgomaster. When she thus receives confirmation of her suspicion of the burgomaster's liking for her, she naturally is not averse to the -role of matchmaker. Out of her beautiful dreams of the future the +rôle of matchmaker. Out of her beautiful dreams of the future the young woman, left alone by her neighbours, is aroused by a knock. But it is not the burgomaster, whom she secretly expected, but the bailiff, _Lampe_. Loquacious, conceited, and intrusive, he begins by @@ -27461,7 +27425,7 @@ has gone the burgomaster comes. He also makes use of evasions and then confides to his gentle friend the anxieties of a father. It grieves him very much that his _Else_ loves this _Bertel_, son of his bitterest enemy, who is now dead. _Frau Gertrud_, however, interests -her self bravely in favour of her proteges. Her remark that the +her self bravely in favour of her protégés. Her remark that the burgomaster surely has not a heart of stone, brings him nearer to realizing his own condition. Instead of the children he now talks of himself. First he is seeking for a sign that she means well by him @@ -27520,9 +27484,9 @@ sideboard and the others, now undisturbed, seal their compact and reseal it. -DER TROMPETER VON SAeKKINGEN +DER TROMPETER VON SÄKKINGEN -THE TRUMPETER OF SAeKKINGEN +THE TRUMPETER OF SÄKKINGEN Opera in three acts and a Prologue; music by Viktor E. Nessler; text by Rudolf Bunge after Viktor von Scheffel's @@ -27534,7 +27498,7 @@ THE TRUMPETER OF SAeKKINGEN KONRADIN, a peasant _Bass_ THE STEWART _Tenor_ THE RECTOR _Bass_ - BARON VON SCHOeNAU _Bass_ + BARON VON SCHÖNAU _Bass_ MARIA, his daughter _Soprano_ COUNT VON WILDENSTEIN _Bass_ HIS DIVORCED WIFE _Alto_ @@ -27552,20 +27516,20 @@ _Rector_ and the Senate entertain other views of the nightly noise of trumpets and the entire body of students is expelled. So they all seek to become cavaliers. -Act I. In Saekkingen a great festival is being held, Fridolin's day. +Act I. In Säkkingen a great festival is being held, Fridolin's day. Peasants from the suburbs have come to town for it. There is a suspicious agitation among them. _Konradin_ who is now in the service of the state has his hands full keeping order. What happiness when he sees his old comrade _Werner_. But now as _Maria_, daughter of the -_Baron von Schoenau_; together with her haughty aunt, the divorced wife +_Baron von Schönau_; together with her haughty aunt, the divorced wife of _Count von Wildenstein_, arrive at the church, insurrection breaks out. Who knows what the peasants would not have done to the ladies had not _Werner_ as knightly protector sprung between them. Love at first -sight seized the two young people. (Change of scene.) Above in Schoenau +sight seized the two young people. (Change of scene.) Above in Schönau castle the old baron is again tormented by chills. Serving as a means of lessening his pain comes a letter from his brother-in-law, _Count von Wildenstein_, who announces that he is coming to visit him. He has -a son, _Damian_, who would be just the right husband for _Schoenau's_ +a son, _Damian_, who would be just the right husband for _Schönau's_ daughter _Maria_. Moreover that would be an opportunity to bring about a reconciliation between the count and his divorced wife, none other than _Maria's_ aunt. The marriage was dissolved and their son was once @@ -27596,7 +27560,7 @@ God that it had not been so beautiful, would to God it had not been!" Act III. But _Damian_ is not only stupid, he is also a miserable coward. That is shown as it now behooves him to defend _Baron von -Schoenau's_ castle against the revolted peasants. The knights there +Schönau's_ castle against the revolted peasants. The knights there would have been lost had not relief suddenly come. It is _Werner_ who arrives with a troop of country people. _Maria_ flees to her lover's arms. But alas, he is wounded in the arm. And what is that? That mole? @@ -27677,13 +27641,13 @@ RANZ DES VACHES in a Swiss regiment FAVART, under-officer of Chasseurs _Baritone_ DORIS, daughter of the keeper of a - canteen in the St. Honore barracks _Soprano_ + canteen in the St. Honoré barracks _Soprano_ _Time_--1792-3. _Place_--Paris and Versailles. -Act I. Barracks of St. Honore. Under penalty of death the Swiss +Act I. Barracks of St. Honoré. Under penalty of death the Swiss soldiers have been forbidden to sing their native songs especially the Kuhreigen or "Ranz des Vaches," because songs of their native land always awakened homesickness and had led to desertions. But a quarrel @@ -27821,7 +27785,7 @@ THE MAGISTRATE CHARACTERS THE CORREGIDOR (magistrate) _Tenor_ - DONA MERCEDES, his wife _Soprano_ + DOÑA MERCEDES, his wife _Soprano_ REPELA, his valet _Bass_ TIO LUCAS, a miller _Baritone_ FRASQUITA, his wife _Mezzo-Soprano_ @@ -28177,7 +28141,7 @@ only when they are first heard, but also when they recur. Nevertheless, the "Salome" of Richard Strauss is an effective work--so effective in the setting forth of its offensive theme that it was banished from the Metropolitan Opera House, although Olive Fremstad -lavished her art upon the title role; nor have the personal +lavished her art upon the title rôle; nor have the personal fascination and histrionic gifts of Mary Garden been able to keep it alive. @@ -28263,7 +28227,7 @@ for the avenger. As in "Salome," so in "Elektra" there is a weft and woof of leading motifs which, lacking the compactness, firmness, and unmistakable -_raisons d'etre_ of the leading motives in the Wagner music-dramas, +_raisons d'être_ of the leading motives in the Wagner music-dramas, crawl, twist, and wind themselves in spineless convolutions about the characters and the action of the piece. In "Salome" the score worked up to one set climax, the "Dance of the Seven Veils." In "Elektra" @@ -28280,7 +28244,7 @@ already was a pianoforte transcription of the orchestral accompaniment. Mme. Schumann-Heink, the _Clytemnestra_ of the original production in -Dresden, said: "I will never sing the role again. It was frightful. We +Dresden, said: "I will never sing the rôle again. It was frightful. We were a set of mad women.... There is nothing beyond 'Elektra.' We have lived and reached the furthest boundary in dramatic writing for the voice with Wagner. But Richard Strauss goes beyond him. His singing @@ -28333,7 +28297,7 @@ THE KNIGHT OF THE ROSE Hempel as the Princess and Ober as Octavian in "Der Rosenkavalier"] -With the exception of Humperdinck's "Haensel und Gretel," "Der +With the exception of Humperdinck's "Hänsel und Gretel," "Der Rosenkavalier," by Richard Strauss, is the only opera that has come out of Germany since the death of Wagner, which has appeared to secure a definite hold upon the repertoire. Up to the season of 1917-18, when @@ -28382,7 +28346,7 @@ _Octavian_ and _Lerchenan_ in the third act. Act I. Room in the _Princess von Werdenberg's_ palace. Morning. The curtain rises after an impassioned orchestral introduction which is -supposed to depict _risque_ incidents of the previous night suggested +supposed to depict _risqué_ incidents of the previous night suggested by the stage directions. These directions were not followed in the production made at the Metropolitan Opera House. Not only did their disregard show respect for the audience's sense of decency, it in no @@ -28401,7 +28365,7 @@ wishes to see her. The servants remonstrate with him that the hour is much too early, but he forces his way in. Taking alarm, and in order to spare the _Princess_ the scandal of having him discovered with her, _Octavian_ escapes into an inner room where he disguises himself in -the attire of a chambermaid, a role which his youthful, beardless +the attire of a chambermaid, a rôle which his youthful, beardless beauty enables him to carry out to perfection. _Von Lerchenan_ has come to inquire of the _Princess_ if, as she @@ -28528,7 +28492,7 @@ ARIADNE AUF NAXOS ARIADNE ON NAXOS Opera in one act; by Richard Strauss; words by Hugo von - Hofmannsthal. To follow Moliere's Comedy, "Le Bourgeois + Hofmannsthal. To follow Molière's Comedy, "Le Bourgeois Gentilhomme." CHARACTERS @@ -28549,12 +28513,12 @@ ARIADNE ON NAXOS _Place_--The Island of Naxos. NOTE: On the stage there are present, as spectators of the - opera, _Jourdain_, _Marquise Dorimene_ and _Count Dorantes_, + opera, _Jourdain_, _Marquise Dorimène_ and _Count Dorantes_, characters from "Le Bourgeois Gentilhomme." -The peculiar relationship of this opera to Moliere's comedy is easily +The peculiar relationship of this opera to Molière's comedy is easily explained, although the scheme is a curious one. In "Le Bourgeois -Gentilhomme," Moliere has _Jourdain_, the commoner, who in his folly +Gentilhomme," Molière has _Jourdain_, the commoner, who in his folly strives to imitate the nobility, engage an entire ballet troupe for a private performance at his house. The opera, "Ariadne auf Naxos," is supposed to take the place of this ballet. Besides the opera, Richard @@ -28570,18 +28534,18 @@ paid for both, he insists that both shall take place, with the result that, while the opera is in progress, the comedians dash on the stage, go through their act, and dash off again. -The adapter of Moliere's work to Strauss's purpose has omitted the -entire passage of the love scene between _Cleonte_ and _Lucille_, +The adapter of Molière's work to Strauss's purpose has omitted the +entire passage of the love scene between _Cléonte_ and _Lucille_, _Jourdain's_ daughter, so that the two acts of the comedy concern themselves mainly with _Jourdain's_ folly--his scenes with the music teacher, the dancing master, the fencing master, the philosopher, and the tailor. They also show how the intriguing _Count Dorantes_ makes use of _Jourdain's_ stupidity, borrowing a large sum of money from him, and persuading him that he can win the favour of the _Marquise_ -with costly presents and by arranging in her honour the fete at which +with costly presents and by arranging in her honour the fête at which the opera is given. At the same time the sly _Dorantes_ represents everything to the _Marquise_ as if he himself had contrived and paid -for the gifts and the fete in her honour. The _Marquise_ goes to +for the gifts and the fête in her honour. The _Marquise_ goes to _Jourdain's_ house to the banquet and celebration, as a climax to which the opera "Ariadne auf Naxos" is presented. The opera therefore follows the adaptation of "Le Bourgeois Gentilhomme." @@ -28677,7 +28641,7 @@ Russian Opera performed here; while one act of Serge Rachmaninoff's "Miser Knight" was given by Henry Russell at the Boston Opera House with that excellent artist George Baklanoff in the title - role. But according to Mr. Rachmaninoff thirteen operas of + rôle. But according to Mr. Rachmaninoff thirteen operas of Rimsky-Korsakoff still await an American production and this represents the work of only one composer. Who will undertake the further education of the American public in this @@ -28868,12 +28832,12 @@ keep very long. Such is the poetical drama, the arrangement of which is a little inconsistent from the scenic point of view, and which a historian of -Russian music, himself a musician, M. Cesar Cui, treats in these +Russian music, himself a musician, M. César Cui, treats in these words: "There is no question here of a subject of which the different parts, combined in such a way as to present a necessary sequence of events, one flowing from the other, correspond in their totality to the ideas of a strict dramatic unity. Each scene in it is independent; -the roles, for the greater part, are transitory. The episodes that we +the rôles, for the greater part, are transitory. The episodes that we see follow each other necessarily have a certain connection; they all relate more or less to a general fact, to a common action; but the opera would not suffer from a rearrangement of the scenes nor even @@ -28991,7 +28955,7 @@ chooses as his second his coachman Gillot. But the duel was terribly in earnest; _Lenski_ falls shot through by his opponent's bullet. (This scene recalls a sad experience of the poet himself; for he himself fell in a duel by the bullet of a supercilious courtier, Georg -d'Anthes-Heckeren, who died in Alsace in 1895.) +d'Anthès-Heckeren, who died in Alsace in 1895.) Act III. Twenty-six years later. _Onegin_ has restlessly wandered over the world. Now he is in St. Petersburg at a ball given by _Prince @@ -29128,7 +29092,7 @@ MANRU February 14, 1902, at the Metropolitan Opera House. Mr. Damrosch conducted. The cast included Mme. Sembrich, Mme. Homer, Miss Fritzi Scheff, Alexander van Bandrowski, Mr. - Muehlmann, Mr. Blass, Mr. Bispham. + Mühlmann, Mr. Blass, Mr. Bispham. The opera had its first performance on any stage at the Court Theatre, Dresden, May 29, 1901. Before being sung in New York it was heard in @@ -29368,10 +29332,10 @@ NATOMAH CHARACTERS DON FRANCISCO DE LA GUERRA, a noble Spaniard - of the old regime _Bass_ + of the old régime _Bass_ FATHER PERALTA, Padre of the Mission Church _Bass_ JUAN BAPTISTA ALVARADO, a young Spaniard _Baritone_ - JOSE CASTRO, a half-breed _Baritone_ + JOSÉ CASTRO, a half-breed _Baritone_ PICO } bravos, comrades of Castro _Tenor_ KAGAMA } _Bass_ PAUL MERRILL, Lieut. on the U.S. @@ -29380,7 +29344,7 @@ NATOMAH Don Francisco _Soprano_ NATOMAH, an Indian girl _Soprano_ -The time is 1820, under the Spanish regime. The scene of Act I is laid +The time is 1820, under the Spanish régime. The scene of Act I is laid on the Island of Santa Cruz, two hours' sail from the mainland. Act II takes place in the plaza of the town of Santa Barbara on the mainland, in front of the Mission Church. Act III represents the interior of the @@ -29516,7 +29480,7 @@ CYRANO THIRD CAVALIER _Bass_ A CADET _Tenor_ -Act I. Interior of the Hotel de Bourgogne. Act II. "The Poet's Eating +Act I. Interior of the Hôtel de Bourgogne. Act II. "The Poet's Eating House," _Ragueneau's_ cook and pastry shop. Act III. A small square in the Old Marais. Act IV, Scene 1. Entrenchment at the siege of Arras. Scene 2. A convent garden near the field of battle. @@ -29526,7 +29490,7 @@ Mansfield, and repeated in subsequent seasons. In 1900 it was given in French by Bernhardt and Coquelin. The libretto of the opera follows the play closely. Mr. Henderson retained and successfully remodelled the main incidents of the drama. The operatic version begins at the -Hotel de Bourgogne where "La Clorise" is to be played. _Cyrano_ orders +Hôtel de Bourgogne where "La Clorise" is to be played. _Cyrano_ orders the leading actor off the stage because he has dared to cast insolent glances at his cousin _Roxane_, whom _Cyrano_ loves but dares not woo because of the deformity of his hideous nose. _Roxane_, from a box, @@ -29654,7 +29618,7 @@ gentlewoman, who has retired from the world, but has as yet taken no vows; and the _Wife of Bath_, a merry, sensual, quick-witted hoyden of the lower middle class, hunting for a sixth husband. These three, with many other types of old England, are pilgrims, en route from London to -the shrine of Thomas a Becket, at Canterbury. +the shrine of Thomas à Becket, at Canterbury. "Becoming jealous of the _Prioress_, the _Wife of Bath_ makes a bet with _Chaucer_ concerning the gentlewoman's behaviour--a bet which she @@ -29752,7 +29716,7 @@ and pianist, came to the city to superintend the production of his opera, "Goyescas," sung in Spanish at the Metropolitan. Pablo Casals, the famous Spanish 'cellist, and Miguel Llobet, virtuoso of the guitar, were making frequent appearances. La Argentina was dancing, -and Maria Barrientos made her debut at the Metropolitan. In the season +and Maria Barrientos made her début at the Metropolitan. In the season of 1917-18 the Spanish craze culminated in "The Land of Joy," a musical revue which came first to the Park Theatre, then was transferred to the Knickerbocker Theatre. The music was by Joaquin @@ -29807,7 +29771,7 @@ INDEX NOTE: In setting this index, different faces of type have been used as follows: - For operas, thus: =Aida=. + For operas, thus: =Aïda=. For characters, thus: Rhadames. For singers, thus: _Eames_. For composers, thus: VERDI. @@ -29827,7 +29791,7 @@ INDEX Adriano, 94 ff. - AEneas, 539, 541 + Æneas, 539, 541 Aennchen, 64 ff. @@ -29843,7 +29807,7 @@ INDEX Ah-Joe, 686 ff. - =Aida=, 1, 6, 7, 90, 433, 438, 439, 466, 602, 618, 672 + =Aïda=, 1, 6, 7, 90, 433, 438, 439, 466, 602, 618, 672 Alain, 728 @@ -29885,7 +29849,7 @@ INDEX Almaviva, Countess, 23 ff. - Almerio, 762 + Almério, 762 _Alston, Elizabeth_, 23 @@ -29908,7 +29872,7 @@ INDEX _Amato, Pasquale_, 14, 427, 475, 482, 587, 602, 622, 639, 674, 680, 690, 707, 841 - _Ambre, Mme._, 586 + _Ambré, Mme._, 586 Ambrosio, 295 @@ -29938,9 +29902,9 @@ INDEX _Ancona_, 359, 602, 628 - Andres, 724 + Andrès, 724 - =Andre Chenier=, 712 ff. + =André Chénier=, 712 ff. Andromache, 539 @@ -29966,7 +29930,7 @@ INDEX Annina, 416 ff., 807 - _Anschuetz, Carl_ (Director), 69 + _Anschütz, Carl_ (Director), 69 Antipas, Herod, 801 @@ -30058,11 +30022,11 @@ INDEX Asvezel Moslain, Khan, 767 - Athanael, 732 + Athanaël, 732 =Attaque du Moulin, L'=, 758 ff. - AUBER, DANIEL FRANCOIS ESPRIT, 2, 306, 426, 496, 498, 510 + AUBER, DANIEL FRANÇOIS ESPRIT, 2, 306, 426, 496, 498, 510 _Audisio, Pietro_, 765, 844 @@ -30121,7 +30085,7 @@ INDEX Baroncello, 94 ff. - _Barre_, 585 + _Barré_, 585 _Barrientos, Maria_, 849 @@ -30169,7 +30133,7 @@ INDEX BELL-RANSKE, JUTTA (Librettist), 834 - Bellangere, 760 + Bellangère, 760 _Bellati_, 665 @@ -30195,11 +30159,11 @@ INDEX Berardengo, Ser Toldo, 680 ff. - _Berat, Louis_, 699 + _Bérat, Louis_, 699 _Bergmann, Carl_ (Director), 63, 107 - BERGMUeLLER, ROBERT, 559 + BERGMÜLLER, ROBERT, 559 BERLIOZ, HECTOR, 13, 63, 78, 85, 535, 542 @@ -30207,7 +30171,7 @@ INDEX Bernardino, 536 ff. - BERNEDE, ARTHUR (Librettist), 749 + BERNÈDE, ARTHUR (Librettist), 749 BERNHARD, A. (Librettist), 825 @@ -30287,15 +30251,15 @@ INDEX BODANZKY, ARTUR, 769, 773, 844 - =Boheme, La= (Leoncavallo), 628 + =Bohème, La= (Leoncavallo), 628 - =Boheme, La= (Puccini), 638, 643 ff. + =Bohème, La= (Puccini), 638, 643 ff. _Bohner, Mrs. Jennie_, 612 - BOIELDIEU, FRANCOIS ADRIEN, 495 + BOIELDIEU, FRANÇOIS ADRIEN, 495 - BOITO, ARRIGO (Librettist), 458, 466, 474, 480, 482, 715 + BOÏTO, ARRIGO (Librettist), 458, 466, 474, 480, 482, 715 Bombardon, 779 @@ -30337,7 +30301,7 @@ INDEX Brander, 543 ff. - Brangaene, 227 ff. + Brangäne, 227 ff. _Brandt, Marianne_, 62, 69, 117, 163, 236, 272, 516 @@ -30359,7 +30323,7 @@ INDEX BREUNING (Librettist), 54 - _Breval, Lucienne_, 729, 752 + _Bréval, Lucienne_, 729, 752 _Bridewell, Carrie_, 752 @@ -30371,11 +30335,11 @@ INDEX _Brough_, 319 - BRUeLL, 779 + BRÜLL, 779 BRUNEAU, ALFRED, 758 - Bruennhilde, 7, 89, 140, 142, 146, 164, 208 + Brünnhilde, 7, 89, 140, 142, 146, 164, 208 Bucklaw, Lord Arthur, 343 ff. @@ -30408,9 +30372,9 @@ INDEX =Calife de Bagdad, Le=, 495 - Callides, 756 ff. + Callidès, 756 ff. - _Calve, Mme._, 475, 543, 564, 586, 602, 604, 612, 618, 745 + _Calvé, Mme._, 475, 543, 564, 586, 602, 604, 612, 618, 745 CALZABIGI, RANIERO DI (Librettist), 9 @@ -30451,7 +30415,7 @@ INDEX Caroline, Queen, 708 ff. - CARRE, MICHEL (Librettist), 2, 531, 562, 565, 574, 580, 585, 603, 723 + CARRÉ, MICHEL (Librettist), 2, 531, 562, 565, 574, 580, 585, 603, 723 _Caruso_, 14, 335, 337, 339, 343, 354, 386, 388, 402, 412, 426, 475, 482, 504, 516, 546, 564, 587, 602, 604, 611, 620, 622, 640, 665, 674, 714 @@ -30472,7 +30436,7 @@ INDEX =Castor and Pollux=, 1 - Castro, Jose, 675, 838 + Castro, José, 675, 838 CATALINA, ALFRED, 719 @@ -30524,7 +30488,7 @@ INDEX =Chemineau, Le=, 766 - Chenier, Andre, 713 ff. + Chénier, André, 713 ff. CHERUBINI, LUIGI, 493, 494 @@ -30536,7 +30500,7 @@ INDEX Chimaris, 757 - Chimene, 742 + Chimène, 742 Chonita, 832 @@ -30578,7 +30542,7 @@ INDEX Cleopatra, 750 - =Cleopatre=, 750 + =Cléopâtre=, 750 Clitandro, 706 @@ -30620,7 +30584,7 @@ INDEX CONVERSE, FREDERICK SHEPHERD, 832, 833 - Coppelius, 724 + Coppélius, 724 =Coq d'Or, Le=, 828 @@ -30646,7 +30610,7 @@ INDEX Cosse, 504 ff. - =Cosi Fan Tutte=, 24, 52 + =Così Fan Tutte=, 24, 52 COSTA, 63, 78 @@ -30687,7 +30651,7 @@ INDEX Dalila, 725 - _Dalmores, Charles_, 543, 587, 602, 749 + _Dalmorès, Charles_, 543, 587, 602, 749 =Dame Blanche, La=, 495 @@ -30709,9 +30673,9 @@ INDEX David, 247 ff., 619 ff. - DEBUSSY, 2, 752 + DÉBUSSY, 2, 752 - _Defrere, Desire_, 767 + _Defrère, Désiré_, 767 D'ENNERY, M. (Librettist), 742 @@ -30737,32 +30701,32 @@ INDEX _Demellin_, 756 - Demetrios, 756 ff. + Démétrios, 756 ff. - _de Reszke, Edouard_, 45, 208, 227, 246, 440, 503, 516, 523 + _de Reszke, Édouard_, 45, 208, 227, 246, 440, 503, 516, 523 _de Reszke, Jean_, 23, 45, 140, 208, 227, 246, 426, 503, 516, 523, 542, 575, 563, 586, 736, 748 DESCHAMPS (Librettist), 503 - _Deschamps-Jehin, Mme._, 750 + _Deschamps-Jéhin, Mme._, 750 Desdemona, 459 ff. - _de Segurola, Andres_, 674, 762 + _de Segurola, Andrés_, 674, 762 Desfonandres, Dr., 706 Despina, 52 - Despreaux, 707 ff. + Despréaux, 707 ff. d'Este, Alfonso, Duke of Ferrara, 339 ff. _Destinn, E._, 427, 466, 475, 482, 504, 665, 674 - =Deux Journees, Les=, 493 + =Deux Journées, Les=, 493 Diable, Le, 728 @@ -30786,7 +30750,7 @@ INDEX Dinorah, 531 ff. - =Dinorah, ou le Pardon de Ploermel=, 500, 530 + =Dinorah, ou le Pardon de Ploërmel=, 500, 530 Di Silva, Don Ruy Gomez, 377 ff. @@ -30838,7 +30802,7 @@ INDEX Dulcamara, 335 ff. - Dulcinee, La belle, 743 ff. + Dulcinée, La belle, 743 ff. DU LOCLE, CAMILLE (Librettist), 752 @@ -30924,7 +30888,7 @@ INDEX =Enrico di Borgogna=, 335 - =Ensorcelee, L'=, 764 + =Ensorcelée, L'=, 764 Enya, 840 @@ -30952,7 +30916,7 @@ INDEX Estella, 716 ff. - ETIENNE, V.J. ("JOUY"), 313 + ÉTIENNE, V.J. ("JOUY"), 313 =Eugen Onegin=, 825, 828 @@ -31070,7 +31034,7 @@ INDEX Flavius, 326 ff. - Fleville, 713 ff. + Fléville, 713 ff. Flora, 690 ff. @@ -31092,7 +31056,7 @@ INDEX Ford, Mistress, 466 ff. - Foret, Lysiart de, 69 ff. + Forêt, Lysiart de, 69 ff. _Formes, Carl_, 313, 501, 503 @@ -31106,7 +31070,7 @@ INDEX FORZANO, GIOACCHINO (Librettist), 622 - Fouche, 707 + Fouché, 707 =Fra Diavolo=, 497 @@ -31120,9 +31084,9 @@ INDEX =Franco Arciero, Il=, 63 - Francois, 767 + François, 767 - Francoise, 759 + Françoise, 759 Frantz, 724 @@ -31130,7 +31094,7 @@ INDEX Frasquita, 587, 793 - Frederic, 581 ff. + Frédéric, 581 ff. Frederica, Duchess of Ostheim, 434 ff. @@ -31142,7 +31106,7 @@ INDEX Freia, 141, 148 ff. - =Freischuetz, Der=, 62, 77, 81, 85 + =Freischütz, Der=, 62, 77, 81, 85 _Fremstad, Olive_, 14, 140, 227, 801, 804 @@ -31162,7 +31126,7 @@ INDEX _Fuchs_, 272 - _Fugere, Lucien_, 729, 750 + _Fugère, Lucien_, 729, 750 Furies, The, 10 @@ -31189,9 +31153,9 @@ INDEX _Galli-Curci, Amelita_, 295, 306, 343, 386, 388, 416, 532, 575, 742 - _Galli-Marie_, 586, 601 + _Galli-Marié_, 586, 601 - GANDONNIERE, 542 + GANDONNIÈRE, 542 Gansemagd, Die, 776 @@ -31233,13 +31197,13 @@ INDEX Genoveva, 752 ff. - Geolier, Le, 756 ff. + Geôlier, Le, 756 ff. Gerald, 724 - GERARD (Librettist), 542 + GÉRARD (Librettist), 542 - Gerard, Charles, 713 ff. + Gérard, Charles, 713 ff. =Germania=, 720 @@ -31261,7 +31225,7 @@ INDEX Gertrude, Queen of Denmark, 586 - _Gerville-Reache, Jeanne_, 746, 749 + _Gerville-Réache, Jeanne_, 746, 749 Gessler, 313 ff. @@ -31362,9 +31326,9 @@ INDEX Goro, 665 - =Goetterdaemmerung=, 140, 207 + =Götterdämmerung=, 140, 207 - GOUNOD, CHARLES FRANCOIS, 2, 438, 459, 494, 510 + GOUNOD, CHARLES FRANÇOIS, 2, 438, 459, 494, 510 _Gourdon, M._, 724 @@ -31382,7 +31346,7 @@ INDEX Grech, 720 - Gregoras, 762 + Grégoras, 762 Gregory, 575 ff. @@ -31402,7 +31366,7 @@ INDEX Griselda, 727 - =Griselidis=, 727 + =Grisélidis=, 727 _Grivot, M._, 724 @@ -31410,7 +31374,7 @@ INDEX Grumio, 772 - _Gruen, Frau_, 89 + _Grün, Frau_, 89 _Guadagni, Gaetano_, 12, 14 @@ -31430,7 +31394,7 @@ INDEX Guiche, de, 841 - GUILLARD, FRANCOIS (Librettist), 18 + GUILLARD, FRANÇOIS (Librettist), 18 =Guillaume Tell=, 294, 312 @@ -31450,7 +31414,7 @@ INDEX Gusmann, Leonora di, 359 ff. - =Gustave III, ou Le Bal Masque=, 426 + =Gustave III, ou Le Bal Masqué=, 426 GUTIERREZ, ANTONIO GARCIA (Librettist), 402 @@ -31461,15 +31425,15 @@ INDEX H - Haensel, 778 + Hänsel, 778 - =Haensel und Gretel=, 746, 769, 778, 807 + =Hänsel und Gretel=, 746, 769, 778, 807 Hagen, 89, 143, 208 - HALEVY, JACQUES, 2, 498, 510 + HALÉVY, JACQUES, 2, 498, 510 - Haltiere, Mme. de la, 745 + Haltière, Mme. de la, 745 Hamilcar, 752 @@ -31479,7 +31443,7 @@ INDEX _Hammerstein, Oscar_ (Director), 612 - HAeNDEL, 14 + HÄNDEL, 14 Handsome, 674 @@ -31521,13 +31485,13 @@ INDEX Hedwiga, 313 ff. - _Heglon, Mme._, 736 + _Héglon, Mme._, 736 - Helene, Duchess, 436 ff. + Hélène, Duchess, 436 ff. HELL, THEODOR (Librettist), 76 - =Hellera=, 697 + =Hélléra=, 697 _Hempel, Freda_, 23, 45, 246, 427, 475, 504, 807 @@ -31551,11 +31515,11 @@ INDEX Herod, 749 - =Herodiade=, 748 + =Hérodiade=, 748 Herodias, 749, 801 - HEROLD, LOUIS J.F., 497 + HÉROLD, LOUIS J.F., 497 Hexe, Die, 776 @@ -31571,7 +31535,7 @@ INDEX HIPPOLYTE (Librettist), 313 - Hoel, 531 ff. + Hoël, 531 ff. _Hofer, Mme._, 52 @@ -31648,11 +31612,11 @@ INDEX Iolan, 833 - =Iphigenie en Aulide=, 493 + =Iphigénie en Aulide=, 493 - =Iphigenie en Tauride=, 8, 9, 18, 19, 20 + =Iphigénie en Tauride=, 8, 9, 18, 19, 20 - Iphigenie, 18 ff. + Iphigénie, 18 ff. =Iphigenia in Aulis=, 85 @@ -31662,9 +31626,9 @@ INDEX Irma, 750 - _Isaac, Mlle. Adele_, 724 + _Isaac, Mlle. Adèle_, 724 - Isepo, 482 ff. + Isèpo, 482 ff. =Isabeau=, 611, 625 @@ -31687,7 +31651,7 @@ INDEX _Jadlowker, Herman_, 705, 776 - _Jaeger_, 272 + _Jäger_, 272 Jago, 377 ff. @@ -31731,11 +31695,11 @@ INDEX Jonas, 516 ff. - =Jongleur de Notre Dame, Le=, 746 ff. + =Jongleur de Nôtre Dame, Le=, 746 ff. Jopas, 541 - Jose, Don, 587 ff. + José, Don, 587 ff. Josef, 764 @@ -31745,7 +31709,7 @@ INDEX _Journet, Marcel_, 272, 477, 620, 752, 761 - "JOUY," V.J. ETIENNE (Librettist), 313 + "JOUY," V.J. ÉTIENNE (Librettist), 313 Juan, 744 @@ -31798,19 +31762,19 @@ INDEX Kobus, Fritz, 619 ff. - _Koegel, Josef_, 107, 163 + _Kögel, Josef_, 107, 163 Konchak, Khan, 820 Konchakovna, 820 - =Koenigskinder=, 776 + =Königskinder=, 776 - Koenigssohn, Der, 776 + Königssohn, Der, 776 Konradin, 784 - Koerner, Carlo, 721 + Körner, Carlo, 721 Kothner, Fritz, 246 ff. @@ -31847,9 +31811,9 @@ INDEX =L'Africaine=, 500, 523, 527 - =Lakme=, 724 + =Lakmé=, 724 - Lakme, 724 + Lakmé, 724 _L'Allemand, Pauline_, 725 @@ -31857,9 +31821,9 @@ INDEX _Lambert, A._, 728 - =L'Ame en Peine=, 546 + =L'Âme en Peine=, 546 - _Lammert, Fraeulein_, 89 + _Lammert, Fräulein_, 89 =L'Amore Medici=, 705 ff. @@ -31918,7 +31882,7 @@ INDEX LEMAIRE, FERDINAND (Librettist), 725 - LENA, MAURICE (Librettist), 746 + LÉNA, MAURICE (Librettist), 746 Lenski, 825 @@ -31940,7 +31904,7 @@ INDEX Leporello, 31 ff. - =Lepreuse, La=, 764 + =Lépreuse, La=, 764 LEROUX, XAVIER, 765, 766 @@ -31948,9 +31912,9 @@ INDEX Lescaut, 640, 736 - =L'Etoile du Nord=, 500, 530 + =L'Étoile du Nord=, 500, 530 - Letorieres, Gastone de, 416 ff. + Letorières, Gastone de, 416 ff. Leuthold, 313 ff. @@ -32028,7 +31992,7 @@ INDEX Louise, 750 - Loys, 729 + Loÿs, 729 Luc Agnolo, 765 @@ -32064,9 +32028,9 @@ INDEX LULLY, 4, 6, 17, 21 - _Lussan, Zelie de_, 466 + _Lussan, Zélie de_, 466 - Luetzow, Luigi, 721 + Lützow, Luigi, 721 M @@ -32093,7 +32057,7 @@ INDEX Magdalena, 247, 787 - _Maguenat, Alfred_, 750 + _Maguénat, Alfred_, 750 MAHLER, GUSTAVE, 76 @@ -32155,7 +32119,7 @@ INDEX _Mardones_, 516 - _Marechal, Mr._, 729, 746, 750 + _Maréchal, Mr._, 729, 746, 750 _Maretzek, Mme._, 516 @@ -32240,7 +32204,7 @@ INDEX Matheos, 718 ff. - Matho, 752 + Mathô, 752 _Mattfeld, Marie_, 674, 765, 772, 776, 807 @@ -32274,39 +32238,39 @@ INDEX Mefistofele, 475 ff. - MEHUL, ETIENNE NICHOLAS, 495 + MÉHUL, ÉTIENNE NICHOLAS, 495 MEILHAC, HENRI (Librettist), 586, 736 - =Meistersinger von Nuernberg, Die=, 88, 91, 119, 246, 376 + =Meistersinger von Nürnberg, Die=, 88, 91, 119, 246, 376 _Melba, Nellie_, 295, 306, 343, 388, 416, 458, 503, 543, 564, 628 Melcthal, 313 ff. - MELESVILLE (Librettist), 497 + MÉLÉSVILLE (Librettist), 497 - Melisande, 753, 760 + Mélisande, 753, 760 - Melisse, 14 ff. + Mélisse, 14 ff. Melot, 227 ff. MENASCI, G., 612 - MENDES, CATULLE (Librettist), 765 + MENDÈS, CATULLE (Librettist), 765 =Mephistopheles=, 474 - Mephistopheles, 543, 562 + Méphistophélès, 543, 562 Mercedes, 587 ff. - Mercedes, Dona, 793 + Mercedes, Doña, 793 Mercutio, 575 ff. - =Mere Coupable, La=, 296 + =Mère Coupable, La=, 296 Merlier, 759 @@ -32314,9 +32278,9 @@ INDEX =Merry Wives of Windsor, The=, 80 - Meru, 504 ff. + Méru, 504 ff. - MERY (Librettist), 437 + MÉRY (Librettist), 437 =Messiah, The=, 14 @@ -32366,7 +32330,7 @@ INDEX Mitranus, 310 ff. - _Mole, Mlle._, 724 + _Molé, Mlle._, 724 =Mona=, 832, 840 @@ -32394,7 +32358,7 @@ INDEX Morales, 587 ff. - MORAND, EUGENE (Librettist), 727 + MORAND, EUGÈNE (Librettist), 727 _Moran, Miss_, 272 @@ -32424,9 +32388,9 @@ INDEX Muff, 816 - _Muehlmann_, 272, 830 + _Mühlmann_, 272, 830 - MUeLLER, WENZEL, 46 + MÜLLER, WENZEL, 46 _Muratore_, 564, 575, 761 @@ -32442,7 +32406,7 @@ INDEX Myrto, 757 - =Mysteres d'Isis, Les=, 45, 51 + =Mystères d'Isis, Les=, 45, 51 N @@ -32525,7 +32489,7 @@ INDEX Ninus, Ghost of, 310 ff. - Noemie, 745 + Noémie, 745 _Nordica, Lillian_, 45, 140, 227, 482, 503, 523 @@ -32625,7 +32589,7 @@ INDEX PADEREWSKI, IGNACE JAN, 830 - PAER, 55 + PAËR, 55 Page, Mistress, 466 ff. @@ -32677,7 +32641,7 @@ INDEX Pasquale, Don, 372 ff. - PASQUE, ERNST, 76 + PASQUÉ, ERNST, 76 _Patti, Adelina_, 295, 305, 308, 309, 319, 343, 354, 355, 367, 377, 388, 416, 531, 546, 564, 725, 742 @@ -32688,15 +32652,15 @@ INDEX _Pearman_, 23 - =Pecheurs de Perles, Les=, 603 ff. + =Pêcheurs de Perles, Les=, 603 ff. Pedro, 743, 793 Pedro, Don, 31, 523, 538 - Pelleas, 752 ff. + Pelléas, 752 ff. - =Pelleas et Melisande=, 2, 752 + =Pelléas et Mélisande=, 2, 752 PEPOLI, COUNT (Librettist), 329 @@ -32742,7 +32706,7 @@ INDEX _Phillipps, Thomas_, 23, 295, 308 - Philodeme, 756 ff. + Philodème, 756 ff. PIAVE, FRANCESCO MARIA (Librettist), 377, 386, 416, 718 @@ -32778,7 +32742,7 @@ INDEX _Placide, Mr._, 62 - _Plancon, Pol_, 359, 427, 475, 482, 503, 516, 565, 587, 715, 745 + _Plançon, Pol_, 359, 427, 475, 482, 503, 516, 565, 587, 715, 745 Plummer, Edward, 775 @@ -32814,7 +32778,7 @@ INDEX _Preisch, Mr._, 837 - Pretre, Le Grand, 756 ff. + Prêtre, Le Grand, 756 ff. _Preusser, Felix_, 163 @@ -32824,7 +32788,7 @@ INDEX =Prodigal Son, The=, 481 - =Prophete, Le=, 500, 504, 516, 731 + =Prophète, Le=, 500, 504, 516, 731 _Pruette, William_, 612 @@ -32849,7 +32813,7 @@ INDEX Quickly, Dame, 466 ff. - QUINALT, FRANCOIS (Librettist), 14, 17 + QUINALT, FRANÇOIS (Librettist), 14, 17 Quintus, 840 @@ -32894,7 +32858,7 @@ INDEX Raymond, 343 ff. - =Redemption, La=, 561 + =Rédemption, La=, 561 _Reichmann_, 272 @@ -33004,7 +32968,7 @@ INDEX Romeo, 575 ff. - =Romeo et Juliette=, 561, 574 + =Roméo et Juliette=, 561, 574 _Ronconi, Mlle._, 580 @@ -33043,7 +33007,7 @@ INDEX ROSSINI, GIOACHINO ANTONIO, 1, 22, 25, 293, 307, 309, 312, 334, 426, 493, 494, 498, 510, 608 - _Rothier, Leon_, 762, 765 + _Rothier, Léon_, 762, 765 Roucher, 713 ff. @@ -33102,13 +33066,13 @@ INDEX ST. GEORGE, 559 - SAINT-SAENS, 725 + SAINT-SAËNS, 725 - =Salammbo=, 752 + =Salammbô=, 752 - Salammbo, 752 + Salammbô, 752 - _Saleza, Albert_, 575, 587, 715, 752 + _Saléza, Albert_, 575, 587, 715, 752 _Salignac, Mr._, 752 @@ -33140,11 +33104,11 @@ INDEX Sancho, 743 ff. - _Saenger_, 227 + _Sänger_, 227 _Sanderson, Sibyl_, 736, 741 - =Sans-Gene, Madame=, 707 ff. + =Sans-Gêne, Madame=, 707 ff. Sante, 705 @@ -33184,7 +33148,7 @@ INDEX _Scheff, Fritzi_, 23, 830 - _Schefsky, Fraeulein_, 89 + _Schefsky, Fräulein_, 89 Schicchi, 679 @@ -33204,7 +33168,7 @@ INDEX Schreiber, Heinrich der, 107 ff. - _Schroeder-Devrient, Mme._, 56, 84 + _Schröder-Devrient, Mme._, 56, 84 _Schroeder-Hanfstaengl_, 516 @@ -33231,7 +33195,7 @@ INDEX Selika, 523 ff. - Selysette, 759 ff. + Sélysette, 759 ff. _Sembach, Johannes_, 18, 772, 843 @@ -33252,7 +33216,7 @@ INDEX Serena, 699 ff. - Seso, 757 + Séso, 757 _Setti_, 503 @@ -33300,7 +33264,7 @@ INDEX Silvio, 628 ff. - Simeon, 495 + Siméon, 495 SIMONI, RENATO (Librettist), 707 @@ -33328,7 +33292,7 @@ INDEX SOMMA-SCRIBE (Librettist), 426 - =Songe d'une Nuit d'Ete, Le=, 467 + =Songe d'une Nuit d'Été, Le=, 467 =Sonnambula, La=, 7, 318, 331, 376, 426, 608 @@ -33449,9 +33413,9 @@ INDEX =Tancredi=, 12, 294, 307 - =Tannhaeuser=, 68, 69, 79, 85, 86, 88, 99, 106, 118, 226, 303, 516 + =Tannhäuser=, 68, 69, 79, 85, 86, 88, 99, 106, 118, 226, 303, 516 - Tannhaeuser, 107 ff. + Tannhäuser, 107 ff. Tan Taanach, 752 @@ -33484,13 +33448,13 @@ INDEX _Tetrazzini, Luisa_, 295, 319, 325, 329, 343, 355, 388, 416, 458, 531, 725 - =Thais=, 728, 731 + =Thaïs=, 728, 731 - Thais, 732 + Thaïs, 732 Thallus, Primus, 788 - Therese, 779 + Thérèse, 779 Thoas, 18 ff. @@ -33560,13 +33524,13 @@ INDEX =Tristan und Isolde=, 87, 88, 91, 119, 227, 247, 335 - =Trompeter von Saekkingen, Der=, 784 + =Trompeter von Säkkingen, Der=, 784 Trouble (Cio-Cio-San's child), 665 ff. =Trovatore, Il=, 376, 402, 471 - =Troyens a Carthage=, 540 ff. + =Troyens à Carthage=, 540 ff. =Troyens, Les, La Prise de Troie=, 539 ff. @@ -33610,7 +33574,7 @@ INDEX Valentine, 504, 562 - Valery, Violetta, 416 ff. + Valéry, Violetta, 416 ff. =Valkyr, The=, 89, 91 @@ -33648,7 +33612,7 @@ INDEX Venus, 107 ff. - =Vepres Siciliennes, Les=, 440 + =Vêpres Siciliennes, Les=, 440 VERDI, GIUSEPPE, 1, 6, 7, 22, 90, 91, 334, 376, 377, 386, 402, 416, 426, 436, 481, 493, 494, 608, 638, 847 @@ -33699,7 +33663,7 @@ INDEX VON BREUNING, STEPHAN (Librettist), 56 - _von Buelow, Hans_ (Director), 227, 246, 535 + _von Bülow, Hans_ (Director), 227, 246, 535 VON CHEZY, HELMINE (Librettist), 69 @@ -33715,7 +33679,7 @@ INDEX _von Milde_, 227 - von Schoenau, Baron, 784 + von Schönau, Baron, 784 von Werdenberg, Princess, 807 @@ -33740,11 +33704,11 @@ INDEX _Walker, Edyth_, 482 - =Walkuere, Die=, 7, 87, 139, 163 ff. + =Walküre, Die=, 7, 87, 139, 163 ff. Wallace, Jake, 675 ff. - Waelse, 142 ff. + Wälse, 142 ff. Walter, 720 @@ -33762,7 +33726,7 @@ INDEX WEBER, CARL MARIA VON, 63, 68, 76, 77, 79, 493, 562 - _Weckerin, Fraeulein_, 89 + _Weckerin, Fräulein_, 89 _Weil_, 18, 807 @@ -33788,7 +33752,7 @@ INDEX Wilhelm, 584 ff., 724 - =Wildschuetz, Der=, 80 + =Wildschütz, Der=, 80 =William Tell=, 498, 510 @@ -33873,7 +33837,7 @@ INDEX ZANONI, CAMILLO (Librettist), 686 - =Zauberfloete, Die=, 51, 493 + =Zauberflöte, Die=, 51, 493 =Zaza=, 628 @@ -33889,7 +33853,7 @@ INDEX Zorn, Balthazar, 246 ff. - Zuane, 482 ff. + Zuàne, 482 ff. Zucarraga, 746 @@ -33977,21 +33941,21 @@ By Clara Louise Kellogg _8o. With 48 Illustrations._ Clara Louise Kellogg, who is now Clara Louise Strakosch, was the first -American prima donna to win recognition abroad. After making her debut +American prima donna to win recognition abroad. After making her début in opera at the Academy of Music, in New York, in 1861, she appeared in opera in London and later in Berlin, Vienna, and Saint Petersburg. In every country she was received with acclaim and returned to her native land covered with honors showered upon her by the best audiences that the old world affords. -Miss Kellogg created the role of Marguerite in Gounod's _Faust_ in +Miss Kellogg created the rôle of Marguerite in Gounod's _Faust_ in this country, and of Mignon in Ambroise Thomas's opera of that name. After winning laurels in Italian opera she organized an English opera company of her own, which sang for several seasons in New York and the principal cities of the United States. While at the head of her own company she produced Wagner's _Flying Dutchman_ for the first time in -America, creating the role of Senta, and she was the first prima donna -to sing _Aida_ and _Carmen_ in English. Miss Kellogg was famous not +America, creating the rôle of Senta, and she was the first prima donna +to sing _Aïda_ and _Carmen_ in English. Miss Kellogg was famous not only for the beautiful quality of her voice but for her marvelous musical ear. It is said that there were over forty operas that she could sing on twenty-four hours' notice, and that never once in the @@ -34056,363 +34020,6 @@ subject."--_Review of Reviews._ -End of the Project Gutenberg EBook of The Complete Opera Book, by Gustav Kobbe - -*** END OF THIS PROJECT GUTENBERG EBOOK THE COMPLETE OPERA BOOK *** - -***** This file should be named 40540.txt or 40540.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/5/4/40540/ - -Produced by Charlene Taylor, Linda Cantoni, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - +End of the Project Gutenberg EBook of The Complete Opera Book, by Gustav Kobbé -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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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: The Complete Opera Book - The Stories of the Operas, together with 400 of the Leading - Airs and Motives in Musical Notation - -Author: Gustav Kobb - -Release Date: August 19, 2012 [EBook #40540] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE COMPLETE OPERA BOOK *** - - - - -Produced by Charlene Taylor, Linda Cantoni, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - - - - - - - - -[Transcriber's Note: _The Complete Opera Book_ has been an important -opera reference work since its first publication in 1919. It has been -revised and updated a number of times, most famously by George -Lascelles, 7th Earl of Harewood, and most recently in 1997. - -This e-book was prepared from the 1919 first edition. Gustav Kobb was -killed in a sailing accident in 1918 and apparently did not have the -opportunity to make corrections before the book was published. There -are consequently numerous typographical, spelling, and formatting -errors and inconsistencies in the first edition, the most obvious of -which have been corrected without note in this e-book. Ambiguous -errors are noted in a [Transcriber's Note] where they appear. The -author's deliberate interchanges of foreign words or names and their -equivalents in English or other languages have been preserved as they -appear in the original. Misplaced Table of Contents and index entries -have been moved to their proper places. - -Photograph illustrations have been moved so as not to break up the -flow of the text. - -Italic text is marked with _underscores_, and bold text with =equal -signs=.] - - - - -The Complete Opera Book - -The Stories of the Operas, together with 400 of the Leading Airs and -Motives in Musical Notation - - -By - -Gustav Kobb - -Author of "Wagner's Music-Dramas Analysed," "All-of-a-Sudden Carmen," -etc. - - -_Illustrated with One Hundred Portraits in Costume and Scenes from -Opera_ - - - G.P. Putnam's Sons - New York and London - =The Knickerbocker Press= - 1919 - - COPYRIGHT, 1919 - BY - GUSTAV KOBB - -=The Knickerbocker Press, New York= - - - - -_By Gustav Kobb_ - - All-of-a-Sudden Carmen - The Complete Opera Book - - - - -[Illustration: Copyright photo by Mishkin - -Mary Garden as Sapho] - -[Illustration: Copyright photo by Pirie MacDonald - -GUSTAV KOBB] - - - - -FOREWORD - - -Through the thoughtfulness of William J. Henderson I was asked to -supply material for _The Complete Opera Book_, which was missing at -the time of Mr. Kobb's death. - -In performing my share of the work it has been my endeavor to confine -myself to facts, rather than to intrude with personal opinions upon a -work which should stand as a monument to Mr. Kobb's musical knowledge -and convictions. - -KATHARINE WRIGHT. - -NEW YORK, 1919. - - - - -Contents - - - PAGE - - Schools of Opera 1 - - Opera before Gluck 4 - - Christoph Willibald Gluck, 1714-1787 8 - Orpheus and Eurydice - Armide - Iphigenia in Tauris - - Wolfgang Amadeus Mozart, 1756-1791 21 - Marriage of Figaro - Don Giovanni - Magic Flute - - Ludwig van Beethoven, 1770-1827 54 - Fidelio - - Carl Maria von Weber, 1786-1826 63 - Freischtz - Euryanthe - Oberon - - Why Some Operas are rarely given 77 - - From Weber to Wagner 79 - - Richard Wagner, 1813-1883 81 - Rienzi - Flying Dutchman - Tannhuser - Lohengrin - Ring of the Nibelung - Rheingold--Walkre--Siegfried--Gtterdmmerung - Tristan and Isolde - Meistersinger - Parsifal - - Gioachino Antonio Rossini, 1792-1868 293 - Barber of Seville - Semiramide - William Tell - - Vincenzo Bellini, 1802-1835 318 - Sonnambula - Norma - Puritani - - Gaetano Donizetti, 1797-1848 334 - Elisire d'Amore - Lucrezia Borgia - Lucia di Lammermoor - Daughter of the Regiment - Favorita - Linda di Chamounix - Don Pasquale - - Giuseppe Verdi, 1813-1901 376 - Ernani - Rigoletto - Trovatore - Traviata - Ballo in Maschera - - Before and After "Ballo in Maschera" 433 - Luisa Miller - Sicilian Vespers - Force of Destiny - Don Carlos - Ada - Othello - Falstaff - - Arrigo Boto, 1842- 474 - Mephistopheles - Nero - - Amilcare Ponchielli, 1834-1886 481 - Gioconda - - French Opera 493 - - Mhul to Meyerbeer 495 - - tienne Nicholas Mhul, 1763-1817 495 - Joseph - - Franois Adrien Boieldieu, 1775-1834 495 - Caliph of Bagdad - Jean de Paris - Dame Blanche - - Daniel Franois Esprit Auber, 1782-1871 496 - Masaniello - Fra Diavolo - - Louis J.F. Hrold, 1791-1833 497 - Zampa - - Adolphe Charles Adam, 1802-1856 497 - Postilion of Longumeau - - Jacques Franois Fromental lie Halvy, 1799-1862 498 - Juive - - Giacomo Meyerbeer, 1791-1864 499 - Robert le Diable - Huguenots - Prophet - L'Africaine - Star of the North - Dinorah - - Hector Berlioz, 1803-1869 535 - Benvenuto Cellini - Beatrice and Benedict - Trojans - Damnation of Faust - - Friedrich von Flotow, 1812-1883 546 - Martha - - Charles Franois Gounod, 1818-1893 561 - Faust - Romeo and Juliet - - Ambroise Thomas, 1811-1896 580 - Mignon - Hamlet - - Georges Bizet 586 - Carmen - Pearl Fishers - Djamileh - - Italian Opera Since Verdi 607 - - Pietro Mascagni, 1863- 610 - Cavalleria Rusticana - Maschere - Friend Fritz - Iris - Lodoletta - Isabeau - - Ruggiero Leoncavallo, 1858- 627 - Pagliacci - - Giacomo Puccini, 1858- 638 - Villi - Manon Lescaut - Bohme - Tosca - Madam Butterfly - Girl of the Golden West - Rondine - Sister Angelica - Tabarro - Gianni Schicchi - - Riccardo Zandonai 680 - Francesca da Rimini - - Franco Leoni, 1864- 686 - L'Oracolo - Rip Van Winkle - Raggio di Luna - Ib and Little Christina - - Italo Montemezzi, 1875- 690 - Love of Three Kings - Giovanni Gallurese - Hllra - - Ermanno Wolf-Ferrari, 1876- 698 - Jewels of the Madonna - Donne Curiose - Secret of Suzanne - Doctor Cupid - - Umberto Giordano, 1867- 707 - Madame Sans-Gne - Andr Chnier - Fedora - Siberia - - Modern Italian Opera 715 - - Luigi Mancinelli 715 - Ero e Leandro - - Riccardo Zandonai 716 - Conchita - - Alberto Franchetti 717 - Cristoforo Colombo - - Luigi and Federico Ricci 718 - Crispino e la Comare - - Alfred Catalani 719 - Loreley - - Umberto Giordano 720 - Fedora - - Alberto Franchetti 721 - Germania - - Modern French Opera 723 - - Jacques Offenbach 723 - Tales of Hoffmann - - Delibes 724 - Lakm - - Saint-Sans 725 - Samson et Dalila - - Lalo 727 - Roi d'Ys - - Massenet 727 - Grislidis - Thas - Manon - Le Cid - Don Quichotte - Cinderella - Navarraise - Jongleur de Ntre Dame - Werther - Hrodiade - Sapho - Cloptre - - Gustave Charpentier 750 - Louise - - Reyer 752 - Salammb - - Debussy 752 - Pellas and Mlisande - - Pierre Lous 756 - Aphrodite - - Alfred Bruneau 758 - Attack on the Mill - - Paul Dukas 759 - Ariadne and Blue-Beard - - Henri Fvrier 761 - Monna Vanna - Gismonda - - Henri Rabaud 763 - Marouf - - Sylvio Lazzari 764 - Grasshopper - - Xavier Leroux 765 - Queen Fiammette - Wayfarer - - Raoul Gunsbourg 767 - Old Eagle - - Modern German and Bohemian Opera 769 - St. Elizabeth - - Peter Cornelius 770 - Barber of Bagdad - - Herman Goetz 772 - Taming of the Shrew - - Karl Goldmark 773 - Queen of Sheba - Cricket on the Hearth - - Engelbert Humperdinck 776 - Knigskinder - Hnsel and Gretel - - Brll 779 - Golden Cross - - Blech 781 - Sealed In - - Viktor E. Nessler 784 - Trumpeter of Skkingen - - Wilhelm Kienzl 787 - Evangelist - Kuhreigen - - Ludwig Thuille 791 - Lobetanz - - Hugo Wolf 792 - Magistrate - - Richard Strauss, 1864- 796 - Fire Famine - Guntram - Salome - Elektra - Rosenkavalier - Ariadne on Naxos - - Friedrich Smetana 815 - Bartered Bride - - Russian Opera 818 - - Michael Ivanovich Glinka 818 - Russlan and Ludmilla - - Borodin 819 - Prince Igor - - Moussorgsky 822 - Boris Godounoff - - Peter Ilitsch Tschaikowsky 825 - Eugen Onegin - Pique-Dame - - Rimsky-Korsakoff 828 - Coq d'Or - - Ignace Jan Paderewski 830 - Manru - - American Opera 832 - - Frederick Shepherd Converse 832 - Sacrifice - Pipe of Desire - - Charles Wakefield Cadman 834 - Shanewis - - John Adams Hugo 834 - Temple Dancer - - Joseph Breil 836 - Legend - - Victor Herbert 837 - Natomah - - Horatio Parker 840 - Mona - - Walter Damrosch 841 - Cyrano - - Reginald de Koven 843 - Canterbury Pilgrims - - Spanish Opera 849 - - Enrique Granados, 1867-1916 849 - Goyescas - - Index 851 - - - - -ILLUSTRATIONS - - - PAGE - - Mary Garden as Sapho _Frontispiece_ - - Louise Homer as Orpheus in "Orpheus and Eurydice" 10 - - Hempel (_Susanna_), Matzenauer (_The Countess_), and - Farrar (_Cherubino_) in "Le Nozze di Figaro" 26 - - Scotti as _Don Giovanni_ 34 - - Sembrich as _Zerlina_ in "Don Giovanni" 35 - - Scotti as _Don Giovanni_ 42 - - Alten and Goritz as _Papagena_ and _Papageno_ in "The - Magic Flute" 43 - - Matzenauer as _Fidelio_ 56 - - Farrar as _Elizabeth_ in "Tannhuser" 108 - - "Tannhuser," Finale, Act II. _Tannhuser_ (Maclennan), - _Elizabeth_ (Fornia), _Wolfram_ (Dean), _The - Landgrave_ (Cranston) 109 - - Sembach as _Lohengrin_ 122 - - Schumann-Heink as _Ortrud_ in "Lohengrin" 123 - - Emma Eames as _Elsa_ in "Lohengrin" 128 - - Louise Homer as _Fricka_ in "The Ring of the Nibelung" 129 - - Lilli Lehmann as _Brnnhilde_ in "Die Walkre" 166 - - "The Valkyr" Act I. _Hunding_ (Parker), _Sieglinde_ - (Rennyson), and _Siegmund_ (Maclennan) 167 - - Fremstad as _Brnnhilde_ in "Die Walkre" 172 - - Fremstad as _Sieglinde_ in "Die Walkre" 173 - - Weil as _Wotan_ in "Die Walkre" 178 - - "Die Walkre" Act III. _Brnnhilde_ (Margaret - Crawford) 179 - - douard de Reszke as _Hagen_ in "Gtterdmmerung" 210 - - Jean de Reszke as _Siegfried_ in "Gtterdmmerung" 211 - - Nordica as _Isolde_ 228 - - Lilli Lehmann as _Isolde_ 236 - - Jean de Reszke as _Tristan_ 237 - - Gadski as _Isolde_ 242 - - Ternina as _Isolde_ 243 - - Emil Fischer as _Hans Sachs_ in "Die Meistersinger" 248 - - Weil and Goritz as _Hans Sachs_ and _Beckmesser_ in "Die - Meistersinger" 249 - - The Grail-Bearer 272 - - Winckelmann and Materna as _Parsifal_ and _Kundry_ 273 - - Scaria as _Gurnemanz_ 273 - - Sammarco as _Figaro_ in "The Barber of Seville" 298 - - Galli-Curci as _Rosina_ in "The Barber of Seville" 302 - - Sembrich as _Rosina_ in "The Barber of Seville" 303 - - Hempel (_Adina_) and Caruso (_Nemorino_) in "L'Elisir - d'Amore" 336 - - Caruso as _Edgardo_ in "Lucia di Lammermoor" 348 - - Galli-Curci as _Lucia_ in "Lucia di Lammermoor" 349 - - Galli-Curci as _Gilda_ in "Rigoletto" 392 - - Caruso as the Duke in "Rigoletto" 393 - - The Quartet in "Rigoletto." _The Duke_ (Sheehan), - _Maddalena_ (Albright), _Gilda_ (Easton), _Rigoletto_ - (Goff) 400 - - Riccardo Martin as _Manrico_ in "Il Trovatore" 401 - - Schumann-Heink as _Azucena_ in "Il Trovatore" 410 - - Galli-Curci as _Violetta_ in "La Traviata" 411 - - Farrar as _Violetta_ in "La Traviata" 420 - - Scotti as _Germont_ in "La Traviata" 421 - - Emma Eames as _Ada_ 442 - - Salza as _Rhadames_ in "Ada" 443 - - Louise Homer as _Amneris_ in "Ada" 448 - - Rosina Galli in the Ballet of "Ada" 449 - - Alda as _Desdemona_ in "Otello" 460 - - Amato as _Barnaba_ in "La Gioconda" 461 - - Caruso as _Enzo_ in "La Gioconda" 488 - - Louise Homer as _Laura_ in "La Gioconda" 489 - - Planon as _Saint Bris_ in "The Huguenots" 508 - - Jean de Reszke as _Raoul_ in "The Huguenots" 509 - - Ober and De Luca; Caruso and Hempel in "Martha" 548 - - Planon as _Mphistophls_ in "Faust" 549 - - Galli-Curci as _Juliette_ in "Romo et Juliette" 578 - - Calv as _Carmen_ with Sparkes as _Frasquita_, and Braslau - as _Mercedes_ 579 - - Caruso as _Don Jos_ in "Carmen" 590 - - Caruso as _Don Jos_ in "Carmen" 591 - - Calv as _Carmen_ 594 - - Amato as _Escamillo_ in "Carmen" 595 - - Gadski as _Santuzza_ in "Cavalleria Rusticana" 614 - - Bori as _Iris_ 615 - - Caruso as _Canio_ in "I Pagliacci" 630 - - Farrar as _Nedda_ in "I Pagliacci" 631 - - Farrar as _Mimi_ in "La Bohme" 644 - - Caf Momus Scene, "La Bohme." Act II. _Mimi_ - (Rennyson), _Musette_ (Joel), _Rudolph_ (Sheehan) 645 - - Cavalieri as _Tosca_ 656 - - Scotti as _Scarpia_ 657 - - Emma Eames as _Tosca_ 660 - - Caruso as _Mario_ in "Tosca" 661 - - Farrar as _Tosca_ 664 - - "Madama Butterfly." Act I. (Francis Maclennan, - Rene Vivienne, and Thomas Richards) 665 - - Farrar as _Cio-Cio-San_ in "Madama Butterfly" 668 - - Destinn as _Minnie_, Caruso as _Johnson_, and Amato as - _Jack Rance_ in "The Girl of the Golden West" 669 - - Alda as _Francesca_, and Martinelli as _Paolo_ in "Francesca - da Rimini" 682 - - Bori and Ferrari-Fontana in "The Love of Three - Kings" 683 - - Farrar as Catherine in "Mme. Sans-Gne" 710 - - Galli-Curci as _Lakm_ 711 - - Caruso as _Samson_ in "Samson and Dalila" 726 - - Mary Garden as _Grislidis_ 727 - - Mary Garden as _Thas_ 730 - - Farrar and Amato as _Thas_ and _Athanal_ 731 - - Farrar as _Thas_ 734 - - Farrar and Amato as _Thas_ and _Athanal_ 735 - - Caruso as _Des Grieux_ in "Manon" 738 - - Mary Garden in "Le Jongleur de Ntre Dame" 739 - - Mary Garden as _Louise_ 750 - - Lucienne Brval as _Salammb_ 751 - - Mary Garden as _Mlisande_ in "Pellas and Mlisande" 754 - - Farrar as the _Goose Girl_ in "Knigskinder" 776 - - Van Dyck and Mattfeld as _Hnsel_ and _Gretel_ 777 - - Mary Garden as _Salome_ 802 - - Hempel as the _Princess_ and Ober as _Octavian_ in "Der - Rosenkavalier" 803 - - Scene from the Ballet in "Prince Igor" (with Rosina - Galli) 820 - - Anna Case as _Feodor_, Didur as _Boris_, and Sparkes as - _Xenia_ in "Boris Godounoff" 821 - - - - -The Complete Opera Book - - - - -Schools of Opera - - -There are three great schools of opera,--Italian, French, and German. -None other has developed sufficiently to require comment in this brief -chapter. - -Of the three standard schools, the Italian is the most frankly -melodious. When at its best, Italian vocal melody ravishes the senses. -When not at its best, it merely tickles the ear and offends common -sense. "Ada" was a turning point in Italian music. Before Verdi -composed "Ada," Italian opera, despite its many beauties, was largely -a thing of temperament, inspirationally, but often also carelessly set -forth. Now, Italian opera composers no longer accept any libretto -thrust at them. They think out their scores more carefully; they -produce works in which due attention is paid to both vocal and -orchestral effect. The older composers still represented in the -repertoire are Rossini, Bellini, Donizetti, and Verdi. The last-named, -however, also reaches well over into the modern school of Italian -opera, whose foremost living exponent is Puccini. - -Although Rameau (1683-1764), whose "Castor and Pollux" held the stage -until supplanted by Gluck's works, was a native of France, French -opera had for its founder the Italian, Lully; and one of its chief -exponents was the German, Meyerbeer. Two foreigners, therefore, have -had a large share in developing the school. It boasts, however, many -distinguished natives--Halvy, Auber, Gounod, Bizet, Massenet. - -In the French school of opera the instrumental support of the voice is -far richer and the combination of vocal and instrumental effect more -discriminating than in the old school of Italian opera. A first cousin -of Italian opera, the French, nevertheless, is more carefully thought -out, sometimes even too calculated; but, in general, less florid, and -never indifferent to the librettist and the significance of the lines -he has written and the situations he has evoked. Massenet is, in the -truest sense, the most recent representative of the school of -Meyerbeer and Gounod, for Bizet's "Carmen" is unique, and Dbussy's -"Pellas et Mlisande" a wholly separate manifestation of French art -for the lyric stage. - -The German school of opera is distinguished by a seriousness of -purpose that discards all effort at vocal display for itself alone, -and strives, in a score, well-balanced as between voice and orchestra, -to express more forcibly than could the spoken work, the drama that -has been set to music. - -An opera house like the Metropolitan, which practically has three -companies, presents Italian, French, and German operas in the language -in which they were written, or at least usually does so. Any speaker -before an English-speaking audience can always elicit prolonged -applause by maintaining that in English-speaking countries opera -should be sung in English. But, in point of fact, and even -disregarding the atrocities that masquerade as translations of opera -into English, opera should be sung in the language in which it is -written. For language unconsciously affects, I might even say -determines, the structure of the melody. - -Far more important than language, however, is it that opera be sung by -great artists. For these assimilate music and give it forth in all -its essence of truth and beauty. Were great artists to sing opera in -Choctaw, it would still be welcome as compared with opera rendered by -inferior interpreters, no matter in what language. - - - - -Opera Before Gluck - - -Gluck's "Orfeo ed Euridice" (Orpheus and Eurydice), produced in 1762, -is the oldest opera in the repertoire of the modern opera house. But -when you are told that the Grand Opra, Paris, was founded by Lully, -an Italian composer, in 1672; that Italians were writing operas nearly -a century earlier; that a German, Reinhard Keiser (1679-1739), is -known to have composed at least 116 operas; and that another German, -Johann Adolph Hasse, composed among his operas, numbering at least a -hundred, one entitled "Artaxerxes," two airs from which were sung by -Carlo Broschi every evening for ten years to soothe King Philip V. of -Spain;--you will realize that opera existed, and even flourished -before Gluck produced his "Orpheus and Eurydice." - -Opera originated in Florence toward the close of the sixteenth -century. A band of composers, enthusiastic, intellectual, aimed at -reproducing the musical declamation which they believed to have been -characteristic of the representation of Greek tragedy. Their scores -were not melodious, but composed in a style of declamatory recitative -highly dramatic for its day. What usually is classed as the first -opera, Jacopo Peri's "Dafne," was privately performed in the Palazzo -Corsi, Florence, in 1597. So great was its success that Peri was -commissioned, in 1600, to write a similar work for the festivities -incidental to the marriage of Henry IV. of France with Maria de -Medici, and composed "Euridice," said to have been the first opera -ever produced in public. - -The new art form received great stimulus from Claudio Monteverdi, the -Duke of Mantua's director of music, who composed "Arianna" (Ariadne) -in honor of the marriage of Francesco Gonzaga with Margherita, Infanta -of Savoy. The scene in which _Ariadne_ bewails her desertion by her -lover was so dramatically written (from the standpoint of the day, of -course) that it produced a sensation. The permanency of opera was -assured, when Monteverdi brought out, with even greater success, his -opera "Orfeo," which showed a further advance in dramatic expression, -as well as in the treatment of the instrumental score. This composer -invented the tremolo for strings--marvellous then, commonplace now, -and even reprehensible, unless employed with great skill. - -Monteverdi's scores contained, besides recitative, suggestions of -melody. The Venetian composer, Cavalli, introduced melody more -conspicuously into the vocal score in order to relieve the monotonous -effect of a continuous recitative, that was interrupted only by brief -melodious phrases. In his airs for voice he foreshadowed the aria -form, which was destined to be freely developed by Alessandro -Scarlatti (1659-1725). Scarlatti was the first to introduce into an -opera score the _ritornello_--the instrumental introduction, -interlude, or postlude to a composition for voice. Indeed, Scarlatti -is regarded as the founder of what we call Italian opera, the chief -characteristic of which is melody for the voice with a comparatively -simple accompaniment. - -By developing vocal melody to a point at which it ceased to be -dramatically expressive, but degenerated into mere voice pyrotechnics, -composers who followed Scarlatti laid themselves open to the charge of -being too subservient to the singers, and of sacrificing dramatic -truth and depth of expression to the vanity of those upon the stage. -Opera became too much a series of show-pieces for its interpreters. -The first practical and effective protest against this came from -Lully, who already has been mentioned. He banished all meaningless -embellishment from his scores. But in the many years that intervened -between Lully's career and Gluck's, the abuse set in again. Then -Gluck, from copying the florid Italian style of operatic composition -early in his career, changed his entire method as late as 1762, when -he was nearly fifty years old, and produced "Orfeo ed Euridice." From -that time on he became the champion for the restoration of opera to -its proper function as a well-balanced score, in which the voice, -while pre-eminent, does not "run away with the whole show." - -Indeed, throughout the history of opera, there have been recurring -periods, when it has become necessary for composers with the true -interest of the lyric stage at heart, to restore the proper balance -between the creator of a work and its interpreters, in other words to -prevent opera from degenerating from a musical drama of truly dramatic -significance to a mere framework for the display of vocal -pyrotechnics. Such a reformer was Wagner. Verdi, born the same year as -Wagner (1813), but outliving him nearly twenty years, exemplified both -the faults and virtues of opera. In his earlier works, many of which -have completely disappeared from the stage, he catered almost entirely -to his singers. But in "Ada" he produced a masterpiece full of melody -which, while offering every opportunity for beautiful singing, never -degenerates into mere vocal display. What is here said of Verdi could -have been said of Gluck. His earlier operas were in the florid style. -Not until he composed "Orpheus and Eurydice" did he approach opera -from the point of view of a reformer. "Orpheus" was his "Ada." - -Regarding opera Gluck wrote that "the true mission of music is to -second the poetry, by strengthening the expression of the sentiments -and increasing the interest of the situations, without interrupting -and weakening the action by superfluous ornaments in order to tickle -the ear and display the agility of fine voices." - -These words might have been written by Richard Wagner, they express so -well what he accomplished in the century following that in which Gluck -lived. They might also have been penned by Verdi, had he chosen to -write an introduction to his "Ada," "Otello," or "Falstaff"; and they -are followed by every successful composer of grand opera -today--Mascagni, Leoncavallo, Puccini, Massenet, Strauss. - -In fact, however much the public may be carried away temporarily by -astonishing vocal display introduced without reason save to be -astonishing, the fate of every work for the lyric stage eventually has -been decided on the principle enunciated above. Without being aware of -it, the public has applied it. For no matter how sensationally popular -a work may have been at any time, it has not survived unless, -consciously or unconsciously, the composer has been guided by the -cardinal principle of true dramatic expression. - -Finally, I must not be misunderstood as condemning, at wholesale, -vocal numbers in opera that require extraordinary technique. Scenes in -opera frequently offer legitimate occasion for brilliant vocal -display. Witness the arias of the _Queen of the Night_ in "The Magic -Flute," "Una voce poco fa" in "The Barber of Seville," "Ah! non -giunge" in "Sonnambula," the mad scene in "Lucia," "Caro nome" in -"Rigoletto," the "Jewel Song" in "Faust," and even _Brnnhilde's_ -valkyr shout in "Die Walkre"--works for the lyric stage that have -escorted thousands of operatic scores to the grave, with Gluck's -gospel on the true mission of opera for a funeral service. - - - - -Christoph Willibald Gluck - -(1714-1787) - - -Gluck is the earliest opera composer represented in the repertoire of -the modern opera house. In this country three of his works survive. -These are, in the order of their production, "Orfeo ed Euridice" -(Orpheus and Eurydice), "Armide," and "Iphignie en Tauride" -(Iphigenia in Tauris). "Orpheus and Eurydice," produced in 1762, is -the oldest work of its kind on the stage. It is the great-great-grandfather -of operas. - -Its composer was a musical reformer and "Orpheus" was the first -product of his musical reform. He had been a composer of operas in the -florid vocal style, which sacrificed the dramatic verities to the -whims, fancies, and ambitions of the singers, who sought only to show -off their voices. Gluck began, with his "Orpheus," to pay due regard -to true dramatic expression. His great merit is that he accomplished -this without ignoring the beauty and importance of the voice, but by -striking a correct balance between the vocal and instrumental portions -of the score. - -Simple as his operas appear to us today, they aroused a strife -comparable only with that which convulsed musical circles during the -progress of Wagner's career. The opposition to his reforms reached its -height in Paris, whither he went in 1772. His opponents invited Nicola -Piccini, at that time famous as a composer of operas in the florid -Italian style, to compete with him. So fierce was the war between -Gluckists and Piccinists, that duels were fought and lives sacrificed -over the respective merits of the two composers. Finally each produced -an opera on the subject of "Iphigenia in Tauris." Gluck's triumphed, -Piccini's failed. - -Completely victorious, Gluck retired to Vienna, where he died, -November 25, 1787. - - -ORFEO ED EURIDICE - -ORPHEUS AND EURYDICE - - Opera in three acts. Music by Christoph Willibald Gluck; - book by Raniero di Calzabigi. Productions and revivals. - Vienna, October 5, 1762; Paris, as "Orphe et Eurydice," - 1774; London, Covent Garden, June 26, 1860; New York, - Metropolitan Opera House, 1885 (in German); Academy of - Music, American Opera Company, in English, under Theodore - Thomas, January 8, 1886, with Helene Hastreiter, Emma Juch, - and Minnie Dilthey; Metropolitan Opera House, 1910 (with - Homer, Gadski, and Alma Gluck). - - CHARACTERS - - ORPHEUS _Contralto_ - EURYDICE _Soprano_ - AMOR, God of Love _Soprano_ - A HAPPY SHADE _Soprano_ - - Shepherds and Shepherdesses, Furies and Demons, Heroes and - Heroines in Hades. - - _Time_--Antiquity. - - _Place_--Greece and the Nether Regions. - -Following a brief and solemn prelude, the curtain rises on Act I, -showing a grotto with the tomb of _Eurydice_. The beautiful bride of -_Orpheus_ has died. Her husband and friends are mourning at her tomb. -During an affecting aria and chorus ("Thou whom I loved") funeral -honours are paid to the dead bride. A second orchestra, behind the -scenes, echoes, with charming effect, the distracted husband's -evocations to his bride and the mournful measures of the chorus, -until, in answer to the piercing cries of _Orpheus_ and the -exclamatory recitative, "Gods, cruel gods," _Amor_ appears. He tells -the bereaved husband that Zeus has taken pity on him. He shall have -permission to go down into Hades and endeavour to propitiate Pluto and -his minions solely through the power of his music. But, should he -rescue _Eurydice_, he must on no account look back at her until he has -crossed the Styx. - -Upon that condition, so difficult to fulfil, because of the love of -_Orpheus_ for his bride, turns the whole story. For should he, in -answer to her pleading, look back, or explain to her why he cannot do -so, she will immediately die. But _Orpheus_, confident in his power of -song and in his ability to stand the test imposed by Zeus and bring -his beloved _Eurydice_ back to earth, receives the message with great -joy. - -"Fulfil with joy the will of the gods," sings _Amor_, and _Orpheus_, -having implored the aid of the deities, departs for the Nether World. - -[Illustration: Copyright Photo by Dupont - -Louise Homer as Orpheus in "Orpheus and Eurydice"] - -Act I. Entrance to Hades. When _Orpheus_ appears, he is greeted with -threats by the _Furies_. The scene, beginning with the chorus, "Who is -this mortal?" is still considered a masterpiece of dramatic music. The -_Furies_ call upon Cerberus, the triple-headed dog monster that guards -the entrance to the Nether World, to tear in pieces the mortal who so -daringly approaches. The bark of the monster is reproduced in the -score. This effect, however, while interesting, is but a minor -incident. What lifts the scene to its thrilling climax is the -infuriated "No!" which is hurled at _Orpheus_ by the dwellers at the -entrance to Hades, when, having recourse to song, he tells of his love -for _Eurydice_ and his grief over her death and begs to be allowed to -seek her. He voices his plea in the air, "A thousand griefs, -threatening shades." The sweetness of his music wins the sympathy of -the _Furies_. They allow him to enter the Valley of the Blest, a -beautiful spot where the good spirits in Hades find rest. (Song for -_Eurydice_ and her companions, "In this tranquil and lovely abode -of the blest.") _Orpheus_ comes seeking _Eurydice_. His recitative, -"What pure light!" is answered by a chorus of happy shades, "Sweet -singer, you are welcome." To him they bring the lovely _Eurydice_. -_Orpheus_, beside himself with joy, but remembering the warning of -_Amor_, takes his bride by the hand and, with averted gaze, leads her -from the vale. - -She cannot understand his action. He seeks to soothe her injured -feelings. (Duet: "On my faith relying.") But his efforts are vain; nor -can he offer her any explanation, for he has also been forbidden to -make known to her the reason for his apparent indifference. - -Act III. A wood. _Orpheus_, still under the prohibition imposed by the -gods, has released the hand of his bride and is hurrying on in advance -of her urging her to follow. She, still not comprehending why he does -not even cast a glance upon her, protests that without his love she -prefers to die. - -_Orpheus_, no longer able to resist the appeal of his beloved bride, -forgets the warning of _Amor_. He turns and passionately clasps -_Eurydice_ in his arms. Immediately she dies. - -It is then that _Orpheus_ intones the lament, "Che far senza -Euridice" (I have lost my _Eurydice_), that air in the score which has -truly become immortal and by which Gluck, when the opera as a whole -shall have disappeared from the stage, will still be remembered. - -[Music] - -"All forms of language have been exhausted to praise the stupor of -grief, the passion, the despair expressed in this sublime number," -says a writer in the Clment and Larousse _Dictionnaire des Opras_. -It is equalled only by the lines of Virgil: - - Vox ipsa et frigida lingua, - "Ah! miseram Eurydicen," anima fugiente, vocabat; - "Eurydicen;" toto referabant flumine ripae. - - [E'en then his trembling tongue invok'd his bride; - With his last voice, "Eurydice," he cried, - "Eurydice," the rocks and river banks replied. - - DRYDEN.] - -In fact it is so beautiful that _Amor_, affected by the grief of -_Orpheus_ appears to him, touches _Eurydice_ and restores her to life -and to her husband's arms. - -The legend of "Orpheus and Eurydice" as related in Virgil's -_Georgics_, from which are the lines just quoted is one of the -classics of antiquity. In "Orfeo ed Euridice" Gluck has preserved the -chaste classicism of the original. Orpheus was the son of Apollo and -the muse Calliope. He played so divinely that trees uprooted -themselves and rocks were loosened from their fastnesses in order to -follow him. His bride, Eurydice, was the daughter of a Thracian -shepherd. - -The rle of _Orpheus_ was written for the celebrated male contralto -Guadagni. For the Paris production the composer added three bars to -the most famous number of the score, the "Che far senza Euridice," -illustrated above. These presumably were the three last bars, the -concluding phrases of the peroration of the immortal air. He also was -obliged to transpose the part of _Orpheus_ for the tenor Legros, for -whom he introduced a vocal number not only entirely out of keeping -with the rle, but not even of his own composition--a bravura aria -from "Tancred," an opera by the obscure Italian composer Fernandino -Bertoni. It is believed that the tenor importuned Gluck for something -that would show off his voice, whereupon the composer handed him the -Bertoni air. Legros introduced it at the end of the first act, where -to this day it remains in the printed score. - -When the tenor Nourrit sang the rle many years later, he substituted -the far more appropriate aria, " transport, dsordre extrme" (O -transport, O ecstasy extreme) from Gluck's own "Echo and Narcissus." - -But that the opera, as it came from Gluck's pen, required nothing -more, appeared in the notable revival at the Thtre Lyrique, Paris, -November, 1859, under Berlioz's direction, when that distinguished -composer restored the rle of _Orpheus_ to its original form and for a -hundred and fifty nights the celebrated contralto, Pauline -Viardot-Garcia, sang it to enthusiastic houses. - -The best production of the work in this country was that of the -American Opera Company. It was suited, as no other opera was, to the -exact capacity of that ill-starred organization. The representation -was in four acts instead of three, the second act being divided into -two, a division to which it easily lends itself. - -The opera has been the object of unstinted praise. Of the second act -the same French authority quoted above says that from the first note -to the last, it is "a complete masterpiece and one of the most -astonishing productions of the human mind. The chorus of demons, 'What -mortal dares,' in turn questions, becomes wrathful, bursts into a -turmoil of threats, gradually becomes tranquil and is hushed, as if -subdued and conquered by the music of _Orpheus's_ lyre. What is more -moving than the phrase 'Laissez-vous toucher par mes pleurs'? (A -thousand griefs, threatening shades.) Seeing a large audience -captivated by this mythological subject; an audience mixed, frivolous -and unthinking, transported and swayed by this scene, one recognizes -the real power of music. The composer conquered his hearers as his -_Orpheus_ succeeded in subduing the _Furies_. Nowhere, in no work, is -the effect more gripping. The scene in the Elysian fields also has -its beauties. The air of _Eurydice_, the chorus of happy shades, have -the breath of inalterable calm, peace and serenity." - -Gaetano Guadagni, who created the rle of _Orpheus_, was one of the -most famous male contralti of the eighteenth century. Hndel assigned -to him contralto parts in the "Messiah" and "Samson," and it was Gluck -himself who procured his engagement at Vienna. The French production -of the opera was preceded by an act of homage, which showed the -interest of the French in Gluck's work. For while it had its first -performance in Vienna, the score was first printed in Paris and at the -expense of Count Durazzo. The success of the Paris production was so -great that Gluck's former pupil, Marie Antoinette, granted him a -pension of 6,000 francs with an addition of the same sum for every -fresh work he should produce on the French stage. - -The libretto of Calzabigi was, for its day, charged with a vast amount -of human interest, passion, and dramatic intensity. In these -particulars it was as novel as Gluck's score, and possibly had an -influence upon him in the direction of his operatic reforms. - - -ARMIDE - - Opera in five acts by Gluck; words by Franois Quinault, - founded on Tasso's _Jerusalem Delivered_. - - Produced, Paris, 1777, at the Acadmie de Musique; New York, - Metropolitan Opera House, November 14, 1910, with Fremstad, - Caruso, Homer, Gluck, and Amato. - - CHARACTERS - - ARMIDE, a Sorceress, Niece of Hidraot _Soprano_ - PHENICE } { _Soprano_ - SIDONIE } her attendants { _Soprano_ - HATE, a Fury _Soprano_ - LUCINDE } { _Soprano_ - MLISSE } apparitions { _Soprano_ - RENAUD (RINALDO), a Knight of the Crusade - under Godfrey of Bouillon _Tenor_ - ARTEMIDORE, Captive Knight Delivered by Renaud _Tenor_ - THE DANISH KNIGHT } Crusaders { _Tenor_ - UBALDE } { _Bass_ - HIDRAOT, King of Damascus _Bass_ - ARONTES, leader of the Saracens _Bass_ - A Naiad, a Love _Apparitions_ - - Populace, Apparitions and Furies. - - _Time_--First Crusade, 1098. - - _Place_--Damascus. - -Act I. Hall of _Armide's_ palace at Damascus. _Phenice_ and _Sidonie_ -are praising the beauty of _Armide_. But she is depressed at her -failure to vanquish the intrepid knight, _Renaud_, although all others -have been vanquished by her. _Hidraot_, entering, expresses a desire -to see _Armide_ married. The princess tells him that, should she ever -yield to love, only a hero shall inspire it. People of Damascus enter -to celebrate the victory won by _Armide's_ sorcery over the knights of -Godfrey. In the midst of the festivities _Arontes_, who has had charge -of the captive knights, appears and announces their rescue by a single -warrior, none other than _Renaud_, upon whom _Armide_ now vows -vengeance. - -Act II. A desert spot. _Artemidore_, one of the Christian knights, -thanks _Renaud_ for his rescue. _Renaud_ has been banished from -Godfrey's camp for the misdeed of another, whom he will not betray. -_Artemidore_ warns him to beware the blandishments of _Armide_, then -departs. _Renaud_ falls asleep by the bank of a stream. _Hidraot_ and -_Armide_ come upon the scene. He urges her to employ her supernatural -powers to aid in the pursuit of _Renaud_. After the king has departed, -she discovers _Renaud_. At her behest apparitions, in the disguise of -charming nymphs, shepherds and shepherdesses, bind him with garlands -of flowers. _Armide_ now approaches to slay her sleeping enemy with a -dagger, but, in the act of striking him, she is overcome with love for -him, and bids the apparitions transport her and her hero to some -"farthest desert, where she may hide her weakness and her shame." - -Act III. Wild and rugged landscape. _Armide_, alone, is deploring the -conquest of her heart by _Renaud_. _Phenice_ and _Sidonie_ come to her -and urge her to abandon herself to love. They assure her that _Renaud_ -cannot fail to be enchanted by her beauty. _Armide_, reluctant to -yield, summons _Hate_, who is ready to do her bidding and expel love -from her bosom. But at the critical moment _Armide_ cries out to -desist, and _Hate_ retires with the threat never to return. - -Act IV. From yawning chasms and caves wild beasts and monsters emerge -in order to frighten _Ubalde_ and a _Danish Knight_, who have come in -quest of _Renaud_. _Ubalde_ carries a magic shield and sceptre, to -counteract the enchantments of _Armide_, and to deliver _Renaud_. The -knights attack and vanquish the monsters. The desert changes into a -beautiful garden. An apparition, disguised as _Lucinde_, a girl -beloved by the _Danish Knight_, is here, accompanied by apparitions in -various pleasing disguises. _Lucinde_ tries to detain the knight from -continuing upon his errand, but upon _Ubalde_ touching her with the -golden sceptre, she vanishes. The two then resume their journey to the -rescue of _Renaud_. - -Act V. Another part of the enchanted garden. _Renaud_, bedecked with -garlands, endeavours to detain _Armide_, who, haunted by dark -presentiment, wishes to consult with the powers of Hades. She leaves -_Renaud_ to be entertained by a company of happy _Lovers_. They, -however, fail to divert the lovelorn warrior, and are dismissed by -him. _Ubalde_ and the _Danish Knight_ appear. By holding the magic -shield before _Renaud's_ eyes, they counteract the passion that has -swayed him. He is following the two knights, when _Armide_ returns and -vainly tries to detain him. Proof against her blandishments, he leaves -her to seek glory. _Armide_ deserted, summons _Hate_ to slay him. But -_Hate_, once driven away, refuses to return. _Armide_ then bids the -_Furies_ destroy the enchanted palace. They obey. She perishes in the -ruins. (Or, according to the libretto, "departs in a flying car"--an -early instance of aviation in opera!) - -There are more than fifty operas on the subject of _Armide_. Gluck's -has survived them all. Nearly a century before his opera was produced -at the Acadmie, Paris, that institution was the scene of the first -performance of "Armide et Renaud," composed by Lully to the same -libretto used by Gluck, Quinault having been Lully's librettist in -ordinary. - -"Armide" is not a work of such strong human appeal as "Orpheus"; but -for its day it was a highly dramatic production; and it still admits -of elaborate spectacle. The air for _Renaud_ in the second act, "Plus -j'observe ces lieux, et plus je les admire!" (The more I view this -spot the more charmed I am); the shepherd's song almost immediately -following; _Armide's_ air at the opening of the third act, "Ah! si la -libert me doit tre ravie" (Ah! if liberty is lost to me); the -exquisite solo and chorus in the enchanted garden, "Les plaisirs ont -choisi pour asile" (Pleasure has chosen for its retreat) are classics. -Several of the ballet numbers long were popular. - -In assigning to a singer of unusual merit the ungrateful rle of the -_Danish Knight_, Gluck said: "A single stanza will compensate you, I -hope, for so courteously consenting to take the part." It was the -stanza, "Ntre gnral vous rappelle" (Our commander summons you), -with which the knight in Act V recalls _Renaud_ to his duty. "Never," -says the relater of the anecdote, "was a prediction more completely -fulfilled. The stanza in question produced a sensation." - - -IPHIGNIE EN TAURIDE - -IPHIGENIA IN TAURIS - - Opera in four acts by Gluck, words by Franois Guillard. - - Produced at the Acadmie de Musique, Paris, May 18, 1779; - Metropolitan Opera House, New York, November 25, 1916, with - Kurt, Weil, Sembach, Braun, and Rappold. - - CHARACTERS - - IPHIGNIE, Priestess of Diana _Soprano_ - ORESTES, her Brother _Baritone_ - PYLADES, his Friend _Tenor_ - THOAS, King of Scythia _Bass_ - DIANA _Soprano_ - - SCYTHIANS, Priestesses of Diana. - - _Time_--Antiquity, after the Trojan War. - - _Place_--Tauris. - -_Iphignie_ is the daughter of Agamemnon, King of Mycenae. Agamemnon -was slain by his wife, Clytemnestra, who, in turn, was killed by her -son, _Orestes_. _Iphignie_ is ignorant of these happenings. She has -been a priestess of Diana and has not seen _Orestes_ for many years. - -Act I. Before the atrium of the temple of Diana. To priestesses and -Greek maidens, _Iphignie_ tells of her dream that misfortune has come -to her family in the distant country of her birth. _Thoas_, entering, -calls for a human sacrifice to ward off danger that has been foretold -to him. Some of his people, hastily coming upon the scene, bring with -them as captives _Orestes_ and _Pylades_, Greek youths who have landed -upon the coast. They report that _Orestes_ constantly speaks of having -committed a crime and of being pursued by Furies. - -Act II. Temple of Diana. _Orestes_ bewails his fate. _Pylades_ sings -of his undying friendship for him. _Pylades_ is separated from -_Orestes_, who temporarily loses his mind. _Iphignie_ questions him. -_Orestes_, under her influence, becomes calmer, but refrains from -disclosing his identity. He tells her, however, that he is from -Mycenae, that Agamemnon (their father) has been slain by his wife, -that Clytemnestra's son, _Orestes_, has slain her in revenge, and is -himself dead. Of the once great family only a daughter, Electra, -remains. - -Act III. _Iphignie_ is struck with the resemblance of the stranger to -her brother and, in order to save him from the sacrifice demanded by -_Thoas_, charges him to deliver a letter to Electra. He declines to -leave _Pylades_; nor until _Orestes_ affirms that he will commit -suicide, rather than accept freedom at the price of his friend's life, -does _Pylades_ agree to take the letter, and then only because he -hopes to bring succour to _Orestes_. - -Act IV. All is ready for the sacrifice. _Iphignie_ has the knife -poised for the fatal thrust, when, through an exclamation uttered by -_Orestes_, she recognizes him as her brother. The priestesses offer -him obeisance as King. _Thoas_, however, enters and demands the -sacrifice. _Iphignie_ declares that she will die with her brother. At -that moment _Pylades_ at the head of a rescue party enters the temple. -A combat ensues in which _Thoas_ is killed. _Diana_ herself appears, -pardons _Orestes_ and returns to the Greeks her likeness which the -Scythians had stolen and over which they had built the temple. - -Gluck was sixty-five, when he brought out "Iphignie en Tauride." A -contemporary remarked that there were many fine passages in the opera. -"There is only one," said the Abb Arnaud. "Which?"--"The entire -work." - -The mad scene for _Orestes_, in the second act, has been called -Gluck's greatest single achievement. Mention should also be made of -the dream of _Iphignie_, the dances of the Scythians, the air of -_Thoas_, "De noirs pressentiments mon me intimide" (My spirit is -depressed by dark forebodings); the air of _Pylades_, "Unis ds la -plus tendre enfance" (United since our earliest infancy); -_Iphignie's_ " malheureuse (unhappy) Iphignie," and "Je t'implore -et je tremble" (I pray you and I tremble); and the hymn to Diana, -"Chaste fille de Latone" (Chaste daughter of the crescent moon). - -Here may be related an incident at the rehearsal of the work, which -proves the dramatic significance Gluck sought to impart to his music. -In the second act, while _Orestes_ is singing, "Le calme rentre dans -mon coeur," (Once more my heart is calm), the orchestral -accompaniment continues to express the agitation of his thoughts. -During the rehearsal the members of the orchestra, not understanding -the passage, came to a stop. "Go on all the same," cried Gluck. "He -lies. He has killed his mother!" - -Gluck's enemies prevailed upon his rival, Piccini, to write an -"Iphignie en Tauride" in opposition. It was produced in January, -1781, met with failure, and put a definite stop to Piccini's rivalry -with Gluck. At the performance the prima donna was intoxicated. This -caused a spectator to shout: - -"'Iphignie en Tauride!' allons donc, c'est 'Iphignie en Champagne!'" -(Iphigenia in Tauris! Do tell! Shouldn't it be Iphigenia in -Champagne?) - -The laugh that followed sealed the doom of the work. - -The Metropolitan production employs the version of the work made by -Richard Strauss, which involves changes in the finales of the first -and last acts. Ballet music from "Orfeo" and "Armide" also is -introduced. - - - - -Wolfgang Amadeus Mozart - -(1756-1791) - - -The operas of Gluck supplanted those of Lully and Rameau. Those of -Mozart, while they did not supplant Gluck's, wrested from them the -sceptre of supremacy. In a general way it may be said that, before -Mozart's time, composers of grand opera reached back to antiquity and -mythology, or to the early Christian era, for their subjects. Their -works moved with a certain restricted grandeur. Their characters were -remote. - -Mozart's subjects were more modern, even contemporary. Moreover, he -was one of the brightest stars in the musical firmament. His was a -complete and easy mastery of all forms of music. "In his music -breathes the warm-hearted, laughter-loving artist," writes Theodore -Baker. That is a correct characterization. "The Marriage of Figaro" is -still regarded as a model of what a comic grand opera, if so I may -call it, should be. "Don Giovanni," despite its tragic _dnouement_, -sparkles with humour, and _Don Giovanni_ himself, despite the evil he -does, is a jovial character. "The Magic Flute" is full of amusing -incidents and, if its relationship to the rites of freemasonry has -been correctly interpreted, was a contemporary subject of strong human -interest, notwithstanding its story being laid in ancient Egypt. In -fact it may be said that, in the evolution of opera, Mozart was the -first to impart to it a strong human interest with humour playing -about it like sunlight. - -The libretto of "The Marriage of Figaro" was derived from a -contemporary French comedy; "Don Giovanni," though its plot is taken -from an old Spanish story, has in its principal character a type of -libertine, whose reckless daring inspires loyalty not only in his -servant, but even in at least one of his victims--a type as familiar -to Mozart's contemporaries as it is to us; the probable contemporary -significance of "The Magic Flute" I have already mentioned, and the -point is further considered under the head of that opera. - -For the most part as free from unnecessary vocal embellishments as are -the operas of Gluck, Mozart, being the more gifted composer, attained -an even higher degree of dramatic expression than his predecessor. May -I say that he even gave to the voice a human clang it hitherto had -lacked, and in this respect also advanced the art of opera? By this I -mean that, full of dramatic significance as his voice parts are, they -have, too, an ingratiating human quality which the music of his -predecessor lacks. In plasticity of orchestration his operas also mark -a great advance. - -Excepting a few works by Gluck, every opera before Mozart and the -operas of every composer contemporary with him, and for a considerable -period after him, have disappeared from the repertoire. The next two -operas to hold the stage, Beethoven's "Fidelio" (in its final form) -and Rossini's "Barber of Seville" were not produced until 1814 and -1816--respectively twenty-three and twenty-five years after Mozart's -death. - -That Mozart was a genius by the grace of God will appear from the -simple statement that his career came to an end at the age of -thirty-five. Compare this with the long careers of the three other -composers, whose influence upon opera was supreme--Gluck, Wagner, and -Verdi. Gluck died in his seventy-third year, Wagner in his -seventieth, and Verdi in his eighty-eighth. Yet the composer who laid -down his pen and went to a pauper's grave at thirty-five, contributed -as much as any of these to the evolution of the art of opera. - - -LE NOZZE DI FIGARO - -THE MARRIAGE OF FIGARO - - Opera in four acts by Mozart; words by Lorenzo da Ponte, - after Beaumarchais. Produced at the National Theatre, - Vienna, May 1, 1786, Mozart conducting. Acadmie de Musique, - Paris, as "Le Mariage de Figaro" (with Beaumarchais's - dialogue), 1793; as "Les Noces de Figaro" (words by Barbier - and Carr), 1858. London, in Italian, King's Theatre, June - 18, 1812. New York, 1823, with T. Phillips, of Dublin, as - _Figaro_; May 10, 1824, with Pearman as _Figaro_ and Mrs. - Holman, as _Susanna_; January 18, 1828, with Elizabeth - Alston, as _Susanna_; all these were in English and at the - Park Theatre. (See concluding paragraph of this article.) - Notable revivals in Italian, at the Metropolitan Opera - House: 1902, with Sembrich, Eames, Fritzi Scheff, de Reszke, - and Campanari; 1909, Sembrich, Eames, Farrar, and Scotti; - 1916, Hempel, Matzenauer, Farrar, and Scotti. - - CHARACTERS - - COUNT ALMAVIVA _Baritone_ - FIGARO, his valet _Baritone_ - DOCTOR BARTOLO, a Physician _Bass_ - DON BASILIO, a music-master _Tenor_ - CHERUBINO, a page _Soprano_ - ANTONIO, a gardener _Bass_ - DON CURZIO, counsellor at law _Tenor_ - COUNTESS ALMAVIVA _Soprano_ - SUSANNA, her personal maid, affianced - to FIGARO _Soprano_ - MARCELLINA, a duenna _Soprano_ - BARBARINA, ANTONIO's daughter _Soprano_ - - _Time_--17th Century. - - _Place_--The Count's chteau of Aguas Frescas, near Seville. - -"Le Nozze di Figaro" was composed by Mozart by command of Emperor -Joseph II., of Austria. After congratulating the composer at the end -of the first performance, the Emperor said to him: "You must admit, -however, my dear Mozart, that there are a great many notes in your -score." "Not one too many, Sire," was Mozart's reply. - -(The anecdote, it should be noted, also, is told of the first -performance of Mozart's "Cos Fan Tutte.") - -No opera composed before "Le Nozze di Figaro" can be compared with it -for development of ensemble, charm and novelty of melody, richness and -variety of orchestration. Yet Mozart composed this score in a month. -The finale to the second act occupied him but two days. In the music -the sparkle of high comedy alternates with the deeper sentiment of the -affections. - -Michael Kelly, the English tenor, who was the _Basilio_ and _Curzio_ -in the original production, tells in his memoirs of the splendid -sonority with which Benucci, the _Figaro_, sang the martial "Non pi -andrai" at the first orchestral rehearsal. Mozart, who was on the -stage in a crimson pelisse and cocked hat trimmed with gold lace, kept -repeating _sotto voce_, "Bravo, bravo, Benucci!" At the conclusion the -orchestra and all on the stage burst into applause and vociferous -acclaim of Mozart: - -"Bravo, bravo, Maestro! Viva, viva, grande Mozart!" - -Further, the _Reminiscences_ of Kelly inform us of the enthusiastic -reception of "Le Nozze di Figaro" upon its production, almost -everything being encored, so that the time required for its -performance was nearly doubled. Notwithstanding this success, it was -withdrawn after comparatively few representations, owing to Italian -intrigue at the court and opera, led by Mozart's rival, the composer -Salieri--now heard of only because of that rivalry. In Prague, where -the opera was produced in January, 1787, its success was so great that -Bondini, the manager of the company, was able to persuade Mozart to -compose an opera for first performance in Prague. The result was "Don -Giovanni." - -The story of "Le Nozze di Figaro" is a sequel to that of "The Barber -of Seville," which Rossini set to music. Both are derived from -"Figaro" comedies by Beaumarchais. In Rossini's opera it is _Figaro_, -at the time a barber in Seville, who plays the go-between for _Count -Almaviva_ and his beloved _Rosina_, _Dr. Bartolo's_ pretty ward. -_Rosina_ is now the wife of the _Count_, who unfortunately, is -promiscuous in his attentions to women, including _Susanna_, the -_Countess's_ vivacious maid, who is affianced to _Figaro_. The latter -and the music-master _Basilio_ who, in their time helped to hoodwink -_Bartolo_, are in the service of the _Count_, _Figaro_ having been -rewarded with the position of valet and majordomo. _Bartolo_, for -whom, as formerly, _Marcellina_ is keeping house, still is _Figaro's_ -enemy, because of the latter's interference with his plans to marry -_Rosina_ and so secure her fortune to himself. The other characters in -the opera also belong to the personnel of the _Count's_ household. - -Aside from the difference between Rossini's and Mozart's scores, which -are alike only in that each opera is a masterpiece of the comic -sentiment, there is at least one difference between the stories. In -Rossini's "Barber" _Figaro_, a man, is the mainspring of the action. -In Mozart's opera it is _Susanna_, a woman; and a clever woman may -possess in the rle of protagonist in comedy a chicness and sparkle -quite impossible to a man. The whole plot of "Le Nozze di Figaro" -plays around _Susanna's_ efforts to nip in the bud the intrigue in -which the _Count_ wishes to engage her. She is aided by the _Countess_ -and by _Figaro_; but she still must appear to encourage while evading -the _Count's_ advances, and do so without offending him, lest both she -and her affianced be made to suffer through his disfavour. In the -libretto there is much that is _risqu_, suggestive. But as the -average opera-goer does not understand the subtleties of the Italian -language, and the average English translation is too clumsy to -preserve them, it is quite possible--especially in this advanced -age--to attend a performance of "Le Nozze di Figaro" without -imperilling one's morals. - -There is a romping overture. Then, in Act I, we learn that _Figaro_, -_Count Almaviva's_ valet, wants to get married. _Susanna_, the -_Countess's_ maid, is the chosen one. The _Count_ has assigned to them -a room near his, ostensibly because his valet will be able to respond -quickly to his summons. The room is the scene of this Act. _Susanna_ -tells her lover that the true reason for the _Count's_ choice of their -room is the fact that their noble master is running after her. Now -_Figaro_ is willing enough to "play up" for the little _Count_, if he -should take it into his head "to venture on a little dance" once too -often. ("Se vuol ballare, Signor Contino!") - -[Music] - -Unfortunately, however, _Figaro_ himself is in a fix. He has borrowed -money from _Marcellina_, _Bartolo's_ housekeeper, and he has promised -to marry her in case of his inability to repay her. She now appears, -to demand of _Figaro_ the fulfilment of his promise. _Bartolo_ -encourages her in this, both out of spite against _Figaro_ and because -he wants to be rid of the old woman, who has been his mistress and -even borne him a son, who, however, was kidnapped soon after his -birth. There is a vengeance aria for _Bartolo_, and a spiteful duet -for _Marcellina_ and _Susanna_, beginning: "Via resti servita, madama -brillante" (Go first, I entreat you, Miss, model of beauty!). - -[Illustration: Photo by White - -Hempel (Susanna), Matzenauer (the Countess), and Farrar (Cherubino) in -"Le Nozze di Figaro"] - -The next scene opens between the page, _Cherubino_, a boy in love -with every petticoat, and _Susanna_. He begs _Susanna_ to intercede -for him with the _Count_, who has dismissed him. _Cherubino_ desires -to stay around the _Countess_, for whom he has conceived one of his -grand passions. "Non so pi cosa son, cosa faccio"--(Ah, what feelings -now possess me!). The _Count's_ step is heard. _Cherubino_ hides -himself behind a chair, from where he hears the _Count_ paying court -to _Susanna_. The voice of the music-master then is heard from -without. The _Count_ moves toward the door. _Cherubino_, taking -advantage of this, slips out from behind the chair and conceals -himself in it under a dress that has been thrown over it. The _Count_, -however, instead of going out, hides behind the chair, in the same -place where _Cherubino_ has been. _Basilio_, who has entered, now -makes all kinds of malicious remarks and insinuations about the -flirtations of _Cherubino_ with _Susanna_ and also with the -_Countess_. The _Count_, enraged at the free use of his wife's name, -emerges from behind the chair. Only the day before, he says, he has -caught that rascal, _Cherubino_, with the gardener's daughter -_Barbarina_ (with whom the _Count_ also is flirting). _Cherubino_, he -continues, was hidden under a coverlet, "just as if under this dress -here." Then, suiting the action to the words, by way of demonstration, -he lifts the gown from the chair, and lo! there is _Cherubino_. The -_Count_ is furious. But as the page has overheard him making love to -_Susanna_, and as _Figaro_ and others have come in to beg that he be -forgiven, the _Count_, while no longer permitting him to remain in the -castle, grants him an officer's commission in his own regiment. It is -here that _Figaro_ addresses _Cherubino_ in the dashing martial air, -"Non pi andrai, farfallone amoroso" (Play no more, the part of a -lover). - -Act II. Still, the _Count_, for whom the claims of _Marcellina_ upon -_Figaro_ have come in very opportunely, has not given consent for his -valet's wedding. He wishes to carry his own intrigue with _Susanna_, -the genuineness of whose love for _Figaro_ he underestimates, to a -successful issue. _Susanna_ and _Figaro_ meet in the _Countess's_ -room. The _Countess_ has been soliloquizing upon love, of whose -fickleness the _Count_ has but provided too many examples.--"Porgi -amor, qualche ristoro" (Love, thou holy, purest passion.) _Figaro_ has -contrived a plan to gain the consent of the _Count_ to his wedding -with _Susanna_. The valet's scheme is to make the _Count_ ashamed of -his own flirtations. _Figaro_ has sent a letter to the _Count_, which -divulges a supposed rendezvous of the _Countess_ in the garden. At the -same time _Susanna_ is to make an appointment to meet the _Count_ in -the same spot. But, in place of _Susanna_, _Cherubino_, dressed in -_Susanna's_ clothes, will meet the _Count_. Both will be caught by the -_Countess_ and the _Count_ thus be confounded. - -_Cherubino_ is then brought in to try on _Susanna's_ clothes. He sings -to the _Countess_ an air of sentiment, one of the famous vocal numbers -of the opera, the exquisite: "Voi che sapete, che cosa amor" (What -is this feeling makes me so sad). - -[Music] - -The _Countess_, examining his officer's commission, finds that the -seal to it has been forgotten. While in the midst of these proceedings -someone knocks. It is the _Count_. Consternation. _Cherubino_ flees -into the _Countess's_ room and _Susanna_ hides behind a curtain. The -evident embarrassment of his wife arouses the suspicions of her -husband, who, gay himself, is very jealous of her. He tries the door -_Cherubino_ has bolted from the inside, then goes off to get tools to -break it down with. He takes his wife with him. While he is away, -_Cherubino_ slips out and leaps out of a window into the garden. In -his place, _Susanna_ bolts herself in the room, so that, when the -_Count_ breaks open the door, it is only to discover that _Susanna_ is -in his wife's room. All would be well, but unfortunately _Antonio_, -the gardener, enters. A man, he says, has jumped out of the -_Countess's_ window and broken a flowerpot. _Figaro_, who has come in, -and who senses that something has gone wrong, says that it was he who -was with _Susanna_ and jumped out of the window. But the gardener has -found a paper. He shows it. It is _Cherubino's_ commission. How did -_Figaro_ come by it? The _Countess_ whispers something to _Figaro_. -Ah, yes; _Cherubino_ handed it to him in order that he should obtain -the missing seal. - -Everything appears to be cleared up when _Marcellina_, accompanied by -_Bartolo_, comes to lodge formal complaint against _Figaro_ for breach -of promise, which for the _Count_ is a much desired pretext to refuse -again his consent to _Figaro's_ wedding with _Susanna_. These, the -culminating episodes of this act, form a finale which is justly -admired, a finale so gradually developed and so skilfully evolved -that, although only the principals participate in it, it is as -effective as if it employed a full ensemble of soloists, chorus, and -orchestra worked up in the most elaborate fashion. Indeed, for -effectiveness produced by simple means, the operas of Mozart are -models. - -But to return to the story. At the trial in Act III, between -_Marcellina_ and _Figaro_, it develops that _Figaro_ is her long-lost -natural son. _Susanna_ pays the costs of the trial and nothing now -seems to stand in the way of her union with _Figaro_. The _Count_, -however, is not yet entirely cured of his fickle fancies. So the -_Countess_ and _Susanna_ hit upon still another scheme in this play of -complications. During the wedding festivities _Susanna_ is to contrive -to send secretly to the _Count_ a note, in which she invites him to -meet her. Then the _Countess_, dressed in _Susanna's_ clothes, is to -meet him at the place named. _Figaro_ knows nothing of this plan. -Chancing to find out about the note, he too becomes jealous--another, -though minor, contribution to the mix-up of emotions. In this act the -concoction of the letter by the _Countess_ and _Susanna_ is the basis -of the most beautiful vocal number in the opera, the "letter duet" or -Canzonetta sull'aria (the "Canzonetta of the Zephyr")--"Che soave -zeffiretto" (Hither gentle zephyr); an exquisite melody, in which the -lady dictates, the maid writes down, and the voices of both blend in -comment. - -[Music] - -The final Act brings about the desired result after a series of -amusing _contretemps_ in the garden. The _Count_ sinks on his knees -before his _Countess_ and, as the curtain falls, there is reason to -hope that he is prepared to mend his ways. - -Regarding the early performances of "Figaro" in this country, these -early performances were given "with Mozart's music, but adapted by -Henry Rowley Bishop." When I was a boy, a humorous way of commenting -upon an artistic sacrilege was to exclaim: "Ah! Mozart improved by -Bishop!" I presume the phrase came down from these early -representations of "The Marriage of Figaro." Bishop was the composer -of "Home, Sweet Home." In 1839 his wife eloped with Bochsa, the harp -virtuoso, afterwards settled in New York, and for many years sang in -concert and taught under the name of Mme. Anna Bishop. - - -DON GIOVANNI - - Opera in two acts by Mozart; text by Lorenzo da Ponte. - Productions, Prague, Oct. 29, 1787; Vienna, May 17, 1788; - London, April 12, 1817; New York, Park Theatre, May 23, - 1826. - - Original title: "Il Dissoluto Punito, ossia il Don Giovanni" - (The Reprobate Punished, or Don Giovanni). The work was - originally characterized as an _opera buffa_, or _dramma - giocoso_, but Mozart's noble setting lifted it out of that - category. - - CHARACTERS - - DON PEDRO, the Commandant _Bass_ - DONNA ANNA, his daughter _Soprano_ - DON OTTAVIO, her betrothed _Tenor_ - DON GIOVANNI _Baritone_ - LEPORELLO, his servant _Bass_ - DONNA ELVIRA _Soprano_ - ZERLINA _Soprano_ - MASETTO, betrothed to ZERLINA _Tenor_ - [Transcriber's Note: should be 'Baritone'] - -"Don Giovanni" was presented for the first time in Prague, because -Mozart, satisfied with the manner in which Bondini's troupe had sung -his "Marriage of Figaro" a little more than a year before, had agreed -to write another work for the same house. - -The story on which da Ponte based his libretto--the statue of a -murdered man accepting an insolent invitation to banquet with his -murderer, appearing at the feast and dragging him down to hell--is -very old. It goes back to the Middle Ages, probably further. A French -authority considers that da Ponte derived his libretto from "Le Festin -de Pierre," Molire's version of the old tale. Da Ponte, however, made -free use of "Il Convitato di Pietra" (The Stone-Guest), a libretto -written by the Italian theatrical poet Bertati for the composer -Giuseppe Gazzaniga. Whoever desires to follow up this interesting -phase of the subject will find the entire libretto of Bertati's -"Convitato" reprinted, with a learned commentary by Chrysander, in -volume iv of the _Vierteljahrheft fr Musikwissenschaft_ (Music -Science Quarterly), a copy of which is in the New York Public Library. - -Mozart agreed to hand over the finished score in time for the autumn -season of 1787, for the sum of one hundred ducats ($240). Richard -Strauss receives for a new opera a guarantee of ten performances at a -thousand dollars--$10,000 in all--and, of course, his royalties -thereafter. There is quite a distinction in these matters between the -eighteenth century and the present. And what a lot of good a few -thousand dollars would have done the impecunious composer of the -immortal "Don Giovanni!" Also, one is tempted to ask oneself if any -modern ten thousand dollar opera will live as long as the two hundred -and forty dollar one which already is 130 years old. - -Bondini's company, for which Mozart wrote his masterpiece of dramatic -music, furnished the following cast: _Don Giovanni_, Signor Bassi, -twenty-two years old, a fine baritone, an excellent singer and actor; -_Donna Anna_, Signora Teresa Saporiti; _Donna Elvira_, Signora -Catarina Micelli, who had great talent for dramatic expression; -_Zerlina_, Signora Teresa Bondini, wife of the manager; _Don Ottavio_, -Signor Antonio Baglioni, with a sweet, flexible tenor voice; -_Leporello_, Signor Felice Ponziani, an excellent basso comico; _Don -Pedro_ (the Commandant), and _Masetto_, Signor Giuseppe Lolli. - -Mozart directed the rehearsals, had the singers come to his house to -study, gave them advice how some of the difficult passages should be -executed, explained the characters they represented, and exacted -finish, detail, and accuracy. Sometimes he even chided the artists for -an Italian impetuosity, which might be out of keeping with the charm -of his melodies. At the first rehearsal, however, not being satisfied -with the way in which Signora Bondini gave _Zerlina's_ cry of terror -from behind the scenes, when the _Don_ is supposed to attempt her -ruin, Mozart left the orchestra and went upon the stage. Ordering the -first act finale to be repeated from the minuet on, he concealed -himself in the wings. There, in the peasant dress of _Zerlina_, with -its short skirt, stood Signora Bondini, waiting for her cue. When it -came, Mozart quickly reached out a hand from his place of concealment -and pinched her leg. She gave a piercing shriek. "There! That is how I -want it," he said, emerging from the wings, while the Bondini, not -knowing whether to laugh or blush, did both. - -One of the most striking features of the score, the warning words -which the statue of the _Commandant_, in the plaza before the -cathedral of Seville, utters within the hearing of _Don Giovanni_ and -_Leporello_, was originally accompanied by the trombones only. At -rehearsal in Prague, Mozart, not satisfied with the way the passage -was played, stepped over toward the desks at which the trombonists -sat. - -One of them spoke up: "It can't be played any better. Even you -couldn't teach us how." - -Mozart smiled. "Heaven forbid," he said, "that I should attempt to -teach you how to play the trombone. But let me have the parts." - -Looking them over he immediately made up his mind what to do. With a -few quick strokes of the pen, he added the wood-wind instruments as -they are now found in the score. - -It is well known that the overture of "Don Giovanni" was written -almost on the eve of the first performance. Mozart passed a gay -evening with some friends. One of them said to him: "Tomorrow the -first performance of 'Don Giovanni' will take place, and you have not -yet composed the overture!" Mozart pretended to get nervous about it -and withdrew to his room, where he found music-paper, pens, and ink. -He began to compose about midnight. Whenever he grew sleepy, his wife, -who was by his side, entertained him with stories to keep him awake. -It is said that it took him but three hours to produce this overture. - -The next evening, a little before the curtain rose, the copyists -finished transcribing the parts for the orchestra. Hardly had they -brought the sheets, still wet, to the theatre, when Mozart, greeted by -enthusiastic applause, entered the orchestra and took his seat at the -piano. Although the musicians had not had time to rehearse the -overture, they played it with such precision that the audience broke -out into fresh applause. As the curtain rose and _Leporello_ came -forward to sing his solo, Mozart laughingly whispered to the musicians -near him: "Some notes fell under the stands. But it went well." - -The overture consists of an introduction which reproduces the scene of -the banquet at which the statue appears. It is followed by an allegro -which characterizes the impetuous, pleasure-seeking _Don_, oblivious -to consequences. It reproduces the dominant character of the opera. - -Without pause, Mozart links up the overture with the song of -_Leporello_. The four principal personages of the opera appear early -in the proceedings. The tragedy which brings them together so soon and -starts the action, gives an effective touch of fore-ordained -retribution to the misdeeds upon which _Don Giovanni_ so gaily enters. -This early part of the opera divides itself into four episodes. -Wrapped in his cloak and seated in the garden of a house in Seville, -Spain, which _Don Giovanni_, on amorous adventure bent, has -entered secretly during the night--it is the residence of the -_Commandant_--_Leporello_ is complaining of the fate which makes him a -servant to such a restless and dangerous master. "Notte e giorno -faticar" (Never rest by day or night), runs his song. - -[Illustration: Copyright photo by Dupont - -Scotti as Don Giovanni] - -_Don Giovanni_ hurriedly issues from the house, pursued by _Donna -Anna_. There follows a trio in which the wrath of the insulted woman, -the annoyance of the libertine, and the cowardice of _Leporello_ are -expressed simultaneously and in turn in manner most admirable. _The -Commandant_, attracted by the disturbance, arrives, draws his sword, -and a duel ensues. In the unequal combat between the aged -_Commandant_ and the agile _Don_, the _Commandant_ receives a fatal -wound. The trio which follows between _Don Giovanni_, the dying -_Commandant_, and _Leporello_ is a unique passage in the history of -musical art. The genius of Mozart, tender, profound, pathetic, -religious, is revealed in its entirety. Written in a solemn rhythm and -in the key of F minor, so appropriate to dispose the mind to a gentle -sadness, this trio, which fills only eighteen measures, contains in a -restricted outline, but in master-strokes, the fundamental idea of -this mysterious drama of crime and retribution. While the _Commandant_ -is breathing his last, emitting notes broken by long pauses, _Donna -Anna_, who, during the duel between her father and _Don Giovanni_, has -hurried off for help, returns accompanied by her servants and by _Don -Ottavio_, her affianced. She utters a cry of terror at seeing the dead -body of her father. The recitative which expresses her despair is -intensely dramatic. The duet which she sings with _Don Ottavio_ is -both impassioned and solicitous, impetuous on her part, solicitous on -his; for the rle of _Don Ottavio_ is stamped with the delicacy of -sentiment, the respectful reserve of a well-born youth who is -consoling the woman who is to be his wife. The passage, "Lascia, O -cara, la rimembranza amara!" (Through love's devotion, dear one) is of -peculiar beauty in musical expression. - -After _Donna Anna_ and _Don Ottavio_ have left, there enters _Donna -Elvira_. The air she sings expresses a complicated nuance of passion. -_Donna Elvira_ is another of _Don Giovanni's_ deserted ones. There are -in the tears of this woman not only the grief of one who has been -loved and now implores heaven for comfort, but also the indignation of -one who has been deserted and betrayed. When she cries with emotion: -"Ah! chi mi dice mai quel barbaro dov'?" (In memory still lingers his -love's delusive sway) one feels that, in spite of her outbursts of -anger, she is ready to forgive, if only a regretful smile shall -recall to her the man who was able to charm her. - -_Don Giovanni_ hears from afar the voice of a woman in tears. He -approaches, saying: "Cerchiam di consolare il suo tormento" (I must -seek to console her sorrow). "Ah! yes," murmurs _Leporello_, under his -breath: "Cos ne consol mille e otto cento" (He has consoled fully -eighteen hundred). _Leporello_ is charged by _Don Giovanni_, who, -recognizing _Donna Elvira_, hurries away, to explain to her the -reasons why he deserted her. The servant fulfils his mission as a -complaisant valet. For it is here that he sings the "Madamina" air, -which is so famous, and in which he relates with the skill of a -historian the numerous amours of his master in the different parts of -the world. - -The "Air of Madamina," "Madamina! il catalogo"--(Dear lady, the -catalogue) is a perfect passage of its kind; an exquisite mixture of -grace and finish, of irony and sentiment, of comic declamation and -melody, the whole enhanced by the poetry and skill of the accessories. -There is nothing too much, nothing too little; no excess of detail to -mar the whole. Every word is illustrated by the composer's imagination -without his many brilliant sallies injuring the general effect. -According to _Leporello's_ catalogue his master's adventures in love -have numbered 2065. To these Italy has contributed 245 [Transcriber's -Note: should be '640'], Germany 231, France 100, Turkey 91, and Spain, -his native land, 1003. The recital enrages _Donna Elvira_. She vows -vengeance upon her betrayer. - -[Illustration: Copyright photo by Dupont - -Sembrich as Zerlina in "Don Giovanni"] - -The scene changes to the countryside of _Don Giovanni's_ palace near -Seville. A troop of gay peasants is seen arriving. The young and -pretty _Zerlina_ with _Masetto_, her affianced, and their friends are -singing and dancing in honour of their approaching marriage. _Don -Giovanni_ and _Leporello_ join this gathering of light-hearted and -simple young people. Having cast covetous eyes upon _Zerlina_, and -having aroused her vanity and her spirit of coquetry by polished words -of gallantry, the _Don_ orders _Leporello_ to get rid of the jealous -_Masetto_ by taking the entire gathering--excepting, of course, -_Zerlina_--to his chteau. _Leporello_ grumbles, but carries out his -master's order. The latter, left alone with _Zerlina_, sings a duet -with her which is one of the gems, not alone of this opera, but of -opera in general: "L ci darem la mano!" (Your hand in mine, my -dearest). _Donna Elvira_ appears and by her denunciation of _Don -Giovanni_, "Ah! fuggi il traditore," makes clear to _Zerlina_ the -character of her fascinating admirer. _Donna Anna_ and _Don Ottavio_ -come upon the stage and sing a quartette which begins: "Non ti fidar, -o misera, di quel ribaldo cor" (Place not thy trust, O mourning one, -in this polluted soul), at the end of which _Donna Anna_, as _Don -Giovanni_ departs, recognizes in his accents the voice of her father's -assassin. Her narrative of the events of that terrible night is a -declamatory recitative "in style as bold and as tragic as the finest -recitatives of Gluck." - -_Don Giovanni_ orders preparations for the festival in his palace. He -gives his commands to _Leporello_ in the "Champagne aria," "Finch' han -dal vino" (Wine, flow a fountain), which is almost breathless with -exuberance of anticipated revel. Then there is the ingratiating air of -_Zerlina_ begging _Masetto's_ forgiveness for having flirted with the -_Don_, "Batti, batti, o bel Masetto" (Chide me, chide me, dear -Masetto), a number of enchanting grace, followed by a brilliantly -triumphant allegro, "Pace, pace o vita mia" (Love, I see you're now -relenting). - -[Music] - -The finale to the first act of "Don Giovanni" rightly passes for one -of the masterpieces of dramatic music. _Leporello_, having opened a -window to let the fresh evening air enter the palace hall, the violins -of a small orchestra within are heard in the first measures of the -graceful minuet. _Leporello_ sees three maskers, two women and a man, -outside. In accordance with custom they are bidden to enter. _Don -Giovanni_ does not know that they are _Donna Anna_, _Donna Elvira_, -and _Don Ottavio_, bent upon seeking the murderer of the _Commandant_ -and bringing him to justice. But even had he been aware of their -purpose it probably would have made no difference, for courage this -dissolute character certainly had. - -After a moment of hesitation, after having taken council together, and -repressing a movement of horror which they feel at the sight of the -man whose crimes have darkened their lives, _Donna Elvira_, _Donna -Anna_, and _Don Ottavio_ decide to carry out their undertaking at all -cost and to whatever end. Before entering the chteau, they pause on -the threshold and, their souls moved by a holy fear, they address -Heaven in one of the most touching prayers written by the hand of man. -It is the number known throughout the world of music as the "Trio of -the Masks," "Protegga, il giusto cielo"--(Just Heaven, now defend -us)--one of those rare passages which, by its clearness of form, its -elegance of musical diction, and its profundity of sentiment, moves -the layman and charms the connoisseur. - -[Music: - - D ANNA - Protegga il giusto cielo - - D ELVIRA - Vendichi - - D OTTAV - Protegga il giusto cielo] - -The festivities begin with the familiar minuet. Its graceful rhythm is -prolonged indefinitely as a fundamental idea, while in succession, -two small orchestras on the stage, take up, one a rustic quadrille in -double time, the other a waltz. Notwithstanding the differences in -rhythm, the three dances are combined with a skill that piques the ear -and excites admiration. The scene would be even more natural and -entertaining than it usually is, if the orchestras on the stage always -followed the direction _accordano_ (tune up) which occurs in the score -eight bars before each begins to play its dance, and if the dances -themselves were carried out according to directions. Only the ladies -and gentlemen should engage in the minuet, the peasants in the -quadrille; and before _Don Giovanni_ leads off _Zerlina_ into an -adjoining room he should have taken part with her in this dance, while -_Leporello_ seeks to divert the jealous _Masetto's_ attention by -seizing him in an apparent exuberance of spirits and insisting on -dancing the waltz with him. _Masetto's_ suspicions, however, are not -to be allayed. He breaks away from _Leporello_. The latter hurries to -warn his master. But just as he has passed through the door, -_Zerlina's_ piercing shriek for help is heard from within. _Don -Giovanni_ rushes out, sword in hand, dragging out with him none other -than poor _Leporello_, whom he has opportunely seized in the entrance, -and whom, under pretence that he is the guilty party, he threatens to -kill in order to turn upon him the suspicion that rests upon himself. -But this ruse fails to deceive any one. _Donna Anna_, _Donna Elvira_, -and _Don Ottavio_ unmask and accuse _Don Giovanni_ of the murder of -the _Commandant_, "Tutto gi si s" (Everything is known and you are -recognized). Taken aback, at first, _Don Giovanni_ soon recovers -himself. Turning, at bay, he defies the enraged crowd. A storm is -rising without. A storm sweeps over the orchestra. Thunder growls in -the basses, lightning plays on the fiddles. _Don Giovanni_, cool, -intrepid, cuts a passage through the crowd upon which, at the same -time, he hurls his contempt. (In a performance at the Academy of -Music, New York, about 1872, I saw _Don Giovanni_ stand off the crowd -with a pistol.) - -The second act opens with a brief duet between _Don Giovanni_ and -_Leporello_. The trio which follows: "Ah! taci, ingiusto core" (Ah, -silence, heart rebellious), for _Donna Elvira_, _Leporello_, and _Don -Giovanni_, is an exquisite passage. _Donna Elvira_, leaning sadly on a -balcony, allows her melancholy regrets to wander in the pale moonlight -which envelops her figure in a semi-transparent gloom. In spite of the -scene which she has recently witnessed, in spite of wrongs she herself -has endured, she cannot hate _Don Giovanni_ or efface his image from -her heart. Her reward is that her recreant lover in the darkness -below, changes costume with his servant and while _Leporello_, -disguised as the _Don_, attracts _Donna Elvira_ into the garden, the -cavalier himself addresses to _Zerlina_, who has been taken under -_Donna Elvira's_ protection, the charming serenade: "Deh! vieni alla -finestra" (Appear, love at thy window), which he accompanies on the -mandolin, or should so accompany, for usually the accompaniment is -played pizzicato by the orchestra. - -As the result of complications, which I shall not attempt to follow, -_Masetto_, who is seeking to administer physical chastisement to _Don -Giovanni_, receives instead a drubbing from the latter. - -_Zerlina_, while by no means indifferent to the attentions of the -dashing _Don_, is at heart faithful to _Masetto_ and, while I fancy -she is by no means obtuse to the humorous aspect of his chastisement -by _Don Giovanni_, she comes trippingly out of the house and consoles -the poor fellow with the graceful measures of "Vedrai carino, se sei -buonino" (List, and I'll find love, if you are kind love). - -Shortly after this episode comes _Don Ottavio's_ famous air, the solo -number which makes the rle worth while, "Il mio tesoro intanto" (Fly -then, my love, entreating). Upon this air praise has been exhausted. -It has been called the "pietra di paragone" of tenors--the touchstone, -the supreme test of classic song. - -[Music] - -Retribution upon _Don Giovanni_ is not to be too long deferred. After -the escapade of the serenade and the drubbing of _Masetto_, the _Don_, -who has made off, chances to meet in the churchyard (or in the public -square) with _Leporello_, who meanwhile has gotten rid of _Donna -Elvira_. It is about two in the morning. They see the newly erected -statue to the murdered _Commandant_. _Don Giovanni_ bids it, through -_Leporello_, to supper with him in his palace. Will it accept? The -statue answers, "Yea!" _Leporello_ is terrified. And _Don Giovanni_? - -"In truth the scene is bizarre. The old boy comes to supper. Now -hasten and bestir yourself to spread a royal feast." - -Such is the sole reflection that the fateful miracle, to which he has -just been a witness, draws from this miscreant, who, whatever else he -may be, is brave. - -Back in his palace, _Don Giovanni_ seats himself at table and sings of -the pleasures of life. An orchestra on the stage plays airs from -Vincente Martino's "Una Cosa Rara" (A Rare Thing); Sarti's "Fra Due -Litiganti" (Between Two Litigants), and Mozart's own "Nozze di -Figaro," _Leporello_ announcing the selections. The "Figaro" air is -"Non pi andrai" (Play no more, boy, the part of a lover). - -_Donna Elvira_ enters. On her knees she begs the man who has betrayed -her to mend his ways. Her plea falls on deaf ears. She leaves. Her -shriek is heard from the corridor. She re-enters and flees the palace -by another door. - -"Va a veder che cos' stato" (Go, and see what it is) _Don Giovanni_ -commands _Leporello_. - -The latter returns trembling with fright. He has seen in the corridor -"l'uom di sasso, l'uomo bianco"--the man of stone, the big white man. - -Seizing a candle, drawing his sword, _Don Giovanni_ boldly goes into -the corridor. A few moments later he backs into the room, receding -before the statue of the _Commandant_. The lights go out. All is dark -save for the flame of the candle in _Don Giovanni's_ hand. Slowly, -with heavy footsteps that re-echo, the statue enters. It speaks. - -"Don Giovanni, you have invited me to sit at table with you. Lo! I am -here." - -Well knowing the fate in store for him, yet, with unebbing courage, -_Don Giovanni_ nonchalantly commands _Leporello_ to serve supper. - -"Desist!" exclaims the statue. "He who has sat at a heavenly banquet, -does not break the bread of mortals.... Don Giovanni, will you come to -sup with me?" - -"I will," fearlessly answers the _Don_. - -"Give me your hand in gage thereof." - -"Here it is." - -_Don Giovanni_ extends his hand. The statue's huge hand of stone -closes upon it. - -"Huh! what an icy grasp!"--"Repent! Change your course at your last -hour."--"No, far from me such a thought."--"Repent, O miscreant!"--"No, -you old fool."--"Repent!"--"No!" - -Nothing daunts him. A fiery pit opens. Demons seize him--unrepentant -to the end--and drag him down. - -The music of the scene is gripping, yet accomplished without an -addition to the ordinary orchestra of Mozart's day, without straining -after effect, without any means save those commonly to his hand. - -[Illustration: Copyright photo by Dupont - -Scotti as Don Giovanni] - -In the modern opera house the final curtain falls upon this scene. -In the work, however, there is another scene in which the other -characters moralize upon _Don Giovanni's_ end. There is one -accusation, however, none can urge against him. He was not a coward. -Therein lies the appeal of the character. His is a brilliant, -impetuous figure, with a dash of philosophy, which is that, sometime, -somewhere, in the course of his amours, he will discover the perfect -woman from whose lips he will be able to draw the sweetness of all -women. Moreover he is a villain with a keen sense of humour. -Inexcusable in real life, he is a debonair, fascinating figure on the -stage, whereas _Donna Anna_, _Donna Elvira_, and _Don Ottavio_ are -mere hinges in the drama and as creations purely musical. _Zerlina_, -on the other hand, is one of Mozart's most delectable characters. -_Leporello_, too, is clearly drawn, dramatically and musically; a -coward, yet loyal to the master who appeals to a strain of the -humorous in him and whose courage he admires. - -For the Vienna production Mozart wrote three new vocal numbers, which -are printed in the score as additions. Caterina Cavalieri, the -_Elvira_, had complained to Mozart, that the Viennese public did not -appreciate her as did audiences of other cities and begged him for -something that would give her voice full scope. The result was the -fine aria: "Mi trad quell'alma ingrata." The _Ottavio_, Signor -Morello, was considered unequal to "Il mio tesoro," so Mozart wrote -the less exacting "Dalla sua pace," for him. To amuse the public he -inserted a comic duet, "Per queste tue manine," for _Zerlina_ and -_Leporello_. This usually is omitted. The other two inserts were -interpolated in the second act of the opera before the finale. In the -Metropolitan Opera House version, however, _Donna Elvira_ sings "Mi -trad" to express her rage after the "Madamina" of Leporello; and _Don -Ottavio_ sings "Dalla sua pace" before the scene in _Don Giovanni's_ -chteau. - -The first performance of "Don Giovanni" in America took place in the -Park Theatre, New York, on Tuesday evening, May 23, 1826. I have -verified the date in the file of the New York _Evening Post_. "This -evening for the first time in America, the semi-serious opera of 'Il -Don Giovanni,'" reads the advertisement of that date. Then follows the -cast. Manuel Garcia played the title rle; Manuel Garcia, Jr., -afterwards inventor of the laryngoscope, who reached the age of 101, -dying in London in 1906, was _Leporello_; Mme. Barbieri, _Donna Anna_; -Mme. Garcia, _Donna Elvira_; Signorina Maria Garcia (afterwards famous -under her married name of Malibran), _Zerlina_; Milon, whom Mr. -Krehbiel identifies as a violoncellist later with the Philharmonic -Society, _Don Ottavio_; and Carlo Angrisani, _Masetto_, a rle he had -sung at the first London performance of the work. - -Da Ponte, the librettist of the work, who had become Professor of -Italian at Columbia College, had induced Garcia to put on the opera. -At the first performance during the finale of the first act everything -went at sixes and sevens, in spite of the efforts of Garcia, in the -title rle, to keep things together. Finally, sword in hand, he -stepped to the front of the stage, ordered the performance stopped, -and, exhorting the singers not to commit the crime of ruining a -masterwork, started the finale over again, which now went all right. - -It is related by da Ponte that "my 'Don Giovanni,'" as he called it, -made such a success that a friend of his who always fell asleep at -operatic performances, not only remained awake during the whole of -"Don Giovanni," but told him he couldn't sleep a wink the rest of the -night for excitement. - -Pauline Viardot-Garcia, sister of Signorina Garcia (afterwards Mme. -Malibran), the _Zerlina_ of the first New York performance, owned the -original autograph score of "Don Giovanni." She bequeathed it to the -Paris Conservatoire. - -The opera has engaged the services of famous artists. Faure and Maurel -were great _Don Giovannis_, Jean de Reszke sang the rle, while he was -still a baritone; Scotti made his _dbut_ at the Metropolitan Opera -House, December 27, 1899, in the rle, with Nordica as _Donna Anna_, -Suzanne Adams, as _Donna Elvira_, Sembrich as _Zerlina_, and douard -de Reszke as _Leporello_. Renaud appeared as _Don Giovanni_ at the -Manhattan Opera House. Lablache was accounted the greatest of -_Leporellos_. The rle of _Don Ottavio_ has been sung by Rubini and -Mario. At the Mozart Festival, Salzburg, 1914, the opera was given -with Lilli Lehmann, Farrar, and McCormack in the cast. - -A curious aside in the history of the work was an "adaptation," -produced by Kalkbrenner in Paris, 1805. How greatly this differed from -the original may be judged from the fact that the trio of the masks -was sung, not by _Donna Anna_, _Donna Elvira_, and _Don Ottavio_, but -by three policemen! - -[Illustration: Photo by White - -Alten and Goritz as Papagena and Papageno in "The Magic Flute"] - - -THE MAGIC FLUTE - -DIE ZAUBERFLTE - - Opera in two acts by Mozart; words by Emanuel Schikaneder - and Gieseke. Produced, September 30, 1791, in Vienna, in the - Theatre auf der Wieden; Paris, 1801, as "Les Mystres - d'Isis"; London, King's Theatre, June 6, 1811 (Italian); - Covent Garden, May 27, 1833 (German); Drury Lane, March 10, - 1838 (English); New York, Park Theatre, April 17, 1833 - (English). The rle of _Astrofiammante, Queen of the Night_, - has been sung here by Carlotta Patti, Ilma di Murska, - Gerster, Sembrich, and Hempel. - - CHARACTERS - - SARASTRO, High Priest of Isis _Bass_ - TAMINO, an Egyptian Prince _Tenor_ - PAPAGENO, a bird-catcher _Baritone_ - ASTROFIAMMANTE, Queen of the Night _Soprano_ - PAMINA, her daughter _Soprano_ - MONOSTATOS, a Moor, chief slave of - the Temple _Baritone_ - PAPAGENA _Soprano_ - - Three Ladies-in-Waiting to the Queen; Three Youths of the - Temple; Priests, Priestesses, Slaves, etc. - - _Time_--Egypt, about the reign of Rameses I. - - _Place_--Near and at the Temple of Isis, Memphis. - -The libretto to "The Magic Flute" is considered such a jumble of -nonsense that it is as well to endeavour to extract some sense from -it. - -Emanuel Johann Schikaneder, who wrote it with the aid of a chorister -named Gieseke, was a friend of Mozart and a member of the same Masonic -Lodge. He also was the manager of a theatrical company and had -persuaded Mozart to compose the music to a puppet show for him. He had -selected for this show the story of "Lulu" by Liebeskind, which had -appeared in a volume of Oriental tales brought out by Wieland under -the title of "Dschinnistan." In the original tale a wicked sorcerer -has stolen the daughter of the Queen of Night, who is restored by a -Prince by means of magic. While Schikaneder was busy on his libretto, -a fairy story by Perinet, music by Wenzel Mller, and treating of the -same subject, was given at another Viennese theatre. Its great success -interfered with Schikaneder's original plan. - -At that time, however, freemasonry was a much discussed subject. It -had been interdicted by Maria Theresa and armed forces were employed -to break up the lodges. As a practical man Schikaneder saw his chance -to exploit the interdicted rites on the stage. Out of the wicked -sorcerer he made _Sarastro_, the sage priest of Isis. The ordeals of -_Tamino_ and _Pamina_ became copies of the ceremonials of freemasonry. -He also laid the scene of the opera in Egypt, where freemasonry -believes its rites to have originated. In addition to all this -Mozart's beautiful music ennobled the libretto even in its dull and -unpoetical passages, and lent to the whole a touch of the mysterious -and sacred. "The muse of Mozart lightly bears her century of -existence," writes a French authority, of this score. - -Because of its supposed relation to freemasonry, commentators have -identified the vengeful _Queen of the Night_ with Maria Theresa, and -_Tamino_ with the Emperor. _Pamina_, _Papageno_, and _Papagena_ are -set down as types of the people, and _Monostatos_ as the fugleman of -monasticism. - -Mozart wrote on "The Magic Flute" from March until July and in -September, 1791. September 30, two months before his death, the first -performance was given. - -In the overture to "The Magic Flute" the heavy reiterated chords -represent, it has been suggested, the knocking at the door of the -lodge room, especially as they are heard again in the temple scene, -when the novitiate of _Tamino_ is about to begin. The brilliancy of -the fugued allegro often has been commented on as well as the -resemblance of its theme to that of Clementi's sonata in B-flat. - -The story of "The Magic Flute" opens Act I, with _Tamino_ endeavouring -to escape from a huge snake. He trips in running and falls -unconscious. Hearing his cries for help, three black-garbed -_Ladies-in-Waiting_ of the _Queen of the Night_ appear and kill the -snake with their spears. Quite unwillingly they leave the handsome -youth, who, on recovering consciousness, sees dancing toward him an -odd-looking man entirely covered with feathers. It is _Papageno_, a -bird-catcher. He tells the astonished _Tamino_ that this is the realm -of the _Queen of the Night_. Nor, seeing that the snake is dead, does -he hesitate to boast that it was he who killed the monster. For this -lie he is immediately punished. The three _Ladies-in-Waiting_ reappear -and place a padlock on his mouth. Then they show _Tamino_ the -miniature of a maiden, whose magical beauty at once fills his heart -with ardent love. Enter the _Queen of the Night_. She tells _Tamino_ -the portrait is that of her daughter, _Pamina_, who has been taken -from her by a wicked sorcerer, _Sarastro_. She has chosen _Tamino_ to -deliver the maiden and as a reward he will receive her hand in -marriage. The _Queen_ then disappears and the three _Ladies-in-Waiting_ -come back. They take the padlock from _Papageno's_ mouth, give him a -set of chimes and _Tamino_ a golden flute. By the aid of these magical -instruments they will be able to escape the perils of their journey, -on which they will be accompanied by three youths or genii. - -Change of scene. A richly furnished apartment in _Sarastro's_ palace -is disclosed. A brutal Moor, _Monostatos_, is pursuing _Pamina_ with -unwelcome attentions. The appearance of _Papageno_ puts him to flight. -The bird-catcher recognizes _Pamina_ as the daughter of the _Queen of -the Night_, and assures her that she will soon be rescued. In the -meantime the _Three Youths_ guide _Tamino_ to a grove where three -temples stand. He is driven away from the doors of two, but at the -third there appears a priest who informs him that _Sarastro_ is no -tyrant, no wicked sorcerer as the _Queen_ had warned him, but a man of -wisdom and of noble character. - -The sound of _Papageno's_ voice arouses _Tamino_ from the meditations -inspired by the words of the priest. He hastens forth and seeks to -call his companion by playing on his flute. _Papageno_ is not alone. -He is trying to escape with _Pamina_, but is prevented by the -appearance of _Monostatos_ and some slaves, who endeavour to seize -them. But _Papageno_ sets the Moor and his slaves dancing by playing -on his magic chimes. - -Trumpet blasts announce the coming of _Sarastro_. _Pamina_ falls at -the feet of the High Priest and explains that she was trying to escape -the unwelcome attentions of the Moor. The latter now drags _Tamino_ -in, but instead of the reward he expects, receives a sound flogging. -By the command of _Sarastro_, _Tamino_ and _Pamina_ are brought into -the Temple of Ordeals, where they must prove that they are worthy of -the higher happiness. - -Act II. In the Palm Grove. _Sarastro_ informs the priests of the plans -which he has laid. The gods have decided that _Pamina_ shall become -the wife of the noble youth _Tamino_. _Tamino_, however, must prove, -by his own power, that he is worthy of admission to the Temple. -Therefore _Sarastro_ has taken under his protection _Pamina_, daughter -of the _Queen of the Night_, to whom is due all darkness and -superstition. But the couple must go through severe ordeals in order -to be worthy of entering the Temple of Light, and thus of thwarting -the sinister machinations of the _Queen_. - -In the succeeding scenes we see these fabulous ordeals, which -_Tamino_, with the assistance of his magic flute and his own purity of -purpose, finally overcomes in company with _Pamina_. Darkness is -banished and the young couple enter into the light of the Temple of -the Sun. _Papageno_ also fares well, for he receives _Papagena_ for -wife. - -There is much nonsense and even buffoonery in "The Magic Flute"; and, -in spite of real nobility in the rle and music of _Sarastro_, Mr. -Krehbiel's comment that the piece should be regarded as somewhat in -the same category as a Christmas pantomime is by no means far-fetched. -It lends itself to elaborate production, and spectacular performances -of it have been given at the Metropolitan Opera House. - -Its representation requires for the rle of _Astrofiammante, Queen of -the Night_, a soprano of extraordinarily high range and agility of -voice, as each of the two great airs of this vengeful lady extend to -high F and are so brilliant in style that one associates with them -almost anything but the dire outpouring of threats their text is -intended to convey. They were composed because Mozart's -sister-in-law, Josepha Weber (Mme. Hofer) was in the cast of the first -performance and her voice was such as has been described above. The -_Queen_ has an air in Act I and another in Act II. A quotation from -the second, the so-called "Vengeance aria," will show the range and -brilliancy of voice required of a singer in the rle of -_Astrofiammante_. - -[Music] - -One is surprised to learn that this _tour de force_ of brilliant -vocalization is set to words beginning: "Vengeance of hell is boiling -in my bosom"; for by no means does it boil with a vengeance. - -_Papageno_ in his dress of feathers is an amusing character. His first -song, "A fowler bold in me you see," with interludes on his pipes, is -jovial; and after his mouth has been padlocked his inarticulate and -oft-repeated "Hm!" can always be made provocative of laughter. With -_Pamina_ he has a charming duet "The manly heart that love desires." -The chimes with which he causes _Monostatos_ and his slaves to dance, -willy-nilly, are delightful and so is his duet with _Papagena_, near -the end of the opera. _Tamino_, with the magic flute, charms the wild -beasts. They come forth from their lairs and lie at his feet. "Thy -magic tones shall speak for me," is his principal air. The concerted -number for _Pamina_ and trio of female voices (the _Three Youths_ or -genii) is of exceeding grace. The two _Men in Armour_, who in one of -the scenes of the ordeals guard the portal to a subterranean cavern -and announce to _Tamino_ the awards that await him, do so to the vocal -strains of an old German sacred melody with much admired counterpoint -in the orchestra. - -Next, however, in significance to the music for _Astrofiammante_ and, -indeed, of far nobler character than the airs for the _Queen of the -Night_, are the invocation of Isis by _Sarastro_, "O, Isis and -Osiris," with its interluding chant of the priests, and his air, -"Within this hallowed dwelling." Not only the solemnity of the vocal -score but the beauty of the orchestral accompaniment, so rich, yet so -restrained, justly cause these two numbers to rank with Mozart's -finest achievements. - -"Die Zauberflte" (The Magic Flute) was its composer's swan-song in -opera and perhaps his greatest popular success. Yet he is said to have -made little or nothing out of it, having reserved as his compensation -the right to dispose of copies of the score to other theatres. Copies, -however, were procured surreptitiously; his last illness set in; and, -poor business man that he was, others reaped the rewards of his -genius. - -In 1801, ten years after Mozart's death, there was produced in Paris -an extraordinary version of "The Magic Flute," entitled "Les Mystres -d'Isis" (The Mysteries of Isis). Underlying this was a considerable -portion of "The Magic Flute" score, but also introduced in it were -fragments from other works of the composer ("Don Giovanni," "Figaro," -"Clemenza di Tito") and even bits from Haydn symphonies. Yet this -hodge-podge not only had great success--owing to the magic of Mozart's -music--it actually was revived more than a quarter of a century later, -and the real "Zauberflte" was not given in Paris until 1829. - -Besides the operas discussed, Mozart produced (1781) "Idomeneo" and -(1791) "La Clemenza di Tito." In 1768, when he was twelve years old, a -one-act "Singspiel" or musical comedy, "Bastien and Bastienne," based -on a French vaudeville by Mme. Favart, was privately played in Vienna. -With text rearranged by Max Kalbeck, the graceful little piece has -been revived with success. The story is of the simplest. Two lovers, -_Bastien_ (tenor) and _Bastienne_ (soprano), have quarrelled. Without -the slightest complication in the plot, they are brought together by -the third character, an old shepherd named _Colas_ (bass). "Der -Schauspieldirektor" (The Impresario), another little comedy opera, -produced 1786, introduces that clever rogue, Schikaneder, at whose -entreaty "The Magic Flute" was composed. The other characters include -Mozart himself, and Mme. Hofer, his sister-in-law, who was the _Queen -of the Night_ in the original cast of "The Magic Flute." The story -deals with the troubles of an impresario due to the jealousy of prima -donnas. "Before they are engaged, opera singers are very engaging, -except when they are engaged in singing." This line is from H.E. -Krehbiel's translation of the libretto, produced, with "Bastien and -Bastienne" (translated by Alice Matullah, as a "lyric pastoral"), at -the Empire Theatre, New York, October 26, 1916. These charming -productions were made by the Society of American Singers with a -company including David Bispham (Schikaneder and Colas), Albert Reiss -(Mozart and Bastien), Mabel Garrison, and Lucy Gates; the direction -that of Mr. Reiss. - -There remain to be mentioned two other operatic comedies by Mozart: -"The Elopement from the Serail" (Belmonte und Constanze), 1782, in -three acts; and "Cos fan Tutte" (They All Do It), 1790, in two. The -music of "Cos fan Tutte" is so sparkling that various attempts have -been made to relieve it of the handicap imposed by the banality of the -original libretto by da Ponte. Herman Levi's version has proven the -most successful of the various rearrangements. The characters are two -Andalusian sisters, _Fiordiligi_ (soprano), _Dorabella_ (soprano); two -officers, their fiancs, _Ferrando_ (tenor), and _Guglielmo_ -(baritone); _Alfonso_ (bass); and _Despina_ (soprano), maid to the two -sisters. - -_Alfonso_ lays a wager with the officers that, like all women, their -fiances will prove unfaithful, if opportunity were offered. The men -pretend their regiment has been ordered to Havana, then return in -disguise and lay siege to the young ladies. In various ways, including -a threat of suicide, the women's sympathies are played upon. In the -original they are moved to pledge their hearts and hands to the -supposed new-comers. A reconciliation follows their simple -pronouncement that "they all do it." - -In the revised version, they become cognizant of the intrigue, play -their parts in it knowingly, at the right moment disclose their -knowledge, shame their lovers, and forgive them. An actual wager laid -in Vienna is said to have furnished the basis for da Ponte's -libretto. - - - - -Ludwig van Beethoven - - -FIDELIO - - "Fidelio," opera in two acts, by Ludwig van Beethoven. - Produced in three acts, as "Fidelio, oder, die eheliche - Liebe" (Fidelio, or Conjugal Love), at the Theatre on the - Wien [Transcriber's Note: should be 'Theater auf der Wieden, - Vienna'], November 20, 1805. Revised and given at the - Imperial Private Theatre, March 29, 1806, but withdrawn after - a few performances. Again revised and successfully brought - out May 23, 1814, at the Krnthnerthor Theatre (Theatre at - the Carinthian Gate), Vienna. Paris, Thtre Lyrique, May 5, - 1860. London, King's Theatre, May 18, 1832; Covent Garden, - June 12, 1835, with Malibran; May 20, 1851, in Italian, with - recitatives by Balfe. New York, Park Theatre, September 9, - 1839. (See last paragraph of this article.) The libretto was - by Sonnleithner after Bouilly; first revision by Breuning; - second by Treitschke. Four overtures, "Leonore," Nos. 1, 2, - and 3; and "Fidelio." - - CHARACTERS - - FLORESTAN, a Spanish Nobleman _Tenor_ - LEONORE, his wife, in male attire as FIDELIO _Soprano_ - DON FERNANDO, Prime Minister of Spain _Bass_ - PIZARRO, Governor of the prison and enemy - to FLORESTAN _Bass_ - ROCCO, chief jailer _Bass_ - MARCELLINA, daughter of ROCCO _Soprano_ - JACQUINO, assistant to ROCCO _Tenor_ - - Soldiers, prisoners, people. - - _Time_--18th Century. - - _Place_--A fortress, near Seville, Spain, used as a prison - for political offenders. - -Ludwig van Beethoven, composer of "Fidelio," was born at Bonn, -December 16, 1770. He died at Vienna, March 26, 1827. As he composed -but this one opera, and as his fame rests chiefly on his great -achievements outside the domain of the stage--symphonies, sonatas, -etc.--it is possible, as Storck suggests in his _Opernbuch_, to -dispense with biographical data and confine ourselves to facts -relating to "Fidelio." - -The libretto, which appealed to the composer by reason of its pure and -idealistic motive, was not written for Beethoven. It was a French book -by Bouilly and had been used by three composers: Pierre Gabeaux -(1798); Simon Mayr, Donizetti's teacher at Bergamo and the composer of -more than seventy operas (1805); and Par, whose "Leonora, ossia -l'Amore Conjugale" (Leonora, or Conjugal Love) was brought out at -Dresden in December, 1804. - -It was Schikaneder, the librettist and producer of Mozart's "Magic -Flute," who commissioned Beethoven to compose an opera. But it was -finally executed for Baron von Braun, who had succeeded to the -management of the Theatre on the Wien. - -Beethoven's heart was bound up in the work. Conscientious to the last -detail in everything he did, this noble man, inspired by a noble -theme, appears to have put even more labour into his opera than into -any other one work. There are no less than sixteen sketches for the -opening of _Florestan's_ first air and 346 pages of sketches for the -opera. Nor did his labour in it cease when the opera was completed and -performed. - -Bouilly's libretto was translated and made over for Beethoven by -Schubert's friend Joseph Sonnleithner. The opera was brought out -November 20th and repeated November 21 and 22, 1805. It was a failure. -The French were in occupation of Vienna, which the Emperor of Austria -and the court had abandoned, and conditions generally were upset. But -even Beethoven's friends did not blame the non-success of the opera -upon these untoward circumstances. It had inherent defects, as was -apparent even a century later, when at the "Fidelio" centennial -celebration in Berlin, the original version was restored and -performed. - -To remedy these, Beethoven's friend, Stephan von Breuning, condensed -the three acts to two and the composer made changes in the score. This -second version was brought forward April 29, 1806, with better -success, but a quarrel with von Braun led Beethoven to withdraw it. It -seems to have required seven years for the _entente cordiale_ between -composer and manager to become re-established. Then Baron von Braun -had the book taken in hand by a practical librettist, Georg Friedrich -Treitschke. Upon receiving the revision, which greatly pleased him, -Beethoven in his turn re-revised the score. In this form "Fidelio" was -brought out May 23, 1814, in the Theatre am Krnthnerthor. There was -no question of failure this time. The opera took its place in the -repertoire and when, eight years later, Mme. Schrder-Devrient sang -the title rle, her success in it was sensational. - -There are four overtures to the work, three entitled "Leonore" (Nos. -1, 2, and 3) and one "Fidelio." The "Leonore" overtures are -incorrectly numbered. The No. 2 was given at the original performance -and is, therefore, No. 1. The greatest and justly the most famous, the -No. 3, is really No. 2. The so-called No. 1 was composed for a -projected performance at Prague, which never came off. The score and -parts, in a copyist's hand, but with corrections by Beethoven, were -discovered after the composer's death. When it was recognized as an -overture to the opera, the conclusion that it was the earliest one, -which he probably had laid aside, was not unnaturally arrived at. The -"Fidelio" overture was intended for the second revision, but was not -ready in time. The overture to "The Ruins of Athens" was substituted. -The overture to "Fidelio" usually is played before the opera and the -"Leonore," No. 3, between the acts. - -[Illustration: Photo by White - -Matzenauer as Fidelio] - -Of the "Leonore," No. 3, I think it is within bounds to say that it is -the first great overture that sums up in its thematic material and in -its general scope, construction, and working out, the story of the -opera which it precedes. Even the trumpet call is brought in with -stirring dramatic effect. It may be said that from this time on the -melodies of their operas were drawn on more and more by composers for -the thematic material of their overtures, which thus became -music-dramas in miniature. The overture "Leonore," No. 3, also is an -established work in the classical concert repertoire, as is also -_Leonore's_ recitative and air in the first act. - -In the story of the opera, _Florestan_, a noble Spaniard, has aroused -the enmity of _Pizarro_, governor of a gloomy medival fortress, used -as a place of confinement for political prisoners. _Pizarro_ has been -enabled secretly to seize _Florestan_ and cast him into the darkest -dungeon of the fortress, at the same time spreading a report of his -death. Indeed, _Pizarro_ actually plans to do away with _Florestan_ by -slow starvation; or, if necessary, by means more swift. - -One person, however, suspects the truth--_Leonore_, the wife of -_Florestan_. Her faithfulness, the risks she takes, the danger she -runs, in order to save her husband, and the final triumph of conjugal -love over the sinister machinations of _Pizarro_, form the motive of -the story of "Fidelio," a title derived from the name assumed by -_Leonore_, when, disguised as a man, she obtains employment as -assistant to _Rocco_, the chief jailer of the prison. _Fidelio_ has -been at work and has become a great favourite with _Rocco_, as well as -with _Marcellina_, the jailer's daughter. The latter, in fact, much -prefers the gentle, comely youth, _Fidelio_, to _Jacquino_, the -turnkey, who, before _Fidelio's_ appearance upon the scene, believed -himself to be her accepted lover. _Leonore_ cannot make her sex known -to the girl. It would ruin her plans to save her husband. Such is the -situation when the curtain rises on the first act, which is laid in -the courtyard of the prison. - -Act I. The opera opens with a brisk duet between _Jacquino_ and -_Marcellina_, in which he urges her definitely to accept him and she -cleverly puts him off. Left alone she expresses her regret for -_Jacquino_, but wishes she were united with _Fidelio_. ("O wr' ich -schon mit dir vereint"--O, were I but with you united.) - -Afterward she is joined by her father. Then _Leonore_ (as _Fidelio_) -enters the courtyard. She has a basket of provisions and also is -carrying some fetters which she has taken to be repaired. -_Marcellina_, seeing how weary _Leonore_ is, hastens to relieve the -supposed youth of his burden. _Rocco_ hints not only tolerantly but -even encouragingly at what he believes to be the fancy _Fidelio_ and -_Marcellina_ have taken to each other. This leads up to the quartet in -canon form, one of the notable vocal numbers of the opera, "Mir ist so -wunderbar" (How wondrous the emotion). Being a canon, the theme -enunciated by each of the four characters is the same, but if the -difference in the sentiments of each character is indicated by subtle -nuance of expression on the part of the singers, and the intonation be -correct, the beauty of this quartet becomes plain even at a first -hearing. The participants are _Leonore_, _Marcellina_, _Rocco_, and -_Jacquino_, who appears toward the close. "After this canon," say the -stage directions, so clearly is the form of the quartet recognized, -"_Jacquino_ goes back to his lodge." - -[Music] - -_Rocco_ then voices a song in praise of money and the need of it for -young people about to marry. ("Wenn sich Nichts mit Nichts -verbindet"--When you nothing add to nothing.) The situation is -awkward for _Leonore_, but the rescue of her husband demands that she -continue to masquerade as a man. Moreover there is an excuse in the -palpable fact that before she entered _Rocco's_ service, _Jacquino_ -was in high favour with _Marcellina_ and probably will have no -difficulty in re-establishing himself therein, when the comely youth -_Fidelio_, turns out to be _Leonore_, the faithful wife of -_Florestan_. - -Through a description which _Rocco_ gives of the prisoners, _Leonore_ -now learns what she had not been sure of before. Her husband is -confined in this fortress and in its deepest dungeon. - -A short march, with a pronounced and characteristic rhythm, announces -the approach of _Pizarro_. He looks over his despatches. One of them -warns him that _Fernando_, the Minister of State, is about to inspect -the fortress, accusations having been made to him that _Pizarro_ has -used his power as governor to wreak vengeance upon his private -enemies. A man of quick decision, _Pizarro_ determines to do away with -_Florestan_ at once. His aria, "Ha! welch' ein Augenblick!" (Ah! the -great moment!) is one of the most difficult solos in the dramatic -repertoire for bass voice. When really mastered, however, it also is -one of the most effective. - -_Pizarro_ posts a trumpeter on the ramparts with a sentry to watch the -road from Seville. As soon as a state equipage with outriders is -sighted, the trumpeter is to blow a signal. Having thus made sure of -being warned of the approach of the _Minister_, he tosses a -well-filled purse to _Rocco_, and bids him "for the safety of the -State," to make away with the most dangerous of the prisoners--meaning -_Florestan_. _Rocco_ declines to commit murder, but when _Pizarro_ -takes it upon himself to do the deed, _Rocco_ consents to dig a grave -in an old cistern in the vaults, so that all traces of the crime will -be hidden from the expected visitor. - -_Leonore_, who has overheard the plot, now gives vent to her feelings -in the highly dramatic recitative: "Abscheulicher! wo eilst du hin!" -("Accursed one! Where hasten'st thou!"); followed by the beautiful -air, "Komm Hoffnung" (Come, hope!), a deeply moving expression of -confidence that her love and faith will enable her, with the aid of -Providence, to save her husband's life. Soon afterwards she learns -that, as _Rocco's_ assistant, she is to help him in digging the grave. -She will be near her husband and either able to aid him or at least -die with him. - -The prisoners from the upper tiers are now, on _Leonore's_ -intercession, permitted a brief opportunity to breathe the open air. -The cells are unlocked and they are allowed to stroll in the garden of -the fortress, until _Pizarro_, hearing of this, angrily puts an end to -it. The chorus of the prisoners, subdued like the half-suppressed joy -of fearsome beings, is one of the significant passages of the score. - -Act II. The scene is in the dungeon where _Florestan_ is in heavy -chains. To one side is the old cistern covered with rubbish. Musically -the act opens with _Florestan's_ recitative and air, a fit companion -piece to _Leonore's_ "Komm Hoffnung" in Act I. The whispered duet -between _Leonore_ and _Rocco_ as they dig the grave and the orchestral -accompaniment impress one with the gruesome significance of the scene. - -_Pizarro_ enters the vault, exultantly makes himself known to his -enemy, and draws his dagger for the fatal thrust. _Leonore_ throws -herself in his way. Pushed aside, she again interposes herself between -the would-be murderer and his victim, and, pointing at him a loaded -pistol, which she has had concealed about her person, cries out: -"First slay his wife!" - -At this moment, in itself so tense, a trumpet call rings out from the -direction of the fortress wall. _Jacquino_ appears at the head of the -stone stairway leading down into the dungeon. The _Minister of State_ -is at hand. His vanguard is at the gate. _Florestan_ is saved. There -is a rapturous duet, "O, namenlose Freude" (Joy inexpressible) for him -and the devoted wife to whom he owes his life. - -In _Florestan_ the _Minister of State_ recognizes his friend, whom he -believed to have died, according to the reports set afloat by -_Pizarro_, who himself is now apprehended. To _Leonore_ is assigned -the joyful task of unlocking and loosening her husband's fetters and -freeing him from his chains. A chorus of rejoicing: "Wer ein solches -Weib errungen" (He, whom such a wife has cherished) brings the opera -to a close. - -It is well said in George P. Upton's book, _The Standard Operas_, that -"as a drama and as an opera, 'Fidelio' stands almost alone in its -perfect purity, in the moral grandeur of its subject, and in the -resplendent ideality of its music." Even those who do not appreciate -the beauty of such a work, and, unfortunately their number is -considerable, cannot fail to agree with me that the trumpet call, -which brings the prison scene to a climax, is one of the most dramatic -moments in opera. I was a boy when, more than forty years ago, I first -heard "Fidelio" in Wiesbaden. But I still remember the thrill, when -that trumpet call split the air with the message that the _Minister of -State_ was in sight and that _Leonore_ had saved her husband. - -[Music] - -When "Fidelio" had its first American performance (New York, Park -Theatre, September 9, 1839) the opera did not fill the entire evening. -The entertainment, as a whole, was a curiosity from present-day -standards. First came Beethoven's opera, with Mrs. Martyn as -_Leonore_. Then a _pas seul_ was danced by Mme. Araline; the whole -concluding with "The Deep, Deep Sea," in which Mr. Placide appeared as -_The Great American Sea Serpent_. This seems incredible. But I have -searched for and found the advertisement in the New York _Evening -Post_, and the facts are stated. - -Under Dr. Leopold Damrosch, "Fidelio" was performed at the -Metropolitan Opera House in the season of 1884-85; under Anton Seidl, -during the season of 1886-87, with Brandt and Niemann as well as with -Lehmann and Niemann as _Leonore_ and _Florestan_. - -The 1886-87 representations of "Fidelio," by great artists under a -great conductor, are among the most vivid memories of opera-goers so -fortunate as to have heard them. - - - - -Weber and his Operas - - -Carl Maria von Weber, born at Eutin, Oldenberg, December 18, 1786, -died in London, June 5, 1826, is the composer of "Der Freischtz;" -"Euryanthe," and "Oberon." - -"Der Freischtz" was first heard in Berlin, June 18, 1821. "Euryanthe" -was produced in Vienna, October 25, 1823. "Oberon" had its first -performance at Covent Garden, London, April 12, 1826. Eight weeks -later Weber died. A sufferer from consumption, his malady was -aggravated by over-exertion in finishing the score of "Oberon," -rehearsing and conducting the opera, and attending the social -functions arranged in his honour. - - -DER FREISCHTZ - - The first American performance of this opera, which is in - three acts, was in English. The event took place in the Park - Theatre, New York, March 2, 1825. This was only four years - later than the production in Berlin. It was not heard here - in German until a performance at the old Broadway Theatre. - This occurred in 1856 under the direction of Carl Bergmann. - London heard it, in English, July 23, 1824; in German, at - the King's Theatre, May 9, 1832; in Italian, as "Il Franco - Arciero," at Covent Garden, March 16, 1825. For this - performance Costa wrote recitatives to replace the dialogue. - Berlioz did the same for the production at the Grand Opra, - Paris, as "Le Franc Archer," June 7, 1841. "Freischtz" - means "free-shooter"--someone who shoots with magic bullets. - - CHARACTERS - - PRINCE OTTOKAR _Baritone_ - CUNO, head ranger _Bass_ - MAX, a forester _Tenor_ - KASPAR, a forester _Bass_ - KILIAN, a peasant _Tenor_ - A HERMIT _Bass_ - ZAMIEL, the wild huntsman _Speaking Part_ - AGATHE, Cuno's daughter _Soprano_ - AENNCHEN (ANNETTE), her cousin _Soprano_ - - _Time_--Middle of 18th Century. - - _Place_--Bohemia. - -Act I. At the target range. _Kilian_, the peasant, has defeated _Max_, -the forester, at a prize shooting, a Schtzenfest, maybe. _Max_, of -course, should have won. Being a forester, accustomed to the use of -fire-arms, it is disgraceful for him to have been defeated by a mere -peasant. - -_Kilian_ "rubs it in" by mocking him in song and the men and girls of -the village join in the mocking chorus--a clever bit of teasing in -music and establishing at the very start the originality in melody, -style, and character of the opera. - -The hereditary forester, _Cuno_, is worried over the poor showing -_Max_ has made not only on that day, but for some time past. There is -to be a "shoot" on the morrow before _Prince Ottokar_. In order to win -the hand in marriage of _Agathe_, _Cuno's_ daughter, and the eventual -succession as hereditary forester, _Max_ must carry off the honours in -the competition now so near at hand. He himself is in despair. Life -will be worthless to him without _Agathe_. Yet he seems to have lost -all his cunning as a shot. - -It is now, when the others have gone, that another forester, _Kaspar_, -a man of dark visage and of morose and forbidding character, -approaches him. He hands him his gun, points to an eagle circling far -on high, and tells him to fire at it. _Max_ shoots. From its dizzy -height the bird falls dead at his feet. It is a wonderful shot. -_Kaspar_ explains to him that he has shot with a "free," or charmed -bullet; that such bullets always hit what the marksman wills them to; -and that if _Max_ will meet him in the Wolf's Glen at midnight, they -will mould bullets with one of which, on the morrow, he easily can win -_Agathe's_ hand and the hereditary office of forester. _Max_, to whom -victory means all that is dear to him, consents. - -Act II. _Agathe's_ room in the head ranger's house. The girl has -gloomy forebodings. Even her sprightly relative, _Aennchen_, is unable -to cheer her up. At last _Max_, whom she has been awaiting, comes. -Very soon, however, he says he is obliged to leave, because he has -shot a deer in the Wolf's Glen and must go after it. In vain the girls -warn him against the locality, which is said to be haunted. - -The scene changes to the Wolf's Glen, the haunt of _Zamiel_ the wild -huntsman (otherwise the devil) to whom _Kaspar_ has sold himself, and -to whom now he plans to turn over _Max_ as a victim, in order to gain -for himself a brief respite on earth, his time to _Zamiel_ being up. -The younger forester joins him in the Wolf's Glen and together they -mould seven magic bullets, six of which go true to the mark. The -seventh goes whither _Zamiel_ wills it. - -Act III. The first scene again plays in the forester's house. _Agathe_ -still is filled with forebodings. She is attired for the test shooting -which also will make her _Max's_ bride, if he is successful. Faith -dispels her gloom. The bridesmaids enter and wind the bridal garland. - -The time arrives for the test shooting. But only the seventh bullet, -the one which _Zamiel_ speeds whither he wishes, remains to _Max_. His -others he has used up on the hunt in order to show off before the -_Prince_. _Kaspar_ climbs a tree to watch the proceedings from a safe -place of concealment. He expects _Max_ to be _Zamiel's_ victim. Before -the whole village and the _Prince_ the test shot is to be made. The -Prince points to a flying dove. At that moment _Agathe_ appears -accompanied by a _Hermit_, a holy man. She calls out to _Max_ not to -shoot, that she is the dove. But _Max_ already has pulled the trigger. -The shot resounds. _Agathe_ falls--but only in a swoon. It is _Kaspar_ -who tumbles from the tree and rolls, fatally wounded, on the turf. -_Zamiel_ has had no power over _Max_, for the young forester had not -come to the Wolf's Glen of his own free will, but only after being -tempted by _Kaspar_. Therefore _Kaspar_ himself had to be the victim -of the seventh bullet. Upon the _Hermit's_ intercession, _Max_, who -has confessed everything, is forgiven by _Prince Ottokar_, the test -shot is abolished and a year's probation substituted for it. - -Many people are familiar with music from "Der Freischtz" without -being aware that it is from that opera. Several melodies from it have -been adapted as hymn tunes, and are often sung in church. In Act I, -are _Kilian's_ song and the chorus in which the men and women, young -and old, rally _Max_ upon his bad luck. There is an expressive trio -for _Max_, _Kaspar_, and _Cuno_, with chorus "O diese Sonne!" (O -fateful morrow.) There is a short waltz. _Max's_ solo, "Durch die -Wlder, durch die Auen" (Through the forest and o'er the meadows) is a -melody of great beauty, and this also can be said of his other solo in -the same scene, "Jetzt ist wohl ihr Fenster offen" (Now mayhap her -window opens), while the scene comes to a close with gloomy, -despairing accents, as _Zamiel_, unseen of course by _Max_, hovers, a -threatening shadow, in the background. There follows _Kaspar's_ -drinking song, forced in its hilariousness and ending in grotesque -laughter, _Kaspar_ being the familiar of _Zamiel_, the wild huntsman. -His air ("Triumph! Triumph! Vengeance will succeed") is wholly in -keeping with his sinister character. - -Act II opens with a delightful duet for _Agathe_ and _Aennchen_ and a -charmingly coquettish little air for the latter (Comes a comely youth -a-wooing). Then comes _Agathe's_ principal scene. She opens the window -and, as the moonlight floods the room, intones the prayer so simple, -so exquisite, so expressive: "Leise, leise, fromme Weise" (Softly -sighing, day is dying). - -[Music] - -This is followed, after a recitative, by a rapturous, descending -passage leading into an ecstatic melody: "Alle meine Pulse schlagen" -(All my pulses now are beating) as she sees her lover approaching. - -[Music] - -The music of the Wolf's Glen scene long has been considered the most -expressive rendering of the gruesome that is to be found in a musical -score. The stage apparatus that goes with it is such that it makes the -young sit up and take notice, while their elders, because of its -navet, are entertained. The ghost of _Max's_ mother appears to him -and strives to warn him away. Cadaverous, spooky-looking animals crawl -out from caves in the rocks and spit flames and sparks. Wagner got -more than one hint from the scene. But in the crucible of his genius -the glen became the lofty Valkyr rock, and the backdrop with the wild -hunt the superb "Ride of the Valkyries," while other details are -transfigured in that sublime episode, "The Magic Fire Scene." - -After a brief introduction, with suggestions of the hunting chorus -later in the action, the third act opens with _Agathe's_ lovely -cavatina, "And though a cloud the sun obscure." There are a couple of -solos for _Aennchen_, and then comes the enchanting chorus of -bridesmaids. This is the piece which Richard Wagner, then seven years -old, was playing in a room, adjoining which his stepfather, Ludwig -Geyer, lay in his last illness. Geyer had shown much interest in the -boy and in what might become of him. As he listened to him playing the -bridesmaids' chorus from "Der Freischtz" he turned to his wife, -Wagner's mother, and said: "What if he should have a talent for -music?" - -In the next scene are the spirited hunting chorus and the brilliant -finale, in which recurs the jubilant melody from _Agathe's_ second act -scene. - -The overture to "Der Freischtz" is the first in which an operatic -composer unreservedly has made use of melodies from the opera itself. -Beethoven, in the third "Leonore" overture, utilizes the theme of -_Florestan's_ air and the trumpet call. Weber has used not merely -thematic material but complete melodies. Following the beautiful -passage for horns at the beginning of the overture (a passage which, -like _Agathe's_ prayer, has been taken up into the Protestant hymnal) -is the music of _Max's_ outcry when, in the opera, he senses rather -than sees the passage of _Zamiel_ across the stage, after which comes -the sombre music of _Max's_ air: "Hatt denn der Himmel mich -verlassen?" (Am I then by heaven forsaken?). This leads up to the -music of _Agathe's_ outburst of joy when she sees her lover -approaching; and this is given complete. - -The structure of this overture is much like that of the overture to -"Tannhuser" by Richard Wagner. There also is a resemblance in contour -between the music of _Agathe's_ jubilation and that of _Tannhuser's_ -hymn to Venus. Wagner worshipped Weber. Without a suggestion of -plagiarism, the contour of Wagner's melodic idiom is that of Weber's. -The resemblance to Weber in the general structure of the finales to -the first acts of "Tannhuser" and "Lohengrin" is obvious. Even in -some of the leading motives of the Wagner music-dramas, the student -will find the melodic contour of Weber still persisting. What could be -more in the spirit of Weber than the ringing _Parsifal_ motive, one of -the last things from the pen of Richard Wagner? - -Indeed the importance of Weber in the logical development of music and -specifically of opera, lies in the fact that he is the founder of the -romantic school in music;--a school of which Wagner is the -culmination. Weber is as truly the forerunner of Wagner as Haydn is of -Mozart, and Mozart of Beethoven. From the "Freischtz" Wagner derived -his early predilection for legendary subjects, as witness the "Flying -Dutchman," "Tannhuser," and "Lohengrin," from which it was but a step -to the mythological subject of the "Ring" dramas. - -"Der Freischtz" is heard far too rarely in this country. But Weber's -importance as the founder of the romantic school and as the inspired -forerunner of Wagner long has been recognized. Without this -recognition there would be missing an important link in the evolution -of music and, specifically, of opera. - - -EURYANTHE - - Opera in three acts by Weber. Book, by Helmine von Chezy, - adapted from "L'Histoire de Grard de Nevers et de la belle - et vertueuse Euryanthe, sa mie." Produced, Vienna, - Krnthnerthor Theatre (Theatre at the Carinthian Gate), - October 25, 1823. New York, by Carl Anschtz, at Wallack's - Theatre, Broadway and Broome Street, 1863; Metropolitan - Opera House, December 23, 1887, with Lehmann, Brandt, - Alvary, and Fischer, Anton Seidl conducting. - - CHARACTERS - - EURYANTHE DE SAVOIE _Soprano_ - EGLANTINE DE PUISET _Mezzo-Soprano_ - LYSIART DE FORT _Baritone_ - ADOLAR DE NEVERS _Tenor_ - LOUIS VI _Bass_ - - _Time_--Beginning of the Twelfth Century. - - _Place_--France. - -Act I. Palace of the King. Count _Adolar_ chants the beauty and virtue -of his betrothed, _Euryanthe._ Count _Lysiart_ sneers and boasts that -he can lead her astray. The two noblemen stake their possessions upon -the result. - -Garden of the Palace of Nevers. _Euryanthe_ sings of her longing for -_Adolar_. _Eglantine_, the daughter of a rebellious subject who, made -a prisoner, has, on _Euryanthe's_ plea, been allowed the freedom of -the domain, is in love with _Adolar._ She has sensed that _Euryanthe_ -and her lover guard a secret. Hoping to estrange _Adolar_ from her, -she seeks to gain _Euryanthe's_ confidence and only too successfully. -For _Euryanthe_ confides to her that _Adolar's_ dead sister, who lies -in the lonely tomb in the garden, has appeared to _Adolar_ and herself -and confessed that, her lover having been slain in battle, she has -killed herself by drinking poison from her ring; nor can her soul find -rest until someone, innocently accused, shall wet the ring with tears. -To hold this secret inviolate has been imposed upon _Euryanthe_ by -_Adolar_ as a sacred duty. Too late she repents of having communicated -it to _Eglantine_ who, on her part, is filled with malicious glee. -_Lysiart_ arrives to conduct _Adolar's_ betrothed to the royal palace. - -Act II. _Lysiart_ despairs of accomplishing his fell purpose when -_Eglantine_ emerges from the tomb with the ring and reveals to him its -secret. In the royal palace, before a brilliant assembly, _Lysiart_ -claims to have won his wager, and, in proof, produces the ring, the -secret of which he claims _Euryanthe_ has communicated to him. She -protests her innocence, but in vain. _Adolar_ renounces his rank and -estates with which _Lysiart_ is forthwith invested and endowed, and, -dragging _Euryanthe_ after him, rushes into the forest where he -intends to kill her and then himself. - -Act III. In a rocky mountain gorge _Adolar_ draws his sword and is -about to slay _Euryanthe_, who in vain protests her innocence. At that -moment a huge serpent appears. _Euryanthe_ throws herself between it -and _Adolar_ in order to save him. He fights the serpent and kills it; -then, although _Euryanthe_ vows she would rather he slew her than not -love her, he goes his way leaving her to heaven's protection. She is -discovered by the _King_, who credits her story and promises to -vindicate her, when she tells him that it was through _Eglantine_, to -whom she disclosed the secret of the tomb, that _Lysiart_ obtained -possession of the ring. - -Gardens of Nevers, where preparations are making for the wedding of -_Lysiart_ and _Eglantine_. _Adolar_ enters in black armour with visor -down. _Eglantine_, still madly in love with him and dreading her union -with _Lysiart_, is so affected by the significance of the complete -silence with which the assembled villagers and others watch her pass, -that, half out of her mind, she raves about the unjust degradation she -has brought upon _Euryanthe_. - -_Adolar_, disclosing his identity, challenges _Lysiart_ to combat. But -before they can draw, the _King_ appears. In order to punish _Adolar_ -for his lack of faith in _Euryanthe_, he tells him that she is dead. -Savagely triumphant over her rival's end, _Eglantine_ now makes known -the entire plot and is slain by _Lysiart_. At that moment _Euryanthe_ -rushes into _Adolar's_ arms. _Lysiart_ is led off a captive. -_Adolar's_ sister finds eternal rest in her tomb because the ring has -been bedewed by the tears wept by the innocent _Euryanthe_. - -The libretto of "Euryanthe" is accounted extremely stupid, even for an -opera, and the work is rarely given. The opera, however, is important -historically as another stepping-stone in the direction of Wagner. -Several Wagnerian commentators regard the tomb motive as having -conveyed to the Bayreuth master more than a suggestion of the -Leitmotif system which he developed so fully in his music-drama. -_Adolar_, in black armour, is believed to have suggested _Parsifal's_ -appearance in sable harness and accoutrements in the last act of -"Parsifal." In any event, Wagner was a close student of Weber and -there is more than one phrase in "Euryanthe" that finds its echo in -"Lohengrin," although of plagiarism in the ordinary sense there is -none. - -While "Euryanthe" has never been popular, some of its music is very -fine. The overture may be said to consist of two vigorous, stirringly -dramatic sections separated by the weird tomb motive. The opening -chorus in the _King's_ palace is sonorous and effective. There is a -very beautiful romanza for _Adolar_ ("'Neath almond trees in -blossom"). In the challenge of the knights to the test of Euryanthe's -virtue occurs the vigorous phrase with which the overture opens. -_Euryanthe_ has an exquisite cavatina ("Chimes in the valley"). There -is an effective duet for _Euryanthe_ and _Eglantine_ ("Threatful -gather clouds about me"). A scene for _Eglantine_ is followed by the -finale--a chorus with solo for _Euryanthe_. - -_Lysiart's_ recitations and aria ("Where seek to hide?"), expressive -of hatred and defiance--a powerfully dramatic number--opens the second -act. There is a darkly premonitory duet for _Lysiart_ and _Eglantine_. -_Adolar_ has a tranquil aria ("When zephyrs waft me peace"); and a -duet full of abandon with _Euryanthe_ ("To you my soul I give"). The -finale is a quartette with chorus. The hunting chorus in the last act, -previous to the _King's_ discovery of _Euryanthe_, has been called -Weber's finest inspiration. - -Something should be done by means of a new libretto or by re-editing -to give "Euryanthe" the position it deserves in the modern operatic -repertoire. An attempt at a new libretto was made in Paris in 1857, at -the Thtre Lyrique. It failed. Having read a synopsis of that -libretto, I can readily understand why. It is, if possible, more -absurd than the original. Shakespeare's "Cymbeline" is derived from -the same source as "Euryanthe," which shows that, after all, something -could be made of the story. - - -OBERON, - -OR THE ELF-KING'S OATH - - Opera in three acts, by Weber. Words by James Robinson - Planch. - - CHARACTERS - - OBERON _Tenor_ - TITANIA _Mute Character_ - PUCK _Contralto_ - DROLL _Contralto_ - HUON DE BORDEAUX _Tenor_ - SCHERASMIN, his esquire _Baritone_ - HAROUN EL RASCHID _Baritone_ - REZIA, his daughter _Soprano_ - FATIMA, her slave _Soprano_ - PRINCE BABEKAN _Tenor_ - EMIR ALMANSOR _Baritone_ - ROSCHANA, his wife _Contralto_ - ABDALLAH, a pirate _Bass_ - CHARLEMAGNE _Bass_ - -In a tribute to Weber, the librettist of "Oberon" wrote a sketch of -the action and also gave as the origin of the story the tale of "Huon -de Bordeaux," from the old collection of romances known as "La -Bibliothque Bleue." Wieland's poem "Oberon," is based upon the old -romance and Sotheby's translation furnished Planch with the -groundwork for the text. - -According to Planch's description of the action, _Oberon_, the Elfin -King, having quarrelled with his fairy partner, _Titania_, vows never -to be reconciled to her till he shall find two lovers constant through -peril and temptation. To seek such a pair his "tricksy spirit," -_Puck_, has ranged in vain through the world. _Puck_, however, hears -sentence passed on _Sir Huon_, of Bordeaux, a young knight, who, -having been insulted by the son of _Charlemagne_, kills him in single -combat, and is for this condemned by the monarch to proceed to Bagdad, -slay him who sits on the _Caliph's_ left hand, and claim the -_Caliph's_ daughter as his bride. _Oberon_ instantly resolves to make -this pair the instruments of his reunion with his queen, and for this -purpose he brings up _Huon_ and _Scherasmin_ asleep before him, -enamours the knight by showing him _Rezia_, daughter of the _Caliph_, -in a vision, transports him at his waking to Bagdad, and having given -him a magic horn, by the blasts of which he is always to summon the -assistance of _Oberon_, and a cup that fills at pleasure, disappears. -_Sir Huon_ rescues a man from a lion, who proves afterwards to be -_Prince Babekan_, who is betrothed to _Rezia_. One of the properties -of the cup is to detect misconduct. He offers it to _Babekan_. On -raising it to his lips the wine turns to flame, and thus proves him a -villain. He attempts to assassinate _Huon_, but is put to flight. The -knight then learns from an old woman that the princess is to be -married next day, but that _Rezia_ has been influenced, like her -lover, by a vision, and is resolved to be his alone. She believes that -fate will protect her from her nuptials with _Babekan_, which are to -be solemnized on the next day. _Huon_ enters, fights with and -vanquishes _Babekan_, and having spellbound the rest by a blast of the -magic horn, he and _Scherasmin_ carry off _Rezia_ and _Fatima_. They -are soon shipwrecked. _Rezia_ is captured by pirates on a desert -island and brought to Tunis, where she is sold to the _Emir_ and -exposed to every temptation, but she remains constant. _Sir Huon_, by -the order of _Oberon_, is also conveyed thither. He undergoes similar -trials from _Roschana_, the jealous wife of the _Emir_, but proving -invulnerable she accuses him to her husband, and he is condemned to be -burned on the same pyre with _Rezia_. They are rescued by -_Scherasmin_, who has the magic horn, and sets all those who would -harm _Sir Huon_ and _Rezia_ dancing. _Oberon_ appears with his queen, -whom he has regained by the constancy of the lovers, and the opera -concludes with _Charlemagne's_ pardon of _Huon_. - -The chief musical numbers are, in the first act, _Huon's_ grand scene, -beginning with a description of the glories to be won in battle: in -the second act, an attractive quartette, "Over the dark blue waters," -_Puck's_ invocation of the spirits and their response, the great scene -for _Rezia_, "Ocean, thou mighty monster, that liest like a green -serpent coiled around the world," and the charming mermaid's song; -and, in the third act, the finale. - -As is the case with "Euryanthe," the puerilities of the libretto to -"Oberon" appear to have been too much even for Weber's beautiful -music. Either that, or else Weber is suffering the fate of all obvious -forerunners: which is that their genius finds its full and lasting -fruition in those whose greater genius it has caused to germinate and -ripen. Thus the full fruition of Weber's genius is found in the Wagner -operas and music-dramas. Even the fine overtures, "Freischtz," -"Euryanthe," and "Oberon," in former years so often found in the -classical concert repertoire, are played less and less frequently. The -"Tannhuser" overture has supplanted them. The "Oberon" overture, like -that to "Freischtz" and "Euryanthe," is composed of material from the -opera--the horn solo from _Sir Huon's_ scena, portions of the fairies, -chorus and the third-act finale, the climax of _Rezia's_ scene in the -second act, and _Puck's_ invocation. - -In his youth Weber composed, to words by Heimer, an amusing little -musical comedy entitled "Abu Hassan." It was produced in Dresden under -the composer's direction. The text is derived from a well-known tale -in the _Arabian Nights_. Another youthful opera by Weber, "Silvana," -was produced at Frankfort-on-Main in 1810. The text, based upon an -old Rhine legend of a feud between two brothers, has been rearranged -by Ernst Pasqu, the score by Ferdinand Lange, who, in the ballet in -the second act, has introduced Weber's "Invitation la Valse" and his -"Polonaise," besides utilizing other music by the composer. The -fragment of another work, a comic opera, "The Three Pintos," text by -Theodor Hell, was taken in hand and completed, the music by Gustav -Mahler, the libretto by Weber's grandson, Carl von Weber. - - - - -Why Some Operas are Rarely Given - - -There is hardly a writer on music, no matter how advanced his views, -who will not agree with me in all I have said in praise of "Orpheus -and Eurydice," the principal Mozart operas, Beethoven's "Fidelio," and -Weber's "Freischtz" and "Euryanthe." The question therefore arises: -"Why are these works not performed with greater frequency?" - -A general answer would be that the modern opera house is too large for -the refined and delicate music of Gluck and Mozart to be heard to best -effect. Moreover, these are the earliest works in the repertoire. - -In Mozart's case there is the further reason that "Don Giovanni" and -"The Magic Flute" are very difficult to give. An adequate performance -of "Don Giovanni" calls for three prima donnas of the highest rank. -The demands of "The Magic Flute" upon the female personnel of an opera -company also are very great--that is if the work is to be given at all -adequately and effectively. Moreover, the _recitativo secco_ (dry -recitative) of the Mozart operas--a recitative which, at a performance -of "Don Giovanni" in the Academy of Music, New York, I have heard -accompanied by the conductor on an upright pianoforte--is tedious to -ears accustomed to have every phrase in modern opera sung to an -expressive orchestral accompaniment. As regards "Fidelio" it has -spoken dialogue; and if anything has been demonstrated over and over -again, it is that American audiences of today simply will not stand -for spoken dialogue in grand opera. That also, together with the -extreme navet of their librettos, is the great handicap of the Weber -operas. It is neither an easy nor an agreeable descent from the -vocalized to the spoken word. And so, works, admittedly great, are -permitted to lapse into unpardonable desuetude, because no genius, -willing or capable, has come forward to change the _recitativo secco_ -of Mozart, or the dialogue that affronts the hearer in the other works -mentioned, into recitatives that will restore these operas to their -deserved place in the modern repertoire. Berlioz tried it with "Der -Freischtz" and appears to have failed; nor have the "Freischtz" -recitatives by Costa seemingly fared any better. This may have -deterred others from making further attempts of the kind. But it seems -as if a lesser genius than Berlioz, and a talent superior to Costa's, -might succeed where they failed. - - - - -From Weber to Wagner - - -In the evolution of opera from Weber to Wagner a gap was filled by -composers of but little reputation here, although their names are -known to every student of the lyric stage. Heinrich Marschner -(1795-1861) composed in "Hans Heiling," Berlin, 1833, an opera based -on legendary material. Its success may have confirmed Wagner's bent -toward dramatic sources of this kind already aroused by his admiration -for Weber. "Hans Heiling," "Der Vampyr" (The Vampire), and "Der -Templer und Die Judin" (Templar and Jewess, a version of _Ivanhoe_) -long held an important place in the operatic repertoire of their -composer's native land. On the other hand "Faust" (1818) and -"Jessonda" (1823), by Ludwig Spohr (1784-1859), have about completely -disappeared. Spohr, however, deserves mention as being one of the -first professional musicians of prominence to encourage Wagner. -Incapable of appreciating either Beethoven or Weber, yet, strange to -say, he at once recognized the merits of "The Flying Dutchman" and -"Tannhuser," and even of "Lohengrin"--at the time sealed volumes to -most musicians and music lovers. As court conductor at Kassel, he -brought out the first two Wagner operas mentioned respectively in 1842 -and 1853; and was eager to produce "Lohengrin," but was prevented by -opposition from the court. - -Meyerbeer and his principal operas will be considered at length in the -chapters in this book devoted to French opera. There is no doubt, -however, that what may be called the "largeness" of Meyerbeer's style -and the effectiveness of his instrumentation had their influence on -Wagner. - -Gasparo Spontini (1774-1851) was an Italian by birth, but I believe -can be said to have made absolutely no impression on the development -of Italian opera. His principal works, "La Vestale" (The Vestal -Virgin), and "Fernando Cortez," were brought out in Paris and later in -Berlin, where he was general music director, 1820-1841. His operas -were heavily scored, especially for brass. Much that is noisy in -"Rienzi" may be traced to Spontini, but later Wagner understood how to -utilize the brass in the most eloquent manner; for, like Shakespeare, -Wagner possessed the genius that converts the dross of others into -refined gold. - -Mention may be here made of three composers of light opera, who -succeeded in evolving a refined and charming type of the art. We at -least know the delightful overture to "The Merry Wives of Windsor," by -Otto Nicolai (1810-1849); and the whole opera, produced in Berlin a -few months before Nicolai died, is equally frolicksome and graceful. -Conradin Kreutzer (1780-1849) brought out, in 1836, "Das Nachtlager in -Granada" (A Night's Camp in Granada), a melodious and sparkling score. - -But the German light opera composer par excellence is Albert Lortzing -(1803-1851). His chief works are, "Czar und Zimmermann" (Czar and -Carpenter), 1834, with its beautiful baritone solo, "In childhood I -played with a sceptre and crown"; "Der Wildschtz" (The Poacher); -"Undine"; and "Der Waffenschmied" (The Armourer) which last also has a -deeply expressive solo for baritone, "Ich auch war einst Jngling mit -lockigem Haar" (I too was a youth once with fair, curly hair). - - - - -Richard Wagner - -(1813-1883) - - -Richard Wagner was born at Leipsic, May 22, 1813. His father was clerk -to the city police court and a man of good education. During the -French occupation of Leipsic he was, owing to his knowledge of French, -made chief of police. He was fond of poetry and had a special love for -the drama, often taking part in amateur theatricals. - -Five months after Richard's birth his father died of an epidemic fever -brought on by the carnage during the battle of Leipsic, October 16, -18, and 19, 1813. In 1815 his widow, whom he had left in most -straitened circumstances, married Ludwig Geyer, an actor, a -playwright, and a portrait painter. By inheritance from his father, by -association with his stepfather, who was very fond of him, Wagner -readily acquired the dramatic faculty so pronounced in his operas and -music-dramas of which he is both author and composer. - -At the time Wagner's mother married Geyer, he was a member of the -Court Theatre at Dresden. Thither the family removed. When the boy was -eight years old, he had learned to play on the pianoforte the chorus -of bridesmaids from "Der Freischtz," then quite new. The day before -Geyer's death, September 30, 1821, Richard was playing this piece in -an adjoining room and heard Geyer say to his mother: "Do you think he -might have a gift for music?" Coming out of the death room Wagner's -mother said to him: "Of you he wanted to make something." "From this -time on," writes Wagner in his early autobiographical sketch, "I -always had an idea that I was destined to amount to something in this -world." - -At school Wagner made quite a little reputation as a writer of verses. -He was such an enthusiastic admirer of Shakespeare that at the age of -fourteen he began a grand tragedy, of which he himself says that it -was a jumble of _Hamlet_ and _Lear_. So many people died in the course -of it that their ghosts had to return in order to keep the fifth act -going. - -In 1833, at the age of twenty, Wagner began his career as a -professional musician. His elder brother Albert was engaged as tenor, -actor, and stage manager at the Wrzburg theatre. A position as chorus -master being offered to Richard, he accepted it, although his salary -was a pittance of ten florins a month. However, the experience was -valuable. He was able to profit by many useful hints from his brother, -the Musikverein performed several of his compositions, and his duties -were not so arduous but that he found time to write the words and -music of an opera in three acts entitled "The Fairies"--first -performed in June, 1888, five years after his death, at Munich. In the -autumn of 1834 he was called to the conductorship of the opera at -Magdeburg. There he wrote and produced an opera, "Das Liebesverbot" -(Love Veto), based on Shakespeare's _Measure for Measure_. The theatre -at Magdeburg was, however, on the ragged edge of bankruptcy, and -during the spring of 1836 matters became so bad that it was evident -the theatre must soon close. Finally only twelve days were left for -the rehearsing and the performance of his opera. The result was that -the production went completely to pieces, singers forgetting their -lines and music, and a repetition which was announced could not come -off because of a free fight behind the scenes between two of the -principal singers. Wagner describes this in the following amusing -passage in his autobiographical sketch: - -"All at once the husband of my prima donna (the impersonator of -_Isabella_) pounced upon the second tenor, a very young and handsome -fellow (the singer of my _Claudio_), against whom the injured spouse -had long cherished a secret jealousy. It seemed that the prima donna's -husband, who had from behind the curtains inspected with me the -composition of the audience, considered that the time had now arrived -when, without damage to the prospects of the theatre, he could take -his revenge on his wife's lover. _Claudio_ was so pounded and -belaboured by him that the unhappy individual was compelled to retire -to the dressing-room with his face all bleeding. _Isabella_ was -informed of this, and, rushing desperately toward her furious lord, -received from him such a series of violent cuffs that she forthwith -went into spasms. The confusion among my personnel was now quite -boundless: everybody took sides with one party or the other, and -everything seemed on the point of a general fight. It seemed as if -this unhappy evening appeared to all of them precisely calculated for -a final settling up of all sorts of fancied insults. This much was -evident, that the couple who had suffered under the 'love veto' -(Liebesverbot) of _Isabella's_ husband, were certainly unable to -appear on this occasion." - -Wagner was next engaged as orchestral conductor at Knigsberg, where -he married the actress Wilhelmina, or Minna Planer. Later he received -notice of his appointment as conductor and of the engagement of his -wife and sister at the theatre at Riga, on the Russian side of the -Baltic. - -In Riga he began the composition of his first great success, -"Rienzi." He completed the libretto during the summer of 1838, and -began the music in the autumn, and when his contract terminated in the -spring of 1839 the first two acts were finished. In July, accompanied -by his wife and a huge Newfoundland dog, he boarded a sailing vessel -for London, at the port of Pilau, his intention being to go from -London to Paris. "I shall never forget the voyage," he says. "It was -full of disaster. Three times we nearly suffered shipwreck, and once -were obliged to seek safety in a Norwegian harbour.... The legend of -the 'Flying Dutchman' was confirmed by the sailors, and the -circumstances gave it a distinct and characteristic colour in my -mind." No wonder the sea is depicted so graphically in his opera "The -Flying Dutchman." - -He arrived in Paris in September, 1839, and remained until April 7, -1842, from his twenty-sixth to his twenty-ninth year. This Parisian -sojourn was one of the bitter experiences of his life. At times he -actually suffered from cold and hunger, and was obliged to do a vast -amount of most uncongenial kind of hack work. - -November 19, 1840, he completed the score of "Rienzi," and in December -forwarded it to the director of the Royal Theatre at Dresden. While -awaiting a reply, he contributed to the newspapers and did all kinds -of musical drudgery for Schlesinger, the music publisher, even making -arrangements for the cornet piston. Finally word came from Dresden. -"Rienzi" had aroused the enthusiasm of the chorus master, Fischer, and -of the tenor Tichatschek, who saw that the title rle was exactly -suited to his robust, dramatic voice. Then there was Mme. -Schrder-Devrient for the part of _Adriano_. The opera was produced -October 20, 1842, the performance beginning at six and ending just -before midnight, to the enthusiastic plaudits of an immense audience. -So great was the excitement that in spite of the late hour people -remained awake to talk over the success. "We all ought to have gone -to bed," relates a witness, "but we did nothing of the kind." Early -the next morning Wagner appeared at the theatre in order to make -excisions from the score, which he thought its great length -necessitated. But when he returned in the afternoon to see if they had -been executed, the copyist excused himself by saying the singers had -protested against any cuts. Tichatschek said: "I will have no cuts; it -is too heavenly." After a while, owing to its length, the opera was -divided into two evenings. - -The success of "Rienzi" led the Dresden management to put "The Flying -Dutchman" in rehearsal. It was brought out after somewhat hasty -preparations, January 2, 1843. The opera was so different from -"Rienzi," its sombre beauty contrasted so darkly with the glaring, -brilliant music and scenery of the latter, that the audience failed to -grasp it. In fact, after "Rienzi," it was a disappointment. - -Before the end of January, 1843, not long after the success of -"Rienzi," Wagner was appointed one of the Royal conductors at Dresden. -He was installed February 2d. One of his first duties was to assist -Berlioz at the rehearsals of the latter's concerts. Wagner's work in -his new position was somewhat varied, consisting not only of -conducting operas, but also music between the acts at theatrical -performances and at church services. The principal operas which he -rehearsed and conducted were "Euryanthe," "Freischtz," "Don -Giovanni," "The Magic Flute," Gluck's "Armide," and "Iphigenia in -Aulis." The last-named was revised both as regards words and music by -him, and his changes are now generally accepted. - -Meanwhile he worked arduously on "Tannhuser," completing it April 13, -1844. It was produced at Dresden, October 19, 1845. At first the work -proved even a greater puzzle to the public than "The Flying Dutchman" -had, and evoked comments which nowadays, when the opera has actually -become a classic, seem ridiculous. Some people even suggested that the -plot of the opera should be changed so that _Tannhuser_ should marry -_Elizabeth_. - -The management of the Dresden theatre, which had witnessed the -brilliant success of "Rienzi" and had seen "The Flying Dutchman" and -"Tannhuser" at least hold their own in spite of the most virulent -opposition, looked upon his next work, "Lohengrin," as altogether too -risky and put off its production indefinitely. - -Thinking that political changes might put an end to the routine -stagnation in musical matters, Wagner joined in the revolutionary -agitation of '48 and '49. In May, 1849, the disturbances at Dresden -reached such an alarming point that the Saxon Court fled. Prussian -troops were dispatched to quell the riot and Wagner thought it -advisable to flee. He went to Weimar, where Liszt was busy rehearsing -"Tannhuser." While attending a rehearsal of this work, May 19, news -was received that orders had been issued for his arrest as a -politically dangerous individual. Liszt at once procured a passport -and Wagner started for Paris. In June he went to Zurich, where he -found Dresden friends and where his wife joined him, being enabled to -do so through the zeal of Liszt, who raised the money to defray her -journey from Dresden. - -Liszt brought out "Lohengrin" at Weimar, August 28, 1850. The -reception of "Lohengrin" did not at first differ much from that -accorded to "Tannhuser." Yet the performance made a deep impression. -The fact that the weight of Liszt's influence had been cast in its -favour gave vast importance to the event, and it may be said that -through this performance Wagner's cause received its first great -stimulus. The so-called Wagner movement may be said to have dated from -this production of "Lohengrin." - -He finished the librettos of the "Nibelung" dramas in 1853. By May, -1854, the music of "Das Rheingold" was composed. The following month -he began "Die Walkre" and finished all but the instrumentation during -the following winter and the full score in 1856. Previous to this, in -fact already in the autumn of 1854, he had sketched some of the music -of "Siegfried," and in the spring of 1857 the full score of the first -act and of the greater part of the second act was finished. Then, -recognizing the difficulties which he would encounter in securing a -performance of the "Ring," and appalled by the prospect of the battle -he would be obliged to wage, he was so disheartened that he abandoned -the composition of "Siegfried" at the _Waldweben_ scene and turned to -"Tristan." His idea at that time was that "Tristan" would be short and -comparatively easy to perform. Genius that he was, he believed that -because it was easy for him to write great music it would be easy for -others to interpret it. A very curious, not to say laughable, incident -occurred at this time. An agent of the Emperor of Brazil called and -asked if Wagner would compose an opera for an Italian troupe at Rio de -Janeiro, and would he conduct the work himself, all upon his own -terms. The composition of "Tristan" actually was begun with a view of -its being performed by Italians in Brazil! - -The poem of "Tristan" was finished early in 1857, and in the winter of -the same year the full score of the first act was ready to be -forwarded to the engraver. The second act is dated Venice, March 2, -1859. The third is dated Lyons, August, 1859. - -It is interesting to note in connection with "Tristan" that, while -Wagner wrote it because he thought it would be easy to secure its -performance, he subsequently found more difficulty in getting it -produced than any other of his works. In September, 1859, he again -went to Paris with the somewhat curious hope that he could there find -opportunity to produce "Tristan" with German artists. Through the -intercession of the Princess Metternich, the Emperor ordered the -production of "Tannhuser" at the Opra. Beginning March 13, 1861, -three performances were given, of which it is difficult to say whether -the performance was on the stage or in the auditorium, for the uproar -in the house often drowned the sounds from the stage. The members of -the Jockey Club, who objected to the absence of a ballet, armed -themselves with shrill whistles, on which they began to blow whenever -there was the slightest hint of applause, and the result was that -between the efforts of the singers to make themselves heard and of -Wagner's friends to applaud, and the shrill whistling from his -enemies, there was confusion worse confounded. But Wagner's friendship -with Princess Metternich bore good fruit. Through her mediation, it is -supposed, he received permission to return to all parts of Germany but -Saxony. It was not until March, 1862, thirteen years after his -banishment, that he was again allowed to enter the kingdom of his -birth and first success. - -His first thought now was to secure the production of "Tristan," but -at Vienna, after fifty-seven rehearsals, it was put upon the shelf as -impossible. - -In 1863, while working upon "Die Meistersinger," at Penzing, near -Vienna, he published his "Nibelung" dramas, expressing his hope that -through the bounty of one of the German rulers the completion and -performance of his "Ring of the Nibelung" would be made possible. But -in the spring of 1864, worn out by his struggle with poverty and -almost broken in spirit by his contest with public and critics, he -actually determined to give up his public career, and eagerly grasped -the opportunity to visit a private country seat in Switzerland. Just -at this very moment, when despair had settled upon him, the long -wished-for help came. King Ludwig II., of Bavaria, bade him come to -Munich, where he settled in 1864. "Tristan" was produced there June -10, 1865. June 21, 1868, a model performance of "Die Meistersinger," -which he had finished in 1867, was given at Munich under the direction -of von Blow, Richter acting as chorus master and Wagner supervising -all the details. Wagner also worked steadily at the unfinished portion -of the "Ring," completing the instrumentation of the third act of -"Siegfried" in 1869 and the introduction and first act of "The Dusk of -the Gods" in June, 1870. - -August 25, 1870, his first wife having died January 25, 1866, after -five years' separation from him, he married the divorced wife of von -Blow, Cosima Liszt. In 1869 and 1870, respectively "The Rhinegold" -and "The Valkyr" were performed at the Court Theatre in Munich. - -Bayreuth having been determined upon as the place where a theatre for -the special production of his "Ring" should be built, Wagner settled -there in April, 1872. By November, 1874, "Dusk of the Gods" received -its finishing touches, and rehearsals had already been held at -Bayreuth. During the summer of 1875, under Wagner's supervision, Hans -Richter held full rehearsals there, and at last, twenty-eight years -after its first conception, on August 13th, 14th, 16th, and 17th, -again from August 20 to 23, and from August 27 to 30, 1876, "The Ring -of the Nibelung" was performed at Bayreuth with the following cast: -_Wotan_, Betz; _Loge_, Vogel; _Alberich_, Hill; _Mime_, Schlosser; -_Fricka_, Frau Grn; _Donner_ and _Gunther_, Gura; _Erda_ and -_Waltraute_, Frau Jaide; _Siegmund_, Niemann; _Sieglinde_, Frl. -Schefsky; _Brnnhilde_, Frau Materna; _Siegfried_, Unger; _Hagen_, -Siehr; _Gutrune_, Frl. Weckerin; _Rhinedaughters_, Lilli and Marie -Lehmann, and Frl. Lammert. First violin, Wilhelmj; conductor, Hans -Richter. The first _Rhinedaughter_ was the same Lilli Lehmann who, in -later years, at the Metropolitan Opera House, New York, became one of -the greatest of prima donnas and, as regards the Wagnerian repertoire, -set a standard for all time. Materna appeared at that house in the -"Valkyr" production under Dr. Damrosch, in January, 1885, and Niemann -was heard there later. - -To revert to Bayreuth, "Parsifal" was produced there in July, 1882. In -the autumn of that year, Wagner's health being in an unsatisfactory -state, though no alarming symptoms had shown themselves, he took up -his residence in Venice at the Palazzo Vendramini, on the Grand Canal. -He died February 13, 1883. - -In manner incidental, that is, without attention formally being called -to the subject, Wagner's reform of the lyric stage is set forth in the -descriptive accounts of his music-dramas which follow, and in which -the leading motives are quoted in musical notation. But something -directly to the point must be said here. - -Once again, like Gluck a century before, Wagner opposed the assumption -of superiority on the part of the interpreter--the singer--over the -composer. He opposed it in manner so thorough-going that he changed -the whole face of opera. A far greater tribute to Wagner's genius than -the lame attempts of some German composers at imitating him, is the -frank adoption of certain phases of his method by modern French and -Italian composers, beginning with Verdi in "Ada." While by no means a -Wagnerian work, since it contains not a trace of the theory of the -leading motive, "Ada," through the richness of its instrumentation, -the significant accompaniment of its recitative, the lack of mere -_bravura_ embellishment in its vocal score, and its sober reaching out -for true dramatic effect in the treatment of the voices, substituting -this for ostentatious brilliancy and ear-tickling fluency, plainly -shows the influence of Wagner upon the greatest of Italian composers. -And what is true of "Ada," is equally applicable to the whole school -of Italian _verismo_ that came after Verdi--Mascagni, Leoncavallo, -Puccini. - -Wagner's works are conceived and executed upon a gigantic scale. They -are Shakespearian in their dimensions and in their tragic power; or, -as in the "Meistersinger," in their comedy element. Each of his works -is highly individual. The "Ring" dramas and "Tristan" are unmistakably -Wagner. Yet how individually characteristic the music of each! That of -the "Ring" is of elemental power. The "Tristan" music is molten -passion. Equally characteristic and individual are his other scores. - -The theory evolved by Wagner was that the lyric stage should present -not a series of melodies for voice upon a mere framework of plot and -versified story, but a serious work of dramatic art, the music to -which should, both vocally and instrumentally, express the ever -varying development of the drama. With this end in view he invented a -melodious recitative which only at certain great crises in the -progress of the action--such as the love-climax, the gathering at the -Valkyr Rock, the "Farewell," and the "Magic Fire" scenes in "The -Valkyr"; the meeting of _Siegfried_ and _Brnnhilde_ in "Siegfried"; -the love duet and "Love-Death" in "Tristan"--swells into prolonged -melody. Note that I say prolonged melody. For besides these prolonged -melodies, there is almost constant melody, besides marvellous -orchestral colour, in the weft and woof of the recitative. This is -produced by the artistic use of leading motives, every leading motive -being a brief, but expressive, melody--so brief that, to one coming to -Wagner without previous study or experience, the melodious quality of -his recitative is not appreciated at first. After a while, however, -the hearer begins to recognize certain brief, but melodious and -musically eloquent phrases--leading motives--as belonging to certain -characters in the drama or to certain influences potent in its -development, such as hate, love, jealousy, the desire for revenge, -etc. Often to express a combination of circumstances, influences, -passions, or personal actions, these leading motives, these brief -melodious phrases, are combined with a skill that is unprecedented; or -the voice may express one, while the orchestra combines with it in -another. - -To enable the orchestra to follow these constantly changing phases in -the evolution and development of the drama, and often to give -utterance to them separately, it was necessary for Wagner to have most -intimate knowledge of the individual tone quality and characteristics -of every instrument in the orchestra, and this mastery of what I may -call instrumental personality he possessed to a hitherto undreamed-of -degree. Nor has anyone since equalled him in it. The result is a -choice and variety of instrumentation which in itself is almost an -equivalent for dramatic action and enables the orchestra to adapt -itself with unerring accuracy to the varying phases of the drama. - -Consider that, when Wagner first projected his theory of the -music-drama, singers were accustomed in opera to step into the -limelight and, standing there, deliver themselves of set melodies, -acknowledge applause and give as many encores as were called for, in -fact were "it," while the real creative thing, the opera, was but -secondary, and it is easy to comprehend the opposition which his works -aroused among the personnel of the lyric stage; for music-drama -demands a singer's absorption not only in the music but also in the -action. A Wagner music-drama requires great singers, but the singers -no longer absorb everything. They are part--a most important part, it -is true--of a performance, in which the drama itself, the orchestra, -and the stage pictures are also of great importance. A performance of -a Wagner music-drama, to be effective, must be a well-rounded, -eloquent whole. The drama must be well acted from a purely dramatic -point of view. It must be well sung from a purely vocal point of view. -It must be well interpreted from a purely orchestral point of view. It -must be well produced from a purely stage point of view. For all these -elements go hand in hand. It is, of course, well known that Wagner was -the author of his own librettos and showed himself a dramatist of the -highest order for the lyric stage. - -While his music-dramas at first aroused great opposition among -operatic artists, growing familiarity with them caused these artists -to change their view. The interpretation of a Wagner character was -discovered to be a combined intellectual and emotional task which -slowly, but surely, appealed more and more to the great singers of the -lyric stage. They derived a new dignity and satisfaction from their -work, especially as audiences also began to realize that, instead of -mere entertainment, performances of Wagner music-dramas were -experiences that both stirred the emotions to their depths and -appealed to the intellect as well. To this day Lilli Lehmann is -regarded by all, who had the good fortune to hear her at the -Metropolitan Opera House, as the greatest prima donna and the most -dignified figure in the history of the lyric stage in this country; -for on the lyric stage the interpretation of the great characters in -Wagnerian music-drama already had come to be regarded as equal to the -interpretation of the great Shakespearian characters on the dramatic. - -Wagner's genius was so supreme that, although he has been dead -thirty-four years, he is still without a successor. Through the force -of his own genius he appears destined to remain the sole exponent of -the art form of which he was the creator. But his influence is still -potent. This we discover not only in the enrichment of the orchestral -accompaniment in opera, but in the banishment of senseless vocal -embellishment, in the search for true dramatic expression and, in -general, in the greater seriousness with which opera is taken as an -art. Even the minor point of lowering the lights in the auditorium -during a performance, so as to concentrate attention upon the stage, -is due to him; and even the older Italian operas are now given with an -attention to detail, scenic setting, and an endeavour to bring out -their dramatic effects, quite unheard of before his day. He was, -indeed, a reformer of the lyric stage whose influence long will be -potent "all along the line." - - -RIENZI, DER LETZTE DER TRIBUNEN - -RIENZI, THE LAST OF THE TRIBUNES - - Opera in five acts. Words and music by Wagner. Produced, - Dresden, October 20, 1842. London, Her Majesty's Theatre, - April 16, 1869. New York, Academy of Music, 1878, with - Charles R. Adams, as _Rienzi_, Pappenheim as _Adriano_; - Metropolitan Opera House, February 5, 1886, with Sylva as - _Rienzi_, Lehmann as _Irene_, Brandt as _Adriano_, Fischer - as _Colonna_. - - CHARACTERS - - COLA RIENZI, Roman Tribune and Papal Notary _Tenor_ - IRENE, his sister _Soprano_ - STEFFANO COLONNA _Bass_ - ADRIANO, his son _Mezzo-Soprano_ - PAOLO ORSINO _Bass_ - RAIMONDO, Papal Legate _Bass_ - BARONCELLO } { _Tenor_ - CECCO DEL VECCHIO } Roman citizens { _Bass_ - MESSENGER OF PEACE _Soprano_ - - Ambassadors, Nobles, Priests, Monks, Soldiers, Messengers, - and Populace in General. - - _Time_--Middle of the Fourteenth Century. - - _Place_--Rome. - -_Orsino_, a Roman patrician, attempts to abduct _Irene_, the sister of -_Rienzi_, a papal notary, but is opposed at the critical moment by -_Colonna_, another patrician. A fight ensues between the two factions, -in the midst of which _Adriano_, the son of _Colonna_, who is in love -with _Irene_, appears to defend her. A crowd is attracted by the -tumult, and among others _Rienzi_ comes upon the scene. Enraged at the -insult offered his sister, and stirred on by _Cardinal Raimondo_, he -urges the people to resist the outrages of the nobles. _Adriano_ is -impelled by his love for _Irene_ to cast his lot with her brother. The -nobles are overpowered, and appear at the capitol to swear allegiance -to _Rienzi_, but during the festal proceedings _Adriano_ warns him -that the nobles have plotted to kill him. An attempt which _Orsino_ -makes upon him with a dagger is frustrated by a steel breastplate -which _Rienzi_ wears under his robe. - -The nobles are seized and condemned to death, but on _Adriano's_ -pleading they are spared. They, however, violate their oath of -submission, and the people again under _Rienzi's_ leadership rise and -exterminate them, _Adriano_ having pleaded in vain. In the end the -people prove fickle. The popular tide turns against _Rienzi_, -especially in consequence of the report that he is in league with the -German emperor, and intends to restore the Roman pontiff to power. As -a festive procession is escorting him to church, _Adriano_ rushes upon -him with a drawn dagger, being infuriated at the slaughter of his -family, but the blow is averted. Instead of the "Te Deum," however, -with which _Rienzi_ expected to be greeted on his entrance to the -church, he hears the malediction and sees the ecclesiastical -dignitaries placing the ban of excommunication against him upon the -doors. _Adriano_ hurries to _Irene_ to warn her of her brother's -danger, and urges her to seek safety with him in flight. She, however, -repels him, and seeks her brother, determined to die with him, if need -be. She finds him at prayer in the capitol, but rejects his counsel to -save herself with _Adriano_. _Rienzi_ appeals to the infuriated -populace which has gathered around the capitol, but they do not heed -him. They fire the capitol with their torches, and hurl stones at -_Rienzi_ and _Irene_. As _Adriano_ sees his beloved one and her -brother doomed to death in the flames, he throws away his sword, -rushes into the capitol, and perishes with them. - -The overture of "Rienzi" gives a vivid idea of the action of the -opera. Soon after the beginning there is heard the broad and stately -melody of _Rienzi's_ prayer, and then the Rienzi Motive, a typical -phrase, which is used with great effect later in the opera. It is -followed in the overture by the lively melody heard in the concluding -portion of the finale of the second act. These are the three most -conspicuous portions of the overture, in which there are, however, -numerous tumultuous passages reflecting the dramatic excitement which -pervades many scenes. - -The opening of the first act is full of animation, the orchestra -depicting the tumult which prevails during the struggle between the -nobles. _Rienzi's_ brief recitative is a masterpiece of declamatory -music, and his call to arms is spirited. It is followed by a trio -between _Irene_, _Rienzi_, and _Adriano_, and this in turn by a duet -for the two last-named which is full of fire. The finale opens with a -double chorus for the populace and the monks in the Lateran, -accompanied by the organ. Then there is a broad and energetic appeal -to the people from _Rienzi_, and amid the shouts of the populace and -the ringing tones of the trumpets the act closes. - -The insurrection of the people against the nobles is successful, and -_Rienzi_, in the second act, awaits at the capitol the patricians who -are to pledge him their submission. The act opens with a broad and -stately march, to which the messengers of peace enter. They sing a -graceful chorus. This is followed by a chorus for the senators, and -the nobles then tender their submission. There is a terzetto, between -_Adriano_, _Colonna_, and _Orsino_, in which the nobles express their -contempt for the young patrician. The finale which then begins is -highly spectacular. There is a march for the ambassadors, and a grand -ballet, historical in character, and supposed to be symbolical of the -triumphs of ancient Rome. In the midst of this occurs the assault upon -_Rienzi_. _Rienzi's_ pardon of the nobles is conveyed in a broadly -beautiful melody, and this is succeeded by the animated passage heard -in the overture. With it are mingled the chants of the monks, the -shouts of the people who are opposed to the cardinal and nobles, and -the tolling of bells. - -The third act opens tumultuously. The people have been aroused by -fresh outrages on the part of the nobles. _Rienzi's_ emissaries -disperse, after a furious chorus, to rouse the populace to vengeance. -After they have left, _Adriano_ has his great air, a number which can -never fail of effect when sung with all the expression of which it is -capable. The rest of the act is a grand accumulation of martial music -or noise, whichever one chooses to call it, and includes the -stupendous battle hymn, which is accompanied by the clashing of sword -and shields, the ringing of bells, and all the tumult incidental to a -riot. After _Adriano_ has pleaded in vain with _Rienzi_ for the -nobles, and the various bands of armed citizens have dispersed, there -is a duet between _Adriano_ and _Irene_, in which _Adriano_ takes -farewell of her. The victorious populace appears and the act closes -with their triumphant shouts. The fourth act is brief, and beyond the -description given in the synopsis of the plot, requires no further -comment. - -The fifth act opens with the beautiful prayer of _Rienzi_, already -familiar from the overture. There is a tender duet between _Rienzi_ -and _Irene_, an impassioned aria for _Rienzi_, a duet for _Irene_ and -_Adriano_, and then the finale, which is chiefly choral. - - -DER FLIEGENDE HOLLNDER - -THE FLYING DUTCHMAN - - Opera in three acts, words and music by Richard Wagner. - Produced, Royal Opera, Dresden, January 2, 1843. London, - July 23, 1870, as "L'Olandese Dannato"; October 3, 1876, by - Carl Rosa, in English. New York, Academy of Music, January - 26, 1877, in English, with Clara Louise Kellogg; March 12, - 1877, in German; in the spring of 1883, in Italian, with - Albani, Galassi, and Ravelli. - - CHARACTERS - - DALAND, a Norwegian sea captain _Bass_ - SENTA, his daughter _Soprano_ - ERIC, a huntsman _Tenor_ - MARY, SENTA'S nurse _Contralto_ - DALAND'S Steersman _Tenor_ - THE DUTCHMAN _Baritone_ - - Sailors, Maidens, Hunters, etc. - - _Time_--Eighteenth Century. - - _Place_--A Norwegian Fishing Village. - -From "Rienzi" Wagner took a great stride to "The Flying Dutchman." -This is the first milestone on the road from opera to music-drama. Of -his "Rienzi" the composer was in after years ashamed, writing to -Liszt: "I, as an artist and man, have not the heart for the -reconstruction of that, to my taste, superannuated work, which in -consequence of its immoderate dimensions, I have had to remodel more -than once. I have no longer the heart for it, and desire from all my -soul to do something new instead." He spoke of it as a youthful error, -but in "The Flying Dutchman" there is little, if anything, which could -have troubled his artistic conscience. - -One can hardly imagine the legend more effective dramatically and -musically than it is in Wagner's libretto and score. It is a work of -wild and sombre beauty, relieved only occasionally by touches of light -and grace, and has all the interest attaching to a work in which for -the first time a genius feels himself conscious of his greatness. If -it is not as impressive as "Tannhuser" or "Lohengrin," nor as -stupendous as the music-dramas, that is because the subject of the -work is lighter. As his genius developed, his choice of subjects and -his treatment of them passed through as complete an evolution as his -musical theory, so that when he finally abandoned the operatic form -and adopted his system of leading motives, he conceived, for the -dramatic bases of his scores, dramas which it would be difficult to -fancy set to any other music than that which is so characteristic in -his music-dramas. - -Wagner's present libretto is based upon the weirdly picturesque legend -of "The Flying Dutchman"--the Wandering Jew of the ocean. A Dutch sea -captain, who, we are told, tried to double the Cape of Good Hope in -the teeth of a furious gale, swore that he would accomplish his -purpose even if he kept on sailing forever. The devil, hearing the -oath, condemned the captain to sail the sea until Judgment Day, -without hope of release, unless he should find a woman who would love -him faithfully unto death. Once in every seven years he is allowed to -go ashore in search of a woman who will redeem him through her -faithful love. - -The opera opens just as a term of seven years has elapsed. The -_Dutchman's_ ship comes to anchor in a bay of the coast of Norway, in -which the ship of _Daland_, a Norwegian sea captain, has sought -shelter from the storm. _Daland's_ home is not far from the bay, and -the _Dutchman_, learning he has a daughter, asks permission to woo -her, offering him in return all his treasures. _Daland_ readily -consents. His daughter, _Senta_, is a romantic maiden upon whom the -legend of "The Flying Dutchman" has made a deep impression. As -_Daland_ ushers the _Dutchman_ into his home _Senta_ is gazing -dreamily upon a picture representing the unhappy hero of the legend. -The resemblance of the stranger to the face in this picture is so -striking that the emotional girl is at once attracted to him, and -pledges him her faith, deeming it her mission to save him. Later on, -_Eric_, a young huntsman, who is in love with her, pleads his cause -with her, and the _Dutchman_, overhearing them, and thinking himself -again forsaken, rushes off to his vessel. _Senta_ cries out that she -is faithful to him, but is held back by _Eric_, _Daland_, and her -friends. The _Dutchman_, who really loves _Senta_, then proclaims who -he is, thinking to terrify her, and at once puts to sea. But she, -undismayed by his words, and truly faithful unto death, breaks away -from those who are holding her, and rushing to the edge of a cliff -casts herself into the ocean, with her arms outstretched toward him. -The phantom ship sinks, the sea rises high and falls back into a -seething whirlpool. In the sunset glow the forms of _Senta_ and the -_Dutchman_ are seen rising in each other's embrace from the sea and -floating upward. - -In "The Flying Dutchman" Wagner employs several leading motives, not, -indeed, with the skill which he displays in his music-dramas, but with -considerably greater freedom of treatment than in "Rienzi." There we -had but one leading motive, which never varied in form. The overture, -which may be said to be an eloquent and beautiful musical narrative of -the whole opera, contains all these leading motives. It opens with a -stormy passage, out of which there bursts the strong but sombre Motive -of the Flying Dutchman himself, the dark hero of the legend. The -orchestra fairly seethes and rages like the sea roaring under the lash -of a terrific storm. And through all this furious orchestration there -is heard again and again the motive of the _Dutchman_, as if his -figure could be seen amid all the gloom and fury of the elements. -There he stands, hoping for death, yet indestructible. As the excited -music gradually dies away, there is heard a calm, somewhat undulating -phrase which occurs in the opera when the _Dutchman's_ vessel puts -into the quiet Norwegian harbour. Then, also, there occurs again the -motive of the _Dutchman_, but this time played softly, as if the -storm-driven wretch had at last found a moment's peace. - -We at once recognize to whom it is due that he has found this moment -of repose, for we hear like prophetic measures the strains of the -beautiful ballad which is sung by _Senta_ in the second act of the -opera, in which she relates the legend of "The Flying Dutchman" and -tells of his unhappy fate. She is the one whom he is to meet when he -goes ashore. The entire ballad is not heard at this point, only the -opening of the second part, which may be taken as indicating in this -overture the simplicity and beauty of _Senta's_ character. In fact, it -would not be too much to call this opening phrase the Senta Motive. It -is followed by the phrase which indicates the coming to anchor of the -_Dutchman's_ vessel; then we hear the Motive of the Dutchman himself, -dying away with the faintest possible effect. With sudden energy the -orchestra dashes into the surging ocean music, introducing this time -the wild, pathetic plaint sung by the _Dutchman_ in the first act of -the opera. Again we hear his motive, and again the music seems to -represent the surging, swirling ocean when aroused by a furious -tempest. Even when we hear the measures of the sailors' chorus the -orchestra continues its furious pace, making it appear as if the -sailors were shouting above the storm. - -Characteristic in this overture, and also throughout the opera, -especially in _Senta's_ ballad, is what may be called the Ocean -Motive, which most graphically depicts the wild and terrible aspect of -the ocean during a storm. It is varied from time to time, but never -loses its characteristic force and weirdness. The overture ends with -an impassioned burst of melody based upon a portion of the concluding -phrases of _Senta's_ ballad; phrases which we hear once more at the -end of the opera when she sacrifices herself in order to save her -lover. - -A wild and stormy scene is disclosed when the curtain rises upon the -first act. The sea occupies the greater part of the scene, and -stretches itself out far toward the horizon. A storm is raging. -_Daland's_ ship has sought shelter in a little cove formed by the -cliffs. Sailors are employed in furling sails and coiling ropes. -_Daland_ is standing on a rock, looking about him to discover in what -place they are. The orchestra, chiefly with the wild ocean music heard -in the overture, depicts the raging of the storm, and above it are -heard the shouts of the sailors at work: "Ho-jo-he! Hal-lo-jo!" - -_Daland_ discovers that they have missed their port by seven miles on -account of the storm, and deplores his bad luck that when so near his -home and his beloved child, he should have been driven out of his -course. As the storm seems to be abating the sailors descend into the -hold and _Daland_ goes down into the cabin to rest, leaving his -steersman in charge of the deck. The steersman walks the deck once or -twice and then sits down near the rudder, yawning, and then rousing -himself as if sleep were coming over him. As if to force himself to -remain awake he intones a sailor song, an exquisite little melody, -with a dash of the sea in its undulating measures. He intones the -second verse, but sleep overcomes him and the phrases become more and -more detached, until at last he falls asleep. - -The storm begins to rage again and it grows darker. Suddenly the ship -of the _Flying Dutchman_, with blood-red sails and black mast, looms -up in the distance. She glides over the waves as if she did not feel -the storm at all, and quickly enters the harbour over against the ship -of the Norwegian; then silently and without the least noise the -spectral crew furl the sails. The _Dutchman_ goes on shore. - -Here now occur the weird, dramatic recitative and aria: "The term is -passed, and once again are ended seven long years." As the _Dutchman_ -leans in brooding silence against a rock in the foreground, _Daland_ -comes out of the cabin and observes the ship. He rouses the steersman, -who begins singing again a phrase of his song, until _Daland_ points -out the strange vessel to him, when he springs up and hails her -through a speaking trumpet. _Daland_, however, perceives the -_Dutchman_ and going ashore questions him. It is then that the -_Dutchman_, after relating a mariner's story of ill luck and disaster, -asks _Daland_ to take him to his home and allow him to woo his -daughter, offering him his treasures. At this point we have a graceful -and pretty duet, _Daland_ readily consenting that the _Dutchman_ -accompany him. The storm having subsided and the wind being fair, the -crews of the vessels hoist sail to leave port, _Daland's_ vessel -disappearing just as the _Dutchman_ goes on board his ship. - -After an introduction in which we hear a portion of the steersman's -song, and also that phrase which denotes the appearance of the -_Dutchman's_ vessel in the harbour, the curtain rises upon a room in -_Daland's_ house. On the walls are pictures of vessels, charts, and on -the farther wall the portrait of a pale man with a dark beard. -_Senta_, leaning back in an armchair, is absorbed in dreamy -contemplation of the portrait. Her old nurse, _Mary_, and her young -friends are sitting in various parts of the room, spinning. Here we -have that charming musical number famous all the musical world over, -perhaps largely through Liszt's admirable piano arrangement of it, the -"Spinning Chorus." For graceful and engaging beauty it cannot be -surpassed, and may be cited as a striking instance of Wagner's gift of -melody, should anybody at this late day be foolish enough to require -proof of his genius in that respect. The girls tease _Senta_ for -gazing so dreamily at the portrait of the _Flying Dutchman_, and -finally ask her if she will not sing his ballad. - -This ballad is a masterpiece of composition, vocally and -instrumentally, being melodious as well as descriptive. It begins with -the storm music familiar from the overture, and with the weird -measures of the Flying Dutchman's Motive, which sound like a voice -calling in distress across the sea. - -[Music] - -_Senta_ repeats the measures of this motive, and then we have the -simple phrases beginning: "A ship the restless ocean sweeps." -Throughout this portion of the ballad the orchestra depicts the -surging and heaving of the ocean, _Senta's_ voice ringing out -dramatically above the accompaniment. She then tells how he can be -delivered from his curse, this portion being set to the measures which -were heard in the overture, _Senta_ finally proclaiming, in the -broadly delivered, yet rapturous phrases with which the overture ends, - -[Music] - -that she is the woman who will save him by being faithful to him unto -death. The girls about her spring up in terror and _Eric_, who has -just entered the door and heard her outcry, hastens to her side. He -brings news of the arrival of _Daland's_ vessel, and _Mary_ and the -girls hasten forth to meet the sailors. _Senta_ wishes to follow, but -_Eric_ restrains her and pleads his love for her in melodious -measures. _Senta_, however, will not give him an answer at this time. -He then tells her of a dream he has had, in which he saw a weird -vessel from which two men, one her father, the other a ghastly-looking -stranger, made their way. Her he saw going to the stranger and -entreating him for his regard. - -_Senta_, worked up to the highest pitch of excitement by _Eric's_ -words, now exclaims: "He seeks for me and I for him," and _Eric_, full -of despair and horror, rushes away. _Senta_, after her outburst of -excitement, remains again sunk in contemplation of the picture, softly -repeating the measures of her romance. The door opens and the -_Dutchman_ and _Daland_ appear. The _Dutchman_ is the first to enter. -_Senta_ turns from the picture to him, and, uttering a loud cry of -wonder, remains standing as if transfixed without removing her eyes -from the _Dutchman_. _Daland_, seeing that she does not greet him, -comes up to her. She seizes his hand and after a hasty greeting asks -him who the stranger is. _Daland_ tells her of the stranger's request, -and leaves them alone. Then follows a duet for _Senta_ and the -_Dutchman_, with its broad, smoothly-flowing melody and its many -phrases of dramatic power, in which _Senta_ gives herself up -unreservedly to the hero of her romantic attachment, _Daland_ finally -entering and adding his congratulations to their betrothal. This scene -closes the act. - -The music of it re-echoes through the introduction of the next act and -goes over into a vigorous sailors' chorus and dance. The scene shows a -bay with a rocky shore. _Daland's_ house is in the foreground on one -side, the background is occupied by his and the _Dutchman's_ ships, -which lie near one another. The Norwegian ship is lighted up, and all -the sailors are making merry on the deck. In strange contrast is the -_Flying Dutchman's_ vessel. An unnatural darkness hangs over it and -the stillness of death reigns aboard. The sailors and the girls in -their merry-making call loudly toward the Dutch ship to join them, but -no reply is heard from the weird vessel. Finally the sailors call -louder and louder and taunt the crew of the other ship. Then suddenly -the sea, which has been quite calm, begins to rise. The storm wind -whistles through the cordage of the strange vessel, and as dark bluish -flames flare up in the rigging, the weird crew show themselves, and -sing a wild chorus, which strikes terror into all the merrymakers. The -girls have fled, and the Norwegian sailors quit their deck, making the -sign of the cross. The crew of the Flying Dutchman observing this, -disappear with shrill laughter. Over their ship comes the stillness of -death. Thick darkness is spread over it and the air and the sea become -calm as before. - -_Senta_ now comes with trembling steps out of the house. She is -followed by _Eric_. He pleads with her and entreats her to remember -his love for her, and speaks also of the encouragement which she once -gave him. The _Dutchman_ has entered unperceived and has been -listening. _Eric_ seeing him, at once recognizes the man of ghastly -mien whom he saw in his vision. When the _Flying Dutchman_ bids her -farewell, because he deems himself abandoned, and _Senta_ endeavours -to follow him, _Eric_ holds her and summons others to his aid. But, in -spite of all resistance, _Senta_ seeks to tear herself loose. Then it -is that the _Flying Dutchman_ proclaims who he is and puts to sea. -_Senta_, however, freeing herself, rushes to a cliff overhanging the -sea, and calling out, - - "Praise thou thine angel for what he saith; - Here stand I faithful, yea, to death," - -casts herself into the sea. Then occurs the concluding tableau, the -work ending with the portion of the ballad which brought the overture -and spinning scene to a close. - - -TANNHUSER - -UND DER SNGERKRIEG AUF DEM WARTBURG - -(AND THE SONG CONTEST AT THE WARTBURG) - - Opera in three acts, words and music by Richard Wagner. - Produced, Royal Opera, Dresden, October 19, 1845. Paris, - Grand Opra, March 13, 1861. London, Covent Garden, May 6, - 1876, in Italian; Her Majesty's Theatre, February 14, 1882, - in English; Drury Lane, May 23, 1882, in German, under Hans - Richter. New York, Stadt Theatre, April 4, 1859, and July, - 1861, conducted by Carl Bergmann; under Adolff Neuendorff's - direction, 1870, and, Academy of Music, 1877; Metropolitan - Opera House, opening night of German Opera, under Dr. - Leopold Damrosch, November 17, 1884, with Seidl-Kraus as - _Elizabeth_, Anna Slach as _Venus_, Schott as _Tannhuser_, - Adolf Robinson as _Wolfram_, Josef Kgel as the _Landgrave_. - - CHARACTERS - - HERMANN, Landgrave of Thuringia _Bass_ - TANNHUSER } _Tenor_ - WOLFRAM VON ESCHENBACH } _Baritone_ - WALTER VON DER VOGELWEIDE } Knights and _Tenor_ - BITEROLF } Minnesinger _Bass_ - HEINRICH DER SCHREIBER } _Tenor_ - REINMAR VON ZWETER } _Bass_ - ELIZABETH, niece of the Landgrave _Soprano_ - VENUS _Soprano_ - A YOUNG SHEPHERD _Soprano_ - FOUR NOBLE PAGES _Soprano and Alto_ - - Nobles, Knights, Ladies, elder and younger Pilgrims, Sirens, - Naiads, Nymphs, Bacchantes. - - _Time_--Early Thirteenth Century. - - _Place_--Near Eisenach. - -The story of "Tannhuser" is laid in and near the Wartburg, where, -during the thirteenth century, the Landgraves of the Thuringian Valley -held sway. They were lovers of art, especially of poetry and music, -and at the Wartburg many peaceful contests between the famous -minnesingers took place. Near this castle rises the Venusberg. -According to tradition the interior of this mountain was inhabited by -Holda, the Goddess of Spring, who, however, in time became identified -with the Goddess of Love. Her court was filled with nymphs and sirens, -and it was her greatest joy to entice into the mountain the knights of -the Wartburg and hold them captive to her beauty. - -Among those whom she has thus lured into the rosy recesses of the -Venusberg is _Tannhuser_. - -In spite of her beauty, however, he is weary of her charms and longs -for a glimpse of the world. He seems to have heard the tolling of -bells and other earthly sounds, and these stimulate his yearning to be -set free from the magic charms of the goddess. - -In vain she prophesies evil to him should he return to the world. With -the cry that his hope rests in the Virgin, he tears himself away from -her. In one of the swiftest and most effective of scenic changes the -court of _Venus_ disappears and in a moment we see _Tannhuser_ -prostrate before a cross in a valley upon which the Wartburg -peacefully looks down. _Pilgrims_ on their way to Rome pass him by and -_Tannhuser_ thinks of joining them in order that at Rome he may -obtain forgiveness for his crime in allowing himself to be enticed -into the Venusberg. But at that moment the _Landgrave_ and a number of -minnesingers on their return from the chase come upon him and, -recognizing him, endeavour to persuade him to return to the Wartburg -with them. Their pleas, however, are vain, until one of them, _Wolfram -von Eschenbach_, tells him that since he has left the Wartburg a great -sadness has come over the niece of the _Landgrave_, _Elizabeth_. It is -evident that _Tannhuser_ has been in love with her, and that it is -because of her beauty and virtue that he regrets so deeply having been -lured into the Venusberg. For _Wolfram's_ words stir him profoundly. -To the great joy of all, he agrees to return to the Wartburg, the -scene of his many triumphs as a minnesinger in the contests of song. - -[Illustration: Copyright photo by Dupont - -Farrar as Elizabeth in "Tannhuser"] - -[Illustration: Photo by Hall - -"Tannhuser," Finale, Act II - -Tannhuser (Maclennan), Elizabeth (Fornia), Wolfram (Dean) - -The Landgrave (Cranston)] - -The _Landgrave_, feeling sure that _Tannhuser_ will win the prize at -the contest of song soon to be held, offers the hand of his niece to -the winner. The minnesingers sing tamely of the beauty of virtuous -love, but _Tannhuser_, suddenly remembering the seductive and magical -beauties of the Venusberg, cannot control himself, and bursts out -into a reckless hymn in praise of _Venus_. Horrified at his words, the -knights draw their swords and would slay him, but _Elizabeth_ throws -herself between him and them. Crushed and penitent, _Tannhuser_ -stands behind her, and the _Landgrave_, moved by her willingness to -sacrifice herself for her sinful lover, announces that he will be -allowed to join a second band of pilgrims who are going to Rome and to -plead with the Pope for forgiveness. - -_Elizabeth_ prayerfully awaits his return; but, as she is kneeling by -the crucifix in front of the Wartburg, the _Pilgrims_ pass her by and -in the band she does not see her lover. Slowly and sadly she returns -to the castle to die. When the _Pilgrims'_ voices have died away, and -_Elizabeth_ has returned to the castle, leaving only _Wolfram_, who is -also deeply enamoured of her, upon the scene, _Tannhuser_ appears, -weary and dejected. He has sought to obtain forgiveness in vain. The -Pope has cast him out forever, proclaiming that no more than that his -staff can put forth leaves can he expect forgiveness. He has come back -to re-enter the Venusberg. _Wolfram_ seeks to restrain him, but it is -not until he invokes the name of _Elizabeth_ that _Tannhuser_ is -saved. A cortge approaches, and, as _Tannhuser_ recognizes the form -of _Elizabeth_ on the bier, he sinks down on her coffin and dies. Just -then the second band of pilgrims arrive, bearing _Tannhuser's_ staff, -which has put forth blossoms, thus showing that his sins have been -forgiven. - -From "The Flying Dutchman" to "Tannhuser," dramatically and -musically, is, if anything, a greater stride than from "Rienzi" to -"The Flying Dutchman." In each of his successive works Wagner -demonstrates greater and deeper powers as a dramatic poet and -composer. True it is that in nearly every one of them woman appears as -the redeeming angel of sinful man, but the circumstances differ so -that this beautiful tribute always interests us anew. - -The overture of the opera has long been a favorite piece on concert -programs. Like that of "The Flying Dutchman" it is the story of the -whole opera told in music. It certainly is one of the most brilliant -and effective pieces of orchestral music and its popularity is easily -understood. It opens with the melody of the _Pilgrims'_ chorus, -beginning softly as if coming from a distance and gradually increasing -in power until it is heard in all its grandeur. At this point it is -joined by a violently agitated accompaniment on the violins. This -passage evoked great criticism when it was first produced and for many -years thereafter. It was thought to mar the beauty of the pilgrims' -chorus. But without doing so at all it conveys additional dramatic -meaning, for these agitated phrases depict the restlessness of the -world as compared with the grateful tranquillity of religious faith as -set forth in the melody of the _Pilgrims'_ chorus. - -[Music] - -Having reached a climax, this chorus gradually dies away, and -suddenly, and with intense dramatic contrast, we have all the -seductive spells of the Venusberg displayed before us--that is, -musically displayed; but then the music is so wonderfully vivid, it -depicts with such marvellous clearness the many-coloured alluring -scene at the court of the unholy goddess, it gives vent so freely to -the sinful excitement which pervades the Venusberg, that we actually -seem to see what we hear. This passes over in turn to the impassioned -burst of song in which _Tannhuser_ hymns Venus's praise, and -immediately after we have the boisterous and vigorous music which -accompanies the threatening action of the _Landgrave_ and -minnesingers when they draw their swords upon _Tannhuser_ in order to -take vengeance upon him for his crimes. Upon these three episodes of -the drama, which so characteristically give insight into its plot and -action, the overture is based, and it very naturally concludes with -the _Pilgrims'_ chorus which seems to voice the final forgiveness of -_Tannhuser_. - -The curtain rises, disclosing all the seductive spells of the -Venusberg. _Tannhuser_ lies in the arms of _Venus_, who reclines upon -a flowery couch. Nymphs, sirens, and satyrs are dancing about them and -in the distance are grottoes alive with amorous figures. Various -mythological amours, such as that of Leda and the swan, are supposed -to be in progress, but fortunately at a mitigating distance. - -[Music] - -Much of the music familiar from the overture is heard during this -scene, but it gains in effect from the distant voices of the sirens -and, of course, from artistic scenery and grouping and well-executed -dances of the denizens of _Venus's_ court. Very dramatic, too, is the -scene between _Venus_ and _Tannhuser_, when the latter sings his hymn -in her praise, but at the same time proclaims that he desires to -return to the world. In alluring strains she endeavours to tempt him -to remain with her, but when she discovers that he is bound upon -going, she vehemently warns him of the misfortunes which await him -upon earth and prophesies that he will some day return to her and -penitently ask to be taken back into her realm. - -Dramatic and effective as this scene is in the original score, it has -gained immensely in power by the additions which Wagner made for the -production of the work in Paris, in 1861. The overture does not, in -this version, come to a formal close, but after the manner of Wagner's -later works, the transition is made directly from it to the scene of -the Venusberg. The dances have been elaborated and laid out upon a -more careful allegorical basis and the music of _Venus_ has been -greatly strengthened from a dramatic point of view, so that now the -scene in which she pleads with him to remain and afterwards warns him -against the sorrows to which he will be exposed, are among the finest -of Wagner's compositions, rivalling in dramatic power the ripest work -in his music-dramas. - -Wagner's knowledge of the stage is shown in the wonderfully dramatic -effect in the change of scene from the Venusberg to the landscape in -the valley of the Wartburg. One moment we have the variegated allures -of the court of the Goddess of Love, with its dancing nymphs, sirens, -and satyrs, its beautiful grottoes and groups; the next all this has -disappeared and from the heated atmosphere of _Venus's_ unholy rites -we are suddenly transported to a peaceful scene whose influence upon -us is deepened by the crucifix in the foreground, before which -_Tannhuser_ kneels in penitence. The peacefulness of the scene is -further enhanced by the appearance upon a rocky eminence to the left -of a young _Shepherd_ who pipes a pastoral strain, while in the -background are heard the tinkling of bells, as though his sheep were -there grazing upon some upland meadow. Before he has finished piping -his lay the voices of the _Pilgrims_ are heard in the distance, their -solemn measures being interrupted by little phrases piped by the -_Shepherd_. As the _Pilgrims_ approach, the chorus becomes louder, -and as they pass over the stage and bow before the crucifix, their -praise swells into an eloquent psalm of devotion. - -_Tannhuser_ is deeply affected and gives way to his feelings in a -lament, against which are heard the voices of the _Pilgrims_ as they -recede in the distance. This whole scene is one of marvellous beauty, -the contrast between it and the preceding episode being enhanced by -the religiously tranquil nature of what transpires and of the -accompanying music. Upon this peaceful scene the notes of -hunting-horns now break in, and gradually the _Landgrave_ and his -hunters gather about _Tannhuser_. _Wolfram_ recognizes him and tells -the others who he is. They greet him in an expressive septette, and -_Wolfram_, finding he is bent upon following the _Pilgrims_ to Rome, -asks permission of the _Landgrave_ to inform him of the impression -which he seems to have made upon _Elizabeth_. This he does in a -melodious solo, and _Tannhuser_, overcome by his love for -_Elizabeth_, consents to return to the halls which have missed him so -long. Exclamations of joy greet his decision, and the act closes with -an enthusiastic _ensemble_, which is a glorious piece of concerted -music, and never fails of brilliant effect when it is well executed, -especially if the representative of _Tannhuser_ has a voice that can -soar above the others, which, unfortunately, is not always the case. -The accompanying scenic grouping should also be in keeping with the -composer's instructions. The _Landgrave's_ suite should gradually -arrive, bearing the game which has been slain, and horses and -hunting-hounds should be led on the stage. Finally, the _Landgrave_ -and minnesingers mount their steeds and ride away toward the castle. - -The scene of the second act is laid in the singers' hall of the -Wartburg. The introduction depicts _Elizabeth's_ joy at _Tannhuser's_ -return, and when the curtain rises she at once enters and joyfully -greets the scenes of _Tannhuser's_ former triumphs in broadly -dramatic melodious phrases. _Wolfram_ then appears, conducting -_Tannhuser_ to her. _Elizabeth_ seems overjoyed to see him, but then -checks herself, and her maidenly modesty, which veils her transport at -meeting him, again finds expression in a number of hesitating but -exceedingly beautiful phrases. She asks _Tannhuser_ where he has -been, but he, of course, gives misleading answers. Finally, however, -he tells her she is the one who has attracted him back to the castle. -Their love finds expression in a swift and rapidly flowing dramatic -duet, which unfortunately is rarely given in its entirety, although as -a glorious outburst of emotional music it certainly deserves to be -heard in the exact form and length in which the composer wrote it. - -There is then a scene of much tender feeling between the _Landgrave_ -and _Elizabeth_, in which the former tells her that he will offer her -hand as prize to the singer whom she shall crown as winner. The first -strains of the grand march are then heard. This is one of Wagner's -most brilliant and effective orchestral and vocal pieces. Though in -perfect march rhythm, it is not intended that the guests who assembled -at the Wartburg shall enter like a company of soldiers. On the -contrary, they arrive in irregular detachments, stride across the -floor, and make their obeisance in a perfectly natural manner. After -an address by the _Landgrave_, which can hardly be called remarkably -interesting, the singers draw lots to decide who among them shall -begin. This prize singing is, unfortunately, not so great in musical -value as the rest of the score, and, unless a person understands the -words, it is decidedly long drawn out. What, however, redeems it is a -gradually growing dramatic excitement as _Tannhuser_ voices his -contempt for what seem to him the tame tributes paid to love by the -minnesingers, an excitement which reaches its climax when, no longer -able to restrain himself, he bursts forth into his hymn in praise of -the unholy charms of _Venus_. - -[Music] - -The women cry out in horror and rush from the hall as if the very -atmosphere were tainted by his presence, and the men, drawing their -swords, rush upon him. This brings us to the great dramatic moment, -when, with a shriek, _Elizabeth_, in spite of his betrayal of her -love, throws herself protectingly before him, and thus appears a -second time as his saving angel. In short and excited phrases the men -pour forth their wrath at _Tannhuser's_ crime in having sojourned -with _Venus_, and he, realizing its enormity, seems crushed with a -consciousness of his guilt. Of wondrous beauty is the septette, "An -angel has from heaven descended," which rises to a magnificent climax -and is one of the finest pieces of dramatic writing in Wagner's -scores, although often execrably sung and rarely receiving complete -justice. The voices of young _Pilgrims_ are heard in the valley. The -_Landgrave_ then announces the conditions upon which _Tannhuser_ can -again obtain forgiveness, and _Tannhuser_ joins the pilgrims on their -way to Rome. - -The third act displays once more the valley of the Wartburg, the same -scene as that to which the Venusberg changed in the first act. -_Elizabeth_, arrayed in white, is kneeling, in deep prayer, before the -crucifix. At one side, and watching her tenderly, stands _Wolfram_. -After a sad recitative from _Wolfram_, the chorus of returning -_Pilgrims_ is heard in the distance. They sing the melody heard in the -overture and in the first act; and the same effect of gradual approach -is produced by a superb crescendo as they reach and cross the scene. -With almost piteous anxiety and grief _Elizabeth_ scans them closely -as they go by, to see if _Tannhuser_ be among them, and when the -last one has passed and she realizes that he has not returned, she -sinks again upon her knees before the crucifix and sings the prayer, -"Almighty Virgin, hear my sorrow," music in which there is most -beautifully combined the expression of poignant grief with trust in -the will of the Almighty. As she rises and turns toward the castle, -_Wolfram_, by his gesture, seems to ask her if he cannot accompany -her, but she declines his offer and slowly goes her way up the -mountain. - -Meanwhile night has fallen upon the scene and the evening star glows -softly above the castle. It is then that _Wolfram_, accompanying -himself on his lyre, intones the wondrously tender and beautiful "Song -to the Evening Star," confessing therein his love for the saintly -_Elizabeth_. - -[Music] - -Then _Tannhuser_, dejected, footsore, and weary, appears, and in -broken accents asks _Wolfram_ to show him the way back to the -Venusberg. _Wolfram_ bids him stay his steps and persuades him to tell -him the story of his pilgrimage. In fierce, dramatic accents, -_Tannhuser_ relates all that he has suffered on his way to Rome and -the terrible judgment pronounced upon him by the Pope. This is a -highly impressive episode, clearly foreshadowing Wagner's dramatic use -of musical recitative in his later music-dramas. Only a singer of the -highest rank can do justice to it. - -_Tannhuser_ proclaims that, having lost all chance of salvation, he -will once more give himself up to the delights of the Venusberg. A -roseate light illumines the recesses of the mountain and the unholy -company of the Venusberg again is seen, _Venus_ stretching out her -arms for _Tannhuser_, to welcome him. But at last, when _Tannhuser_ -seems unable to resist _Venus'_ enticing voice any longer, _Wolfram_ -conjures him by the memory of the sainted _Elizabeth_. Then _Venus_ -knows that all is lost. The light dies away and the magic charms of -the Venusberg disappear. Amid tolling of bells and mournful voices a -funeral procession comes down the mountain. Recognizing the features -of _Elizabeth_, the dying _Tannhuser_ falls upon her corpse. The -younger pilgrims arrive with the staff, which has again put forth -leaves, and amid the hallelujahs of the pilgrims the opera closes. - -Besides the character of _Elizabeth_ that of _Wolfram_ stands out for -its tender, manly beauty. In love with _Elizabeth_, he is yet the -means of bringing back her lover to her, and in the end saves that -lover from perdition, so that they may be united in death. - - -LOHENGRIN - - Opera in three acts, by Richard Wagner. Produced, Weimar, - Germany, August 28, 1850, under the direction of Franz - Liszt; London, Covent Garden, May 8, 1875; New York, Stadt - Theater, in German, April 3, 1871; Academy of Music, in - Italian, March 23, 1874, with Nilsson, Cary, Campanini, and - Del Puente; Metropolitan Opera House, in German, November - 23, 1885, with Seidl-Kraus, Brandt, Stritt, Robinson, and - Fischer, American dbut of Anton Seidl as conductor. - - CHARACTERS - - HENRY THE FOWLER, King of Germany _Bass_ - LOHENGRIN _Tenor_ - ELSA OF BRABANT _Soprano_ - DUKE GODFREY, her brother _Mute_ - FREDERICK OF TELRAMUND, Count of Brabant _Baritone_ - ORTRUD, his wife _Mezzo-Soprano_ - THE KING'S HERALD _Bass_ - - Saxon, Thuringian, and Brabantian Counts and Nobles, Ladies - of Honour, Pages, Attendants. - - _Time_--First half of the Tenth Century. - - _Scene_--Antwerp. - -The circumstances attending the creation and first production of -"Lohengrin" are most interesting. - -Prior to and for more than a decade after he wrote and composed the -work Wagner suffered many vicissitudes. In Paris, where he lived from -hand to mouth before "Rienzi" was accepted by the Royal Opera House at -Dresden, he was absolutely poverty-stricken and often at a loss how to -procure the next meal. - -"Rienzi" was produced at the Dresden Opera in 1842. It was brilliantly -successful. "The Flying Dutchman," which followed, was less so, and -"Tannhuser" seemed even less attractive to its early audiences. -Therefore it is no wonder that, although Wagner was royal conductor in -Dresden, he could not succeed in having "Lohengrin" accepted there for -performance. Today "Rienzi" hardly can be said to hold its own in the -repertoire outside of its composer's native country. The sombre beauty -of "The Flying Dutchman," though recognized by musicians and serious -music lovers, has prevented its becoming popular. But "Tannhuser," -looked at so askance at first, and "Lohengrin," absolutely rejected, -are standard operas and, when well given, among the most popular works -of the lyric stage. Especially is this true of "Lohengrin." - -This opera, at the time of its composition so novel and so strange, -yet filled with beauties of orchestration and harmony that are now -quoted as leading examples in books on these subjects, was composed in -less than a year. The acts were finished almost, if not quite, in -reversed order. For Wagner wrote the third act first, beginning it in -September, 1846, and completing it March 5, 1847. The first act -occupied him from May 12th to June 8th, less than a month; the second -act from June 18th to August 2d. Fresh and beautiful as "Lohengrin" -still sounds today, it is, in fact, a classic. - -Wagner's music, however, was so little understood at the time, that -even before "Lohengrin" was produced and not a note of it had been -heard, people made fun of it. A lithographer named Meser had issued -Wagner's previous three scores, but the enterprise had not been a -success. People said that before publishing "Rienzi," Meser had lived -on the first floor. "Rienzi" had driven him to the second; "The Flying -Dutchman" and "Tannhuser" to the third; and now "Lohengrin" would -drive him to the garret--a prophecy that didn't come true, because he -refused to publish it. - -In 1849, "Lohengrin" still not having been accepted by the Dresden -Opera, Wagner, as already has been stated, took part in the May -revolution, which, apparently successful for a very short time, was -quickly suppressed by the military. The composer of "Lohengrin" and -the future composer of the "Ring of the Nibelung," "Tristan und -Isolde," "Meistersinger," and "Parsifal," is said to have made his -escape from Dresden in the disguise of a coachman. Occasionally there -turns up in sales as a great rarity a copy of the warrant for Wagner's -arrest issued by the Dresden police. As it gives a description of him -at the time when he had but recently composed "Lohengrin," I will -quote it: - - "Wagner is thirty-seven to thirty-eight years of age, of - medium stature, has brown hair, an open forehead; eyebrows, - brown; eyes, greyish blue; nose and mouth, proportioned; - chin, round, and wears spectacles. Special characteristics: - rapid in movements and speech. Dress: coat of dark green - buckskin, trousers of black cloth, velvet vest, silk - neckerchief, ordinary felt hat and boots." - -Much fun has been made of the expression "chin, round, and wears -spectacles." Wagner got out of Dresden on the pass of a Dr. Widmann, -whom he resembled. It has been suggested that he made the resemblance -still closer by discontinuing the habit of wearing spectacles on his -chin. - -I saw Wagner several times in Bayreuth in the summer of 1882, when I -attended the first performance of "Parsifal," as correspondent by -cable and letter for one of the large New York dailies. Except that -his hair was grey (and that he no longer wore his spectacles on his -chin) the description in the warrant still held good, especially as -regards his rapidity of movement and speech, to which I may add a -marked vivacity of gesture. There, too, I saw the friend, who had -helped him over so many rough places in his early career, Franz Liszt, -his hair white with age, but framing a face as strong and keen as an -eagle's. I saw them seated at a banquet, and with them Cosima, Liszt's -daughter, who was Wagner's second wife, and their son, Siegfried -Wagner; Cosima the image of her father, and Siegfried a miniature -replica of the composer to whom we owe "Lohengrin" and the -music-dramas that followed it. The following summer one of the four -was missing. I have the "Parsifal" program with mourning border -signifying that the performances of the work were in memory of its -creator. - -In April, 1850, Wagner, then an exile in Zurich, wrote to Liszt: -"Bring out my 'Lohengrin!' You are the only one to whom I would put -this request; to no one but you would I entrust the production of this -opera; but to you I surrender it with the fullest, most joyous -confidence." - -Wagner himself describes the appeal and the result, by saying that at -a time when he was ill, unhappy, and in despair, his eye fell on the -score of "Lohengrin" which he had almost forgotten. "A pitiful feeling -overcame me that these tones would never resound from the deathly-pale -paper; two words I wrote to Liszt, the answer to which was nothing -else than the information that, as far as the resources of the Weimar -Opera permitted, the most elaborate preparations were being made for -the production of 'Lohengrin.'" - -Liszt's reply to which Wagner refers, and which gives some details -regarding "the elaborate preparations," while testifying to his full -comprehension of Wagner's genius and the importance of his new score -as a work of art, may well cause us to smile today at the small scale -on which things were done in 1850. - -"Your 'Lohengrin,'" he wrote, "will be given under conditions that are -most unusual and most favourable for its success. The direction will -spend on this occasion almost 2000 thalers [about $1500]--a sum -unprecedented at Weimar within memory of man ... the bass clarinet has -been bought," etc. Ten times fifteen hundred dollars might well be -required today for a properly elaborate production of "Lohengrin," and -the opera orchestra that had to send out and buy a bass clarinet would -be a curiosity. But Weimar had what no other opera house could boast -of--Franz Liszt as conductor. - -Under his brilliant direction "Lohengrin" had at Weimar its first -performance on any stage, August 28, 1850. This was the anniversary of -Goethe's birth, the date of the dedication of the Weimar monument to -the poet, Herder, and, by a coincidence that does not appear to have -struck either Wagner or Liszt, the third anniversary of the completion -of "Lohengrin." The work was performed without cuts and before an -audience which included some of the leading musical and literary men -of Germany. The performance made a deep impression. The circumstance -that Liszt added the charm of his personality to it and that the -weight of his influence had been thrown in its favour alone gave vast -importance to the event. Indeed, through Liszt's production of -Wagner's early operas Weimar became, as Henry T. Finck has said in -_Wagner and His Works_, a sort of preliminary Bayreuth. Occasionally -special opera trains were put on for the accommodation of visitors to -the Wagner performances. In January, 1853, Liszt writes to Wagner that -"the public interest in 'Lohengrin' is rapidly increasing. You are -already very popular at the various Weimar hotels, where it is not -easy to get a room on the days when your operas are given." The Liszt -production of "Lohengrin" was a turning point in his career, the -determining influence that led him to throw himself heart and soul -into the composition of the "Ring of the Nibelung." - -On May 15, 1861, when, through the intervention of Princess -Metternich, he had been permitted to return to Germany, fourteen years -after he had finished "Lohengrin" and eleven years after its -production at Weimar, he himself heard it for the first time at -Vienna. A tragedy of fourteen years--to create a masterpiece of the -lyric stage, and be forced to wait that long to hear it! - -Before proceeding to a complete descriptive account of the "Lohengrin" -story and music I will give a brief summary of the plot and a similar -characterization of the score. - -Wagner appears to have become so saturated with the subject of his -dramas that he transported himself in mind and temperament to the very -time in which his scenes are laid. So vividly does he portray the -mythological occurrences told in "Lohengrin" that one can almost -imagine he had been an eye-witness of them. This capacity of artistic -reproduction of a remote period would alone entitle him to rank as a -great dramatist. But he has done much more; he has taken unpromising -material, which in the original is strung out over a period of years, -and, by condensing the action to two days, has converted it into a -swiftly moving drama. - -[Illustration: Copyright photo by Mishkin - -Sembach as Lohengrin] - -[Illustration: Copyright photo by Dupont - -Schumann-Heink as Ortrud in "Lohengrin"] - -The story of "Lohengrin" is briefly as follows: The Hungarians have -invaded Germany, and _King Henry I._ visits Antwerp for the purpose -of raising a force to combat them. He finds the country in a condition -of anarchy. The dukedom is claimed by _Frederick_, who has married -_Ortrud_, a daughter of the Prince of Friesland. The legitimate heir, -_Godfrey_, has mysteriously disappeared, and his sister, _Elsa_, is -charged by _Frederick_ and _Ortrud_ with having done away with him in -order that she might obtain the sovereignty. The _King_ summons her -before him so that the cause may be tried by the ordeal of single -combat between _Frederick_ and a champion who may be willing to appear -for _Elsa_. None of the knights will defend her cause. She then -describes a champion whose form has appeared to her in a vision, and -she proclaims that he shall be her champion. Her pretence is derided -by _Frederick_ and his followers, who think that she is out of her -mind; but after a triple summons by the _Herald_, there is seen in the -distance on the river, a boat drawn by a swan, and in it a knight clad -in silver armour. He comes to champion _Elsa's_ cause, and before the -combat betroths himself to her, but makes a strict condition that she -shall never question him as to his name or birthplace, for should she, -he would be obliged to depart. She assents to the conditions, and the -combat which ensues results in _Frederick's_ ignominious defeat. -Judgment of exile is pronounced on him. - -Instead, however, of leaving the country he lingers in the -neighbourhood of Brabant, plotting with _Ortrud_ how they may compass -the ruin of _Lohengrin_ and _Elsa_. _Ortrud_ by her entreaties moves -_Elsa_ to pity, and persuades her to seek a reprieve for _Frederick_, -at the same time, however, using every opportunity to instil doubts in -_Elsa's_ mind regarding her champion, and rousing her to such a pitch -of nervous curiosity that she is on the point of asking him the -forbidden question. After the bridal ceremonies, and in the bridal -chamber, the distrust which _Ortrud_ and _Frederick_ have engendered -in _Elsa's_ mind so overcomes her faith that she vehemently puts the -forbidden question to her champion. Almost at the same moment -_Frederick_ and four of his followers force their way into the -apartment, intending to take the knight's life. A single blow of his -sword, however, stretches _Frederick_ lifeless, and his followers bear -his corpse away. Placing _Elsa_ in the charge of her ladies-in-waiting, -and ordering them to take her to the presence of the _King_, he -repairs thither himself. - -The Brabantian hosts are gathering, and he is expected to lead them to -battle, but owing to _Elsa's_ question he is now obliged to disclose -who he is and to take his departure. He proclaims that he is -_Lohengrin_, son of Parsifal, Knight of the Holy Grail, and that he -can linger no longer in Brabant, but must return to the place of his -coming. The swan has once more appeared, drawing the boat down the -river, and bidding _Elsa_ farewell he steps into the little shell-like -craft. Then _Ortrud_, with malicious glee, declares that the swan is -none other than _Elsa's_ brother, whom she (_Ortrud_) bewitched into -this form, and that he would have been changed back again to his human -shape had it not been for _Elsa's_ rashness. But _Lohengrin_, through -his supernatural powers, is able to undo _Ortrud's_ work, and at a -word from him the swan disappears and _Godfrey_ stands in its place. A -dove now descends, and, hovering in front of the boat, draws it away -with _Lohengrin_, while _Elsa_ expires in her brother's arms. - -Owing to the lyric character of the story upon which "Lohengrin" is -based, the opera, while not at all lacking in strong dramatic -situations is characterized by a subtler and more subdued -melodiousness than "Tannhuser," is more exquisitely lyrical in fact -than any Wagnerian work except "Parsifal." - -There are typical themes in the score, but they are hardly handled -with the varied effect that entitles them to be called leading -motives. On the other hand there are fascinating details of -orchestration. These are important because the composer has given -significant clang-tints to the music that is heard in connection with -the different characters in the story. He uses the brass chiefly to -accompany the _King_, and, of course, the martial choruses; the -plaintive, yet spiritual high wood-wind for _Elsa_; the English horn -and sombre bass clarinet--the instrument that had to be bought--for -_Ortrud_; the violins, especially in high harmonic positions, to -indicate the Grail and its representative, for _Lohengrin_ is a Knight -of the Holy Grail. Even the keys employed are distinctive. The -_Herald's_ trumpeters blow in C and greet the _King's_ arrival in that -bright key. F-sharp minor is the dark, threatful key that indicates -_Ortrud's_ appearance. The key of A, which is the purest for strings -and the most ethereal in effect, on account of the greater ease of -using "harmonics," announces the approach of _Lohengrin_ and the -subtle influence of the Grail. - -Moreover Wagner was the first composer to discover that celestial -effects of tone colour are produced by the prolonged notes of the -combined violins and wood-wind in the highest positions more truly -than by the harp. It is the association of ideas with the Scriptures, -wherein the harp frequently is mentioned, because it was the most -perfected instrument of the period, that has led other composers to -employ it for celestial tone-painting. But while no one appreciated -the beauty of the harp more than Wagner, or has employed it with finer -effect than he, his celestial tone-pictures with high-violins and -wood-wind are distinctly more ecstatic than those of other composers. - -The music clothes the drama most admirably. The Vorspiel or Prelude -immediately places the listener in the proper mood for the story which -is to unfold itself, and for the score, vocal and instrumental, whose -strains are to fall upon his ear. - -The Prelude is based entirely upon one theme, a beautiful one and -expressive of the sanctity of the Grail, of which _Lohengrin_ is one -of the knights. Violins and flutes with long-drawn-out, ethereal -chords open the Prelude. Then is heard on the violins, so divided as -to heighten the delicacy of the effect, the Motive of the Grail, the -cup in which the Saviour's blood is supposed to have been caught as it -flowed from the wound in His side, while he was on the Cross. No -modern book on orchestration is considered complete unless it quotes -this passage from the score, which is at once the earliest and, after -seventy years, still the most perfect example of the effect of -celestial harmony produced on the high notes of the divided violin -choir. This interesting passage in the score is as follows: - -[Music] - -Although this is the only motive that occurs in the Prelude, the ear -never wearies of it. Its effectiveness is due to the wonderful skill -with which Wagner handles the theme, working it up through a superb -crescendo to a magnificent climax, with all the splendours of -Wagnerian orchestration, after which it dies away again to the -ethereal harmonies with which it first greeted the listener. - -Act I. The curtain, on rising, discloses a scene of unwonted life on -the plain near the River Scheldt, where the stream winds toward -Antwerp. On an elevated seat under a huge oak sits _King Henry I._ On -either side are his Saxon and Thuringian nobles. Facing him with the -knights of Brabant are _Count Frederick of Telramund_ and his wife, -_Ortrud_, daughter of the Prince of Friesland, of dark, almost -forbidding beauty, and with a treacherous mingling of haughtiness and -humility in her carriage. - -It is a strange tale the _King_ has just heard fall from _Frederick of -Telramund's_ lips. _Henry_ has assembled the Brabantians on the plain -by the Scheldt in order to summon them to join his army and aid in -checking the threatened invasion of Germany by the Hungarians. But he -has found the Brabantians themselves torn by factional strife, some -supporting, others opposing _Frederick_ in his claim to the ducal -succession of Brabant. - -"Sire," says _Frederick_, when called upon by the _King_ to explain -the cause of the discord that has come upon the land, "the late Duke -of Brabant upon his death-bed confided to me, his kinsman, the care of -his two children, _Elsa_ and her young brother _Godfrey_, with the -right to claim the maid as my wife. But one day _Elsa_ led the boy -into the forest and returned alone. From her pale face and faltering -lips I judged only too well of what had happened, and I now publicly -accuse _Elsa_ of having made away with her brother that she might be -sole heir to Brabant and reject my right to her hand. Her hand! -Horrified, I shrank from her and took a wife whom I could truly love. -Now as nearest kinsman of the duke I claim this land as my own, my -wife, too, being of the race that once gave a line of princes to -Brabant." - -So saying, he leads _Ortrud_ forward, and she, lowering her dark -visage, makes a deep obeisance to the _King_. To the latter but one -course is open. A terrible accusation has been uttered, and an appeal -must be made to the immediate judgment of God in trial by combat -between _Frederick_ and whoever may appear as champion for _Elsa_. -Solemnly the _King_ hangs his shield on the oak, the Saxons and -Thuringians thrust the points of their swords into the ground, while -the Brabantians lay theirs before them. The royal _Herald_ steps -forward. "Elsa, without delay appear!" he calls in a loud voice. - -A sudden hush falls upon the scene, as a slender figure robed in -white slowly advances toward the _King_. It is _Elsa_. With her fair -brow, gentle mien, and timid footsteps it seems impossible that she -can be the object of _Frederick's_ dire charge. But there are dark -forces conspiring against her, of which none knows save her accuser -and the wife he has chosen from the remoter North. In Friesland the -weird rites of Odin and the ancient gods still had many secret -adherents, _Ortrud_ among them, and it is the hope of this heathenish -woman, through the undoing of _Elsa_, and the accession of _Frederick_ -whom she has completely under her influence, to check the spread of -the Christian faith toward the North and restore the rites of Odin in -Brabant. To this end she is ready to bring all the black magic of -which she secretly is mistress into play. What wonder that _Elsa_, as -she encounters her malevolent gaze, lowers her eyes with a shudder! - -Up to the moment of _Elsa's_ entrance, the music is harsh and -vigorous, reflecting _Frederick's_ excitement as, incited by _Ortrud_, -he brings forward his charge against _Elsa_. With her appearance a -change immediately comes over the music. It is soft, gentle, and -plaintive; not, however, entirely hopeless, as if the maiden, being -conscious of her innocence, does not despair of her fate. - -"Elsa," gently asks the _King_, "whom name you as your champion?" She -answers as if in a trance; and it is at this point that the music of -"Elsa's Dream" is heard. In the course of this, violins whisper the -Grail Motive and in dreamy rapture _Elsa_ sings, "I see, in splendour -shining, a knight of glorious mien. His eyes rest upon me with -tranquil gaze. He stands amid clouds beside a house of gold, and -resting on his sword. Heaven has sent him to save me. He shall my -champion be!" - -[Illustration: Copyright photo by Dupont - -Emma Eames as Elsa in "Lohengrin"] - -The men regard each other in wonder. But a sneer curls around -_Ortrud's_ lips, and _Frederick_ again proclaims his readiness to -prove his accusation in trial by combat for life and death. - -"_Elsa_," the _King_ asks once more, "whom have you chosen as your -champion?" - -"Him whom Heaven shall send me; and to him, whatever he shall ask of -me, I freely will give, e'en though it be myself as bride!" Again -there is heard the lovely, broad and flowing melody of which I have -already spoken and which may be designated as the ELSA MOTIVE. - -[Music] - -The _Herald_ now stations his trumpeters at the corners of the plain -and bids them blow a blast toward the four points of the compass. When -the last echo has died away he calls aloud: - -"He who in right of Heaven comes here to fight for _Elsa_ of Brabant, -let him step forth!" - -The deep silence that follows is broken by _Frederick's_ voice. "No -one appears to repel my charge. 'Tis proven." - -"My King," implores _Elsa_, whose growing agitation is watched by -_Ortrud_ with a malevolent smile, "my champion bides afar. He has not -yet heard the summons. I pray you let it go forth once more." - -Again the trumpeters blow toward the four points of the compass, again -the _Herald_ cries his call, again there is the fateful silence. "The -Heavens are silent. She is doomed," murmured the men. Then _Elsa_ -throws herself upon her knees and raises her eyes in prayer. Suddenly -there is a commotion among the men nearest the river bank. - -"A wonder!" they cry. "A swan! A swan--drawing a boat by a golden -chain! In the boat stands a knight! See, it approaches! His armour is -so bright it blinds our eyes! A wonder! A wonder!" - -There is a rush toward the bank and a great shout of acclaim, as the -swan with a graceful sweep rounds a bend in the river and brings the -shell-like boat, in which stands a knight in dazzling armour and of -noble mien, up to the shore. Not daring to trust her senses and turn -to behold the wondrous spectacle, _Elsa_ gazes in rapture heavenward, -while _Ortrud_ and _Telramund_, their fell intrigue suddenly halted by -a marvel that surpasses their comprehension, regard each other with -mingled amazement and alarm. - -A strange feeling of awe overcomes the assembly, and the tumult with -which the advent of the knight has been hailed dies away to breathless -silence, as he extends his hand and in tender accents bids farewell to -the swan, which gently inclines its head and then glides away with the -boat, vanishing as it had come. There is a chorus, in which, in -half-hushed voices, the crowd gives expression to the mystery of the -scene. Then the men fall back and the Knight of the Swan, for a silver -swan surmounts his helmet and is blazoned upon his shield, having made -due obeisance to the _King_, advances to where _Elsa_ stands and, -resting his eyes upon her pure and radiant beauty, questions her. - -"Elsa, if I become your champion and right the foul wrong that is -sought to be put upon you, will you confide your future to me; will -you become my bride?" - -"My guardian, my defender!" she exclaims ecstatically. "All that I -have, all that I am, is yours!" - -"Elsa," he says slowly, as if wishing her to weigh every word, "if I -champion your cause and take you to wife, there is one promise I must -exact: Never must you ask me whence I come or what my name." - -"I promise," she answers, serenely meeting his warning look. He -repeats the warning and again she promises to observe it. - -"Elsa, I love you!" he exclaims, as he clasps her in his arms. Then -addressing the _King_ he proclaims his readiness to defend her -innocence in trial by combat. - -In this scene occurs one of the significant themes of the opera, the -MOTIVE OF WARNING--for it is Elsa's disregard of it and the breaking -of her promise that brings her happiness to an end. - -[Music] - -Three Saxons for the Knight and three Brabantians for _Frederick_ -solemnly pace off the circle within which the combatants are to fight. -The _King_, drawing his sword, strikes three resounding blows with it -upon his shield. At the first stroke the Knight and _Frederick_ take -their positions. At the second they draw their swords. At the third -they advance to the encounter. _Frederick_ is no coward. His -willingness to meet the Knight whose coming had been so strange proves -that. But his blows are skilfully warded off until the Swan Knight, -finding an opening, fells him with a powerful stroke. _Frederick's_ -life is forfeited, but his conqueror, perchance knowing that he has -been naught but a tool in the hands of a woman leagued with the powers -of evil, spares it and bids his fallen foe rise. The _King_ leads -_Elsa_ to the victor, while all hail him as her deliverer and -betrothed. - -The scenes here described are most stirring. Before the combat begins, -the _King_ intones a prayer, in which first the principals and then -the chorus join with noble effect, while the music of rejoicing over -the Knight's victory has an irresistible onsweep. - -Act II. That night in the fortress of Antwerp, the palace where abide -the knights is brilliantly illuminated and sounds of revelry issue -from it, and lights shine from the kemenate, where _Elsa's_ -maids-in-waiting are preparing her for the bridal on the morrow. But -in the shadow of the walls sit two figures, a man and a woman; the -man, his head bowed in despair, the woman looking vindictively toward -the palace. They are _Frederick_ and _Ortrud_, who have been condemned -to banishment, he utterly dejected, she still trusting in the power of -her heathenish gods. To her the Swan Knight's chivalrous forbearance -in sparing _Frederick's_ life has seemed weak instead of noble, and -_Elsa_ she regards as an insipid dreamer and easy victim. Not knowing -that _Ortrud_ still darkly schemes to ruin _Elsa_ and restore him to -power, _Frederick_ denounces her in an outburst of rage and despair. - -As another burst of revelry, another flash of light, causes -_Frederick_ to bow his head in deeper gloom, _Ortrud_ begins to unfold -her plot to him. How long will a woman like _Elsa_--as sweet as she is -beautiful, but also as weak--be able to restrain herself from asking -the forbidden question? Once her suspicion aroused that the Knight is -concealing from her something in his past life, growing jealousy will -impel her first to seek to coax from him, then to demand of him his -name and lineage. Let _Frederick_ conceal himself within the minster, -and when the bridal procession reaches the steps, come forth and, -accusing the Knight of treachery and deceit, demand that he be -compelled to disclose his name and origin. He will refuse, and thus, -even before _Elsa_ enters the minster, she will begin to be beset by -doubts. She herself meanwhile will seek to enter the kemenate and play -upon her credulousness. "She is for me; her champion is for you. Soon -the daughter of Odin will teach you all the joys of vengeance!" is -_Ortrud's_ sinister exclamation as she finishes. - -Indeed it seems as if Fate were playing into her hand. For at that -very moment _Elsa_, all clad in white, comes out upon the balcony of -the kemenate and, sighing with happiness, breathes out upon the night -air her rapture at the thought of what bliss the coming day has in -store for her. As she lets her gaze rest on the calm night she hears a -piteous voice calling her name, and looking down sees _Ortrud_, her -hands raised in supplication to her. Moved by the spectacle of one but -a short time before so proud and now apparently in such utter -dejection, the guileless maid descends and, herself opening the door -of the kemenate, hastens to _Ortrud_, raises her to her feet, and -gently leads her in, while, hidden in the shadows, _Frederick of -Telramund_ bides his time for action. Thus within and without, -mischief is plotting for the unsuspecting _Elsa_. - -These episodes, following the appearance of _Elsa_ upon the balcony, -are known as the "Balcony Scene." It opens with the exquisite melody -which _Elsa_ breathes upon the zephyrs of the night in gratitude to -heaven for the champion sent to her defence. Then, when in pity she -has hastened down to _Ortrud_, the latter pours doubts regarding her -champion into _Elsa's_ mind. Who is he? Whence came he? May he not as -unexpectedly depart? The whole closes with a beautiful duet, which is -repeated by the orchestra, as _Ortrud_ is conducted by _Elsa_ into the -apartment. - -It is early morn. People begin to gather in the open place before the -minster and, by the time the sun is high, the space is crowded with -folk eager to view the bridal procession. They sing a fine and -spirited chorus. - -At the appointed hour four pages come out upon the balcony of the -kemenate and cry out: - -"Make way, our Lady Elsa comes!" Descending, they clear a path through -the crowd to the steps of the minster. A long train of richly clad -women emerges upon the balcony, slowly comes down the steps and, -proceeding past the palace, winds toward the minster. At that moment a -great shout, "Hail! Elsa of Brabant!" goes up, as the bride herself -appears followed by her ladies-in-waiting. For the moment _Ortrud's_ -presence in the train is unnoticed, but as _Elsa_ approaches the -minster, _Frederick's_ wife suddenly throws herself in her path. - -"Back, Elsa!" she cries. "I am not a menial, born to follow you! -Although your Knight has overthrown my husband, you cannot boast of -who he is--his very name, the place whence he came, are unknown. -Strong must be his motives to forbid you to question him. To what foul -disgrace would he be brought were he compelled to answer!" - -Fortunately the _King_, the bridegroom, and the nobles approaching -from the palace, _Elsa_ shrinks from _Ortrud_ to her champion's side -and hides her face against his breast. At that moment _Frederick of -Telramund_, taking his cue from _Ortrud_, comes out upon the minster -steps and repeats his wife's accusation. Then, profiting by the -confusion, he slips away in the crowd. The insidious poison, however, -has already begun to take effect. For even as the _King_ taking the -Knight on his right and _Elsa_ on his left conducts them up the -minster steps, the trembling bride catches sight of _Ortrud_ whose -hand is raised in threat and warning; and it is clinging to her -champion, in love indeed but love mingled with doubt and fear, that -she passes through the portal, and into the edifice. - -These are crucial scenes. The procession to the minster, often known -as the bridal procession, must not be confused with the "Bridal -Chorus." It is familiar music, however, because at weddings it often -is played softly as a musical background to the ceremony. - -Act III. The wedding festivities are described in the brilliant -"Introduction to Act III." This is followed in the opera by the -"Bridal Chorus," which, wherever heard--on stage or in church--falls -with renewed freshness and significance upon the ear. In this scene -the Knight and _Elsa_ are conducted to the bridal chamber in the -castle. From the right enter _Elsa's_ ladies-in-waiting leading the -bride; from the left the _King_ and nobles leading the Knight. -Preceding both trains are pages bearing lights; and voices chant the -bridal chorus. The _King_ ceremoniously embraces the couple and then -the procession makes its way out, until, as the last strains of the -chorus die away, _Elsa_ and her champion are for the first time alone. - -It should be a moment of supreme happiness for both, and indeed, -_Elsa_ exclaims as her bridegroom takes her to his arms, that words -cannot give expression to all its hidden sweetness. Yet, when he -tenderly breathes her name, it serves only to remind her that she -cannot respond by uttering his. "How sweetly sounds my name when -spoken by you, while I, alas, cannot reply with yours. Surely, some -day, you will tell me, all in secret, and I shall be able to whisper -it when none but you is near!" - -In her words the Knight perceives but too clearly the seeds of the -fatal mistrust sown by _Ortrud_ and _Frederick_. Gently he leaves her -side and throwing open the casement, points to the moonlit landscape -where the river winds its course along the plain. The same subtle -magic that can conjure up this scene from the night has brought him to -her, made him love her, and give unshrinking credence to her vow never -to question his name or origin. Will she now wantonly destroy the -wondrous spell of moonlight and love? - -But still _Elsa_ urges him. "Let me be flattered by your trust and -confidence. Your secret will be safe in my heart. No threats, not even -of death, shall tear it from my lips. Tell me who you are and whence -you come!" - -"Elsa!" he cries, "come to my heart. Let me feel that happiness is -mine at last. Let your love and confidence compensate me for what I -have left behind me. Cast dark suspicion aside. For know, I came not -hither from night and grieving but from the abode of light and noble -pleasures." - -But his words have the very opposite effect of what he had hoped for. -"Heaven help me!" exclaims _Elsa_. "What must I hear! Already you are -beginning to look back with longing to the joys you have given up for -me. Some day you will leave me to sorrow and regret. I have no magic -spells wherewith to hold you. Ah!"--and now she cries out like one -distracted and with eyes straining at distance--"See!--the -swan!--I see him floating on the waters yonder! You summon him, -embark!--Love--madness--whatever it may be--your name declare, your -lineage and your home!" - -Hardly have these mad words been spoken by her when, as she stands -before her husband of a few hours, she sees something that with a -sudden shock brings her to her senses. Rushing to the divan where the -pages laid the Knight's sword, she seizes it and thrusts it into his -hand, and he, turning to discover what peril threatens, sees -_Frederick_, followed by four Brabantian nobles, burst into the room. -With one stroke he lays the leader lifeless, and the others, seeing -him fall, go down on their knees in token of submission. At a sign -from the Knight they arise and, lifting _Frederick's_ body, bear it -away. Then the Knight summons _Elsa's_ ladies-in-waiting and bids them -prepare her in her richest garments to meet him before the _King_. -"There I will make fitting answer to her questions, tell her my name, -my rank, and whence I come." - -Sadly he watches her being led away, while she, no longer the happy -bride, but the picture of utter dejection, turns and raises her hands -to him in supplication as though she would still implore him to undo -the ruin her lack of faith in him has wrought. - -Some of the most beautiful as well as some of the most dramatic music -of the score occurs in these scenes. - -The love duet is exquisite--one of the sweetest and tenderest passages -of which the lyric stage can boast. A very beautiful musical episode -is that in which the Knight, pointing through the open casement to the -flowery close below, softly illumined by the moon, sings to an -accompaniment of what might be called musical moonbeams, "Say, dost -thou breathe the incense sweet of flowers?" But when, in spite of the -tender warning which he conveys to her, she begins questioning him, he -turns toward her and in a passionate musical phrase begs her to trust -him and abide with him in loving faith. Her dread that the memory of -the delightful place from which he has come will wean him from her; -the wild vision in which she imagines she sees the swan approaching to -bear him away from her, and when she puts to him the forbidden -questions, are details expressed with wonderful vividness in the -music. - -After the attack by _Frederick_ and his death, there is a dramatic -silence during which _Elsa_ sinks on her husband's breast and faints. -When I say silence I do not mean that there is a total cessation of -sound, for silence can be more impressively expressed in music than by -actual silence itself. It is done by Wagner in this case by long -drawn-out chords followed by faint taps on the tympani. When the -Knight bends down to _Elsa_, raises her, and gently places her on a -couch, echoes of the love duet add to the mournfulness of the music. -The scene closes with the Motive of Warning, which resounds with dread -meaning. - -A quick change of scene should be made at this point in the -performance of the opera, but as a rule the change takes so long that -the third act is virtually given in two acts. - -It is on the banks of the Scheldt, the very spot where he had -disembarked, that the Knight elects to make reply to _Elsa's_ -questions. There the _King_, the nobles, and the Brabantians, whom he -was to lead, are awaiting him to take command, and as their leader -they hail him when he appears. This scene, "Promise of Victory," is in -the form of a brilliant march and chorus, during which the Counts of -Brabant, followed by their vassals, enter on horseback from various -directions. In the average performance of the opera, however, much of -it is sacrificed in order to shorten the representation. - -The Knight answers their hail by telling them that he has come to bid -them farewell, that _Elsa_ has been lured to break her vow and ask the -forbidden questions which he now is there to answer. From distant -lands he came, from Montsalvat, where stands the temple of the Holy -Grail, his father, Percival, its King, and he, _Lohengrin_, its -Knight. And now, his name and lineage known, he must return, for the -Grail gives strength to its knights to right wrong and protect the -innocent only so long as the secret of their power remains unrevealed. - -Even while he speaks the swan is seen floating down the river. Sadly -_Lohengrin_ bids _Elsa_ farewell. Sadly all, save one, look on. For -_Ortrud_, who now pushes her way through the spectators, it is a -moment of triumph. - -"Depart in all your glory," she calls out. "The swan that draws you -away is none other than Elsa's brother Godfrey, changed by my magic -into his present form. Had she kept her vow, had you been allowed to -tarry, you would have freed him from my spell. The ancient gods, whom -faithfully I serve, thus punish human faithlessness!" - -By the river bank _Lohengrin_ falls upon his knees and prays in -silence. Suddenly a white dove descends over the boat. Rising, -_Lohengrin_ loosens the golden chain by which the swan is attached to -the boat; the swan vanishes; in its place _Godfrey_ stands upon the -bank, and _Lohengrin_, entering the boat, is drawn away by the dove. -At sight of the young Duke, _Ortrud_ falls with a shriek, while the -Brabantian nobles kneel before him as he advances and makes obeisance -to the _King_. _Elsa_ gazes on him in rapture until, mindful of her -own sorrow, as the boat in which _Lohengrin_ stands vanishes around -the upper bend of the river, she cries out, "My husband! My husband!" -and falls back in death in her brother's arms. - -_Lohengrin's_ narrative of his origin is beautifully set to music -familiar from the Prelude; but when he proclaims his name we hear the -same measures which _Elsa_ sang in the second part of her dream in the -first act. Very beautiful and tender is the music which he sings when -he hands _Elsa_ his horn, his sword, and his ring to give to her -brother, should he return, and also his greeting to the swan when it -comes to bear him back. The work is brought to a close with a -repetition of the music of the second portion of _Elsa's_ dream, -followed by a superb climax with the Motive of the Grail. - - -DER RING DES NIBELUNGEN - -THE RING OF THE NIBELUNG - - A stage-festival play for three days and a preliminary - evening (Ein Bhnenfestspiel fr drei Tage und einen - Vorabend), words and music by Richard Wagner. - - The first performance of the entire cycle of four - music-dramas took place at Bayreuth, August 13, 14, 16, and - 17, 1876. "Das Rheingold" had been given September 22, 1869, - and "Die Walkre," June 26, 1870, at Munich. - - January 30, 1888, at the Metropolitan Opera House, New York, - "Die Walkre" was given as the first performance of the - "Ring" in America, with the omission, however, of "Das - Rheingold," the cycle therefore being incomplete, consisting - only of the three music-dramas--"Die Walkre," "Siegfried," - and "Gtterdmmerung"; in other words the trilogy without - the Vorabend, or preliminary evening. - - Beginning Monday, March 4, 1889, with "Das Rheingold," the - complete cycle, "Der Ring des Nibelungen," was given for the - first time in America; "Die Walkre" following Tuesday, - March 5; "Siegfried," Friday, March 8; "Gtterdmmerung," - Monday, March 11. The cycle was immediately repeated. Anton - Seidl was the conductor. Among the principals were Lilli - Lehmann, Max Alvary, and Emil Fischer. - - Seidl conducted the production of the "Ring" in London, - under the direction of Angelo Neumann, at Her Majesty's - Theatre, May 5-9, 1882. - - The "Ring" really is a tetralogy. Wagner, however, called it - a trilogy, regarding "Das Rheingold" only as a Vorabend to - the three longer music-dramas. - - In the repetitions of the "Ring" in this country many - distinguished artists have appeared: Lehmann, Moran-Olden, - Nordica, Ternina, Fremstad, Gadski, Kurt, as _Brnnhilde_; - Lehmann, Nordica, Eames, Fremstad, as _Sieglinde_; Alvary - and Jean de Reszke as _Siegfried_, both in "Siegfried" and - "Gtterdmmerung"; Niemann and Van Dyck, as _Siegmund_; - Fischer and Van Rooy as _Wotan_; Schumann-Heink and Homer as - _Waltraute_ and _Erda_. - -[Illustration: Copyright A. Dupont, N.Y. - -Louise Homer as Fricka in "The Ring of the Nibelung"] - - -INTRODUCTION - -The "Ring of the Nibelung" consists of four music-dramas--"Das -Rheingold" (The Rhinegold), "Die Walkre" (The Valkyr), "Siegfried," -and "Gtterdmmerung" (Dusk of the Gods). The "books" of these were -written in inverse order. Wagner made a dramatic sketch of the -Nibelung myth as early as the autumn of 1848, and between then and the -autumn of 1850 he wrote the "Death of Siegfried." This subsequently -became the "Dusk of the Gods." Meanwhile Wagner's ideas as to the -proper treatment of the myth seem to have undergone a change. -"Siegfried's Death" ended with Brnnhilde leading Siegfried to -Valhalla,--dramatic, but without the deeper ethical significance of -the later version, when Wagner evidently conceived the purpose of -connecting the final catastrophe of his trilogy with the "Dusk of the -Gods," or end of all things, in Northern mythology, and of embodying a -profound truth in the action of the music-dramas. This metaphysical -significance of the work is believed to be sufficiently explained in -the brief synopsis of the plot of the trilogy and in the descriptive -musical and dramatic analyses below. - -In the autumn of 1850 when Wagner was on the point of sketching out -the music of "Siegfried's Death," he recognized that he must lead up -to it with another drama, and "Young Siegfried," afterwards -"Siegfried," was the result. This in turn he found incomplete, and -finally decided to supplement it with the "Valkyr" and "Rhinegold." - -"Das Rheingold" was produced in Munich, at the Court Theatre, -September 22, 1869; "Die Walkre," on the same stage, June 20, 1870. -"Siegfried" and "Dusk of the Gods" were not performed until 1876, when -they were produced at Bayreuth. - -Of the principal characters in the "Ring of the Nibelung," _Alberich_, -the Nibelung, and _Wotan_, the chief of the gods, are symbolic of -greed for wealth and power. This lust leads _Alberich_ to renounce -love--the most sacred of emotions--in order that he may rob the -_Rhinedaughters_ of the Rhinegold and forge from it the ring which is -to make him all-powerful. _Wotan_ by strategy obtains the ring, but -instead of returning it to the _Rhinedaughters_, he gives it to the -giants, _Fafner_ and _Fasolt_, as ransom for _Freia_, the goddess of -youth and beauty, whom he had promised to the giants as a reward for -building Walhalla. _Alberich_ has cursed the ring and all into whose -possession it may come. The giants no sooner obtain it than they fall -to quarrelling over it. _Fafner_ slays _Fasolt_ and then retires to a -cave in the heart of a forest where, in the form of a dragon, he -guards the ring and the rest of the treasure which _Wotan_ wrested -from _Alberich_ and also gave to the giants as ransom for _Freia_. -This treasure includes the Tarnhelmet, a helmet made of Rhinegold, the -wearer of which can assume any guise. - -_Wotan_ having witnessed the slaying of _Fasolt_, is filled with dread -lest the curse of _Alberich_ be visited upon the gods. To defend -_Walhalla_ against the assaults of _Alberich_ and the host of -Nibelungs, he begets in union with _Erda_, the goddess of wisdom, the -Valkyrs (chief among them _Brnnhilde_), wild maidens who course -through the air on superb chargers and bear the bodies of departed -heroes to Walhalla, where they revive and aid the gods in warding off -the attacks of the Nibelungs. But it is also necessary that the -curse-laden ring should be wrested from _Fafner_ and restored through -purely unselfish motives to the _Rhinedaughters_, and the curse thus -lifted from the race of the gods. None of the gods can do this because -their motive in doing so would not be unselfish. Hence _Wotan_, for a -time, casts off his divinity, and in human disguise as Wlse, begets -in union with a human woman the Wlsung twins, _Siegmund_ and -_Sieglinde_. _Siegmund_ he hopes will be the hero who will slay -_Fafner_ and restore the ring to the _Rhinedaughters_. To nerve him -for this task, _Wotan_ surrounds the Wlsungs with numerous hardships. -_Sieglinde_ is forced to become the wife of her robber, _Hunding_. -_Siegmund_, storm-driven, seeks shelter in _Hunding's_ hut, where he -and his sister, recognizing one another, flee together. _Hunding_ -overtakes them and _Wotan_, as _Siegmund_ has been guilty of a crime -against the marriage vow, is obliged, at the request of his spouse -_Fricka_, the Juno of Northern mythology, to give victory to -_Hunding_. _Brnnhilde_, contrary to _Wotan's_ command, takes pity on -_Siegmund_, and seeks to shield him against _Hunding_. For this, -_Wotan_ causes her to fall into a profound slumber. The hero who will -penetrate the barrier of fire with which _Wotan_ has surrounded the -rock upon which she slumbers can claim her as his bride. - -After _Siegmund's_ death _Sieglinde_ gives birth to _Siegfried_, a son -of their illicit union, who is reared by one of the Nibelungs, _Mime_, -in the forest where _Fafner_ guards the Nibelung treasure. _Mime_ is -seeking to weld the pieces of _Siegmund's_ sword (Nothung or Needful) -in order that _Siegfried_ may slay _Fafner_, _Mime_ hoping then to -kill the youth and to possess himself of the treasure. But he cannot -weld the sword. At last _Siegfried_, learning that it was his father's -weapon, welds the pieces and slays _Fafner_. His lips having come in -contact with his bloody fingers, he is, through the magic power of the -dragon's blood, enabled to understand the language of the birds, and a -little feathery songster warns him of _Mime's_ treachery. _Siegfried_ -slays the Nibelung and is then guided to the fiery barrier around the -Valkyr rock. Penetrating this, he comes upon _Brnnhilde_, and -enraptured with her beauty, awakens her and claims her as his bride. -She, the virgin pride of the goddess, yielding to the love of the -woman, gives herself up to him. He plights his troth with the -curse-laden ring which he has wrested from _Fafner_. - -_Siegfried_ goes forth in quest of adventure. On the Rhine lives the -Gibichung _Gunther_, his sister _Gutrune_ and their half-brother -_Hagen_, none other than the son of the Nibelung _Alberich_. _Hagen_, -knowing of _Siegfried's_ coming, plans his destruction in order to -regain the ring for the Nibelungs. Therefore, craftily concealing -_Brnnhilde's_ and _Siegfried's_ relations from _Gunther_, he incites -a longing in the latter to possess _Brnnhilde_ as his bride. Carrying -out a plot evolved by _Hagen_, _Gutrune_ on _Siegfried's_ arrival -presents to him a drinking-horn filled with a love-potion. _Siegfried_ -drinks, is led through the effect of the potion to forget that -_Brnnhilde_ is his bride, and, becoming enamoured of _Gutrune_, asks -her in marriage of _Gunther_. The latter consents, provided -_Siegfried_ will disguise himself in the Tarnhelmet as _Gunther_ and -lead _Brnnhilde_ to him as bride. _Siegfried_ readily agrees, and in -the guise of _Gunther_ overcomes _Brnnhilde_ and delivers her to the -Gibichung. But _Brnnhilde_, recognizing on _Siegfried_ the ring, -which her conquerer had drawn from her finger, accuses him of -treachery in delivering her, his own bride, to _Gunther_. The latter, -unmasked and also suspicious of _Siegfried_, conspires with _Hagen_ -and _Brnnhilde_, who, knowing naught of the love-potion, is roused to -a frenzy of hate and jealousy by _Siegfried's_ seeming treachery, to -compass the young hero's death. _Hagen_ slays _Siegfried_ during a -hunt, and then in a quarrel with _Gunther_ over the ring also kills -the Gibichung. - -Meanwhile _Brnnhilde_ has learned through the _Rhinedaughters_ of the -treachery of which she and _Siegfried_ have been the victims. All her -jealous hatred of _Siegfried_ yields to her old love for him and a -passionate yearning to join him in death. She draws the ring from his -finger and places it on her own, then hurls a torch upon the pyre. -Mounting her steed, she plunges into the flames. One of the -_Rhinedaughters_, swimming in on the rising waters, seizes the -curse-laden ring. _Hagen_ rushes into the flooding Rhine hoping to -regain it, but the other _Rhinedaughters_ grasp him and draw him down -into the flood. Not only the flames of the pyre, but a glow which -pervades the whole horizon illumine the scene. It is Walhalla being -consumed by fire. Through love--the very emotion _Alberich_ renounced -in order to gain wealth and power--_Brnnhilde_ has caused the old -order of things to pass away and a human era to dawn in place of the -old mythological one of the gods. - -The sum of all that has been written concerning the book of "The Ring -of the Nibelung" is probably larger than the sum of all that has been -written concerning the librettos used by all other composers. What can -be said of the ordinary opera libretto beyond Voltaire's remark that -"what is too stupid to be spoken is sung"? But "The Ring of the -Nibelung" produced vehement discussion. It was attacked and defended, -praised and ridiculed, extolled and condemned. And it survived all the -discussion it called forth. It is the outstanding fact in Wagner's -career that he always triumphed. He threw his lance into the midst of -his enemies and fought his way up to it. No matter how much opposition -his music-dramas excited, they gradually found their way into the -repertoire. - -It was contended on many sides that a book like "The Ring of the -Nibelung" could not be set to music. Certainly it could not be after -the fashion of an ordinary opera. Perhaps people were so accustomed to -the books of nonsense which figured as opera librettos that they -thought "The Ring of the Nibelung" was so great a work that its action -and climaxes were beyond the scope of musical expression. For such, -Wagner has placed music on a higher level. He has shown that music -makes a great drama greater. - -One of the most remarkable features of Wagner's works is the author's -complete absorption of the times of which he wrote. He seems to have -gone back to the very period in which the scenes of his music-dramas -are laid and to have himself lived through the events in his plots. -Hans Sachs could not have left a more faithful portrayal of life in -the Nuremberg of his day than Wagner has given us in "Die -Meistersinger." In "The Ring of the Nibelung" he has done more--he has -absorbed an imaginary epoch; lived over the days of gods and demigods; -infused life into mythological figures. "The Rhinegold," which is full -of varied interest from its first note to its last, deals entirely -with beings of mythology. They are presented true to life--if that -expression may be used in connection with beings that never -lived--that is to say, they are so vividly drawn that we forget such -beings never lived, and take as much interest in their doings and -saying as if they were lifelike reproductions of historical -characters. Was there ever a love scene more thrilling than that -between _Siegmund_ and _Sieglinde_? It represents the gradations of -the love of two souls from its first awakening to its rapturous -greeting in full self-consciousness. No one stops to think during that -impassioned scene that the close relationship between _Siegmund_ and -_Sieglinde_ would in these days have been a bar to their legal union. -For all we know, in those moments when the impassioned music of that -scene whirls us away in its resistless current, not a drop of related -blood courses through their veins. It has been said that we could not -be interested in mythological beings--that "The Ring of the Nibelung" -lacked human interest. In reply, I say that wonderful as is the first -act of "The Valkyr," there is nothing in it to compare in wild and -lofty beauty with the last act of that music-drama--especially the -scene between _Brnnhilde_ and _Wotan_. - -That there are faults of dramatic construction in "The Ring of the -Nibelung" I admit. In what follows I have not hesitated to point them -out. But there are faults of construction in Shakespeare. What would -be the critical verdict if "Hamlet" were now to have its first -performance in the exact form in which Shakespeare left it? With all -its faults of dramatic construction "The Ring of the Nibelung" is a -remarkable drama, full of life and action and logically developed, the -events leading up to superb climaxes. Wagner was doubly inspired. He -was both a great dramatist and a great musician. - -The chief faults of dramatic construction of which Wagner was guilty -in "The Ring of the Nibelung" are certain unduly prolonged scenes -which are merely episodical--that is, unnecessary to the development -of the plot so that they delay the action and weary the audience to a -point which endangers the success of the really sublime portions of -the score. In several of these scenes, there is a great amount of -narrative, the story of events with which we have become familiar -being retold in detail although some incidents which connect the plot -of the particular music-drama with that of the preceding one are also -related. But, as narrative on the stage makes little impression, and, -when it is sung perhaps none at all, because it cannot be well -understood, it would seem as if prefaces to the dramas could have -taken the place of these narratives. Certain it is that these long -drawn-out scenes did more to retard the popular recognition of -Wagner's genius than the activity of hostile critics and musicians. -Still, it should be remembered that these music-dramas were composed -for performance under the circumstances which prevail at Bayreuth, -where the performances begin in the afternoon and there are long waits -between the acts, during which you can refresh yourself by a stroll or -by the more mundane pleasures of the table. Then, after an hour's -relaxation of the mind and of the sense of hearing, you are ready to -hear another act. Under these agreeable conditions one remains -sufficiently fresh to enjoy the music even of the dramatically faulty -scenes. - -One of the characters in "The Ring of the Nibelung," _Brnnhilde_, is -Wagner's noblest creation. She takes upon herself the sins of the gods -and by her expiation frees the world from the curse of lust for wealth -and power. She is a perfect dramatic incarnation of the profound and -beautiful metaphysical motive upon which the plot of "The Ring of the -Nibelung" is based. - -There now follow descriptive accounts of the stories and music of the -four component parts of this work by Wagner--perhaps his greatest. - - -DAS RHEINGOLD - -THE RHINEGOLD - - Prologue in four scenes to the trilogy of music-dramas, "The - Ring of the Nibelung," by Richard Wagner. "Des Rheingold" - was produced, Munich, September 22, 1869. "The Ring of the - Nibelung" was given complete for the first time in the - Wagner Theatre, Bayreuth, in August, 1876. In the first - American performance of "Das Rheingold," Metropolitan Opera - House, New York, January 4, 1889, Fischer was _Wotan_, - Alvary _Loge_, Moran-Oldern _Fricka_, and Katti Bettaque - _Freia_. - - CHARACTERS - - WOTAN } _Baritone-Bass_ - DONNER } Gods _Baritone-Bass_ - FROH } _Tenor_ - LOGE } _Tenor_ - - FASOLT } Giants _Baritone-Bass_ - FAFNER } _Bass_ - - ALBERICH } Nibelungs _Baritone-Bass_ - MIME } _Tenor_ - - FRICKA } _Soprano_ - FREIA } Goddesses _Soprano_ - ERDA } _Mezzo-Soprano_ - - WOGLINDE } _Soprano_ - WELLGUNDE } Rhinedaughters _Soprano_ - FLOSSHILDE } _Mezzo-Soprano_ - - _Time_--Legendary. - - _Place_--The bed of the Rhine; a mountainous district near - the Rhine; the subterranean caverns of Nibelheim. - -In "The Rhinegold" we meet with supernatural beings of German -mythology--the Rhinedaughters _Woglinde_, _Wellgunde_, and -_Flosshilde_, whose duty it is to guard the precious Rhinegold; -_Wotan_, the chief of the gods; his spouse _Fricka_; _Loge_, the God -of Fire (the diplomat of Walhalla); _Freia_, the Goddess of Youth and -Beauty; her brothers _Donner_ and _Froh_; _Erda_, the all-wise woman; -the giants _Fafner_ and _Fasolt_; _Alberich_ and _Mime_ of the race -of Nibelungs, cunning, treacherous gnomes who dwell in the bowels of -the earth. - -The first scene of "Rhinegold" is laid in the Rhine, at the bottom of -the river, where the _Rhinedaughters_ guard the Rhinegold. - -The work opens with a wonderfully descriptive Prelude, which depicts -with marvellous art (marvellous because so simple) the transition from -the quietude of the water-depths to the wavy life of the -_Rhinedaughters_. The double basses intone E-flat. Only this note is -heard during four bars. Then three contra bassoons add a B-flat. The -chord, thus formed, sounds until the 136th bar. With the sixteenth bar -there flows over this seemingly immovable triad, as the current of a -river flows over its immovable bed, the =Motive of the Rhine=. - -[Music] - -A horn intones this motive. Then one horn after another takes it up -until its wave-like tones are heard on the eight horns. On the flowing -accompaniment of the 'cellos the motive is carried to the wood-wind. -It rises higher and higher, the other strings successively joining in -the accompaniment, which now flows on in gentle undulations until the -motive is heard on the high notes of the wood-wind, while the violins -have joined in the accompaniment. When the theme thus seems to have -stirred the waters from their depth to their surface the curtain -rises. - -The scene shows the bed and flowing waters of the Rhine, the light of -day reaching the depths only as a greenish twilight. The current flows -on over rugged rocks and through dark chasms. - -_Woglinde_ is circling gracefully around the central ridge of rock. To -an accompaniment as wavy as the waters through which she swims, she -sings: - - Weia! Waga! Woge, du Welle, - Walle zur Wiege! Wagala weia! - Wallala, Weiala weia! - -They are sung to the =Motive of the Rhinedaughters=. - -[Music: Weia Waga! Woge, du Welle, walle zur Wiege! Wagala weia! -wallala, weiala weia!] - -In wavy sport the _Rhinedaughters_ dart from cliff to cliff. Meanwhile -_Alberich_ has clambered from the depths up to one of the cliffs, and -watches, while standing in its shadow, the gambols of the -_Rhinedaughters_. As he speaks to them there is a momentary harshness -in the music, whose flowing rhythm is broken. In futile endeavours to -clamber up to them, he inveighs against the "slippery slime" which -causes him to lose his foothold. - -_Woglinde_, _Wellgunde_, and _Flosshilde_ in turn gambol almost within -his reach, only to dart away again. He curses his own weakness in the -=Motive of the Nibelungs' Servitude=. - -[Music] - -Swimming high above him the _Rhinedaughters_ incite him with gleeful -cries to chase them. _Alberich_ tries to ascend, but always slips and -falls down. Then his gaze is attracted and held by a glow which -suddenly pervades the waves above him and increases until from the -highest point of the central cliff a bright, golden ray shoots through -the water. Amid the shimmering accompaniment of the violins is heard -on the horn the =Rhinegold Motive=. - -[Music] - -With shouts of triumph the _Rhinedaughters_ swim around the rock. -Their cry "Rhinegold," is a characteristic motive. The =Rhinedaughters' -Shout of Triumph= and the accompaniment to it are as follows: - -[Music: Rheingold!] - -As the river glitters with golden light the Rhinegold Motive rings out -brilliantly on the trumpet. The Nibelung is fascinated by the sheen. -The _Rhinedaughters_ gossip with one another, and _Alberich_ thus -learns that the light is that of the Rhinegold, and that whoever shall -shape a ring from this gold will become invested with great power. We -hear =The Ring Motive=. - -[Music] - -_Flosshilde_ bids her sisters cease their prattle, lest some sinister -foe should overhear them. _Wellgunde_ and _Woglinde_ ridicule their -sister's anxiety, saying that no one would care to filch the gold, -because it would give power only to him who abjures or renounces love. -At this point is heard the darkly prophetic =Motive of the Renunciation -of Love=. - -[Music] - -_Alberich_ reflects on the words of the _Rhinedaughters_. The Ring -Motive occurs both in voice and orchestra in mysterious pianissimo -(like an echo of _Alberich's_ sinister thoughts), and is followed by -the Motive of Renunciation. Then is heard the sharp, decisive rhythm -of the Nibelung Motive. _Alberich_ fiercely springs over to the -central rock. The _Rhinedaughters_ scream and dart away in different -directions. _Alberich_ has reached the summit of the highest cliff. - -"Hark, ye floods! Love I renounce forever!" he cries, and amid the -crash of the Rhinegold Motive he seizes the gold and disappears in the -depths. With screams of terror the _Rhinedaughters_ dive after the -robber through the darkened water, guided by _Alberich's_ shrill, -mocking laugh. - -There is a transformation. Waters and rocks sink. As they disappear, -the billowy accompaniment sinks lower and lower in the orchestra. -Above it rises once more the Motive of Renunciation. The Ring Motive -is heard, and then, as the waves change into nebulous clouds, the -billowy accompaniment rises pianissimo until, with a repetition of the -Ring Motive, the action passes to the second scene. One crime has -already been committed--the theft of the Rhinegold by _Alberich_. How -that crime and the ring which he shapes from the gold inspire other -crimes is told in the course of the following scenes of "Rhinegold." -Hence the significance of the Ring Motive as a connecting link between -the first and second scenes. - -Scene II. Dawn illumines a castle with glittering turrets on a rocky -height at the back. Through a deep valley between this and the -foreground flows the Rhine. - -The =Walhalla Motive= now heard is a motive of superb beauty. It greets -us again and again in "Rhinegold" and frequently in the later -music-dramas of the cycle. Walhalla is the abode of gods and heroes. -Its motive is divinely, heroically beautiful. Though essentially broad -and stately, it often assumes a tender mood, like the chivalric -gentleness which every hero feels toward woman. Thus it is here. In -crescendo and decrescendo it rises and falls, as rises and falls with -each breath the bosom of the beautiful _Fricka_, who slumbers at -_Wotan's_ side. - -[Music] - -As _Fricka_ awakens, her eyes fall on the castle. In her surprise she -calls to her spouse. _Wotan_ dreams on, the Ring Motive, and later the -Walhalla Motive, being heard in the orchestra, for with the ring -_Wotan_ is planning to compensate the giants for building Walhalla, -instead of rewarding them by presenting _Freia_ to them as he has -promised. As he opens his eyes and sees the castle you hear the Spear -Motive, which is a characteristic variation of the Motive of Compact. -For _Wotan_ should enforce, if needful, the compacts of the gods with -his spear. - -_Wotan_ sings of the glory of Walhalla. _Fricka_ reminds him of his -compact with the giants to deliver over to them for their work in -building Walhalla, _Freia_, the Goddess of Youth and Beauty. This -introduces on the 'cellos and double basses the =Motive of Compact=, a -theme expressive of the binding force of law and with the inherent -dignity and power of the sense of justice. - -[Music] - -In a domestic spat between _Wotan_ and _Fricka_, _Wotan_ charges that -she was as anxious as he to have Walhalla built. _Fricka_ answers that -she desired to have it erected in order to persuade him to lead a more -domestic life. At _Fricka's_ words, - - "Halls, bright and gleaming," - -the =Fricka Motive= is heard, a caressing motive of much grace and -beauty. - -[Music] - -It is also prominent in _Wotan's_ reply immediately following. _Wotan_ -tells _Fricka_ that he never intended to really give up _Freia_ to the -giants. Chromatics, like little tongues of flame, appear in the -accompaniment. They are suggestive of the Loge Motive, for with the -aid of _Loge_ the God of Fire, _Wotan_ hopes to trick the giants and -save _Freia_. - -"Then save her at once!" calls Fricka, as _Freia_ enters in hasty -flight. The =Motive of Flight= is as follows: - -[Music] - -The following is the =Freia Motive=: - -[Music] - -With _Freia's_ exclamations that the giants are pursuing her, the -first suggestion of the Giant Motive appears and as these "great, -hulking fellows" enter, the heavy, clumsy =Giant Motive= is heard in its -entirety: - -[Music] - -For the giants, _Fasolt_, and _Fafner_, have come to demand that -_Wotan_ deliver up to them _Freia_, according to his promise when they -agreed to build Walhalla for him. In the ensuing scene, in which -_Wotan_ parleys with the _Giants_, the Giant Motive, the Walhalla -Motive, the Motive of the Compact, and the first bar of the Freia -Motive figure until _Fasolt's_ threatening words, - - "Peace wane when you break your compact," - -when there is heard a version of the Motive of Compact characteristic -enough to be distinguished as the =Motive of Compact with the Giants=: - -[Music] - -The Walhalla, Giant, and Freia motives again are heard until _Fafner_ -speaks of the golden apples which grow in _Freia's_ garden. These -golden apples are the fruit of which the gods partake in order to -enjoy eternal youth. The Motive of Eternal Youth, which now appears, -is one of the loveliest in the cycle. It seems as though age could not -wither it, nor custom stale its infinite variety. Its first bar is -reminiscent of the Ring Motive, for there is subtle relationship -between the Golden Apples of Freia and the Rhinegold. Here is the -=Motive of Eternal Youth=: - -[Music] - -It is finely combined with the Giant Motive at _Fafner's_ words: - - "Let her forthwith be torn from them all." - -_Froh_ and _Donner_, _Freia's_ brothers, enter hastily to save their -sister. _Froh_ clasps her in his arms, while _Donner_ confronts the -giants, the Motive of Eternal Youth rings out triumphantly on the -horns and wood-wind. But _Freia's_ hope is short-lived. For though -_Wotan_ desires to keep _Freia_ in Walhalla, he dare not offend the -giants. At this critical moment, however, he sees his cunning -adviser, _Loge_, approaching. These are _Loge's_ characteristic -motives: - -[Music] - -_Wotan_ upbraids _Loge_ for not having discovered something which the -giants would be willing to accept as a substitute for _Freia_. _Loge_ -says he has travelled the world over without finding aught that would -compensate man for the renunciation of a lovely woman. This leads to -_Loge's_ narrative of his wanderings. With great cunning he tells -_Wotan_ of the theft of the Rhinegold and of the wondrous worth of a -ring shaped from the gold. Thus he incites the listening giants to ask -for it as a compensation for giving up _Freia_. Hence Wagner, as -_Loge_ begins his narrative, has blended, with a marvellous sense of -musical beauty and dramatic fitness, two phrases: the Freia Motive and -the accompaniment to the _Rhinedaughters'_ Shout of Triumph in the -first scene. This music continues until _Loge_ says that he discovered -but one person (_Alberich_) who was willing to renounce love. Then the -Rhinegold Motive is sounded tristly in a minor key and immediately -afterward is heard the Motive of Renunciation. - -_Loge_ next tells how _Alberich_ stole the gold. He has already -excited the curiosity of the giants, and when _Fafner_ asks him what -power _Alberich_ will gain through the possession of the gold, he -dwells upon the magical attributes of the ring shaped from Rhinegold. - -_Loge's_ diplomacy is beginning to bear results. _Fafner_ tells -_Fasolt_ that he deems the possession of the gold more important than -_Freia_. Notice here how the Freia motive, so prominent when the -giants insisted on her as their compensation, is relegated to the bass -and how the Rhinegold Motive breaks in upon the Motive of Eternal -Youth, as _Fafner_ and _Fasolt_ again advance toward _Wotan_, and bid -him wrest the gold from _Alberich_ and give it to them as ransom for -_Freia_. _Wotan_ refuses, for he himself now lusts for the ring made -of Rhinegold. The giants having proclaimed that they will give _Wotan_ -until evening to determine upon his course, seize _Freia_ and drag her -away. Pallor now settles upon the faces of the gods; they seem to have -grown older. They are affected by the absence of _Freia_, the Goddess -of Youth, whose motives are but palely reflected by the orchestra. At -last _Wotan_ proclaims that he will go with _Loge_ to Nibelung and -wrest the entire treasure of Rhinegold from _Alberich_ as ransom for -_Freia_. - -_Loge_ disappears down a crevice in the side of the rock. From it a -sulphurous vapour at once issues. When _Wotan_ has followed _Loge_ -into the cleft the vapour fills the stage and conceals the remaining -characters. The vapours thicken to a black cloud, continually rising -upward until rocky chasms are seen. These have an upward motion, so -that the stage appears to be sinking deeper and deeper. With a _molto -vivace_ the orchestra dashes into the Motive of Flight. From various -distant points ruddy gleams of light illumine the chasms, and when the -Flight Motive has died away, only the increasing clangour of the -smithies is heard from all directions. This is the typical =Nibelung -Motive=, characteristic of Alberich's Nibelungs toiling at the anvil -for him. Gradually the sounds grow fainter. - -[Music] - -Then as the Ring Motive resounds like a shout of malicious triumph -(expressive of _Alberich's_ malignant joy at his possession of power), -there is seen a subterranean cavern, apparently of illimitable depth, -from which narrow shafts lead in all directions. - -Scene III. _Alberich_ enters from a side cleft dragging after him the -shrieking _Mime_. The latter lets fall a helmet which _Alberich_ at -once seizes. It is the Tarnhelmet, made of Rhinegold, the wearing of -which enables the wearer to become invisible or assume any shape. As -_Alberich_ closely examines the helmet the =Motive of the Tarnhelmet= is -heard. - -[Music] - -It is mysterious, uncanny. To test its power _Alberich_ puts it on and -changes into a column of vapour. He asks _Mime_ if he is visible, and -when _Mime_ answers in the negative _Alberich_ cries out shrilly, -"Then feel me instead," at the same time making poor _Mime_ writhe -under the blows of a visible scourge. _Alberich_ then departs--still -in the form of a vaporous column--to announce to the _Nibelungs_ that -they are henceforth his slavish subjects. _Mime_ cowers down with fear -and pain. - -_Wotan_ and _Loge_ enter from one of the upper shafts. _Mime_ tells -them how _Alberich_ has become all-powerful through the ring and the -Tarnhelmet made of the Rhinegold. Then _Alberich_, who has taken off -the Tarnhelmet and hung it from his girdle, is seen in the distance, -driving a crowd of _Nibelungs_ before him from the caves below. They -are laden with gold and silver, which he forces them to pile up in one -place and so form a hoard. He suddenly perceives _Wotan_ and _Loge_. -After abusing _Mime_ for permitting strangers to enter Nibelheim, he -commands the _Nibelungs_ to descend again into the cavern in search of -new treasure for him. They hesitate. You hear the Ring Motive. -_Alberich_ draws the ring from his finger, stretches it threateningly -toward the _Nibelungs_, and commands them to obey their master. - -They disperse in headlong flight, with _Mime_, into the cavernous -recesses. _Alberich_ looks with mistrust upon _Wotan_ and _Loge_. -_Wotan_ tells him they have heard report of his wealth and power and -have come to ascertain if it is true. The Nibelung points to the -hoard. He boasts that the whole world will come under his sway (Ring -Motive), that the gods who now laugh and love in the enjoyment of -youth and beauty will become subject to him (Freia Motive); for he has -abjured love (Motive of Renunciation). Hence, even the gods in -Walhalla shall dread him (Walhalla Motive) and he bids them beware of -the time when the night-begotten host of the Nibelungs shall rise from -Nibelheim into the realm of daylight. (Rhinegold Motive followed by -Walhalla Motive, for it is through the power gained by the Rhinegold -that _Alberich_ hopes to possess himself of Walhalla.) _Loge_ -cunningly flatters _Alberich_, and when the latter tells him of the -Tarnhelmet, feigns disbelief of _Alberich's_ statements. _Alberich_, -to prove their truth, puts on the helmet and transforms himself into a -huge serpent. The Serpent Motive expresses the windings and writhings -of the monster. The serpent vanishes and _Alberich_ reappears. When -_Loge_ doubts if _Alberich_ can transform himself into something very -small, the Nibelung changes into a toad. Now is _Loge's_ chance. He -calls _Wotan_ to set his foot on the toad. As _Wotan_ does so, _Loge_ -puts his hand to its head and seizes the Tarnhelmet. _Alberich_ is -seen writhing under _Wotan's_ foot. _Loge_ binds _Alberich_; both -seize him, drag him to the shaft from which they descended and -disappear ascending. - -The scene changes in the reverse direction to that in which it changed -when _Wotan_ and _Loge_ were descending to Nibelheim. The orchestra -accompanies the change of scene. The Ring Motive dies away from -crashing fortissimo to piano, to be succeeded by the dark Motive of -Renunciation. Then is heard the clangour of the Nibelung smithies. The -Giant, Walhalla, Loge, and Servitude Motives follow the last with -crushing force as _Wotan_ and _Loge_ emerge from the cleft, dragging -the pinioned _Alberich_ with them. His lease of power was brief. He is -again in a condition of servitude. - -Scene IV. A pale mist still veils the prospect as at the end of the -second scene. _Loge_ and _Wotan_ place _Alberich_ on the ground and -_Loge_ dances around the pinioned Nibelung, mockingly snapping his -fingers at the prisoner. _Wotan_ joins _Loge_ in his mockery of -_Alberich_. The Nibelung asks what he must give for his freedom. "Your -hoard and your glittering gold," is _Wotan's_ answer. _Alberich_ -assents to the ransom and _Loge_ frees the gnome's right hand. -_Alberich_ raises the ring to his lips and murmurs a secret behest. -The _Nibelungs_ emerge from the cleft and heap up the hoard. Then, as -_Alberich_ stretches out the ring toward them, they rush in terror -toward the cleft, into which they disappear. _Alberich_ now asks for -his freedom, but _Loge_ throws the Tarnhelmet on to the heap. _Wotan_ -demands that _Alberich_ also give up the ring. At these words dismay -and terror are depicted on the Nibelung's face. He had hoped to save -the ring, but in vain. _Wotan_ tears it from the gnome's finger. Then -_Alberich_, impelled by hate and rage, curses the ring. The =Motive of -the Curse=: - -[Music] - -To it should be added the syncopated measures expressive of the -ever-threatening and ever-active =Nibelung's Hate=: - -[Music] - -Amid heavy thuds of the Motive of Servitude _Alberich_ vanishes in the -cleft. - -The mist begins to rise. It grows lighter. The Giant Motive and the -Motive of Eternal Youth are heard, for the giants are approaching with -_Freia_. _Donner_, _Froh_, and _Fricka_ hasten to greet _Wotan_. -_Fasolt_ and _Fafner_ enter with _Freia_. It has grown clear except -that the mist still hides the distant castle. _Freia's_ presence seems -to have restored youth to the gods. _Fasolt_ asks for the ransom for -_Freia_. _Wotan_ points to the hoard. With staves the giants measure -off a space of the height and width of _Freia_. That space must be -filled out with treasure. - -_Loge_ and _Froh_ pile up the hoard, but the giants are not satisfied -even when the Tarnhelmet has been added. They wish also the ring to -fill out a crevice. _Wotan_ turns in anger away from them. A bluish -light glimmers in the rocky cleft to the right, and through it _Erda_ -rises. She warns _Wotan_ against retaining possession of the ring. The -Erda Motive bears a strong resemblance to the Rhine Motive. - -The syncopated notes of the Nibelung's Malevolence, so threateningly -indicative of the harm which _Alberich_ is plotting, are also heard in -_Erda's_ warning. - -_Wotan_, heeding her words, throws the ring upon the hoard. The giants -release _Freia_, who rushes joyfully towards the gods. Here the Freia -Motive combined with the Flight Motive, now no longer agitated but -joyful, rings out gleefully. Soon, however, these motives are -interrupted by the Giant and Nibelung motives, and later the -Nibelung's Hate and Ring Motive. For _Alberich's_ curse already is -beginning its dread work. The giants dispute over the spoils, their -dispute waxes to strife, and at last _Fafner_ slays _Fasolt_ and -snatches the ring from the dying giant, while, as the gods gaze -horror-stricken upon the scene, the Curse Motive resounds with -crushing force. - -_Loge_ congratulates _Wotan_ on having given up the curse-laden ring. -But even _Fricka's_ caresses, as she asks _Wotan_ to lead her into -Walhalla, cannot divert the god's mind from dark thoughts, and the -Curse Motive accompanies his gloomy reflections--for the ring has -passed through his hands. It was he who wrested it from -_Alberich_--and its curse rests on all who have touched it. - -_Donner_ ascends to the top of a lofty rock. He gathers the mists -around him until he is enveloped by a black cloud. He swings his -hammer. There is a flash of lightning, a crash of thunder, and lo! the -cloud vanishes. A rainbow bridge spans the valley to Walhalla, which -is illumined by the setting sun. - -_Wotan_ eloquently greets Walhalla, and then, taking _Fricka_ by the -hand, leads the procession of the gods into the castle. - -The music of this scene is of wondrous eloquence and beauty. Six harps -are added to the ordinary orchestral instruments, and as the -variegated bridge is seen their arpeggios shimmer like the colours of -the rainbow around the broad, majestic =Rainbow Motive=: - -[Music] - -Then the stately Walhalla Motive resounds as the gods gaze, lost in -admiration, at the Walhalla. It gives way to the Ring Motive as -_Wotan_ speaks of the day's ills; and then as he is inspired by the -idea of begetting a race of demigods to conquer the Nibelungs, there -is heard for the first time the =Sword Motive=: - -[Music] - -The cries of the _Rhinedaughters_ greet _Wotan_. They beg him to -restore the ring to them. But _Wotan_ must remain deaf to their -entreaties. He gave the ring, which he should have restored to the -_Rhinedaughters_, to the giants, as ransom for _Freia_. - -The Walhalla Motive swells to a majestic climax and the gods enter the -castle. Amid shimmering arpeggios the Rainbow Motive resounds. The -gods have attained the height of their glory--but the Nibelung's curse -is still potent, and it will bring woe upon all who have possessed or -will possess the ring until it is restored to the _Rhinedaughters_. -_Fasolt_ was only the first victim of _Alberich's_ curse. - - -DIE WALKRE - -THE VALKYR - - Music-drama in three acts, words and music by Richard - Wagner. Produced, Munich, June 25, 1870. New York, Academy - of Music, April 2, 1877, an incomplete and inadequate - performance with Pappenheim as _Brnnhilde_, Pauline Canissa - _Sieglinde_, A. Bischoff _Siegmund_, Felix Preusser _Wotan_, - A. Blum _Hunding_, Mme. Listner _Fricka_, Frida de Gebel, - _Gerhilde_, Adolf Neuendorff, conductor. The real first - performance in America was conducted by Dr. Leopold Damrosch - at the Metropolitan Opera House, January 30, 1885, with - Materna, the original Bayreuth _Brnnhilde_ in that rle, - Schott as _Siegmund_, Seidl-Kraus as _Sieglinde_, Marianne - Brandt as _Fricka_, Staudigl as _Wotan_, and Kgel as - _Hunding_. - - CHARACTERS - - SIEGMUND _Tenor_ - HUNDING _Bass_ - WOTAN _Baritone-Bass_ - SIEGLINDE _Soprano_ - BRNNHILDE _Soprano_ - FRICKA _Mezzo-Soprano_ - - Valkyrs (Sopranos and Mezzo-Sopranos): Gerhilde, Ortlinde, - Waltraute, Schwertleite, Helmwige, Siegrune, Grimgerde, - Rossweisse. - - _Time_--Legendary. - - _Place_--Interior of Hunding's hut; a rocky height; the peak - of a rocky mountain (the Brnnhilde-rock). - -_Wotan's_ enjoyment of Walhalla was destined to be short-lived. Filled -with dismay by the death of _Fasolt_ in the combat of the giants for -the accursed ring, and impelled by a dread presentiment that the force -of the curse would be visited upon the gods, he descended from -Walhalla to the abode of the all-wise woman, _Erda_, who bore him nine -daughters. These were the Valkyrs, headed by _Brnnhilde_--the wild -horsewomen of the air, who on winged steeds bore the dead heroes to -Walhalla, the warriors' heaven. With the aid of the Valkyrs and the -heroes they gathered to Walhalla, _Wotan_ hoped to repel any assault -upon his castle by the enemies of the gods. - -But though the host of heroes grew to a goodly number, the terror of -_Alberich's_ curse still haunted the chief of gods. He might have -freed himself from it had he returned the ring and helmet made of -Rhinegold to the _Rhinedaughters_, from whom _Alberich_ filched it; -but in his desire to persuade the giants to relinquish _Freia_, whom -he had promised to them as a reward for building Walhalla, he, having -wrested the ring from _Alberich_, gave it to the giants instead of -returning it to the _Rhinedaughters_. He saw the giants contending for -the possession of the ring and saw _Fasolt_ slain--the first victim of -_Alberich's_ curse. He knows that the giant _Fafner_, having assumed -the shape of a huge serpent, now guards the Nibelung treasure, which -includes the ring and the Tarnhelmet, in a cave in the heart of a -dense forest. How shall the Rhinegold be restored to the -_Rhinedaughters_? - -_Wotan_ hopes that this may be consummated by a human hero who, free -from the lust for power which obtains among the gods, shall, with a -sword of _Wotan's_ own forging, slay _Fafner_, gain possession of the -Rhinegold and restore it to its rightful owners, thus righting -_Wotan's_ guilty act and freeing the gods from the curse. To -accomplish this _Wotan_, in human guise as _Wlse_, begets, in wedlock -with a human, the twins _Siegmund_ and _Sieglinde_. How the curse of -_Alberich_ is visited upon these is related in "The Valkyr." - -The dramatis person in "The Valkyr" are _Brnnhilde_, the valkyr, and -her eight sister valkyrs; _Fricka_, _Sieglinde_, _Siegmund_, _Hunding_ -(the husband of _Sieglinde_), and _Wotan_. The action begins after the -forced marriage of _Sieglinde_ to _Hunding_. The Wlsungs are in -ignorance of the divinity of their father. They know him only as -_Wlse_. - -Act I. In the introduction to "The Rhinegold," we saw the Rhine -flowing peacefully toward the sea and the innocent gambols of the -_Rhinedaughters_. But "The Valkyr" opens in storm and stress. The -peace and happiness of the first scene of the cycle seem to have -vanished from the earth with _Alberich's_ abjuration of love, his -theft of the gold, and _Wotan's_ equally treacherous acts. - -This "Valkyr" Vorspiel is a masterly representation in tone of a storm -gathering for its last infuriated onslaught. The elements are -unleashed. The wind sweeps through the forest. Lightning flashes in -jagged streaks across the black heavens. There is a crash of thunder -and the storm has spent its force. - -Two leading motives are employed in this introduction. They are the -=Storm Motive= and the =Donner Motive=. The =Storm Motive= is as follows: - -[Music] - -These themes are elemental. From them Wagner has composed storm music -of convincing power. - -In the early portion of this vorspiel only the string instruments are -used. Gradually the instrumentation grows more powerful. With the -climax we have a tremendous _ff_ on the contra tuba and two tympani, -followed by the crash of the Donner Motive on the wind instruments. - -The storm then gradually dies away. Before it has quite passed over, -the curtain rises, revealing the large hall of _Hunding's_ dwelling. -This hall is built around a huge ash-tree, whose trunk and branches -pierce the roof, over which the foliage is supposed to spread. There -are walls of rough-hewn boards, here and there hung with large plaited -and woven hangings. In the right foreground is a large open hearth; -back of it in a recess is the larder, separated from the hall by a -woven hanging, half drawn. In the background is a large door. A few -steps in the left foreground lead up to the door of an inner room. The -furniture of the hall is primitive and rude. It consists chiefly of a -table, bench, and stools in front of the ash-tree. Only the light of -the fire on the hearth illumines the room; though occasionally its -fitful gleam is slightly intensified by a distant flash of lightning -from the departing storm. - -The door in the background is opened from without. _Siegmund_, -supporting himself with his hand on the bolt, stands in the entrance. -He seems exhausted. His appearance is that of a fugitive who has -reached the limit of his powers of endurance. Seeing no one in the -hall, he staggers toward the hearth and sinks upon a bearskin rug -before it, with the exclamation: - - Whose hearth this may be, - Here I must rest me. - -[Illustration: Lilli Lehmann as Brnnhilde in "Die Walkre"] - -[Illustration: Photo by Hall - -"The Valkyr." Act I - -Hunding (Parker), Sieglinde (Rennyson), and Siegmund (Maclennan)] - -Wagner's treatment of this scene is masterly. As _Siegmund_ stands in -the entrance we hear the =Siegmund Motive=. This is a sad, weary strain -on 'cellos and basses. It seems the wearier for the burden of an -accompanying figure on the horns, beneath which it seems to stagger as -_Siegmund_ staggers toward the hearth. Thus the music not only -reflects _Siegmund's_ weary mien, but accompanies most graphically his -weary gait. Perhaps Wagner's intention was more metaphysical. Maybe -the burden beneath which the Siegmund Motive staggers is the curse of -_Alberich_. It is through that curse that _Siegmund's_ life has been -one of storm and stress. - -[Music] - -When the storm-beaten Wlsung has sunk upon the rug the Siegmund -Motive is followed by the Storm Motive, _pp_--and the storm has died -away. The door of the room to the left opens and a young -woman--_Sieglinde_--appears. She has heard someone enter, and, -thinking her husband returned, has come forth to meet him--not -impelled to this by love, but by fear. For _Hunding_ had, while her -father and kinsmen were away on the hunt, laid waste their dwelling -and abducted her and forcibly married her. Ill-fated herself, she is -moved to compassion at sight of the storm-driven fugitive before the -hearth, and bends over him. - -Her compassionate action is accompanied by a new motive, which by -Wagner's commentators has been entitled the Motive of Compassion. But -it seems to me to have a further meaning as expressing the sympathy -between two souls, a tie so subtle that it is at first invisible even -to those whom it unites. _Siegmund_ and _Sieglinde_, it will be -remembered, belong to the same race; and though they are at this point -of the action unknown to one another, yet, as _Sieglinde_ bends over -the hunted, storm-beaten _Siegmund_, that subtle sympathy causes her -to regard him with more solicitude than would be awakened by any other -unfortunate stranger. Hence I have called this motive the =Motive of -Sympathy=--taking sympathy in its double meaning of compassion and -affinity of feeling: - -[Music] - -The beauty of this brief phrase is enhanced by its unpretentiousness. -It wells up from the orchestra as spontaneously as pity mingled with -sympathetic sorrow wells up from the heart of a gentle woman. As it is -_Siegmund_ who has awakened these feelings in _Sieglinde_, the Motive -of Sympathy is heard simultaneously with the Siegmund Motive. - -_Siegmund_, suddenly raising his head, ejaculates, "Water, water!" -_Sieglinde_ hastily snatches up a drinking-horn and, having quickly -filled it at a spring near the house, swiftly returns and hands it to -_Siegmund_. As though new hope were engendered in _Siegmund's_ breast -by _Sieglinde's_ gentle ministration, the Siegmund Motive rises higher -and higher, gathering passion in its upward sweep and then, combined -again with the Motive of Sympathy, sinks to an expression of heartfelt -gratitude. This passage is scored entirely for strings. Yet no -composer, except Wagner, has evoked from a full orchestra sounds -richer or more sensuously beautiful. - -Having quaffed from the proffered cup the stranger lifts a searching -gaze to her features, as if they awakened within him memories the -significance of which he himself cannot fathom. She, too, is strangely -affected by his gaze. How has fate interwoven their lives that these -two people, a man and a woman, looking upon each other apparently for -the first time, are so thrilled by a mysterious sense of affinity? - -Here occurs the =Love Motive= played throughout as a violoncello solo, -with accompaniment of eight violoncellos and two double basses; -exquisite in tone colour and one of the most tenderly expressive -phrases ever penned. - -[Music] - -The Love Motive is the mainspring of this act. For this act tells the -story of love from its inception to its consummation. Similarly in the -course of this act the Love Motive rises by degrees of intensity from -an expression of the first tender presentiment of affection to the -very ecstasy of love. - -_Siegmund_ asks with whom he has found shelter. _Sieglinde_ replies -that the house is _Hunding's_, and she his wife, and requests -_Siegmund_ to await her husband's return. - - Weaponless am I: - The wounded guest, - He will surely give shelter, - -is _Siegmund's_ reply. With anxious celerity, _Sieglinde_ asks him to -show her his wounds. But, refreshed by the draught of cool spring -water and with hope revived by her sympathetic presence, he gathers -force and, raising himself to a sitting posture, exclaims that his -wounds are but slight; his frame is still firm, and had sword and -shield held half so well, he would not have fled from his foes. His -strength was spent in flight through the storm, but the night that -sank on his vision has yielded again to the sunshine of _Sieglinde's_ -presence. At these words the Motive of Sympathy rises like a sweet -hope. _Sieglinde_ fills the drinking-horn with mead and offers it to -_Siegmund_. He asks her to take the first sip. She does so and then -hands it to him. His eyes rest upon her while he drinks. As he returns -the drinking-horn to her there are traces of deep emotion in his -mien. He sighs and gloomily bows his head. The action at this point is -most expressively accompanied by the orchestra. Specially noteworthy -is an impassioned upward sweep of the Motive of Sympathy as _Siegmund_ -regards _Sieglinde_ with traces of deep emotion in his mien. - -In a voice that trembles with emotion, he says: "You have harboured -one whom misfortune follows wherever he wends his footsteps. Lest -through me misfortune enter this house, I will depart." With firm, -determined strides he already has reached the door, when she, -forgetting all in the vague memories that his presence have stirred -within her, calls after him: - -"Tarry! You cannot bring sorrow to the house where sorrow already -reigns!" - -Her words are followed by a phrase freighted as if with sorrow, the -Motive of the Wlsung Race, or =Wlsung Motive=: - -[Music] - -_Siegmund_ returns to the hearth, while she, as if shamed by her -outburst of feeling, allows her eyes to sink toward the ground. -Leaning against the hearth, he rests his calm, steady gaze upon her, -until she again raises her eyes to his, and they regard each other in -long silence and with deep emotion. The woman is the first to start. -She hears _Hunding_ leading his horse to the stall, and soon afterward -he stands upon the threshold looking darkly upon his wife and the -stranger. _Hunding_ is a man of great strength and stature, his eyes -heavy-browed, his sinister features framed in thick black hair and -beard, a sombre, threatful personality boding little good to whomever -crosses his path. - -With the approach of _Hunding_ there is a sudden change in the -character of the music. Like a premonition of _Hunding's_ entrance we -hear the =Hunding Motive=, _pp_. Then as _Hunding_, armed with spear -and shield, stands upon the threshold, this Hunding Motive--as dark, -forbidding, and portentous of woe to the two Wlsungs as _Hunding's_ -sombre visage--resounds with dread power on the tubas: - -[Music] - -Although weaponless, and _Hunding_ armed with spear and shield, the -fugitive meets his scrutiny without flinching, while the woman, -anticipating her husband's inquiry, explains that she had discovered -him lying exhausted at the hearth and given him shelter. With an -assumed graciousness that makes him, if anything, more forbidding, -_Hunding_ orders her prepare the meal. While she does so he glances -repeatedly from her to the stranger whom she has harboured, as if -comparing their features and finding in them something to arouse his -suspicions. "How like unto her," he mutters. - -"Your name and story?" he asks, after they have seated themselves at -the table in front of the ash-tree, and when the stranger hesitates, -_Hunding_ points to the woman's eager, inquiring look. - -"Guest," she urges, little knowing the suspicions her husband -harbours, "gladly would I know whence you come." - -Slowly, as if oppressed by heavy memories, he begins his story, -carefully, however, continuing to conceal his name, since for all he -knows, _Hunding_ may be one of the enemies of his race. Amid -incredible hardships, surrounded by enemies against whom he and his -kin constantly were obliged to defend themselves, he grew up in the -forest. He and his father returned from one of their hunts to find the -hut in ashes, his mother a corpse, and no trace of his twin sister. In -one of the combats with their foes he became separated from his -father. - -At this point you hear the Walhalla Motive, for _Siegmund's_ father -was none other than _Wotan_, known to his human descendants, however, -only as Wlse. In _Wotan's_ narrative in the next act it will be -discovered that _Wotan_ purposely created these misfortunes for -_Siegmund_, in order to strengthen him for his task. - -Continuing his narrative _Siegmund_ says that, since losing track of -his father, he has wandered from place to place, ever with misfortune -in his wake. That very day he has defended a maid whom her brothers -wished to force into marriage. But when, in the combat that ensued, he -had slain her brothers, she turned upon him and denounced him as a -murderer, while the kinsmen of the slain, summoned to vengeance, -attacked him from all quarters. He fought until shield and sword were -shattered, then fled to find chance shelter in _Hunding's_ dwelling. - -[Illustration: Photo by White - -Fremstad as Brnnhilde in "Die Walkre"] - -[Illustration: Copyright photo by Dupont - -Fremstad as Sieglinde in "Die Walkre"] - -The story of _Siegmund_ is told in melodious recitative. It is not a -melody in the old-fashioned meaning of the term, but it fairly teems -with melodiousness. It will have been observed that incidents very -different in kind are related by _Siegmund_. It would be impossible to -treat this narrative with sufficient variety of expression in a -melody. But in Wagner's melodious recitative the musical phrases -reflect every incident narrated by _Siegmund_. For instance, when -_Siegmund_ tells how he went hunting with his father there is joyous -freshness and abandon in the music, which, however, suddenly sinks to -sadness as he narrates how they returned and found the Wlsung -dwelling devastated by enemies. We hear also the Hunding Motive at -this point, which thus indicates that whose who brought this -misfortune upon the Wlsungs were none other than _Hunding_ and his -kinsmen. As _Siegmund_ tells how, when he was separated from his -father, he sought to mingle with men and women, you hear the Love -Motive, while his description of his latest combat is accompanied by -the rhythm of the Hunding Motive. Those whom _Siegmund_ slew were -_Hunding's_ kinsmen. Thus _Siegmund's_ dark fate has driven him to -seek shelter in the house of the very man who is the arch-enemy of his -race and is bound by the laws of kinship to avenge on _Siegmund_ the -death of kinsmen. - -As _Siegmund_ concludes his narrative the Wlsung Motive is heard. -Gazing with ardent longing toward _Sieglinde_, he says: - - Now know'st thou, questioning wife, - Why "Peaceful" is not my name. - -These words are sung to a lovely phrase. Then, as _Siegmund_ rises and -strides over to the hearth, while _Sieglinde_, pale and deeply -affected by his tale, bows her head, there is heard on the horns, -bassoons, violas, and 'cellos a motive expressive of the heroic -fortitude of the Wlsungs in struggling against their fate. It is the -=Motive of the Wlsungs' Heroism=, a motive steeped in the tragedy of -futile struggle against destiny. - -[Music] - -The sombre visage at the head of the table has grown even darker and -more threatening. _Hunding_ arises. "I know a ruthless race to whom -nothing is sacred, and hated of all," he says. "Mine were the kinsmen -you slew. I, too, was summoned from my home to take blood vengeance -upon the slayer. Returning, I find him here. You have been offered -shelter for the night, and for the night you are safe. But tomorrow be -prepared to defend yourself." - -Alone, unarmed, and in the house of his enemy! And yet the same roof -harbours a friend--the woman. What strange affinity has brought them -together under the eye of the pitiless savage with whom she has been -forced into marriage? The embers on the hearth collapse. The glow -that for a moment pervades the room seems to his excited senses a -reflection from the eyes of the woman to whom he has been so -unaccountably yet so strongly drawn. Even the spot on the old -ash-tree, where he saw her glance linger before she left the room, -seems to have caught its sheen. Then the embers die out. All grows -dark. - -The scene is eloquently set to music. _Siegmund's_ gloomy thoughts are -accompanied by the threatening rhythm of the Hunding Motive and the -Sword Motive in a minor key, for _Siegmund_ is still weaponless. - - A sword my father did promise.... - Wlse! Wlse! Where is thy sword! - -The Sword Motive rings out like a shout of triumph. As the embers of -the fire collapse, there is seen in the glare, that for a moment falls -upon the ash-tree, the hilt of a sword whose blade is buried in the -trunk of the tree at the point upon which _Sieglinde's_ look last -rested. While the Motive of the Sword gently rises and falls, like the -coming and going of a lovely memory, _Siegmund_ apostrophizes the -sheen as the reflection of _Sieglinde's_ glance. And although the -embers die out, and night falls upon the scene, in _Siegmund's_ -thoughts the memory of that pitying, loving look glimmers on. - -Is it his excited fancy that makes him hear the door of the inner -chamber softly open and light footsteps coming in his direction? No; -for he becomes conscious of a form, her form, dimly limned upon the -darkness. He springs to his feet. _Sieglinde_ is by his side. She has -given _Hunding_ a sleeping-potion. She will point out a weapon to -_Siegmund_--a sword. If he can wield it she will call him the greatest -hero, for only the mightiest can wield it. The music quickens with -the subdued excitement in the breasts of the two Wlsungs. You hear -the Sword Motive and above it, on horns, clarinet, and oboe, a new -motive--that of the =Wlsungs' Call to Victory=: - -[Music] - -for _Sieglinde_ hopes that with the sword the stranger, who has -awakened so quickly love in her breast, will overcome _Hunding_. This -motive has a resistless, onward sweep. _Sieglinde_, amid the strains -of the stately Walhalla Motive, followed by the Sword Motive, narrates -the story of the sword. While _Hunding_ and his kinsmen were feasting -in honour of her forced marriage with him, an aged stranger entered -the hall. The men knew him not and shrank from his fiery glance. But -upon her his look rested with tender compassion. With a mighty thrust -he buried a sword up to its hilt in the trunk of the ash-tree. Whoever -drew it from its sheath to him it should belong. The stranger went his -way. One after another the strong men tugged at the hilt--but in vain. -Then she knew who the aged stranger was and for whom the sword was -destined. - -The Sword Motive rings out like a joyous shout, and _Sieglinde's_ -voice mingles with the triumphant notes of the Wlsungs' Call to -Victory as she turns to _Siegmund_: - - O, found I in thee - The friend in need! - -The Motive of the Wlsungs' heroism, now no longer full of tragic -import, but forceful and defiant--and _Siegmund_ holds _Sieglinde_ in -his embrace. - -There is a rush of wind. The woven hangings flap and fall. As the -lovers turn, a glorious sight greets their eyes. The landscape is -illumined by the moon. Its silver sheen flows down the hills and -quivers along the meadows whose grasses tremble in the breeze. All -nature seems to be throbbing in unison with the hearts of the lovers, -and, turning to the woman, _Siegmund_ greets her with the =Love Song=: - -[Music] - -The Love Motive, impassioned, irresistible, sweeps through the -harmonies--and Love and Spring are united. The Love Motive also -pulsates through _Sieglinde's_ ecstatic reply after she has given -herself fully up to _Siegmund_ in the Flight Motive--for before his -coming her woes have fled as winter flies before the coming of spring. -With _Siegmund's_ exclamation: - - Oh, wondrous vision! - Rapturous woman! - -there rises from the orchestra like a vision of loveliness the Motive -of Freia, the Venus of German mythology. In its embrace it folds this -pulsating theme: - -[Music] - -It throbs on like a love-kiss until it seemingly yields to the -blandishments of this caressing phrase: - -[Music] - -This throbbing, pulsating, caressing music is succeeded by a moment of -repose. The woman again gazes searchingly into the man's features. She -has seen his face before. When? Now she remembers. It is when she has -seen her own reflection in a brook! And his voice? It seems to her -like an echo of her own. And his glance; has it never before rested on -her? She is sure it has, and she will tell him when. - -She repeats how, while _Hunding_ and his kinsmen were feasting at her -marriage, an aged man entered the hall and, drawing a sword, thrust it -to the hilt in the ash-tree. The first to draw it out, to him it -should belong. One after another the men strove to loosen the sword, -but in vain. Once the aged man's glance rested on her and shone with -the same light as now shines in his who has come to her through night -and storm. He who thrust the sword into the tree was of her own race, -the Wlsungs. Who is he? - -"I, too, have seen that light, but in your eyes!" exclaimed the -fugitive. "I, too, am of your race. I, too, am a Wlsung, my father -none other than Wlse himself." - -"Was Wlse your father?" she cries ecstatically. "For you, then, this -sword was thrust in the tree! Let me name you, as I recall you from -far back in my childhood, _Siegmund_--_Siegmund_--_Siegmund_!" - -"Yes, I am _Siegmund_; and you, too, I now know well. You are -_Sieglinde_. Fate has willed that we two of our unhappy race, shall -meet again and save each other or perish together." - -Then, leaping upon the table, he grasps the sword-hilt which protrudes -from the trunk of the ash-tree where he has seen that strange glow in -the light of the dying embers. A mighty tug, and he draws it from the -tree as a blade from its scabbard. Brandishing it in triumph, he leaps -to the floor and, clasping _Sieglinde_, rushes forth with her into the -night. - -And the music? It fairly seethes with excitement. As _Siegmund_ leaps -upon the table, the Motive of the Wlsungs' Heroism rings out as if in -defiance of the enemies of the race. The Sword Motive--and he has -grasped the hilt; the Motive of Compact, ominous of the fatality which -hangs over the Wlsungs; the Motive of Renunciation, with its -threatening import; then the Sword Motive--brilliant like the glitter -of refulgent steel--and _Siegmund_ has unsheathed the sword. The -Wlsungs' Call to Victory, like a song of triumph; a superb upward -sweep of the Sword Motive; the Love Motive, now rushing onward in the -very ecstasy of passion, and _Siegmund_ holds in his embrace -_Sieglinde_, his bride--of the same doomed race as himself! - -Act II. In the _Vorspiel_ the orchestra, with an upward rush of the -Sword Motive, resolved into 9-8 time, the orchestra dashes into the -Motive of Flight. The Sword Motive in this 9-8 rhythm closely -resembles the Motive of the Valkyr's Ride, and the Flight Motive in -the version in which it appears is much like the Valkyr's Shout. The -Ride and the Shout are heard in the course of the _Vorspiel_, the -former with tremendous force on trumpets and trombones as the curtain -rises on a wild, rocky mountain pass, at the back of which, through a -natural rock-formed arch, a gorge slopes downward. - -In the foreground stands _Wotan_, armed with spear, shield, and -helmet. Before him is _Brnnhilde_ in the superb costume of the -Valkyr. The stormy spirit of the _Vorspiel_ pervades the music of -_Wotan's_ command to _Brnnhilde_ that she bridle her steed for battle -and spur it to the fray to do combat for _Siegmund_ against _Hunding_. -_Brnnhilde_ greets _Wotan's_ command with the weirdly joyous =Shout of -the Valkyrs= - -[Music: Hojotoho! Heiaha-ha.] - -[Illustration: Photo by White - -Weil as Wotan in "Die Walkre"] - -[Illustration: Photo by Hall - -"Die Walkre." Act III - -Brnnhilde (Margaret Crawford)] - -It is the cry of the wild horsewomen of the air, coursing through -storm-clouds, their shields flashing back the lightning, their voices -mingling with the shrieks of the tempest. Weirder, wilder joy has -never found expression in music. One seems to see the steeds of the -air and streaks of lightning playing around their riders, and to hear -the whistling of the wind. - -The accompanying figure is based on the Motive of the =Ride of the -Valkyrs=: - -[Music] - -_Brnnhilde_, having leapt from rock to rock to the highest peak of -the mountain, again faces _Wotan_, and with delightful banter calls to -him that _Fricka_ is approaching in her ram-drawn chariot. _Fricka_ -has appeared, descended from her chariot, and advances toward _Wotan_, -_Brnnhilde_ having meanwhile disappeared behind the mountain height. - -_Fricka_ is the protector of the marriage vow, and as such she has -come in anger to demand from _Wotan_ vengeance in behalf of _Hunding_. -As she advances hastily toward _Wotan_, her angry, passionate -demeanour is reflected by the orchestra, and this effective musical -expression of _Fricka's_ ire is often heard in the course of the -scene. When near _Wotan_ she moderates her pace, and her angry -demeanour gives way to sullen dignity. - -_Wotan_, though knowing well what has brought _Fricka_ upon the scene, -feigns ignorance of the cause of her agitation and asks what it is -that harasses her. Her reply is preceded by the stern Hunding motive. -She tells _Wotan_ that she, as the protectress of the sanctity of the -marriage vow, has heard _Hunding's_ voice calling for vengeance upon -the Wlsung twins. Her words, "His voice for vengeance is raised," -are set to a phrase strongly suggestive of _Alberich's_ curse. It -seems as though the avenging Nibelung were pursuing _Wotan's_ children -and thus striking a blow at _Wotan_ himself through _Fricka_. The Love -Motive breathes through _Wotan's_ protest that _Siegmund_ and -_Sieglinde_ only yielded to the music of the spring night. _Wotan_ -argues that _Siegmund_ and _Sieglinde_ are true lovers, and _Fricka_ -should smile instead of venting her wrath on them. The motive of the -Love Song, the Love Motive, and the caressing phrase heard in the love -scene are beautifully blended with _Wotan's_ words. In strong contrast -to these motives is the music in _Fricka's_ outburst of wrath, -introduced by the phrase reflecting her ire, which is repeated several -times in the course of this episode. _Wotan_ explains to her why he -begat the Wlsung race and the hopes he has founded upon it. But -_Fricka_ mistrusts him. What can mortals accomplish that the gods, who -are far mightier than mortals, cannot accomplish? _Hunding_ must be -avenged on _Siegmund_ and _Sieglinde_. _Wotan_ must withdraw his -protection from _Siegmund_. Now appears a phrase which expresses -_Wotan's_ impotent wrath--impotent because _Fricka_ brings forward the -unanswerable argument that if the Wlsungs go unpunished by her, as -guardian of the marriage vow, she, the Queen of the Gods, will be held -up to the scorn of mankind. - -_Wotan_ would fain save the Wlsungs. But _Fricka's_ argument is -conclusive. He cannot protect _Siegmund_ and _Sieglinde_, because -their escape from punishment would bring degradation upon the -queen-goddess and the whole race of the gods, and result in their -immediate fall. _Wotan's_ wrath rises at the thought of sacrificing -his beloved children to the vengeance of _Hunding_, but he is -impotent. His far-reaching plans are brought to nought. He sees the -hope of having the Ring restored to the _Rhinedaughters_ by the -voluntary act of a hero of the Wlsung race vanish. The curse of -_Alberich_ hangs over him like a dark, threatening cloud. The =Motive -of Wotan's Wrath= is as follows: - -[Music] - -_Brnnhilde's_ joyous shouts are heard from the height. _Wotan_ -exclaims that he had summoned the Valkyr to do battle for _Siegmund_. -In broad, stately measures, _Fricka_ proclaims that her honour shall -be guarded by _Brnnhilde's_ shield and demands of _Wotan_ an oath -that in the coming combat the Wlsung shall fall. _Wotan_ takes the -oath and throws himself dejectedly down upon a rocky seat. _Fricka_ -strides toward the back. She pauses a moment with a gesture of queenly -command before _Brnnhilde_, who has led her horse down the height and -into a cave to the right, then departs. - -In this scene we have witnessed the spectacle of a mighty god vainly -struggling to avert ruin from his race. That it is due to irresistible -fate and not merely to _Fricka_ that _Wotan's_ plans succumb, is made -clear by the darkly ominous notes of Alberich's Curse, which resound -as _Wotan_, wrapt in gloomy brooding, leans back against the rocky -seat, and also when, in a paroxysm of despair, he gives vent to his -feelings, a passage which, for overpowering intensity of expression, -stands out even from among Wagner's writings. The final words of this -outburst of grief: - - The saddest I among all men, - -are set to this variant of the Motive of Renunciation; the meaning of -this phrase having been expanded from the renunciation of love by -_Alberich_ to cover the renunciation of happiness which is forced upon -_Wotan_ by avenging fate: - -[Music] - -_Brnnhilde_ casts away shield, spear, and helmet, and sinking down at -_Wotan's_ feet looks up to him with affectionate anxiety. Here we see -in the Valkyr the touch of tenderness, without which a truly heroic -character is never complete. - -Musically it is beautifully expressed by the Love Motive, which, when -_Wotan_, as if awakening from a reverie, fondly strokes her hair, goes -over into the Siegmund Motive. It is over the fate of his beloved -Wlsungs _Wotan_ has been brooding. Immediately following -_Brnnhilde's_ words, - - What an I were I not thy will, - -is a wonderfully soft yet rich melody on four horns. It is one of -those beautiful details in which Wagner's works abound. - -In _Wotan's_ narrative, which now follows, the chief of the gods tells -_Brnnhilde_ of the events which have brought this sorrow upon him, of -his failure to restore the stolen gold to the _Rhinedaughters_; of his -dread of _Alberich's_ curse; how she and her sister Valkyrs were born -to him by _Erda_; of the necessity that a hero should without aid of -the gods gain the Ring and Tarnhelmet from _Fafner_ and restore the -Rhinegold to the _Rhinedaughters_; how he begot the Wlsungs and -inured them to hardships in the hope that one of the race would free -the gods from _Alberich's_ curse. - -The motives heard in _Wotan's_ narrative will be recognized, except -one, which is new. This is expressive of the stress to which the gods -are subjected through _Wotan's_ crime. It is first heard when _Wotan_ -tells of the hero who alone can regain the ring. It is the =Motive of -the Gods' Stress=. - -[Music] - -Excited by remorse and despair _Wotan_ bids farewell to the glory of -the gods. Then he in terrible mockery blesses the Nibelung's heir--for -_Alberich_ has wedded and to him has been born a son, upon whom the -Nibelung depends to continue his death struggle with the gods. -Terrified by this outburst of wrath, _Brnnhilde_ asks what her duty -shall be in the approaching combat. _Wotan_ commands her to do -_Fricka's_ bidding and withdraw protection from _Siegmund_. In vain -_Brnnhilde_ pleads for the Wlsung whom she knows _Wotan_ loves, and -wished a victor until _Fricka_ exacted a promise from him to avenge -_Hunding_. But her pleading is in vain. _Wotan_ is no longer the -all-powerful chief of the gods--through his breach of faith he has -become the slave of fate. Hence we hear, as _Wotan_ rushes away, -driven by chagrin, rage, and despair, chords heavy with the crushing -force of fate. - -Slowly and sadly _Brnnhilde_ bends down for her weapons, her actions -being accompanied by the Valkyr Motive. Bereft of its stormy -impetuosity it is as trist as her thoughts. Lost in sad reflections, -which find beautiful expression in the orchestra, she turns toward the -background. - -Suddenly the sadly expressive phrases are interrupted by the Motive of -Flight. Looking down into the valley the Valkyr perceives _Siegmund_ -and _Sieglinde_ approaching in hasty flight. She then disappears in -the cave. With a superb crescendo the Motive of Flight reaches its -climax and the two Wlsungs are seen approaching through the natural -arch. For hours they have toiled forward; often _Sieglinde's_ limbs -have threatened to fail her, yet never have the fugitives been able to -shake off the dread sound of _Hunding_ winding his horn as he called -upon his kinsmen to redouble their efforts to overtake the two -Wlsungs. Even now, as they come up the gorge and pass under a rocky -arch to the height of the divide, the pursuit can be heard. They are -human quarry of the hunt. Terror has begun to unsettle _Sieglinde's_ -reason. When _Siegmund_ bids her rest she stares wildly before her, -then gazes with growing rapture into his eyes and throws her arms -around his neck, only to shriek suddenly: "Away, away!" as she hears -the distant horn-calls, then to grow rigid and stare vacantly before -her as _Siegmund_ announces to her that here he proposes to end their -flight, here await _Hunding_, and test the temper of _Wlse's_ sword. -Then she tries to thrust him away. Let him leave her to her fate and -save himself. But a moment later, although she still clings to him, -she apparently is gazing into vacancy and crying out that he has -deserted her. At last, utterly overcome by the strain of flight with -the avenger on the trail, she faints, her hold on _Siegmund_ relaxes, -and she would have fallen had he not caught her form in his arms. -Slowly he lets himself down on a rocky seat, drawing her with him, so -that when he is seated her head rests on his lap. Tenderly he looks -down upon the companion of his flight, and, while, like a mournful -memory, the orchestra intones the Love Motive, he presses a kiss upon -her brow--she of his own race, like him doomed to misfortune, -dedicated to death, should the sword which he has unsheathed from -_Hunding's_ ash-tree prove traitor. As he looks up from _Sieglinde_ he -is startled. For there stands on the rock above them a shining -apparition in flowing robes, breastplate, and helmet, and leaning upon -a spear. It is _Brnnhilde_, the Valkyr, daughter of _Wotan_. - -=The Motive of Fate=--so full of solemn import--is heard. - -[Music] - -While her earnest look rests upon him, there is heard the =Motive of -the Death-Song=, a tristly prophetic strain. - -[Music] - -_Brnnhilde_ advances and then, pausing again, leans with one hand on -her charger's neck, and, grasping shield and spear with the other, -gazes upon _Siegmund_. Then there rises from the orchestra, in strains -of rich, soft, alluring beauty, an inversion of the Walhalla Motive. -The Fate, Death-Song and Walhalla motives recur, and _Siegmund_, -raising his eyes and meeting _Brnnhilde's_ look, questions her and -receives her answers. The episode is so fraught with solemnity that -the shadow of death seems to have fallen upon the scene. The solemn -beauty of the music impresses itself the more upon the listener, -because of the agitated, agonized scene which preceded it. To the -Wlsung, who meets her gaze so calmly, _Brnnhilde_ speaks in solemn -tones: - -"Siegmund, look on me. I am she whom soon you must prepare to follow." -Then she paints for him in glowing colours the joys of Walhalla, where -_Wlse_, his father, is awaiting him and where he will have heroes for -his companions, himself the hero of many valiant deeds. _Siegmund_ -listens unmoved. In reply he frames but one question: "When I enter -Walhalla, will _Sieglinde_ be there to greet me?" - -When _Brnnhilde_ answers that in Walhalla he will be attended by -valkyrs and wishmaidens, but that _Sieglinde_ will not be there to -meet him, he scorns the delights she has held out. Let her greet -_Wotan_ from him, and _Wlse_, his father, too, as well as the -wishmaidens. He will remain with _Sieglinde_. - -Then the radiant Valkyr, moved by _Siegmund's_ calm determination to -sacrifice even a place among the heroes of Walhalla for the woman he -loves, makes known to him the fate to which he has been doomed. -_Wotan_ desired to give him victory over _Hunding_, and she had been -summoned by the chief of the gods and commanded to hover above the -combatants, and by shielding _Siegmund_ from _Hunding's_ thrusts, -render the Wlsung's victory certain. But _Wotan's_ spouse, _Fricka_, -who, as the first among the goddesses, is guardian of the marriage -vows, has heard _Hunding's_ voice calling for vengeance, and has -demanded that vengeance be his. Let _Siegmund_ therefore prepare for -Walhalla, but let him leave _Sieglinde_ in her care. She will protect -her. - -"No other living being but I shall touch her," exclaims the Wlsung, -as he draws his sword. "If the Wlsung sword is to be shattered on -Hunding's spear, to which I am to fall a victim, it first shall bury -itself in her breast and save her from a worse fate!" He poises the -sword ready for the thrust above the unconscious _Sieglinde_. - -"Hold!" cries _Brnnhilde_, thrilled by his heroic love. "Whatever the -consequences which Wotan, in his wrath, shall visit upon me, today, -for the first time I disobey him. Sieglinde shall live, and with her -Siegmund! Yours the victory over Hunding. Now Wlsung, prepare for -battle!" - -_Hunding's_ horn-calls sound nearer and nearer. _Siegmund_ judges that -he has ascended the other side of the gorge, intending to cross the -rocky arch. Already _Brnnhilde_ has gone to take her place where she -knows the combatants must meet. With a last look and a last kiss for -_Sieglinde_, _Siegmund_ gently lays her down and begins to ascend -toward the peak. Mist gathers; storm-clouds roll over the mountain; -soon he is lost to sight. Slowly _Sieglinde_ regains her senses. She -looks for _Siegmund_. Instead of seeing him bending over her she hears -_Hunding's_ voice as if from among the clouds, calling him to combat; -then _Siegmund's_ accepting the challenge. She staggers toward the -peak. Suddenly a bright light pierces the clouds. Above her she sees -the men fighting, _Brnnhilde_ protecting _Siegmund_ who is aiming a -deadly stroke at _Hunding_. - -At that moment, however, the light is diffused with a reddish glow. In -it _Wotan_ appears. As _Siegmund's_ sword cuts the air on its errand -of death, the god interposes his spear, the sword breaks in two and -_Hunding_ thrusts his spear into the defenceless Wlsung's breast. The -second victim of _Alberich's_ curse has met his fate. - -With a wild shriek, _Sieglinde_ falls to the ground, to be caught up -by _Brnnhilde_ and swung upon the Valkyr's charger, which, urged on -by its mistress, now herself a fugitive from _Wotan's_ anger, dashes -down the defile in headlong flight for the Valkyr rock. - -Act III. The third act opens with the famous "Ride of the Valkyrs," a -number so familiar that detailed reference to it is scarcely -necessary. The wild maidens of Walhalla coursing upon winged steeds -through storm-clouds, their weapons flashing in the gleam of -lightning, their weird laughter mingling with the crash of thunder, -have come to hold tryst upon the Valkyr rock. - -When eight of the Valkyrs have gathered upon the rocky summit of the -mountain, they espy _Brnnhilde_ approaching. It is with savage shouts -of "Hojotoho! Heiha!" those who already have reached their savage -eyrie, watch for the coming of their wild sisters. Fitful flashes of -lightning herald their approach as they storm fearlessly through the -wind and cloud, their weird shouts mingling with the clash of thunder. -"Hojotoho! Heihe!--Hojotoho! Heiha!" - -But, strange burden! Instead of a slain hero across her pommel, -_Brnnhilde_ bears a woman, and instead of urging her horse to the -highest crag, she alights below. The Valkyrs hasten down the rock, and -there the wild sisters of the air stand, curiously awaiting the -approach of _Brnnhilde_. - -In frantic haste the Valkyr tells her sisters what has transpired, and -how _Wotan_ is pursuing her to punish her for her disobedience. One -of the Valkyrs ascends the rock and, looking in the direction from -which _Brnnhilde_ has come, calls out that even now she can descry -the red glow behind the storm-clouds that denotes _Wotan's_ approach. -Quickly _Brnnhilde_ bids _Sieglinde_ seek refuge in the forest beyond -the Valkyr rock. The latter, who has been lost in gloomy brooding, -starts at her rescuer's supplication and in strains replete with -mournful beauty begs that she may be left to her fate and follow -_Siegmund_ in death. The glorious prophecy in which _Brnnhilde_ now -foretells to _Sieglinde_ that she is to become the mother of -_Siegfried_, is based upon the =Siegfried Motive=: - -[Music] - -_Sieglinde_, in joyous frenzy, blesses _Brnnhilde_ and hastens to -find safety in a dense forest to the eastward, the same forest in -which _Fafner_, in the form of a serpent, guards the Rhinegold -treasures. - -_Wotan_, in hot pursuit of _Brnnhilde_, reaches the mountain summit. -In vain her sisters entreat him to spare her. He harshly threatens -them unless they cease their entreaties, and with wild cries of fear -they hastily depart. - -In the ensuing scene between _Wotan_ and _Brnnhilde_, in which the -latter seeks to justify her action, is heard one of the most beautiful -themes of the cycle. - -It is the =Motive of Brnnhilde's Pleading=, which finds its loveliest -expression when she addresses _Wotan_ in the passage beginning: - -[Music: Thou, who this love within my breast inspired.] - -_Brnnhilde_ is _Wotan's_ favourite daughter, but instead of the -loving pride with which he always has been wont to regard her, his -features are dark with anger at her disobedience of his command. He -had decreed _Siegmund's_ death. She has striven to give victory to the -Wlsung. Throwing herself at her father's feet, she pleads that he -himself had intended to save _Siegmund_ and had been turned from his -purpose only by _Fricka's_ interference, and that he had yielded only -most grudgingly to _Fricka's_ insistent behest. Therefore, when she, -his daughter, profoundly moved by _Siegmund's_ love for _Sieglinde_, -and her sympathies aroused by the sad plight of the fugitives, -disregarded his command, she nevertheless acted in accordance with his -real inclinations. But _Wotan_ is obdurate. She has revelled in the -very feelings which he was obliged, at _Fricka's_ behest, to -forego--admiration for _Siegmund's_ heroism and sympathy for him in -his misfortune. Therefore she must be punished. He will cause her to -fall into a deep sleep upon the Valkyr rock, which shall become the -Brnnhilde-rock, and to the first man who finds her and awakens her, -she, no longer a Valkyr, but a mere woman, shall fall prey. - -This great scene between _Wotan_ and _Brnnhilde_ is introduced by an -orchestral passage. The Valkyr lies in penitence at her father's feet. -In the expressive orchestral measures the Motive of Wotan's Wrath -mingles with that of Brnnhilde's Pleading. The motives thus form a -prelude to the scene in which the Valkyr seeks to appease her father's -anger, not through a specious plea, but by laying bare the promptings -of a noble heart, which forced her, against the chief god's command, -to intervene for _Siegmund_. The Motive of Brnnhilde's Pleading is -heard in its simplest form at _Brnnhilde's_ words: - - Was it so shameful what I have done, - -and it may be noticed that as she proceeds the Motive of Wotan's -Wrath, heard in the accompaniment, grows less stern, until with her -plea, - - Soften thy wrath, - -it assumes a tone of regretful sorrow. - -_Wotan's_ feelings toward _Brnnhilde_ have softened for the time from -anger to grief that he must mete out punishment for her disobedience. -In his reply excitement subsides to gloom. It would be difficult to -point to other music more touchingly expressive of deep contrition -than the phrase in which _Brnnhilde_ pleads that _Wotan_ himself -taught her to love _Siegmund_. It is here that the Motive of -Brnnhilde's Pleading assumes the form in the notation given above. -Then we hear from _Wotan_ that he had abandoned _Siegmund_ to his -fate, because he had lost hope in the cause of the gods and wished to -end his woe in the wreck of the world. The weird terror of the Curse -Motive hangs over this outburst of despair. In broad and beautiful -strains _Wotan_ then depicts _Brnnhilde_ yielding to her emotions -when she intervened for _Siegmund_. - -_Brnnhilde_ makes her last appeal. She tells her father that -_Sieglinde_ has found refuge in the forest, and that there she will -give birth to a son, _Siegfried_,--the hero for whom the gods have -been waiting to overthrow their enemies. If she must suffer for her -disobedience, let _Wotan_ surround her sleeping form with a fiery -circle which only such a hero will dare penetrate. The Motive of -Brnnhilde's Pleading and the Siegfried Motive vie with each other in -giving expression to the beauty, tenderness, and majesty of this -scene. - -Gently the god raises her and tenderly kisses her brow; and thus bids -farewell to the best beloved of his daughters. Slowly she sinks upon -the rock. He closes her helmet and covers her with her shield. Then, -with his spear, he invokes the god of fire. Tongues of flame leap from -the crevices of the rock. Wildly fluttering fire breaks out on all -sides. The forest beyond glows like a furnace, with brighter streaks -shooting and throbbing through the mass, as _Wotan_, with a last look -at the sleeping form of _Brnnhilde_, vanishes beyond the fiery -circle. - -A majestic orchestral passage opens _Wotan's_ farewell to -_Brnnhilde_. In all music for bass voice this scene has no peer. Such -tender, mournful beauty has never found expression in music--and this, -whether we regard the vocal part or the orchestral accompaniment in -which the lovely =Slumber Motive=: - -[Music] - -As _Wotan_ leads _Brnnhilde_ to the rock, upon which she sinks, -closes her helmet, and covers her with her shield, then invokes -_Loge_, and, after gazing fondly upon the slumbering Valkyr, vanishes -amid the magic flames, the Slumber Motive, the Magic Fire Motive, and -the Siegfried Motive combine to place the music of the scene with the -most brilliant and beautiful portion of our heritage from the great -master-musician. But here, too, lurks Destiny. Towards the close of -this glorious finale we hear again the ominous muttering of the Motive -of Fate. _Brnnhilde_ may be saved from ignominy, _Siegfried_ may be -born to _Sieglinde_--but the crushing weight of _Alberich's_ curse -still rests upon the race of the gods. - - -SIEGFRIED - - Music-drama in three acts, by Richard Wagner. Produced, - Bayreuth, August 16, 1876. London, by the Carl Rosa Company, - 1898, in English. New York, Metropolitan Opera House, - November 9, 1887, with Lehmann (_Brnnhilde_), Fischer - (_Wotan_), Alvary (_Siegfried_), and Seidl-Kraus (_Forest - bird_). - - CHARACTERS - - SIEGFRIED _Tenor_ - MIME _Tenor_ - WOTAN (disguised as the WANDERER) _Baritone-Bass_ - ALBERICH _Baritone-Bass_ - FAFNER _Bass_ - ERDA _Contralto_ - FOREST BIRD _Soprano_ - BRNNHILDE _Soprano_ - - _Time_--Legendary. - - _Place_--A rocky cave in the forest; deep in the forest; - wild region at foot of a rocky mount; the Brnnhilde-rock. - -The Nibelungs were not present in the dramatic action of "The Valkyr," -though the sinister influence of _Alberich_ shaped the tragedy of -_Siegmund's_ death. In "Siegfried" several characters of "The -Rhinegold," who do not take part in "The Valkyr," reappear. These are -the Nibelungs _Alberich_ and _Mime_; the giant _Fafner_, who in the -guise of a serpent guards the Ring, the Tarnhelmet, and the Nibelung -hoard in a cavern, and _Erda_. - -_Siegfried_ has been born of _Sieglinde_, who died in giving birth to -him. This scion of the Wlsung race has been reared by _Mime_, who -found him in the forest by his dead mother's side. _Mime_ is plotting -to obtain possession of the ring and of _Fafner's_ other treasures, -and hopes to be aided in his designs by the lusty youth. _Wotan_, -disguised as a wanderer, is watching the course of events, again -hopeful that a hero of the Wlsung race will free the gods from -_Alberich's_ curse. Surrounded by magic fire, _Brnnhilde_ still lies -in deep slumber on the Brnnhilde Rock. - -The _Vorspiel_ of "Siegfried" is expressive of _Mime's_ planning and -plotting. It begins with music of a mysterious brooding character. -Mingling with this is the Motive of the Hoard, familiar from "The -Rhinegold." Then is heard the Nibelung Motive. After reaching a -forceful climax it passes over to the Motive of the Ring, which rises -from pianissimo to a crashing climax. The ring is to be the prize of -all _Mime's_ plotting. He hopes to weld the pieces of _Siegmund's_ -sword together, and that with this sword _Siegfried_ will slay -_Fafner_. Then _Mime_ will slay _Siegfried_ and possess himself of the -ring. Thus it is to serve his own ends only, that _Mime_ is craftily -rearing _Siegfried_. - -The opening scene shows _Mime_ forging a sword at a natural forge -formed in a rocky cave. In a soliloquy he discloses the purpose of his -labours and laments that _Siegfried_ shivers every sword which has -been forged for him. Could he (_Mime_) but unite the pieces of -_Siegmund's_ sword! At this thought the Sword Motive rings out -brilliantly, and is jubilantly repeated, accompanied by a variant of -the Walhalla Motive. For if the pieces of the sword were welded -together, and _Siegfried_ were with it to slay _Fafner_, _Mime_ could -surreptitiously obtain possession of the ring, slay _Siegfried_, rule -over the gods in Walhalla, and circumvent _Alberich's_ plans for -regaining the hoard. - -_Mime_ is still at work when _Siegfried_ enters, clad in a wild forest -garb. Over it a silver horn is slung by a chain. The sturdy youth has -captured a bear. He leads it by a bast rope, with which he gives it -full play so that it can make a dash at _Mime_. As the latter flees -terrified behind the forge, _Siegfried_ gives vent to his high spirits -in shouts of laughter. Musically his buoyant nature is expressed by a -theme inspired by the fresh, joyful spirit of a wild, woodland life. -It may be called, to distinguish it from the Siegfried Motive, the -=Motive of Siegfried the Fearless=. - -[Music] - -It pervades with its joyous impetuosity the ensuing scene, in which -_Siegfried_ has his sport with _Mime_, until tiring of it, he loosens -the rope from the bear's neck and drives the animal back into the -forest. In a pretty, graceful phrase _Siegfried_ tells how he blew his -horn, hoping it would be answered by a pleasanter companion than -_Mime_. Then he examines the sword which _Mime_ has been forging. The -Siegfried Motive resounds as he inveighs against the weapon's -weakness, then shivers it on the anvil. The orchestra, with a rush, -takes up the =Motive of Siegfried the Impetuous=. - -[Music] - -This is a theme full of youthful snap and dash. _Mime_ tells -_Siegfried_ how he tenderly reared him from infancy. The music here is -as simple and pretty as a folk-song, for _Mime's_ reminiscences of -_Siegfried's_ infancy are set to a charming melody, as though _Mime_ -were recalling to _Siegfried's_ memory a cradle song of those days. -But _Siegfried_ grows impatient. If _Mime_ really tended him so kindly -out of pure affection, why should _Mime_ be so repulsive to him; and -yet why should he, in spite of _Mime's_ repulsiveness, always return -to the cave? The dwarf explains that he is to _Siegfried_ what the -father is to the fledgling. This leads to a beautiful lyric episode. -_Siegfried_ says that he saw the birds mating, the deer pairing, the -she-wolf nursing her cubs. Whom shall he call Mother? Who is _Mime's_ -wife? This episode is pervaded by the lovely =Motive of Love-Life=. - -[Music] - -_Mime_ endeavours to persuade _Siegfried_ that he is his father and -mother in one. But _Siegfried_ has noticed that the young of birds and -deer and wolves look like the parents. He has seen his features -reflected in the brook, and knows he does not resemble the hideous -_Mime_. The notes of the Love-Life Motive pervade this episode. When -_Siegfried_ speaks of seeing his own likeness, we also hear the -Siegfried Motive. _Mime_, forced by _Siegfried_ to speak the truth, -tells of _Sieglinde's_ death while giving birth to _Siegfried_. -Throughout this scene we find reminiscences of the first act of "The -Valkyr," the Wlsung Motive, the Motive of Sympathy, and the Love -Motive. Finally, when _Mime_ produces as evidence of the truth of his -words the two pieces of _Siegmund's_ sword, the Sword Motive rings out -brilliantly. _Siegfried_ exclaims that _Mime_ must weld the pieces -into a trusty weapon. Then follows _Siegfried's_ "Wander Song," so -full of joyous abandon. Once the sword welded, he will leave the hated -_Mime_ for ever. As the fish darts through the water, as the bird -flies so free, he will flee from the repulsive dwarf. With joyous -exclamations he runs from the cave into the forest. - - * * * * * - -The frank, boisterous nature of _Siegfried_ is charmingly portrayed. -His buoyant vivacity finds capital expression in the Motives of -Siegfried the Fearless, Siegfried the Impetuous, and his "Wander -Song," while the vein of tenderness in his character seems to run -through the Love-Life Motive. His harsh treatment of _Mime_ is not -brutal; for _Siegfried_ frankly avows his loathing for the dwarf, and -we feel, knowing _Mime's_ plotting against the young Wlsung, that -_Siegfried's_ hatred is the spontaneous aversion of a frank nature for -an insidious one. - -_Mime_ has a gloomy soliloquy. It is interrupted by the entrance of -_Wotan_, disguised as a wanderer. At the moment _Mime_ is in despair -because he cannot weld the pieces of _Siegmund's_ sword. When the -_Wanderer_ departs, he has prophesied that only he who does not know -what fear is--only a fearless hero--can weld the fragments, and that -through this fearless hero _Mime_ shall lose his life. This prophecy -is reached through a somewhat curious process which must be -unintelligible to anyone who has not made a study of the libretto. The -_Wanderer_, seating himself, wagers his head that he can correctly -answer any three questions which _Mime_ may put to him. _Mime_ then -asks: "What is the race born in the earth's deep bowels?" The -_Wanderer_ answers: "The Nibelungs." _Mime's_ second question is: -"What race dwells on the earth's back?" The _Wanderer_ replies: "The -race of giants." _Mime_ finally asks: "What race dwells on cloudy -heights?" The _Wanderer_ answers: "The race of the gods." The -_Wanderer_, having thus answered correctly _Mime's_ three questions, -now put three questions to _Mime_: "What is that noble race which -_Wotan_ ruthlessly dealt with, and yet which he deemeth most dear?" -_Mime_ answers correctly: "The Wlsungs." Then the _Wanderer_ asks: -"What sword must _Siegfried_ then strike with, dealing to _Fafner_ -death?" _Mime_ answers correctly: "With _Siegmund's_ sword." "Who," -asks the _Wanderer_, "can weld its fragments?" _Mime_ is terrified, -for he cannot answer. Then _Wotan_ utters the prophecy of the fearless -hero. - -The scene is musically most eloquent. It is introduced by two motives, -representing _Wotan_ as the Wanderer. The mysterious chords of the -former seem characteristic of _Wotan's_ disguise. - -The latter, with its plodding, heavily-tramping movement, is the -motive of _Wotan's_ wandering. - -The third new motive found in this scene is characteristically -expressive of the _Cringing Mime_. - -Several motives familiar from "The Rhinegold" and "The Valkyr" are -heard here. The Motive of Compact so powerfully expressive of the -binding force of law, the Nibelung and Walhalla motives from "The -Rhinegold," and the Wlsungs' Heroism motives from the first act of -"The Valkyr," are among these. - -When the _Wanderer_ has vanished in the forest _Mime_ sinks back on -his stool in despair. Staring after _Wotan_ into the sunlit forest, -the shimmering rays flitting over the soft green mosses with every -movement of the branches and each tremor of the leaves seem to him -like flickering flames and treacherous will-o'-the-wisps. We hear the -Loge Motive (_Loge_ being the god of fire) familiar from "The -Rhinegold" and the finale of "The Valkyr." At last _Mime_ rises to his -feet in terror. He seems to see _Fafner_ in his serpent's guise -approaching to devour him, and in a paroxysm of fear he falls with a -shriek behind the anvil. Just then _Siegfried_ bursts out of the -thicket, and with the fresh, buoyant "Wander Song" and the Motive of -Siegfried the Fearless, the weird mystery which hung over the former -scene is dispelled. _Siegfried_ looks about him for _Mime_ until he -sees the dwarf lying behind the anvil. - -Laughingly the young Wlsung asks the dwarf if he has thus been -welding the sword. "The sword? The sword?" repeats _Mime_ confusedly, -as he advances, and his mind wanders back to _Wotan's_ prophecy of the -fearless hero. Regaining his senses he tells _Siegfried_ there is one -thing he has yet to learn, namely, to be afraid; that his mother -charged him (_Mime_) to teach fear to him (_Siegfried_). _Mime_ asks -_Siegfried_ if he has never felt his heart beating when in the -gloaming he heard strange sounds and saw weirdly glimmering lights in -the forest. _Siegfried_ replies that he never has. He knows not what -fear is. If it is necessary before he goes forth in quest of adventure -to learn what fear is he would like to be taught. But how can _Mime_ -teach him? - -The Magic Fire Motive and Brnnhilde's Slumber Motive familiar from -Wotan's Farewell, and the Magic Fire scene in the third act of "The -Valkyr" are heard here, the former depicting the weirdly glimmering -lights with which _Mime_ has sought to infuse dread into _Siegfried's_ -breast, the latter prophesying that, penetrating fearlessly the fiery -circle, _Siegfried_ will reach _Brnnhilde_. Then _Mime_ tells -_Siegfried_ of _Fafner_, thinking thus to strike terror into the young -Wlsung's breast. But far from it! _Siegfried_ is incited by _Mime's_ -words to meet _Fafner_ in combat. Has _Mime_ welded the fragments of -_Siegmund's_ sword, asks _Siegfried_. The dwarf confesses his -impotency. _Siegfried_ seizes the fragments. He will forge his own -sword. Here begins the great scene of the forging of the sword. Like a -shout of victory the Motive of Siegfried the Fearless rings out and -the orchestra fairly glows as _Siegfried_ heaps a great mass of coal -on the forge-hearth, and, fanning the heat, begins to file away at the -fragments of the sword. - -The roar of the fire, the sudden intensity of the fierce white heat to -which the young Wlsung fans the glow--these we would respectively -hear and see were the music given without scenery or action, so -graphic is Wagner's score. The Sword Motive leaps like a brilliant -tongue of flame over the heavy thuds of a forceful variant of the -Motive of Compact, till brightly gleaming runs add to the brilliancy -of the score, which reflects all the quickening, quivering effulgence -of the scene. How the music flows like a fiery flood and how it hisses -as _Siegfried_ pours the molten contents of the crucible into a mould -and then plunges the latter into water! The glowing steel lies on the -anvil and _Siegfried_ swings the hammer. With every stroke his joyous -excitement is intensified. At last the work is done. He brandishes the -sword and with one stroke splits the anvil from top to bottom. With -the crash of the Sword Motive, united with the Motive of Siegfried the -Fearless, the orchestra dashes into a furious prestissimo, and -_Siegfried_, shouting with glee, holds aloft the sword! - -Act II. The second act opens with a darkly portentous _Vorspiel_. On -the very threshold of it we meet _Fafner_ in his motive, which is so -clearly based on the Giant Motive that there is no necessity for -quoting it. Through themes which are familiar from earlier portions of -the work, the _Vorspiel_ rises to a crashing fortissimo. - -The curtain lifts on a thick forest. At the back is the entrance to -_Fafner's_ cave, the lower part of which is hidden by rising ground in -the middle of the stage, which slopes down toward the back. In the -darkness the outlines of a figure are dimly discerned. It is the -Nibelung _Alberich_, haunting the domain which hides the treasures of -which he was despoiled. From the forest comes a gust of wind. A bluish -light gleams from the same direction. _Wotan_, still in the guise of a -Wanderer, enters. - -The ensuing scene between _Alberich_ and the _Wanderer_ is, from a -dramatic point of view, episodical. Suffice it to say that the fine -self-poise of _Wotan_ and the maliciously restless character of -_Alberich_ are superbly contrasted. When _Wotan_ has departed the -Nibelung slips into a rocky crevice, where he remains hidden when -_Siegfried_ and _Mime_ enter. _Mime_ endeavours to awaken dread in -_Siegfried's_ heart by describing _Fafner's_ terrible form and powers. -But _Siegfried's_ courage is not weakened. On the contrary, with -heroic impetuosity, he asks to be at once confronted with _Fafner_. -_Mime_, well knowing that _Fafner_ will soon awaken and issue from his -cave to meet _Siegfried_ in mortal combat, lingers on in the hope that -both may fall, until the young Wlsung drives him away. - -Now begins a beautiful lyric episode. _Siegfried_ reclines under a -linden-tree, and looks up through the branches. The rustling of the -trees is heard. Over the tremulous whispers of the orchestra--known -from concert programs as the "Waldweben" (forest-weaving)--rises a -lovely variant of the Wlsung Motive. _Siegfried_ is asking himself -how his mother may have looked, and this variant of the theme which -was first heard in "The Valkyr," when _Sieglinde_ told _Siegmund_ that -her home was the home of woe, rises like a memory of her image. -Serenely the sweet strains of the Love-Life Motive soothe his sad -thoughts. _Siegfried_, once more entranced by forest sounds, listens -intently. Birds' voices greet him. A little feathery songster, whose -notes mingle with the rustling leaves of the linden-tree, especially -charms him. - -The forest voices--the humming of insects, the piping of the birds, -the amorous quiver of the branches--quicken his half-defined -aspirations. Can the little singer explain his longing? He listens, -but cannot catch the meaning of the song. Perhaps, if he can imitate -it he may understand it. Springing to a stream hard by, he cuts a reed -with his sword and quickly fashions a pipe from it. He blows on it, -but it sounds shrill. He listens again to the birds. He may not be -able to imitate his song on the reed, but on his silver horn he can -wind a woodland tune. Putting the horn to his lips he makes the forest -ring with its notes: - -[Music] - -The notes of the horn have awakened _Fafner_ who now, in the guise of -a huge serpent or dragon, crawls toward _Siegfried_. Perhaps the less -said about the combat between _Siegfried_ and _Fafner_ the better. -This scene, which seems very spirited in the libretto, is ridiculous -on the stage. To make it effective it should be carried out very far -back--best of all out of sight--so that the magnificent music will -not be marred by the sight of an impossible monster. The music is -highly dramatic. The exultant force of the Motive of Siegfried the -Fearless, which rings out as _Siegfried_ rushes upon _Fafner_, the -crashing chord as the serpent roars when _Siegfried_ buries the sword -in its heart, the rearing, plunging music as the monster rears and -plunges with agony--these are some of the most graphic features of the -score. - -_Siegfried_ raises his fingers to his lips and licks the blood from -them. Immediately after the blood has touched his lips he seems to -understand the bird, which has again begun its song, while the forest -voices once more weave their tremulous melody. The bird tells -_Siegfried_ of the ring and helmet and of the other treasures in -_Fafner's_ cave, and _Siegfried_ enters it in quest of them. With his -disappearance the forest-weaving suddenly changes to the harsh, -scolding notes heard in the beginning of the Nibelheim scene in "The -Rhinegold." _Mime_ slinks in and timidly looks about him to make sure -of Fafner's death. At the same time _Alberich_ issues forth from the -crevice in which he was concealed. This scene, in which the two -Nibelungs berate each other, is capitally treated, and its humour -affords a striking contrast to the preceding scenes. - -As _Siegfried_ comes out of the cave and brings the ring and helmet -from darkness to the light of day, there are heard the Ring Motive, -the Motive of the Rhinedaughters' Shout of Triumph, and the Rhinegold -Motive. The forest-weaving again begins, and the birds bid the young -Wlsung beware of _Mime_. The dwarf now approaches _Siegfried_ with -repulsive sycophancy. But under a smiling face lurks a plotting heart. -_Siegfried_ is enabled through the supernatural gifts with which he -has become endowed to fathom the purpose of the dwarf, who -unconsciously discloses his scheme to poison _Siegfried_. The young -Wlsung slays _Mime_, who, as he dies, hears _Alberich's_ mocking -laugh. Though the Motive of Siegfried the Fearless predominates at -this point, we also hear the Nibelung Motive and the Motive of the -Curse--indicating _Alberich's_ evil intent toward _Siegfried_. - -_Siegfried_ again reclines under the linden. His soul is tremulous -with an undefined longing. As he gazes in almost painful emotion up to -the branches and asks if the bird can tell him where he can find a -friend, his being seems stirred by awakening passion. - -The music quickens with an impetuous phrase, which seems to define the -first joyous thrill of passion in the youthful hero. It is the Motive -of =Love's Joy=: - -[Music] - -It is interrupted by a beautiful variant of the Motive of Love-Life, -which continues until above the forest-weaving the bird again thrills -him with its tale of a glorious maid who has so long slumbered upon -the fire-guarded rock. With the Motive of Love's joy coursing through -the orchestra, _Siegfried_ bids the feathery songster continue, and, -finally, to guide him to _Brnnhilde_. In answer, the bird flutters -from the linden branch, hovers over _Siegfried_, and hesitatingly -flies before him until it takes a definite course toward the -background. _Siegfried_ follows the little singer, the Motive of -Love's joy, succeeded by that of Siegfried the Fearless, bringing the -act to a close. - -Act III. The third act opens with a stormy introduction in which the -Motive of the Ride of the Valkyrs accompanies the Motive of the Gods' -Stress, the Compact, and the Erda motives. The introduction reaches -its climax with the =Motive of the Dusk of the Gods=: - -[Music] - -Then to the sombre, questioning phrase of the Motive of Fate, the -action begins to disclose the significance of this _Vorspiel_. A wild -region at the foot of a rocky mountain is seen. It is night. A fierce -storm rages. In dire distress and fearful that through _Siegfried_ and -_Brnnhilde_ the rulership of the world may pass from the gods to the -human race, _Wotan_ summons _Erda_ from her subterranean dwelling. But -_Erda_ has no counsel for the storm-driven, conscience-stricken god. - -The scene reaches its climax in _Wotan's_ noble renunciation of the -empire of the world. Weary of strife, weary of struggling against the -decree of fate, he renounces his sway. Let the era of human love -supplant this dynasty, sweeping away the gods and the Nibelungs in its -mighty current. It is the last defiance of all-conquering fate by the -ruler of a mighty race. After a powerful struggle against irresistible -forces, _Wotan_ comprehends that the twilight of the gods will be the -dawn of a more glorious epoch. A phrase of great dignity gives force -to _Wotan's_ utterances. It is the =Motive of the World's Heritage=: - -[Music] - -_Siegfried_ enters, guided to the spot by the bird; _Wotan_ checks his -progress with the same spear which shivered _Siegmund's_ sword. -_Siegfried_ must fight his way to _Brnnhilde_. With a mighty blow the -young Wlsung shatters the spear and _Wotan_ disappears 'mid the crash -of the Motive of Compact--for the spear with which it was the chief -god's duty to enforce compacts is shattered. Meanwhile the gleam of -fire has become noticeable. Fiery clouds float down from the mountain. -_Siegfried_ stands at the rim of the magic circle. Winding his horn he -plunges into the seething flames. Around the Motive of Siegfried the -Fearless and the Siegfried Motive flash the Magic Fire and Loge -motives. - -The flames, having flashed forth with dazzling brilliancy, gradually -pale before the red glow of dawn till a rosy mist envelops the scene. -When it rises, the rock and _Brnnhilde_ in deep slumber under the -fir-tree, as in the finale of "The Valkyr," are seen. _Siegfried_ -appears on the height in the background. As he gazes upon the scene -there are heard the Fate and Slumber motives and then the orchestra -weaves a lovely variant of the Freia Motive. This is followed by the -softly caressing strains of the Fricka Motive. _Fricka_ sought to make -_Wotan_ faithful to her by bonds of love, and hence the Fricka Motive -in this scene does not reflect her personality, but rather the -awakening of the love which is to thrill _Siegfried_ when he has -beheld _Brnnhilde's_ features. As he sees _Brnnhilde's_ charger -slumbering in the grove we hear the Motive of the Valkyr's Ride, and -when his gaze is attracted by the sheen of _Brnnhilde's_ armour, the -theme of Wotan's Farewell. Approaching the armed slumberer under the -fir-tree, _Siegfried_ raises the shield and discloses the figure of -the sleeper, the face being almost hidden by the helmet. - -Carefully he loosens the helmet. As he takes it off _Brnnhilde's_ -face is disclosed and her long curls flow down over her bosom. -_Siegfried_ gazes upon her enraptured. Drawing his sword he cuts the -rings of mail on both sides, gently lifts off the corselet and -greaves, and _Brnnhilde_, in soft female drapery, lies before him. He -starts back in wonder. Notes of impassioned import--the Motive of -Love's Joy--express the feelings that well up from his heart as for -the first time he beholds a woman. The fearless hero is infused with -fear by a slumbering woman. The Wlsung Motive, afterwards beautifully -varied with the Motive of Love's Joy, accompanies his utterances, the -climax of his emotional excitement being expressed in a majestic -crescendo of the Freia Motive. A sudden feeling of awe gives him at -least the outward appearance of calmness. With the Motive of Fate he -faces his destiny; and then, while the Freia Motive rises like a -vision of loveliness, he sinks over _Brnnhilde_, and with closed eyes -presses his lips to hers. - -_Brnnhilde_ awakens. _Siegfried_ starts up. She rises, and with a -noble gesture greets in majestic accents her return to the sight of -earth. Strains of loftier eloquence than those of her greeting have -never been composed. _Brnnhilde_ rises from her magic slumbers in the -majesty of womanhood: - -[Music] - -With the Motive of Fate she asks who is the hero who has awakened her. -The superb Siegfried Motive gives back the proud answer. In rapturous -phrases they greet one another. It is the =Motive of Love's Greeting=, - -[Music] - -which unites their voices in impassioned accents until, as if this -motive no longer sufficed to express their ecstasy, it is followed by -the =Motive of Love's Passion=, - -[Music] - -which, with the Siegfried Motive, rises and falls with the heaving of -_Brnnhilde's_ bosom. - -These motives course impetuously through this scene. Here and there we -have others recalling former portions of the cycle--the Wlsung -Motive, when _Brnnhilde_ refers to _Siegfried's_ mother, _Sieglinde_; -the Motive of Brnnhilde's Pleading, when she tells him of her -defiance of _Wotan's_ behest; a variant of the Walhalla Motive when -she speaks of herself in Walhalla; and the Motive of the World's -Heritage, with which _Siegfried_ claims her, this last leading over to -a forceful climax of the Motive of Brnnhilde's Pleading, which is -followed by a lovely, tranquil episode introduced by the =Motive of -Love's Peace=, - -[Music] - -succeeded by a motive, ardent yet tender--the =Motive of Siegfried the -Protector=: - -[Music] - -These motives accompany the action most expressively. _Brnnhilde_ -still hesitates to cast off for ever the supernatural characteristics -of the Valkyr and give herself up entirely to _Siegfried_. The young -hero's growing ecstasy finds expression in the Motive of Love's Joy. -At last it awakens a responsive note of purely human passion in -_Brnnhilde_ and, answering the proud Siegfried Motive with the -jubilant Shout of the Valkyrs and the ecstatic measures of Love's -Passion, she proclaims herself his. - -With a love duet--nothing puny and purring, but rapturous and -proud--the music-drama comes to a close. _Siegfried_, a scion of the -Wlsung race, has won _Brnnhilde_ for his bride, and upon her finger -has placed the ring fashioned of Rhinegold by _Alberich_ in the -caverns of Nibelheim, the abode of the Nibelungs. Clasping her in his -arms and drawing her to his breast, he has felt her splendid physical -being thrill with a passion wholly responsive to his. Will the gods be -saved through them, or does the curse of _Alberich_ still rest on the -ring worn by _Brnnhilde_ as a pledge of love? - - -GTTERDMMERUNG - -DUSK OF THE GODS - - Music-drama in a prologue and three acts, words and music by - Richard Wagner. Produced, Bayreuth, August 17, 1876. - - New York, Metropolitan Opera House, January 25, 1888, with - Lehmann (_Brnnhilde_), Seidl-Kraus (_Gutrune_), Niemann - (_Siegfried_), Robinson (_Gunther_), and Fischer (_Hagen_). - Other performances at the Metropolitan Opera House have had, - among others, Alvary and Jean de Reszke as _Siegfried_ and - douard de Reszke as _Hagen_. - - CHARACTERS - - SIEGFRIED _Tenor_ - GUNTHER _Baritone_ - ALBERICH _Baritone_ - HAGEN _Bass_ - BRNNHILDE _Soprano_ - GUTRUNE _Soprano_ - WALTRAUTE _Mezzo-Soprano_ - FIRST, SECOND, AND - THIRD NORN _Contralto, Mezzo-Soprano, and Soprano_ - WOGLINDE, WELLGUNDE, AND - FLOSSHILDE _Sopranos and Mezzo-Soprano_ - - Vassals and Women. - - _Time_--Legendary. - - _Place_--On the Brnnhilde-Rock; Gunther's castle on the - Rhine; wooded district by the Rhine. - -THE PROLOGUE - -The first scene of the prologue is a weird conference of the three -grey sisters of fate--the _Norns_ who wind the skein of life. They -have met on the Valkyrs' rock and their words forebode the end of the -gods. At last the skein they have been winding breaks--the final -catastrophe is impending. - -An orchestral interlude depicts the transition from the unearthly -gloom of the Norn scene to break of day, the climax being reached in a -majestic burst of music as _Siegfried_ and _Brnnhilde_, he in full -armour, she leading her steed by the bridle, issue forth from the -rocky cavern in the background. This climax owes its eloquence to -three motives--that of the Ride of the Valkyrs and two new motives, -the one as lovely as the other is heroic, the =Brnnhilde Motive=, - -[Music] - -and the =Motive of Siegfried the Hero=: - -[Music] - -The Brnnhilde Motive expresses the strain of pure, tender womanhood -in the nature of the former Valkyr, and proclaims her womanly ecstasy -over wholly requited love. The motive of Siegfried the Hero is clearly -developed from the motive of Siegfried the Fearless. Fearless youth -has developed into heroic man. In this scene _Brnnhilde_ and -_Siegfried_ plight their troth, and _Siegfried_ having given to -_Brnnhilde_ the fatal ring and having received from her the steed -Grane, which once bore her in her wild course through the -storm-clouds, bids her farewell and sets forth in quest of further -adventure. In this scene, one of Wagner's most beautiful creations, -occur the two new motives already quoted, and a third--the =Motive of -Brnnhilde's Love=. - -[Music] - -A strong, deep woman's nature has given herself up to love. Her -passion is as strong and deep as her nature. It is not a surface-heat -passion. It is love rising from the depths of a heroic woman's soul. -The grandeur of her ideal of _Siegfried_, her thoughts of him as a -hero winning fame, her pride in his prowess, her love for one whom she -deems the bravest among men, culminate in the Motive of Brnnhilde's -Love. - -_Siegfried_ disappears with the steed behind the rocks and -_Brnnhilde_ stands upon the cliff looking down the valley after him; -his horn is heard from below and _Brnnhilde_ with rapturous gesture -waves him farewell. The orchestra accompanies the action with the -Brnnhilde Motive, the Motive of Siegfried the Fearless, and finally -with the theme of the love duet with which "Siegfried" closed. - -The curtain then falls, and between the prologue and the first act an -orchestral interlude describes _Siegfried's_ voyage down the Rhine to -the castle of the Gibichungs where dwell _Gunther_, his sister -_Gutrune_, and their half-brother _Hagen_, the son of _Alberich_. -Through _Hagen_ the curse hurled by _Alberich_ in "The Rhinegold" at -all into whose possession the ring shall come, is to be worked out to -the end of its fell purpose--_Siegfried_ betrayed and destroyed and -the rule of the gods brought to an end by _Brnnhilde's_ expiation. - -In the interlude between the prologue and the first act we first hear -the brilliant Motive of Siegfried the Fearless and then the gracefully -flowing Motives of the Rhine, and of the Rhinedaughters' Shout of -Triumph with the Motives of the Rhinegold and Ring. _Hagen's_ -malevolent plotting, of which we are soon to learn in the first act, -is foreshadowed by the sombre harmonies which suddenly pervade the -music. - -[Illustration: Copyright photo by Dupont - -douard de Reszke as Hagen in "Gtterdmmerung"] - -[Illustration: Copyright photo by Dupont - -Jean de Reszke as Siegfried in "Gtterdmmerung"] - -Act I. On the river lies the hall of the Gibichungs, where house -_Gunther_, his sister _Gutrune_, and _Hagen_, their half-brother. -_Gutrune_ is a maiden of fair mien, _Gunther_ a man of average -strength and courage, _Hagen_ a sinister plotter, large of stature and -sombre of visage. Long he has planned to possess himself of the -ring fashioned of Rhinegold. He is aware that it was guarded by the -dragon, has been taken from the hoard by _Siegfried_, and by him given -to _Brnnhilde_. And now observe the subtle craft with which he -prepares to compass his plans. - -A descendant, through his father, _Alberich_, the Nibelung, of a race -which practised the black art, he plots to make _Siegfried_ forget -_Brnnhilde_ through a love-potion to be administered to him by -_Gutrune_. Then, when under the fiery influence of the potion and all -forgetful of _Brnnhilde_, _Siegfried_ demands _Gutrune_ to wife, the -price demanded will be that he win _Brnnhilde_ as bride for -_Gunther_. Before _Siegfried_ comes in sight, before _Gunther_ and -_Gutrune_ so much as even know that he is nearing the hall of the -Gibichungs, _Hagen_ begins to lay the foundation for this seemingly -impossible plot. For it is at this opportune moment _Gunther_ chances -to address him: - -"Hark, Hagen, and let your answer be true. Do I head the race of the -Gibichungs with honour?" - -"Aye," replies _Hagen_, "and yet, Gunther, you remain unwived while -Gutrune still lacks a husband." Then he tells _Gunther_ of -_Brnnhilde_--"a circle of flame surrounds the rock on which she -dwells, but he who can brave that fire may win her for wife. If -Siegfried does this in your stead, and brings her to you as bride, -will she not be yours?" _Hagen_ craftily conceals from his -half-brother and from _Gutrune_ the fact that _Siegfried_ already has -won _Brnnhilde_ for himself; but having aroused in _Gunther_ the -desire to possess her, he forthwith unfolds his plan and reminds -_Gutrune_ of the magic love-potion which it is in her power to -administer to _Siegfried_. - -At the very beginning of this act the Hagen Motive is heard. -Particularly noticeable in it are the first two sharp, decisive -chords. They recur with dramatic force in the third act when _Hagen_ -slays _Siegfried_. The =Hagen Motive= is as follows: - -[Music] - -This is followed by the =Gibichung Motive=, the two motives being -frequently heard in the opening scene. - -[Music] - -Added to these is the =Motive of the Love-Potion= which is to cause -_Siegfried_ to forget _Brnnhilde_, and conceive a violent passion for -_Gutrune_. - -[Music] - -Whatever hesitation may have been in _Gutrune's_ mind, because of the -trick which is involved in the plot, vanishes when soon afterwards -_Siegfried's_ horn-call announces his approach from the river, and, as -he brings his boat up to the bank, she sees this hero among men in all -his youthful strength and beauty. She hastily withdraws, to carry out -her part in the plot that is to bind him to her. - -The three men remain to parley. _Hagen_ skilfully questions -_Siegfried_ regarding his combat with the dragon. Has he taken nothing -from the hoard? - -"Only a ring, which I have left in a woman's keep," answers -_Siegfried_; "and this." He points to a steel network that hangs from -his girdle. - -"Ha," exclaims _Hagen_, "the Tarnhelmet! I recognize it as the artful -work of the Nibelungs. Place it on your head and it enables you to -assume any guise." He then flings open a door and on the platform of a -short flight of steps that leads up to it, stands _Gutrune_, in her -hand a drinking-horn which she extends toward _Siegfried_. - -"Welcome, guest, to the house of the Gibichungs. A daughter of the -race extends to you this greeting." And so, while _Hagen_ looks grimly -on, the fair _Gutrune_ offers _Siegfried_ the draught that is to -transform his whole nature. Courteously, but without regarding her -with more than friendly interest, _Siegfried_ takes the horn from her -hands and drains it. As if a new element coursed through his veins, -there is a sudden change in his manner. Handing the horn back to her -he regards her with fiery glances, she blushingly lowering her eyes -and withdrawing to the inner apartment. New in this scene is the -=Gutrune Motive=: - -[Music] - -"Gunther, your sister's name? Have you a wife?" _Siegfried_ asks -excitedly. - -"I have set my heart on a woman," replies _Gunther_, "but may not win -her. A far-off rock, fire-encircled, is her home." - -"A far-off rock, fire-encircled," repeats _Siegfried_, as if striving -to remember something long forgotten; and when _Gunther_ utters -_Brnnhilde's_ name, _Siegfried_ shows by his mien and gesture that it -no longer signifies aught to him. The love-potion has caused him to -forget her. - -"I will press through the circle of flame," he exclaims. "I will seize -her and bring her to you--if you will give me Gutrune for wife." - -And so the unhallowed bargain is struck and sealed with the oath of -blood-brotherhood, and _Siegfried_ departs with _Gunther_ to capture -_Brnnhilde_ as bride for the Gibichung. The compact of -blood-brotherhood is a most sacred one. _Siegfried_ and _Gunther_ each -with his sword draws blood from his arm, which he allows to mingle -with wine in a drinking-horn held by _Hagen_; each lays two fingers -upon the horn, and then, having pledged blood-brotherhood, drinks the -blood and wine. This ceremony is significantly introduced by the -Motive of the Curse followed by the Motive of Compact. Phrases of -_Siegfried's_ and _Gunther's_ pledge are set to a new motive whose -forceful simplicity effectively expresses the idea of truth. It is the -=Motive of the Vow=. - -[Music] - -Abruptly following _Siegfried's_ pledge: - - Thus I drink thee troth, - -are those two chords of the Hagen Motive which are heard again in the -third act when the Nibelung has slain _Siegfried_. It should perhaps -be repeated here that _Gunther_ is not aware of the union which -existed between _Brnnhilde_ and _Siegfried_, _Hagen_ having concealed -this from his half-brother, who believes that he will receive the -Valkyr in all her goddess-like virginity. - -When _Siegfried_ and _Gunther_ have departed and _Gutrune_, having -sighed her farewell after her lover, has retired, _Hagen_ broods with -wicked glee over the successful inauguration of his plot. During a -brief orchestral interlude a drop-curtain conceals the scene which, -when the curtain again rises, has changed to the Valkyr's rock, where -sits _Brnnhilde_, lost in contemplation of the Ring, while the Motive -of Siegfried the Protector is heard on the orchestra like a blissful -memory of the love scene in "Siegfried." - -Her rapturous reminiscences are interrupted by the sounds of an -approaching storm and from the dark cloud there issues one of the -Valkyrs, _Waltraute_, who comes to ask of _Brnnhilde_ that she cast -back the ring _Siegfried_ has given her--the ring cursed by -_Alberich_--into the Rhine, and thus lift the curse from the race of -gods. But _Brnnhilde_ refuses: - - More than Walhalla's welfare, - More than the good of the gods, - The ring I guard. - -It is dusk. The magic fire rising from the valley throws a glow over -the landscape. The notes of _Siegfried's_ horn are heard. _Brnnhilde_ -joyously prepares to meet him. Suddenly she sees a stranger leap -through the flames. It is _Siegfried_, but through the Tarnhelmet (the -motive of which, followed by the Gunther Motive dominates the first -part of the scene) he has assumed the guise of the Gibichung. In vain -_Brnnhilde_ seeks to defend herself with the might which the ring -imparts. She is powerless against the intruder. As he tears the ring -from her finger, the Motive of the Curse resounds with tragic import, -followed by trist echoes of the Motive of Siegfried the Protector and -of the Brnnhilde Motive, the last being succeeded by the Tarnhelmet -Motive expressive of the evil magic which has wrought this change in -_Siegfried_. _Brnnhilde_, in abject recognition of her impotence, -enters the cavern. Before _Siegfried_ follows her he draws his sword -Nothung (Needful) and exclaims: - - Now, Nothung, witness thou, that chaste my wooing is; - To keep my faith with my brother, separate me from his bride. - -Phrases of the pledge of Brotherhood followed by the Brnnhilde, -Gutrune, and Sword motives accompany his words. The thuds of the -typical Nibelung rhythm resound, and lead to the last crashing chord -of this eventful act. - -Act II. The ominous Motive of the Nibelung's Malevolence introduces -the second act. The curtain rises upon the exterior of the hall of the -Gibichungs. To the right is the open entrance to the hall, to the left -the bank of the Rhine, from which rises a rocky ascent toward the -background. It is night. _Hagen_, spear in hand and shield at side, -leans in sleep against a pillar of the hall. Through the weird -moonlight _Alberich_ appears. He urges _Hagen_ to murder _Siegfried_ -and to seize the ring from his finger. After hearing _Hagen's_ oath -that he will be faithful to the hate he has inherited, _Alberich_ -disappears. The weirdness of the surroundings, the monotony of -_Hagen's_ answers, uttered seemingly in sleep, as if, even when the -Nibelung slumbered, his mind remained active, imbue this scene with -mystery. - -A charming orchestral interlude depicts the break of day. Its serene -beauty is, however, broken in upon by the =Motive of Hagen's Wicked -Glee=, which I quote, as it frequently occurs in the course of -succeeding events. - -[Music] - -All night _Hagen_ has watched by the bank of the river for the return -of the men from the quest. It is daylight when _Siegfried_ returns, -tells him of his success, and bids him prepare to receive _Gunther_ -and _Brnnhilde_. On his finger he wears the ring--the ring made of -Rhinegold, and cursed by _Alberich_--the same with which he pledged -his troth to _Brnnhilde_, but which in the struggle of the night, and -disguised by the Tarnhelmet as _Gunther_, he has torn from her -finger--the very ring the possession of which _Hagen_ craves, and for -which he is plotting. _Gutrune_ has joined them. _Siegfried_ leads her -into the hall. - -_Hagen_, placing an ox-horn to his lips, blows a loud call toward the -four points of the compass, summoning the Gibichung vassals to the -festivities attending the double wedding--_Siegfried_ and _Gutrune_, -_Gunther_ and _Brnnhilde_; and when the Gibichung brings his boat up -to the bank, the shore is crowded with men who greet him boisterously, -while _Brnnhilde_ stands there pale and with downcast eyes. But as -_Siegfried_ leads _Gutrune_ forward to meet _Gunther_ and his bride, -and _Gunther_ calls _Siegfried_ by name, _Brnnhilde_ starts, raises -her eyes, stares at _Siegfried_ in amazement, drops _Gunther's_ hand, -advances, as if by sudden impulse, a step toward the man who awakened -her from her magic slumber on the rock, then recoils in horror, her -eyes fixed upon him, while all look on in wonder. The Motive of -Siegfried the Hero, the Sword Motive, and the Chords of the Hagen -Motive emphasize with a tumultuous crash the dramatic significance of -the situation. There is a sudden hush--_Brnnhilde_ astounded and -dumb, _Siegfried_ unconscious of guilt quietly self-possessed, -_Gunther_, _Gutrune_, and the vassals silent with amazement--it is -during this moment of tension that we hear the motive which expresses -the thought uppermost in _Brnnhilde_, the thought which would find -expression in a burst of frenzy were not her wrath held in check by -her inability to quite grasp the meaning of the situation or to -fathom the depth of the treachery of which she has been the victim. -This is the =Motive of Vengeance=: - -[Music] - -"What troubles Brnnhilde?" composedly asks _Siegfried_, from whom all -memory of his first meeting with the rock maiden and his love for her -have been effaced by the potion. Then, observing that she sways and is -about to fall, he supports her with his arm. - -"Siegfried knows me not!" she whispers faintly, as she looks up into -his face. - -"There stands your husband," is _Siegfried's_ reply, as he points to -_Gunther_. The gesture discloses to _Brnnhilde's_ sight the ring upon -his finger, the ring he gave her, and which to her horror _Gunther_, -as she supposed, had wrested from her. In the flash of its precious -metal she sees the whole significance of the wretched situation in -which she finds herself, and discovers the intrigue, the trick, of -which she has been the victim. She knows nothing, however, of the -treachery _Hagen_ is plotting, or of the love-potion that has aroused -in _Siegfried_ an uncontrollable passion to possess _Gutrune_, has -caused him to forget her, and led him to win her for _Gunther_. There -at _Gutrune's_ side, and about to wed her, stands the man she loves. -To _Brnnhilde_, infuriated with jealousy, her pride wounded to the -quick, _Siegfried_ appears simply to have betrayed her to _Gunther_ -through infatuation for another woman. - -"The ring," she cries out, "was taken from me by that man," pointing -to _Gunther_. "How came it on your finger? Or, if it is not the -ring"--again she addresses _Gunther_--"where is the one you tore from -my hand?" - -_Gunther_, knowing nothing about the ring, plainly is perplexed. "Ha," -cries out _Brnnhilde_ in uncontrollable rage, "then it was Siegfried -disguised as you and not you yourself who won it from me! Know then, -Gunther, that you, too, have been betrayed by him. For this man who -would wed your sister, and as part of the price bring me to you as -bride, was wedded to me!" - -In all but _Hagen_ and _Siegfried_, _Brnnhilde's_ words arouse -consternation. _Hagen_, noting their effect on _Gunther_, from whom he -craftily has concealed _Siegfried's_ true relation to _Brnnhilde_, -sees in the episode an added opportunity to mould the Gibichung to his -plan to do away with _Siegfried_. The latter, through the effect of -the potion, is rendered wholly unconscious of the truth of what -_Brnnhilde_ has said. He even has forgotten that he ever has parted -with the ring, and, when the men, jealous of _Gunther's_ honour, crowd -about him, and _Gunther_ and _Gutrune_ in intense excitement wait on -his reply, he calmly proclaims that he found it among the dragon's -treasure and never has parted with it. To the truth of this assertion, -to a denial of all _Brnnhilde_ has accused him of, he announces -himself ready to swear at the point of any spear which is offered for -the oath, the strongest manner in which the asseveration can be made -and, in the belief of the time, rendering his death certain at the -point of that very spear should he swear falsely. - -How eloquent the music of these exciting scenes!--Crashing chords of -the Ring Motive followed by that of the Curse, as _Brnnhilde_ -recognizes the ring on _Siegfried's_ finger, the Motive of Vengeance, -the Walhalla Motive, as she invokes the gods to witness her -humiliation, the touchingly pathetic Motive of Brnnhilde's Pleading, -as she vainly strives to awaken fond memories in _Siegfried_; then -again the Motive of Vengeance, as the oath is about to be taken, the -Murder Motive and the Hagen Motive at the taking of the oath, for the -spear is _Hagen's_; and in _Brnnhilde's_ asseveration, the Valkyr -music coursing through the orchestra. - -It is _Hagen_ who offers his weapon for the oath. "Guardian of honour, -hallowed weapon," swears _Siegfried_, "where steel can pierce me, -there pierce me; where death can be dealt me, there deal it me, if -ever I was wed to Brnnhilde, if ever I have wronged Gutrune's -brother." - -At his words, _Brnnhilde_, livid with rage, strides into the circle -of men, and thrusting _Siegfried's_ fingers away from the spearhead, -lays her own upon it. - -"Guardian of honour, hallowed weapon," she cries, "I dedicate your -steel to his destruction. I bless your point that it may blight him. -For broken are all his oaths, and perjured now he proves himself." - -_Siegfried_ shrugs his shoulders. To him _Brnnhilde's_ imprecations -are but the ravings of an overwrought brain. "Gunther, look to your -lady. Give the tameless mountain maid time to rest and recover," he -calls out to Gutrune's brother. "And now, men, follow us to table, and -make merry at our wedding feast!" Then with a laugh and in highest -spirits, he throws his arm about _Gutrune_ and draws her after him -into the hall, the vassals and women following them. - -But _Brnnhilde_, _Hagen_, and _Gunther_ remain behind; _Brnnhilde_ -half stunned at sight of the man with whom she has exchanged troth, -gaily leading another to marriage, as though his vows had been mere -chaff; _Gunther_, suspicious that his honour wittingly has been -betrayed by _Siegfried_, and that _Brnnhilde's_ words are true; -_Hagen_, in whose hands _Gunther_ is like clay, waiting the -opportunity to prompt both _Brnnhilde_ and his half-brother to -vengeance. - -"Coward," cries _Brnnhilde_ to _Gunther_, "to hide behind another in -order to undo me! Has the race of the Gibichungs fallen so low in -prowess?" - -"Deceiver, and yet deceived! Betrayer, and yet myself betrayed," wails -_Gunther_. "Hagen, wise one, have you no counsel?" - -"No counsel," grimly answers _Hagen_, "save Siegfried's death." - -"His death!" - -"Aye, all these things demand his death." - -"But, Gutrune, to whom I gave him, how would we stand with her if we -so avenged ourselves?" For even in his injured pride _Gunther_ feels -that he has had a share in what _Siegfried_ has done. - -But _Hagen_ is prepared with a plan that will free _Gunther_ and -himself of all accusation. "Tomorrow," he suggests, "we will go on a -great hunt. As Siegfried boldly rushes ahead we will fell him from the -rear, and give out that he was killed by a wild boar." - -"So be it," exclaims _Brnnhilde_; "let his death atone for the shame -he has wrought me. He has violated his oath; he shall die!" - -At that moment as they turn toward the hall, he whose death they have -decreed, a wreath of oak on his brow and leading _Gutrune_, whose hair -is bedecked with flowers, steps out on the threshold as though -wondering at their delay and urges them to enter. _Gunther_, taking -_Brnnhilde_ by the hand, follows him in. _Hagen_ alone remains -behind, and with a look of grim triumph watches them as they disappear -within. And so, although the valley of the Rhine re-echoes with glad -sounds, it is the Murder Motive that brings the act to a close. - -Act III. How picturesque the _mise-en-scne_ of this act--a clearing -in the forest primeval near a spot where the bank of the Rhine slopes -toward the river. On the shore, above the stream, stands _Siegfried_. -Baffled in the pursuit of game, he is looking for _Gunther_, _Hagen_, -and his other comrades of the hunt, in order to join them. - -One of the loveliest scenes of the trilogy now ensues. The -_Rhinedaughters_ swim up to the bank and, circling gracefully in the -current of the river, endeavour to coax from him the ring of -Rhinegold. It is an episode full of whimsical badinage and, if -anything, more charming even than the opening of "Rhinegold." - -_Siegfried_ refuses to give up the ring. The _Rhinedaughters_ swim off -leaving him to his fate. - -Here is the principal theme of their song in this scene: - -[Music] - -Distant hunting-horns are heard. _Gunther_, _Hagen_, and their -attendants gradually assemble and encamp themselves. _Hagen_ fills a -drinking-horn and hands it to _Siegfried_ whom he persuades to relate -the story of his life. This _Siegfried_ does in a wonderfully -picturesque, musical, and dramatic story in which motives, often heard -before, charm us anew. - -In the course of his narrative he refreshes himself by a draught from -the drinking-horn into which meanwhile _Hagen_ has pressed the juice -of an herb. Through this the effect of the love-potion is so far -counteracted that tender memories of _Brnnhilde_ well up within him -and he tells with artless enthusiasm how he penetrated the circle of -flame about the Valkyr, found _Brnnhilde_ slumbering there, awoke her -with his kiss, and won her. _Gunther_ springs up aghast at this -revelation. Now he knows that _Brnnhilde's_ accusation is true. - -Two ravens fly overhead. As _Siegfried_ turns to look after them the -Motive of the Curse resounds and _Hagen_ plunges his spear into the -young hero's back. _Gunther_ and the vassals throw themselves upon -_Hagen_. The Siegfried Motive, cut short with a crashing chord, the -two murderous chords of the Hagen Motive forming the bass--and -_Siegfried_, who with a last effort has heaved his shield aloft to -hurl it at _Hagen_, lets it fall, and, collapsing, drops upon it. So -overpowered are the witnesses--even _Gunther_--by the suddenness and -enormity of the crime that, after a few disjointed exclamations, they -gather, bowed with grief, around _Siegfried_. _Hagen_, with stony -indifference turns away and disappears over the height. - -With the fall of the last scion of the Wlsung race we hear a new -motive, simple yet indescribably fraught with sorrow, the =Death -Motive=. - -[Music] - -_Siegfried_, supported by two men, rises to a sitting posture, and -with a strange rapture gleaming in his glance, intones his death-song. -It is an ecstatic greeting to _Brnnhilde_. "Brnnhilde!" he exclaims, -"thy wakener comes to wake thee with his kiss." The ethereal harmonies -of the Motive of Brnnhilde's Awakening, the Motive of Fate, the -Siegfried Motive swelling into the Motive of Love's Greeting and dying -away through the Motive of Love's Passion to Siegfried's last -whispered accents--"Brnnhilde beckons to me"--in the Motive of -Fate--and _Siegfried_ sinks back in death. - -Full of pathos though this episode be, it but brings us to the -threshold of a scene of such overwhelming power that it may without -exaggeration be singled out as the supreme musico-dramatic climax of -all that Wagner wrought, indeed of all music. _Siegfried's_ last -ecstatic greeting to his Valkyr bride has made us realize the -blackness of the treachery which tore the young hero and _Brnnhilde_ -asunder and led to his death; and now as we are bowed down with a -grief too deep for utterance--like the grief with which a nation -gathers at the grave of its noblest hero--Wagner voices for us, in -music of overwhelmingly tragic power, feelings which are beyond -expression in human speech. This is not a "funeral march," as it is -often absurdly called--it is the awful mystery of death itself -expressed in music. - -Motionless with grief the men gather around _Siegfried's_ corpse. -Night falls. The moon casts a pale, sad light over the scene. At the -silent bidding of _Gunther_ the vassals raise the body and bear it in -solemn procession over the rocky height. Meanwhile with majestic -solemnity the orchestra voices the funeral oration of the "world's -greatest hero." One by one, but tragically interrupted by the Motive -of Death, we hear the motives which tell the story of the Wlsungs' -futile struggle with destiny--the Wlsung Motive, the Motive of the -Wlsungs' Heroism, the Motive of Sympathy, and the Love Motive, the -Sword Motive, the Siegfried Motive, and the Motive of Siegfried the -Hero, around which the Death Motive swirls and crashes like a black, -death-dealing, all-wrecking flood, forming an overwhelmingly powerful -climax that dies away into the Brnnhilde Motive with which, as with a -heart-broken sigh, the heroic dirge is brought to a close. - -Meanwhile the scene has changed to the Hall of the Gibichungs as in -the first act. _Gutrune_ is listening through the night for some -sound which may announce the return of the hunt. - -Men and women bearing torches precede in great agitation the funeral -train. _Hagen_ grimly announces to _Gutrune_ that _Siegfried_ is dead. -Wild with grief she overwhelms _Gunther_ with violent accusations. He -points to _Hagen_ whose sole reply is to demand the ring as spoil. -_Gunther_ refuses. _Hagen_ draws his sword and after a brief combat -slays _Gunther_. He is about to snatch the ring from _Siegfried's_ -finger, when the corpse's hand suddenly raises itself threateningly, -and all--even _Hagen_--fall back in consternation. - -_Brnnhilde_ advances solemnly from the back. While watching on the -bank of the Rhine she has learned from the _Rhinedaughters_ the -treachery of which she and _Siegfried_ have been the victims. Her mien -is ennobled by a look of tragic exaltation. To her the grief of -_Gutrune_ is but the whining of a child. When the latter realizes that -it was _Brnnhilde_ whom she caused _Siegfried_ to forget through the -love-potion, she falls fainting over _Gunther's_ body. _Hagen_ leaning -on his spear is lost in gloomy brooding. - -_Brnnhilde_ turns solemnly to the men and women and bids them erect a -funeral pyre. The orchestral harmonies shimmer with the Magic Fire -Motive through which courses the Motive of the Ride of the Valkyrs. -Then, her countenance transfigured by love, she gazes upon her dead -hero and apostrophizes his memory in the Motive of Love's Greeting. -From him she looks upward and in the Walhalla Motive and the Motive of -Brnnhilde's Pleading passionately inveighs against the injustice of -the gods. The Curse Motive is followed by a wonderfully beautiful -combination of the Walhalla Motive and the Motive of the Gods' Stress -at _Brnnhilde's_ words: - - Rest thee! Rest thee! O, God! - -For with the fading away of Walhalla, and the inauguration of the -reign of human love in place of that of lust and greed--a change to be -wrought by the approaching expiation of _Brnnhilde_ for the crimes -which began with the wresting of the Rhinegold from the -_Rhinedaughters_--_Wotan's_ stress will be at an end. _Brnnhilde_, -having told in the graceful, rippling Rhine music how she learned of -_Hagen's_ treachery through the _Rhinedaughters_, places upon her -finger the ring. Then turning toward the pyre upon which _Siegfried's_ -body rests, she snatches a huge firebrand from one of the men, and -flings it upon the pyre, which kindles brightly. As the moment of her -immolation approaches the Motive of Expiation begins to dominate the -scene. - -_Brnnhilde_ mounts her Valkyr charger, Grane, who oft bore her -through the clouds, while lightning flashed and thunder reverberated. -With one leap the steed bears her into the blazing pyre. - -The Rhine overflows. Borne on the flood, the _Rhinedaughters_ swim to -the pyre and draw, from _Brnnhilde's_ finger, the ring. _Hagen_, -seeing the object of all his plotting in their possession, plunges -after them. Two of them encircle him with their arms and draw him down -with them into the flood. The third holds up the ring in triumph. - -In the heavens is perceived a deep glow. It is Gtterdmmerung--the -dusk of the gods. An epoch has come to a close. Walhalla is in flames. -Once more its stately motive resounds, only to crumble, like a ruin, -before the onsweeping power of the motive of expiation. The Siegfried -Motive with a crash in the orchestra; once more then the Motive of -Expiation. The sordid empire of the gods has passed away. A new era, -that of human love, has dawned through the expiation of _Brnnhilde_. -As in "The Flying Dutchman" and "Tannhuser," it is through woman that -comes redemption. - - -TRISTAN UND ISOLDE - -TRISTAN AND ISOLDE - - Music-drama in three acts, words and music by Richard - Wagner, who calls the work, "eine Handlung" (an action). - Produced, under the direction of Hans von Blow, Munich, - June 10, 1865. First London production, June 20, 1882. - Produced, December 1, 1886, with Anton Seidl as conductor, - at the Metropolitan Opera House, New York, with Niemann - (_Tristan_), Fischer (_King Marke_), Lehmann (_Isolde_), - Robinson (_Kurwenal_), von Milde (_Melot_), Brandt - (_Brangne_), Kemlitz (a _Shepherd_), Alvary (a _Sailor_), - Snger (a _Helmsman_). Jean de Reszke is accounted the - greatest _Tristan_ heard at the Metropolitan. Nordica, - Ternina, Fremstad, and Gadski are other _Isoldes_, who have - been heard at that house. douard de Reszke sang _King - Marke_, and Bispham _Kurwenal_. - - CHARACTERS - - TRISTAN, a Cornish knight, nephew to KING MARKE _Tenor_ - KING MARKE, of Cornwall _Bass_ - ISOLDE, an Irish princess _Soprano_ - KURWENAL, one of TRISTAN'S retainers _Baritone_ - MELOT, a courtier _Baritone_ - BRANGNE, ISOLDE'S attendant _Mezzo-Soprano_ - A SHEPHERD _Tenor_ - A SAILOR _Tenor_ - A HELMSMAN _Baritone_ - - Sailors, Knights, Esquires, and Men-at-Arms. - - _Time_--Legendary. - - _Place_--A ship at sea; outside _King Marke's_ palace, - Cornwall; the platform at Kareol, _Tristan's_ castle. - -Wagner was obliged to remodel the "Tristan" legend thoroughly before -it became available for a modern drama. He has shorn it of all -unnecessary incidents and worked over the main episodes into a -concise, vigorous, swiftly moving drama, admirably adapted for the -stage. He shows keen dramatic insight in the manner in which he adapts -the love-potion of the legends to his purpose. In the legends the love -of Tristan and Isolde is merely "chemical"--entirely the result of the -love-philtre. Wagner, however, presents them from the outset as -enamoured of one another, so that the potion simply quickens a passion -already active. - -To the courtesy of G. Schirmer, Inc., publishers of my _Wagner's -Music-Dramas Analysed_, I am indebted, as I have already stated -elsewhere, for permission to use material from that book. I have there -placed a brief summary of the story of "Tristan and Isolde" before the -descriptive account of the "book" and music, and, accordingly do so -here. - -In the Wagnerian version the plot is briefly as follows: _Tristan_, -having lost his parents in infancy, has been reared at the court of -his uncle, _Marke_, King of Cornwall. He has slain in combat Morold, -an Irish knight, who had come to Cornwall, to collect the tribute that -country had been paying to Ireland. Morold was affianced to his cousin -_Isolde_, daughter of the Irish king. _Tristan_, having been -dangerously wounded in the combat, places himself, without disclosing -his identity, under the care of Morold's affianced, _Isolde_, who -comes of a race skilled in magic arts. She discerns who he is; but, -although she is aware that she is harbouring the slayer of her -affianced, she spares him and carefully tends him, for she has -conceived a deep passion for him. _Tristan_ also becomes enamoured of -her, but both deem their love unrequited. Soon after _Tristan's_ -return to Cornwall, he is dispatched to Ireland by _Marke_, that he -may win _Isolde_ as Queen for the Cornish king. - -The music-drama opens on board the vessel in which _Tristan_ bears -_Isolde_ to Cornwall. Deeming her love for _Tristan_ unrequited she -determines to end her sorrow by quaffing a death-potion; and -_Tristan_, feeling that the woman he loves is about to be wedded to -another, readily consents to share it with her. But _Brangne_, -_Isolde's_ companion, substitutes a love-potion for the death-draught. -This rouses their love to resistless passion. Not long after they -reach Cornwall, they are surprised in the castle garden by the King -and his suite, and _Tristan_ is severely wounded by _Melot_, one of -_Marke's_ knights. _Kurwenal_, _Tristan's_ faithful retainer, bears -him to his native place, Kareol. Hither _Isolde_ follows him, arriving -in time to fold him in her arms as he expires. She breathes her last -over his corpse. - -[Illustration: Copyright photo by Dupont - -Nordica as Isolde] - -THE VORSPIEL - -All who have made a study of opera, and do not regard it merely as a -form of amusement, are agreed that the score of "Tristan and Isolde" -is the greatest setting of a love story for the lyric stage. In fact -to call it a love story seems a slight. It is a tale of tragic -passion, culminating in death, unfolded in the surge and palpitation -of immortal music. - -This passion smouldered in the heart of the man and woman of this epic -of love. It could not burst into clear flame because over it lay the -pall of duty--a knight's to his king, a wife's to her husband. They -elected to die; drank, as they thought, a death potion. Instead it was -a magic love-philtre, craftily substituted by the woman's confidante. -Then love, no longer vague and hesitating, but roused by sorcerous -means to the highest rapture, found expression in the complete -abandonment of the lovers to their ecstasy--and their fate. - -What precedes the draught of the potion in the drama, is narrative, -explanatory and prefatorial. Once _Tristan_ and _Isolde_ have shared -the goblet, passion is unleashed. The goal is death. - -The magic love-philtre is the excitant in this story of rapture and -gloom. The _Vorspiel_ therefore opens most fittingly with a motive -which expresses the incipient effect of the potion upon _Tristan_ and -_Isolde_. It clearly can be divided into two parts, one descending, -the other ascending chromatically. The potion overcomes the -restraining influence of duty in two beings and leaves them at the -mercy of their passions. The first part, with its descending -chromatics, is pervaded by a certain trist mood, as if _Tristan_ were -still vaguely forewarned by his conscience of the impending tragedy. -The second soars ecstatically upward. It is the woman yielding -unquestioningly to the rapture of requited love. Therefore, while the -phrase may be called the Motive of the Love-Potion, or, as Wolzogen -calls it, of Yearning, it seems best to divide it into the =Tristan and -Isolde Motives= (A and B). - -[Music] - -The two motives having been twice repeated, there is a fermate. Then -the Isolde Motive alone is heard, so that the attention of the hearer -is fixed upon it. For in this tragedy, as in that of Eden, it is the -woman who takes the first decisive step. After another fermate, the -last two notes of the Isolde Motive are twice repeated, dying away to -_pp_. Then a variation of the Isolde Motive - -[Music] - -leads with an impassioned upward sweep into another version, full of -sensuous yearning, and distinct enough to form a new Motive, the -=Motive of the Love Glance=. - -[Music] - -This occurs again and again in the course of the _Vorspiel_. Though -readily recognized, it is sufficiently varied with each repetition -never to allow the emotional excitement to subside. In fact, the -_Vorspiel_ gathers impetus as it proceeds, until, with an inversion of -the Love Glance Motive, borne to a higher and higher level of -exaltation by upward rushing runs, it reaches its climax in a paroxysm -of love, to die away with repetitions of the Tristan, the Isolde, and -the Love Glance motives. - -[Music] - -In the themes it employs this prelude tells, in music, the story of -the love of _Tristan_ and _Isolde_. We have the motives of the hero -and heroine of the drama, and the Motive of the Love Glance. When as -is the case in concerts, the finale of the work, "Isolde's -Love-Death," is linked to the _Vorspiel_, we are entrusted with the -beginning and the end of the music-drama, forming an eloquent epitome -of the tragic story. - -Act I. Wagner wisely refrains from actually placing before us on the -stage, the events that transpired in Ireland before _Tristan_ was -despatched thither to bring _Isolde_ as a bride to _King Marke_. The -events, which led to the two meetings between _Tristan_ and _Isolde_, -are told in _Isolde's_ narrative, which forms an important part of the -first act. This act opens aboard the vessel in which _Tristan_ is -conveying _Isolde_ to Cornwall. - -The opening scene shows _Isolde_ reclining on a couch, her face hid in -soft pillows, in a tent-like apartment on the forward deck of a -vessel. It is hung with rich tapestries, which hide the rest of the -ship from view. _Brangne_ has partially drawn aside one of the -hangings and is gazing out upon the sea. From above, as though from -the rigging, is heard the voice of a young _Sailor_ singing a farewell -song to his "Irish maid." It has a wild charm and is a capital example -of Wagner's skill in giving local colouring to his music. The words, -"Frisch weht der Wind der Heimath zu" (The wind blows freshly toward -our home) are sung to a phrase which occurs frequently in the course -of this scene. It represents most graphically the heaving of the sea -and may be appropriately termed the Ocean Motive. It undulates -gracefully through _Brangne's_ reply to _Isolde's_ question as to the -vessel's course, surges wildly around _Isolde's_ outburst of impotent -anger when she learns that Cornwall's shore is not far distant, and -breaks itself in savage fury against her despairing wrath as she -invokes the elements to destroy the ship and all upon it. =Ocean -Motive.= - -[Music] - -It is her hopeless passion for _Tristan_ which has prostrated -_Isolde_, for the Motive of the Love Glance accompanies her first -exclamation as she starts up excitedly. - -_Isolde_ calls upon _Brangne_ to throw aside the hangings, that she -may have air. _Brangne_ obeys. The deck of the ship, and, beyond it, -the ocean, are disclosed. Around the mainmast sailors are busy -splicing ropes. Beyond them, on the after deck, are knights and -esquires. A little aside from them stands _Tristan_, gazing out upon -the sea. At his feet reclines _Kurwenal_, his esquire. The young -sailor's voice is again heard. - -_Isolde_ beholds _Tristan_. Her wrath at the thought that he whom she -loves is bearing her as bride to another vents itself in a vengeful -phrase. She invokes death upon him. This phrase is the =Motive of -Death=. - -[Music] - -The Motive of the Love Glance is heard--and gives away _Isolde's_ -secret--as she asks _Brangne_ in what estimation she holds _Tristan_. -It develops into a triumphant strain as _Brangne_ sings his praises. -_Isolde_ then bids her command _Tristan_ to come into her presence. -This command is given with the Motive of Death, for it is their mutual -death _Isolde_ wishes to compass. As _Brangne_ goes to do her -mistress's bidding, a graceful variation of the Ocean Motive is heard, -the bass marking the rhythmic motions of the sailors at the ropes. -_Tristan_ refuses to leave the helm and when _Brangne_ repeats -_Isolde's_ command, _Kurwenal_ answers in deft measures in praise of -_Tristan_. Knights, esquires, and sailors repeat the refrain. The -boisterous measures--"Hail to our brave Tristan!"--form the =Tristan -Call=. - -[Music: Heil unser Held Tristan,] - -_Isolde's_ wrath at _Kurwenal's_ taunts find vent in a narrative in -which she tells _Brangne_ that once a wounded knight calling himself -Tantris landed on Ireland's shore to seek her healing art. Into a -niche in his sword she fitted a sword splinter she had found imbedded -in the head of Morold, which had been sent to her in mockery after he -had been slain in a combat with the Cornish foe. She brandished the -sword over the knight, whom thus by his weapon she knew to be -_Tristan_, her betrothed's slayer. But _Tristan's_ glance fell upon -her. Under its spell she was powerless. She nursed him back to health, -and he vowed eternal gratitude as he left her. The chief theme of this -narrative is derived from the Tristan Motive. - -[Music] - - What of the boat, so bare, so frail, - That drifted to our shore? - What of the sorely stricken man feebly extended there? - Isolde's art he humbly sought; - With balsam, herbs, and healing salves, - From wounds that laid him low, - She nursed him back to strength. - -Exquisite is the transition of the phrase "His eyes in mine were -gazing," to the Isolde and Love Glance motives. The passage beginning: -"Who silently his life had spared," is followed by the Tristan Call, -_Isolde_ seeming to compare sarcastically what she considers his -betrayal of her with his fame as a hero. Her outburst of wrath as she -inveighs against his treachery in now bearing her as bride to _King -Marke_, carries the narrative to a superb climax. _Brangne_ seeks to -comfort _Isolde_, but the latter, looking fixedly before her, -confides, almost involuntarily, her love for _Tristan_. - -It is clear, even from this brief description, with what constantly -varying expression the narrative of Isolde is treated. Wrath, desire -for vengeance, rapturous memories that cannot be dissembled, finally a -confession of love to _Brangne_--such are the emotions that surge to -the surface. - -They lead _Brangne_ to exclaim: "Where lives the man who would not -love you?" Then she weirdly whispers of the love-potion and takes a -phial from a golden salver. The motives of the Love Glance and of the -Love-Potion accompany her words and action. But _Isolde_ seizes -another phial, which she holds up triumphantly. It is the -death-potion. Here is heard an ominous phrase of three notes--the -=Motive of Fate=. - -[Music] - -A forceful orchestral climax, in which the demons of despairing wrath -seem unleashed, is followed by the cries of the sailors greeting the -sight of the land, where she is to be married to _King Marke_. -_Isolde_ hears them with growing terror. _Kurwenal_ brusquely calls to -her and _Brangne_ to prepare soon to go ashore. _Isolde_ orders -_Kurwenal_ that he command _Tristan_ to come into her presence; then -bids _Brangne_ prepare the death-potion. The Death Motive accompanies -her final commands to _Kurwenal_ and _Brangne_, and the Fate Motive -also drones threatfully through the weird measures. But _Brangne_ -artfully substitutes the love-potion for the death-draught. - -_Kurwenal_ announces _Tristan's_ approach. _Isolde_, seeking to -control her agitation, strides to the couch, and, supporting herself -by it, gazes fixedly at the entrance where _Tristan_ remains -standing. The motive which announces his appearance is full of tragic -defiance, as if _Tristan_ felt that he stood upon the threshold of -death, yet was ready to meet his fate unflinchingly. It alternates -effectively with the Fate Motive, and is used most dramatically -throughout the succeeding scene between _Tristan_ and _Isolde_. -Sombrely impressive is the passage when he bids _Isolde_ slay him with -the sword she once held over him. - - If so thou didst love thy lord, - Lift once again this sword, - Thrust with it, nor refrain, - Lest the weapon fall again. - -Shouts of the sailors announce the proximity of land. In a variant of -her narrative theme _Isolde_ mockingly anticipates _Tristan's_ praise -of her as he leads her into _King Marke's_ presence. At the same time -she hands him the goblet which contains, as she thinks, the -death-potion and invites him to quaff it. Again the shouts of the -sailors are heard, and _Tristan_, seizing the goblet, raises it to his -lips with the ecstasy of one from whose soul a great sorrow is about -to be lifted. When he has half emptied it, _Isolde_ wrests it from him -and drains it. - -The tremor that passes over _Isolde_ loosens her grasp upon the -goblet. It falls from her hand. She faces _Tristan_. - -Is the weird light in their eyes the last upflare of passion before -the final darkness? What does the music answer as it enfolds them in -its wondrous harmonies? The Isolde Motive;--then what? Not the glassy -stare of death; the Love Glance, like a swift shaft of light -penetrating the gloom. The spell is broken. _Isolde_ sinks into -_Tristan's_ embrace. - -[Illustration: Copyright photo by Dupont - -Lilli Lehmann as Isolde] - -[Illustration: Copyright photo by Dupont - -Jean de Reszke as Tristan] - -Voices! They hear them not. Sailors are shouting with joy that the -voyage is over. Upon the lovers all sounds are lost, save their own -short, quick interchange of phrases, in which the rapture of their -passion, at last uncovered, finds speech. Music surges about them. But -for _Brangne_ they would be lost. It is she who parts them, as the -hangings are thrust aside. - -Knights, esquires, sailors crowd the deck. From a rocky height _King -Marke's_ castle looks down upon the ship, now riding at anchor in the -harbour. Peace and joy everywhere save in the lovers' breasts! -_Isolde_ faints in _Tristan's_ arms. Yet it is a triumphant climax of -the Isolde Motive that is heard above the jubilation of the ship-folk, -as the act comes to a close. - -Act II. This act also has an introduction, which together with the -first scene between _Isolde_ and _Brangne_, constitutes a wonderful -mood picture in music. Even Wagner's bitterest critic, Edward -Hanslick, of Vienna, was forced to compare it with the loveliest -creations of Schubert, in which that composer steeps the senses in -dreams of night and love. - -And so, this introduction of the second act opens with a motive of -peculiar significance. During the love scene in the previous act, -_Tristan_ and _Isolde_ have inveighed against the day which jealously -keeps them apart. They may meet only under the veil of darkness. Even -then their joy is embittered by the thought that the blissful night -will soon be succeeded by day. With them, therefore, the day stands -for all that is inimical, night for all that is friendly. This simile -is elaborated with considerable metaphysical subtlety, the lovers even -reproaching the day with _Tristan's_ willingness to lead _Isolde_ to -_King Marke_, _Tristan_ charging that in the broad light of the -jealous day his duty to win _Isolde_ for his king stood forth so -clearly as to overpower the passion for her which he had nurtured -during the silent watches of the night. The phrase, therefore, which -begins the act as with an agonized cry is the =Day Motive=. - -[Music] - -The Day Motive is followed by a phrase whose eager, restless measures -graphically reflect the impatience with which _Isolde_ awaits the -coming of _Tristan_--the =Motive of Impatience=. - -[Music] - -Over this there hovers a dulcet, seductive strain, the =Motive of the -Love Call=, which is developed into the rapturous measures of the -=Motive of Ecstasy=. - -[Music] - -When the curtain rises, the scene it discloses is the palace garden, -into which _Isolde's_ apartments open. It is a summer night, balmy -and with a moon. The _King_ and his suite have departed on a hunt. -With them is _Melot_, a knight who professes devotion to _Tristan_, -but whom _Brangne_ suspects. - -_Brangne_ stands upon the steps leading to _Isolde's_ apartment. She -is looking down a bosky _alle_ in the direction taken by the hunt. -This silently gliding, uncanny creature, the servitor of sin in -others, is uneasy. She fears the hunt is but a trap; and that its -quarry is not the wild deer, but her mistress and the knight, who -conveyed her for bride to _King Marke_. - -Meanwhile against the open door of _Isolde's_ apartment is a burning -torch. Its flare through the night is to be the signal to _Tristan_ -that all is well, and that _Isolde_ waits. - -The first episode of the act is one of those exquisite tone paintings -in the creation of which Wagner is supreme. The notes of the -hunting-horns become more distant. _Isolde_ enters from her apartment -into the garden. She asks _Brangne_ if she cannot now signal for -_Tristan_. _Brangne_ answers that the hunt is still within hearing. -_Isolde_ chides her--is it not some lovely, prattling rill she hears? -The music is deliciously idyllic--conjuring up a dream-picture of a -sylvan spring night bathed in liquescent moonlight. _Brangne_ warns -_Isolde_ against _Melot_; but _Isolde_ laughs at her fears. In vain -_Brangne_ entreats her mistress not to signal for _Tristan_. The -seductive measures of the Love Call and of the Motive of Ecstasy tell -throughout this scene of the yearning in _Isolde's_ breast. When -_Brangne_ informs _Isolde_ that she substituted the love-potion for -the death-draught, _Isolde_ scorns the suggestion that her guilty love -for _Tristan_ is the result of her quaffing the potion. This simply -intensified the passion already in her breast. She proclaims this in -the rapturous phrases of the Isolde Motive; and then, when she -declares her fate to be in the hands of the goddess of love, there -are heard the tender accents of the =Love Motive=. - -[Music] - -In vain _Brangne_ warns once more against possible treachery from -_Melot_. The Love Motive rises with ever increasing passion until -_Isolde's_ emotional exaltation finds expression in the Motive of -Ecstasy as she bids _Brangne_ hie to the lookout, and proclaims that -she will give _Tristan_ the signal by extinguishing the torch, though -in doing so she were to extinguish the light of her life. The Motive -of the Love Call ringing out triumphantly accompanies her action, and -dies away into the Motive of Impatience as she gazes down a bosky -avenue through which she seems to expect _Tristan_ to come to her. -Then the Motive of Ecstasy and _Isolde's_ rapturous gesture tell that -she has discerned her lover; and, as this Motive reaches a fiercely -impassioned climax, _Tristan_ and _Isolde_ rush into each other's -arms. - -The music fairly seethes with passion as the lovers greet one another, -the Love Motive and the Motive of Ecstasy vying in the excitement of -this rapturous meeting. Then begins the exchange of phrases in which -the lovers pour forth their love for one another. This is the scene -dominated by the Motive of the Day, which, however, as the day sinks -into the soft night, is softened into the =Night Motive=, which soothes -the senses with its ravishing caress. - -[Music] - -This motive throbs through the rapturous harmonies of the duet: "Oh, -sink upon us, Night of Love," and there is nothing in the realms of -music or poetry to compare in suggestiveness with these caressing, -pulsating phrases. - -The duet is broken in upon by _Brangne's_ voice warning the lovers -that night will soon be over. The _arpeggios_ accompanying her warning -are like the first grey streaks of dawn. But the lovers heed her not. -In a smooth, soft melody--the =Motive of Love's Peace=--whose sensuous -grace is simply entrancing, they whisper their love. - -[Music] - -It is at such a moment, enveloped by night and love, that death should -have come to them; and, indeed, it is for such a love-death they -yearn. Hence we have here, over a quivering accompaniment, the =Motive -of the Love-Death=, - -[Music] - -Once more _Brangne_ calls. Once more _Tristan_ and _Isolde_ heed her -not. - - Night will shield us for aye! - -Thus exclaims _Isolde_ in defiance of the approach of dawn, while the -Motive of Ecstasy, introduced by a rapturous mordent, soars ever -higher. - -[Music] - -A cry from _Brangne_, _Kurwenal_ rushing upon the scene calling to -_Tristan_ to save himself--and the lovers' ravishing dream is ended. -Surrounded by the _King_ and his suite, with the treacherous _Melot_, -they gradually awaken to the terror of the situation. Almost -automatically _Isolde_ hides her head among the flowers, and _Tristan_ -spreads out his cloak to conceal her from view while phrases -reminiscent of the love scene rise like mournful memories. - -Now follows a soliloquy for the _King_, whose sword instead should -have leapt from its scabbard and buried itself in _Tristan's_ breast. -For it seems inexplicable that the monarch, who should have slain the -betrayer of his honour, indulges instead in a philosophical discourse, -ending: - - The unexplained, - Unpenetrated - Cause of all these woes, - Who will to us disclose? - -_Tristan_ turns to _Isolde_. Will she follow him to the bleak land of -his birth? Her reply is that his home shall be hers. Then _Melot_ -draws his sword. _Tristan_ rushes upon him, but as _Melot_ thrusts, -allows his guard to fall and receives the blade. _Isolde_ throws -herself on her wounded lover's breast. - -Act III. The introduction to this act opens with a variation of the -Isolde Motive, sadly prophetic of the desolation which broods over the -scene to be disclosed when the curtain rises. On its third repetition -it is continued in a long-drawn-out ascending phrase, which seems to -represent musically the broad waste of ocean upon which _Tristan's_ -castle looks down from its craggy height. - -The whole passage appears to represent _Tristan_ hopelessly yearning -for _Isolde_, letting his fancy travel back over the watery waste to -the last night of love, and then giving himself up wholly to his -grief. - -[Illustration: Copyright photo by Dupont - -Gadski as Isolde] - -[Illustration: N.Y. Photographic Co. - -Ternina as Isolde] - -The curtain rises upon the desolate grounds of Kareol, between the -outer walls of _Tristan's_ castle and the main structure, which stands -upon a rocky eminence overlooking the sea. _Tristan_ is stretched, -apparently lifeless, under a huge linden-tree. Over him, in deep -sorrow, bends the faithful _Kurwenal_. A _Shepherd_ is heard piping a -strain, whose plaintive notes harmonize most beautifully with the -despairing desolation and sadness of the scene. It is the =Lay of -Sorrow=, and by it, the _Shepherd_, who scans the sea, conveys to -_Kurwenal_ information that the ship he has dispatched to Cornwall to -bear _Isolde_ to Kareol has not yet hove in sight. - -The Lay of Sorrow is a strain of mournful beauty, with the simplicity -and indescribable charm of a folk-song. Its plaintive notes cling like -ivy to the grey and crumbling ruins of love and joy. - -[Music] - -The _Shepherd_ peers over the wall and asks if _Tristan_ has shown any -signs of life. _Kurwenal_ gloomily replies in the negative. The -_Shepherd_ departs to continue his lookout, piping the sad refrain. -_Tristan_ slowly opens his eyes. "The old refrain; why wakes it me? -Where am I?" he murmurs. _Kurwenal_ is beside himself with joy at -these signs of returning life. His replies to _Tristan's_ feeble and -wandering questions are mostly couched in a motive which beautifully -expresses the sterling nature of this faithful retainer, one of the -noblest characters Wagner has drawn. - -[Music] - -When _Tristan_ loses himself in sad memories of _Isolde_, _Kurwenal_ -seeks to comfort him with the news that he has sent a trusty man to -Cornwall to bear _Isolde_ to him that she may heal the wound inflicted -by _Melot_ as she once healed that dealt _Tristan_ by Morold. In -_Tristan's_ jubilant reply, during which he draws _Kurwenal_ to his -breast, the Isolde Motive assumes a form in which it becomes a theme -of joy. - -But it is soon succeeded by the =Motive of Anguish=, - -[Music] - -when _Tristan_ raves of his yearning for _Isolde_. "The ship! the -ship!" he exclaims. "Kurwenal, can you not see it?" The Lay of Sorrow, -piped by the _Shepherd_, gives the sad answer. It pervades his sad -reverie until, when his mind wanders back to _Isolde's_ tender nursing -of his wound in Ireland, the theme of Isolde's Narrative is heard -again. Finally his excitement grows upon him, and in a paroxysm of -anguish bordering on insanity he even curses love. - -_Tristan_ sinks back apparently lifeless. But no--as _Kurwenal_ bends -over him and the Isolde Motive is breathed by the orchestra, he again -whispers of _Isolde_. In ravishing beauty the Motive of Love's Peace -caressingly follows his vision as he seems to see _Isolde_ gliding -toward him o'er the waves. With ever-growing excitement he orders -_Kurwenal_ to the lookout to watch the ship's coming. What he sees so -clearly cannot _Kurwenal_ also see? Suddenly the music changes in -character. The ship is in sight, for the _Shepherd_ is heard piping a -joyous lay. - -[Music] - -It pervades the music of _Tristan's_ excited questions and -_Kurwenal's_ answers as to the vessel's movements. The faithful -retainer rushes down toward the shore to meet _Isolde_ and lead her to -_Tristan_. The latter, his strength sapped by his wound, his mind -inflamed to insanity by his passionate yearning, struggles to rise. He -raises himself a little. The Motive of Love's Peace, no longer -tranquil, but with frenzied rapidity, accompanies his actions as, in -his delirium, he tears the bandage from his wounds and rises from his -couch. - -_Isolde's_ voice! Into her arms, outstretched to receive him, staggers -_Tristan_. Gently she lets him down upon his couch, where he has lain -in the anguish of expectancy. - -"Tristan!" - -"Isolde!" he answers in broken accents. This last look resting -rapturously upon her, while in mournful beauty the Love Glance Motive -rises from the orchestra, he expires. - -In all music there is no scene more deeply shaken with sorrow. - -Tumultuous sounds are heard. A second ship has arrived. _Marke_ and -his suite have landed. _Tristan's_ men, thinking the _King_ has come -in pursuit of _Isolde_, attack the new-comers, _Kurwenal_ and his men -are overpowered, and _Kurwenal_, having avenged _Tristan_ by slaying -_Melot_, sinks, himself mortally wounded, dying by _Tristan's_ side. -He reaches out for his dead master's hand, and his last words are: -"Tristan, chide me not that faithfully I follow you." - -When _Brangne_ rushes in and hurriedly announces that she has -informed the _King_ of the love-potion, and that he comes bringing -forgiveness, _Isolde_ heeds her not. As the Love-Death Motive rises -softly over the orchestra and slowly swells into the impassioned -Motive of Ecstasy, to reach its climax with a stupendous crash of -instrumental forces, she gazes with growing transport upon her dead -lover, until, with rapture in her last glance, she sinks upon his -corpse and expires. - -In the Wagnerian version of the legend this love-death, for which -_Tristan_ and _Isolde_ prayed and in which they are united, is more -than a mere farewell together to life. It is tinged with Oriental -philosophy, and symbolizes the taking up into and the absorption of by -nature of all that is spiritual, and hence immortal, in lives rendered -beautiful by love. - - -DIE MEISTERSINGER VON NRNBERG - -THE MASTERSINGERS OF NUREMBURG - - Opera in three acts, words and music by Richard Wagner. - Produced, Munich, June 21, 1868, under direction of Hans von - Blow. London, Drury Lane, May 30, 1882, under Hans Richter; - Covent Garden, July 13, 1889, in Italian; Manchester, in - English, by the Carl Rosa Company, April 16, 1896. New York, - Metropolitan Opera House, January 4, 1886, with Fischer - (_Hans Sachs_), Seidl-Kraus (_Eva_), Marianne Brandt - (_Magdalena_), Stritt (_Walther_), Kemlitz (_Beckmesser_); - Conductor, Seidl. _Sachs_ has also been sung by douard de - Reszke, Van Rooy, and Whitehill; _Walther_ by Jean de - Reszke; _Eva_ by Eames, Gadski, and Hempel; _Beckmesser_ by - Goritz; _Magdalena_ by Schumann-Heink and Homer. - - CHARACTERS - - HANS SACHS, Cobbler } _Bass_ - VEIT POGNER, Goldsmith } _Bass_ - KUNZ VOGELGESANG, Furrier } _Tenor_ - CONRAD NACHTIGALL, Buckle-Maker } _Bass_ - SIXTUS BECKMESSER, Town Clerk } _Bass_ - FRITZ KOTHNER, Baker } Mastersingers _Bass_ - BALTHAZAR ZORN, Pewterer } _Tenor_ - ULRICH EISLINGER, Grocer } _Tenor_ - AUGUST MOSER, Tailor } _Tenor_ - HERMANN ORTEL, Soap-boiler } _Bass_ - HANS SCHWARZ, Stocking-Weaver } _Bass_ - HANS FOLZ, Coppersmith } _Bass_ - WALTHER VON STOLZING, a young Franconian knight _Tenor_ - DAVID, apprentice to HANS SACHS _Tenor_ - A NIGHT WATCHMAN _Bass_ - EVA, daughter of POGNER _Soprano_ - MAGDALENA, EVA'S nurse _Mezzo-Soprano_ - - Burghers of the Guilds, Journeymen, 'Prentices, Girls, and - Populace. - - _Time_--Middle of the Sixteenth Century. - - _Place_--Nuremburg. - -Wagner's music-dramas are all unmistakably Wagner, yet they are -wonderfully varied. The style of the music in each adapts itself -plastically to the character of the story. Can one, for instance, -imagine the music of "Tristan" wedded to the story of "The -Mastersingers," or _vice versa_? A tragic passion, inflamed by the -arts of sorcery inspired the former. The latter is a thoroughly human -tale set to thoroughly human music. Indeed, while "Tristan" and "The -Ring of the Nibelung" are tragic, and "Parsifal" is deeply religious, -"The Mastersingers" is a comic work, even bordering in one scene on -farce. Like Shakespeare, Wagner was equally at home in tragedy and -comedy. - -_Walther von Stolzing_ is in love with _Eva_. Her father having -promised her to the singer to whom at the coming midsummer festival -the _Mastersingers_ shall adjudge the prize, it becomes necessary for -_Walther_ to seek admission to their art union. He is, however, -rejected, his song violating the rules to which the Mastersingers -slavishly adhere. _Beckmesser_ is also instrumental in securing -_Walther's_ rejection. The town clerk is the "marker" of the union. -His duty is to mark all violations of the rules against a candidate. -_Beckmesser_, being a suitor for _Eva's_ hand, naturally makes the -most of every chance to put down a mark against _Walther_. - -_Sachs_ alone among the _Mastersingers_ has recognized the beauty of -_Walther's_ song. Its very freedom from rule and rote charms him, and -he discovers in the young knight's untrammelled genius the power -which, if properly directed, will lead art from the beaten path of -tradition toward a new and loftier ideal. - -After _Walther's_ failure before the Mastersingers the impetuous young -knight persuades _Eva_ to elope with him. But at night as they are -preparing to escape, _Beckmesser_ comes upon the scene to serenade -_Eva_. _Sachs_, whose house is opposite _Pogner's_, has meanwhile -brought his work bench out into the street and insists on "marking" -what he considers _Beckmesser's_ mistakes by bringing his hammer down -upon his last with a resounding whack. The louder _Beckmesser_ sings -the louder _Sachs_ whacks. Finally the neighbours are aroused. -_David_, who is in love with _Magdalena_ and thinks _Beckmesser_ is -serenading her, falls upon him with a cudgel. The whole neighbourhood -turns out and a general _mle_ ensues, during which _Sachs_ separates -_Eva_ and _Walther_ and draws the latter into his home. - -The following morning _Walther_ sings to _Sachs_ a song which has come -to him in a dream, _Sachs_ transcribing the words and passing friendly -criticism upon them and the music. The midsummer festival is to take -place that afternoon, and through a ruse _Sachs_ manages to get -_Walther's_ poem into _Beckmesser's_ possession, who, thinking the -words are by the popular cobbler-poet, feels sure he will be the -chosen master. _Eva_, coming into the workshop to have her shoes -fitted, finds _Walther_, and the lovers depart with _Sachs_, _David_, -and _Magdalena_ for the festival. Here _Beckmesser_, as _Sachs_ had -anticipated, makes a wretched failure, as he has utterly missed the -spirit of the poem, and _Walther_, being called upon by _Sachs_ to -reveal its beauty in music, sings his prize song, winning at once the -approbation of the _Mastersingers_ and the populace. He is received -into their art union and at the same time wins _Eva_ as his bride. - -[Illustration: Photo by Falk - -Emil Fischer as Hans Sachs in "Die Meistersinger"] - -[Illustration: Photo by White - -Weil and Goritz as Hans Sachs and Beckmesser in "Die Meistersinger"] - -The Mastersingers were of burgher extraction. They flourished in -Germany, chiefly in the imperial cities, during the fourteenth, -fifteenth, and sixteenth centuries. They did much to generate and -preserve a love of art among the middle classes. Their musical -competitions were judged according to a code of rules which -distinguished by particular names thirty-two faults to be avoided. -Scriptural or devotional subjects were usually selected and the judges -or Merker (Markers) were, in Nuremburg, four in number, the first -comparing the words with the Biblical text, the second criticizing the -prosody, the third the rhymes, and the fourth the tune. He who had the -fewest marks against him received the prize. - -Hans Sachs, the most famous of the Mastersingers, born November 5, -1494, died January, 1576, in Nuremburg, is said to have been the -author of some six thousand poems. He was a cobbler by trade-- - - Hans Sachs was a shoe- - Maker and poet too. - -A monument was erected to him in the city of his birth in 1874. - -"The Mastersingers" is a simple, human love story, simply told, with -many touches of humour to enliven it, and its interest enhanced by -highly picturesque, historical surroundings. As a drama it conveys -also a perfect picture of the life and customs of Nuremburg of the -time in which the story plays. Wagner must have made careful -historical researches, but his book lore is not thrust upon us. The -work is so spontaneous that the method and manner of its art are lost -sight of in admiration of the result. Hans Sachs himself could not -have left a more faithful portrait of life in Nuremburg in the middle -of the sixteenth century. - -"The Mastersingers" has a peculiarly Wagnerian interest. It is -Wagner's protest against the narrow-minded critics and the prejudiced -public who so long refused him recognition. Edward Hanslick, the -bitterest of Wagner's critics, regarded the libretto as a personal -insult to himself. Being present by invitation at a private reading of -the libretto, which Wagner gave in Vienna, Hanslick rose abruptly and -left after the first act. _Walther von Stolzing_ is the incarnation of -new aspirations in art; the champion of a new art ideal, and -continually chafing under the restraints imposed by traditional rules -and methods. _Hans Sachs_ is a conservative. But, while preserving -what is best in art traditions, he is able to recognize the beautiful -in what is new. He represents enlightened public opinion. _Beckmesser_ -and the other _Mastersingers_ are the embodiment of rank -prejudice--the critics. _Walther's_ triumph is also Wagner's. Few of -Wagner's dramatic creations equal in lifelike interest the character -of _Sachs_. It is drawn with a strong, firm hand, and filled in with -many delicate touches. - -The _Vorspiel_ gives a complete musical epitome of the story. It is -full of life and action--pompous, impassioned, and jocose in turn, and -without a suggestion of the overwrought or morbid. Its sentiment and -its fun are purely human. In its technical construction it has long -been recognized as a masterpiece. - -In the sense that it precedes the rise of the curtain, this orchestral -composition is a _Vorspiel_, or prelude. As a work, however, it is a -full-fledged overture, rich in thematic material. These themes are -Leading Motives heard many times, and in wonderful variety in the -three acts of "The Mastersingers." To a great extent an analysis of -this overture forecasts the work itself. Accordingly, again through -the courtesy of G. Schirmer Inc., I avail myself of my _Wagner's -Music-Dramas Analysed_, in the account of the _Vorspiel_ and of the -action and music that follow it. - -The pompous =Motive of the Mastersingers= opens the _Vorspiel_. This -theme gives capital musical expression to the characteristics of these -dignitaries; eminently worthy but self-sufficient citizens who are -slow to receive new impressions and do not take kindly to -innovations. Our term of old fogy describes them imperfectly, as it -does not allow for their many excellent qualities. They are slow to -act, but if they are once aroused their ponderous influence bears down -all opposition. At first an obstacle to genuine reform, they are in -the end the force which pushes it to success. Thus there is in the -Motive of the Mastersingers a certain ponderous dignity which well -emphasizes the idea of conservative power. - -[Music] - -In great contrast to this is the =Lyric Motive=, which seems to express -the striving after a poetic ideal untrammelled by old-fashioned -restrictions, such as the rules of the _Mastersingers_ impose. - -[Music] - -But, the sturdy conservative forces are still unwilling to be -persuaded of the worth of this new ideal. Hence the Lyric Motive is -suddenly checked by the sonorous measures of the =Mastersingers' March=. - -[Music] - -In this the majesty of law and order finds expression. It is followed -by a phrase of noble breadth and beauty, obviously developed from -portions of the Motive of the Mastersingers, and so typical of the -goodwill which should exist among the members of a fraternity that it -may be called the =Motive of the Art Brotherhood=. - -[Music] - -It reaches an eloquent climax in the =Motive of the Ideal=. - -[Music] - -Opposed, however, to this guild of conservative masters is the -restless spirit of progress. Hence, though stately the strains of the -Mastersingers' March and of the Guild Motive, soon yield to a theme -full of emotional energy and much like the Lyric Motive. _Walther_ is -the champion of this new ideal--not, however, from a purely artistic -impulse, but rather through his love for _Eva_. Being ignorant of the -rules and rote of the _Mastersingers_ he sings, when he presents -himself for admission to the fraternity, measures which soar -untrammelled into realms of beauty beyond the imagination of the -masters. But it was his love for _Eva_ which impelled him to seek -admission to the brotherhood, and love inspired his song. He is -therefore a reformer only by accident; it is not his love of art, but -his passion for _Eva_, which really brings about through his prize -song a great musical reform. This is one of Wagner's finest dramatic -touches--the love story is the mainspring of the action, the moral is -pointed only incidentally. Hence all the motives in which the restless -striving after a new ideal, or the struggles of a new art form to -break through the barriers of conservative prejudice, find expression, -are so many love motives, _Eva_ being the incarnation of _Walther's_ -ideal. Therefore the motive which breaks in upon the Mastersingers' -March and Guild Motive with such emotional energy expresses -_Walther's_ desire to possess _Eva_, more than his yearning for a new -ideal in art. So I call it the =Motive of Longing=. - -[Music] - -A portion of "Walther's Prize Song," like a swiftly whispered -declaration of love, leads to a variation of one of the most beautiful -themes of the work--the =Motive of Spring=. - -[Music] - -[Music] - -And now Wagner has a fling at the old fogyism which was so long an -obstacle to his success. He holds the masters up to ridicule in a -delightfully humorous passage which parodies the Mastersingers' and -Art Brotherhood motives, while the Spring Motive vainly strives to -assert itself. In the bass, the following quotation is the =Motive of -Ridicule=, the treble being a variant of the Art Brotherhood Motive. - -[Music] - -When it is considered that the opposition Wagner encountered from -prejudiced critics, not to mention a prejudiced public, was the bane -of his career, it seems wonderful that he should have been content to -protest against it with this pleasant raillery instead of with bitter -invective. The passage is followed by the Motive of the Mastersingers, -which in turn leads to an imposing combination of phrases. We hear the -portion of the Prize Song already quoted--the Motive of the -Mastersingers as bass--and in the middle voices portions of the -Mastersingers' March; a little later the Motive of the Art Brotherhood -and the Motive of Ridicule are added, this grand massing of orchestral -forces reaching a powerful climax, with the Motive of the Ideal, while -the Motive of the Mastersingers brings the _Vorspiel_ to a fitting -close. In this noble passage, in which the "Prize Song" soars above -the various themes typical of the masters, the new ideal seems to be -borne to its triumph upon the shoulders of the conservative forces -which, won over at last, have espoused its cause with all their sturdy -energy. - -This concluding passage in the _Vorspiel_ thus brings out with great -eloquence the inner significance of "Die Meistersinger." In whatever -the great author and composer of this work wrote for the stage, there -always was an ethical meaning back of the words and music. Thus we -draw our conclusion of the meaning of "Die Meistersinger" story from -the wonderful combination of leading motives in the peroration of its -_Vorspiel_. - -In his fine book, _The Orchestra and Orchestral Music_, W.J. Henderson -relates this anecdote: - -"A professional musician was engaged in a discussion of Wagner in the -corridor of the Metropolitan Opera House, while inside the orchestra -was playing the 'Meistersinger' overture. - -"'It is a pity,' said this wise man, in a condescending manner, 'but -Wagner knows absolutely nothing about counterpoint.' - -"At that instant the orchestra was singing five different melodies at -once; and, as Anton Seidl was the conductor, they were all audible." - -In a rare book by J.C. Wagenseil, printed in Nuremburg in 1697, are -given four "Prize Master Tones." Two of these Wagner has reproduced in -modern garb, the former in the Mastersingers' March, the latter in the -Motive of the Art Brotherhood. - -[Music] [Music] - -Act I. The scene of this act is laid in the Church of St. Catherine, -Nuremburg. The congregation is singing the final chorale of the -service. Among the worshippers are _Eva_ and her maid, _Magdalena_. -_Walther_ stands aside, and, by means of nods and gestures, -communicates with _Eva_. This mimic conversation is expressively -accompanied by interludes between the verses of the chorale, -interludes expressively based on the Lyric, Spring, and Prize Song -motives, and contrasting charmingly with the strains of the chorale. - -The service over, the Motive of Spring, with an impetuous upward rush, -seems to express the lovers' joy that the restraint is removed, and -the Lyric Motive resounds exultingly as the congregation departs, -leaving _Eva_, _Magdalena_, and _Walther_ behind. - -_Eva_, in order to gain a few words with _Walther_, sends _Magdalena_ -back to the pew to look for a kerchief and hymn-book, she has -purposely left there. _Magdalena_ urges _Eva_ to return home, but just -then _David_ appears in the background and begins putting things to -rights for the meeting of the _Mastersingers_. _Magdalena_ is -therefore only too glad to linger. The Mastersinger and Guild -motives, which naturally accompany _David's_ activity, contrast -soberly with the ardent phrases of the lovers. _Magdalena_ explains to -_Walther_ that _Eva_ is already affianced, though she herself does not -know to whom. Her father wishes her to marry the singer to whom at the -coming contest the _Mastersingers_ shall award the prize; and, while -she shall be at liberty to decline him, she may marry none but a -master. _Eva_ exclaims: "I will choose no one but my knight!" Very -pretty and gay is the theme heard when _David_ joins the group--the -=Apprentice Motive=. - -[Music] - -How capitally this motive expresses the light-heartedness of gay young -people, in this case the youthful apprentices, among whom _David_ was -as gay and buoyant as any. Every melodious phrase--every -motive--employed by Wagner appears to express exactly the character, -circumstance, thing, or feeling, to which he applies it. The opening -episodes of "Die Meistersinger" have a charm all their own. - -The scene closes with a beautiful little terzet, after _Magdalena_ has -ordered _David_, under penalty of her displeasure, to instruct the -knight in the art rules of the _Mastersingers_. - -When the 'prentices enter, they proceed to erect the marker's -platform, but stop at times to annoy the somewhat self-sufficient -_David_, while he is endeavouring to instruct _Walther_ in the rules -of the _Mastersingers_. The merry Apprentice Motive runs through the -scene and brings it to a close as the 'prentices sing and dance around -the marker's box, suddenly, however, breaking off, for the -_Mastersingers_ appear. - -There is a roll-call and then the fine passage for bass voice, in -which _Pogner_ offers _Eva's_ hand in marriage to the winner of the -coming song contest--with the proviso that _Eva_ adds her consent. The -passage is known on concert programmes as "Pogner's Address." - -_Walther_ is introduced by _Pogner_. The =Knight Motive=: - -[Music] - -_Beckmesser_, jealous, and determined that _Walther_ shall fail, -enters the marker's box. - -_Kothner_ now begins reading off the rules of singing established by -the masters, which is a capital take-off on old-fashioned forms of -composition and never fails to raise a hearty laugh if delivered with -considerable pomposity and unction. Unwillingly enough _Walther_ takes -his seat in the candidate's chair. _Beckmesser_ shouts from the -marker's box: "Now begin!" After a brilliant chord, followed by a -superb ascending run on the violins, _Walther_, in ringing tones, -enforced by a broad and noble chord, repeats _Beckmesser's_ words. But -such a change has come over the music that it seems as if that upward -rushing run had swept away all restraint of ancient rule and rote, -just as the spring wind whirling through the forest tears up the -spread of dry, dead leaves, thus giving air and sun to the yearning -mosses and flowers. In _Walther's_ song the Spring Motive forms an -ever-surging, swelling accompaniment, finally joining in the vocal -melody and bearing it higher and higher to an impassioned climax. In -his song, however, _Walther_ is interrupted by the scratching made by -_Beckmesser_ as he chalks the singer's violations of the rules on the -slate, and _Walther_, who is singing of love and spring, changes his -theme to winter, which, lingering behind a thorny hedge, is plotting -how it can mar the joy of the vernal season. The knight then rises -from the chair and sings a second stanza with defiant enthusiasm. As -he concludes it _Beckmesser_ tears open the curtains which concealed -him in the marker's box, and exhibits his board completely covered -with chalk marks. _Walther_ protests, but the masters, with the -exception of _Sachs_ and _Pogner_, refuse to listen further, and -deride his singing. We have here the =Motive of Derision=. - -[Music] - -_Sachs_ protests that, while he found the knight's art method new, he -did not find it formless. The =Sachs Motive= is here introduced. - -[Music] - -The Sachs Motive betokens the genial nature of this sturdy, yet gentle -man--the master spirit of the drama. He combines the force of a -conservative character with the tolerance of a progressive one, and -is thus the incarnation of the idea which Wagner is working out in -this drama, in which the union of a proper degree of conservative -caution with progressive energy produces a new ideal in art. To -_Sachs's_ innuendo that _Beckmessers'_ marking hardly could be -considered just, as he is a candidate for _Eva's_ hand, _Beckmesser_, -by way of reply, chides _Sachs_ for having delayed so long in -finishing a pair of shoes for him, and as _Sachs_ makes a humorously -apologetic answer, the Cobbler Motive is heard. - -The sturdy burgher calls to _Walther_ to finish his song in spite of -the masters. And now a finale of masterful construction begins. In -short, excited phrases the masters chaff and deride _Walther_. His -song, however, soars above all the hubbub. The 'prentices see their -opportunity in the confusion, and joining hands they dance around the -marker's box, singing as they do so. We now have combined with -astounding skill _Walther's_ song, the 'prentices' chorus, and the -exclamations of the masters. The latter finally shout their verdict: -"Rejected and outsung!" The knight, with a proud gesture of contempt, -leaves the church. The 'prentices put the seats and benches back in -their proper places, and in doing so greatly obstruct the masters as -they crowd toward the doors. _Sachs_, who has lingered behind, gazes -thoughtfully at the singer's empty chair, then, with a humorous -gesture of discouragement, turns away. - -Act II. The scene of this act represents a street in Nuremburg -crossing the stage and intersected in the middle by a narrow, winding -alley. There are thus two corner houses--on the right corner of the -alley _Pogner's_, on the left _Sachs's_. Before the former is a -linden-tree, before the latter an elder. It is a lovely summer -evening. - -The opening scene is a merry one. _David_ and the 'prentices are -closing shop. After a brisk introduction based on the Midsummer -Festival Motive the 'prentices quiz _David_ on his love affair with -_Magdalena_. The latter appears with a basket of dainties for her -lover, but on learning that the knight has been rejected, she snatches -the basket away from _David_ and hurries back to the house. The -'prentices now mockingly congratulate _David_ on his successful -wooing. _David_ loses his temper and shows fight, but _Sachs_, coming -upon the scene, sends the 'prentices on their way and then enters his -workshop with _David_. The music of this episode, especially the -'prentices' chorus, is bright and graceful. - -_Pogner_ and _Eva_, returning from an evening stroll, now come down -the alley. Before retiring into the house the father questions the -daughter as to her feelings concerning the duty she is to perform at -the Mastersinging on the morrow. Her replies are discreetly evasive. -The music beautifully reflects the affectionate relations between -_Pogner_ and _Eva_. When _Pogner_, his daughter seated beside him -under the linden-tree, speaks of the morrow's festival and _Eva's_ -part in it in awarding the prize to the master of her choice before -the assembled burghers of Nuremburg, the stately =Nuremburg Motive= is -ushered in. - -[Music] - -_Magdalena_ appears at the door and signals to _Eva_. The latter -persuades her father that it is too cool to remain outdoors and, as -they enter the house, _Eva_ learns from _Magdalena_ of _Walther's_ -failure before the masters. Magdalena advises her to seek counsel with -_Sachs_ after supper. - -The Cobbler Motive shows us _Sachs_ and _David_ in the former's -workshop. When the master has dismissed his 'prentice till morning, he -yields to his poetic love of the balmy midsummer night and, laying -down his work, leans over the half-door of his shop as if lost in -reverie. The Cobbler Motive dies away to _pp_, and then there is -wafted from over the orchestra like the sweet scent of the blooming -elder the Spring Motive, while tender notes on the horn blossom -beneath a nebulous veil of tremolo violins into memories of -_Walther's_ song. Its measures run through _Sachs's_ head until, -angered at the stupid conservatism of his associates, he resumes his -work to the brusque measures of the Cobbler's Motive. As his ill -humour yields again to the beauties of the night, this motive yields -once more to that of spring, which, with reminiscences of _Walther's_ -first song before the masters, imbues this masterful monologue with -poetic beauty of the highest order. The last words in praise of -_Walther_ ("The bird who sang today," etc.) are sung to a broad and -expressive melody. - -_Eva_ now comes out into the street and, shyly approaching the shop, -stands at the door unnoticed by _Sachs_ until she speaks to him. The -theme which pervades this scene seems to breathe forth the very spirit -of lovely maidenhood which springs from the union of romantic -aspirations, feminine reserve, and rare physical graces. It is the =Eva -Motive=, which, with the delicate touch of a master, Wagner so varies -that it follows the many subtle dramatic suggestions of the scene. The -Eva Motive, in its original form, is as follows: - -[Music] - -When at _Eva's_ first words _Sachs_ looks up, there is this elegant -variation of the Eva Motive: - -[Music] - -Then the scene being now fully ushered in, we have the Eva Motive -itself. _Eva_ leads the talk up to the morrow's festival, and when -_Sachs_ mentions _Beckmesser_ as her chief wooer, roguishly hints, -with evident reference to _Sachs_ himself, that she might prefer a -hearty widower to a bachelor of such disagreeable characteristics as -the marker. There are sufficient indications that the sturdy master is -not indifferent to _Eva's_ charms, but, whole-souled, genuine friend -that he is, his one idea is to further the love affair between his -fair neighbour and _Walther_. The music of this passage is very -suggestive. The melodic leading of the upper voice in the -accompaniment, when _Eva_ asks: "Could not a widower hope to win me?" -is identical with a variation of the Isolde Motive in "Tristan and -Isolde," while the Eva Motive, shyly _pp_, seems to indicate the -artfulness of _Eva's_ question. The reminiscence from "Tristan" can -hardly be regarded as accidental, for _Sachs_ afterwards boasts that -he does not care to share the fate of poor King Marke. _Eva_ now -endeavours to glean particulars of _Walther's_ experience in the -morning, and we have the Motive of Envy, the Knight Motive, and the -Motive of Ridicule. _Eva_ does not appreciate the fine satire in -_Sachs's_ severe strictures on _Walther's_ singing--he re-echoes not -his own views, but those of the other masters, for whom, not for the -knight, his strictures are really intended--and she leaves him in -anger. This shows _Sachs_ which way the wind blows, and he forthwith -resolves to do all in his power to bring _Eva's_ and _Walther's_ love -affair to a successful conclusion. While _Eva_ is engaged with -_Magdalena_, who has come out to call her, he busies himself in -closing the upper half of his shop door so far that only a gleam of -light is visible, he himself being completely hidden. _Eva_ learns -from _Magdalena_ of _Beckmesser's_ intended serenade, and it is agreed -that the maid shall personate _Eva_ at the window. - -Steps are heard coming down the alley. _Eva_ recognizes _Walther_ and -flies to his arms, _Magdalena_ discreetly hurrying into the house. The -ensuing ardent scene between _Eva_ and _Walther_ brings familiar -motives. The knight's excitement is comically broken in upon by the -_Night Watchman's_ cow-horn, and, as _Eva_ lays her hand soothingly -upon his arm and counsels that they retreat within the shadow of the -linden-tree, there steals over the orchestra, like the fragrance of -the summer night, a delicate variant of the Eva Motive--=The Summer -Night Motive=. - -[Music] - -_Eva_ vanishes into the house to prepare to elope with _Walther_. The -_Night Watchman_ now goes up the stage intoning a medival chant. -Coming in the midst of the beautiful modern music of "The -Mastersingers," its effect is most quaint. - -As _Eva_ reappears and she and the knight are about to make their -escape, _Sachs_, to prevent this precipitate and foolish step, throws -open his shutters and allows his lamp to shed a streak of brilliant -light across the street. - -The lovers hesitate; and now _Beckmesser_ sneaks in after the _Night -Watchman_ and, leaning against _Sachs's_ house, begins to tune his -lute, the peculiar twang of which, contrasted with the rich -orchestration, sounds irresistibly ridiculous. - -Meanwhile, _Eva_ and _Walther_ have once more retreated into the shade -of the linden-tree, and _Sachs_, who has placed his work bench in -front of his door, begins hammering at the last and intones a song -which is one of the rough diamonds of musical invention, for it is -purposely brusque and rough, just such a song as a hearty, happy -artisan might sing over his work. It is aptly introduced by the -Cobbler Motive. _Beckmesser_, greatly disturbed lest his serenade be -ruined, entreats _Sachs_ to cease singing. The latter agrees, but with -the proviso that he shall "mark" each of _Beckmesser's_ mistakes with -a hammer stroke. As if to bring out as sharply as possible the -ridiculous character of the serenade, the orchestra breathes forth -once more the summer night's music before _Beckmesser_ begins his -song, and this is set to a parody of the Lyric Motive. Wagner, with -keen satire, seems to want to show how a beautiful melody may become -absurd through old-fogy methods. _Beckmesser_ has hardly begun before -_Sachs's_ hammer comes down on the last with a resounding whack, which -makes the town clerk fairly jump with anger. He resumes, but soon is -rudely interrupted again by a blow of _Sachs's_ hammer. The whacks -come faster and faster. _Beckmesser_, in order to make himself heard -above them, sings louder and louder. Some of the neighbours are -awakened by the noise and coming to their windows bid _Beckmesser_ -hold his peace. _David_, stung by jealousy as he sees _Magdalena_ -listening to the serenade, leaps from his room and falls upon the town -clerk with a cudgel. The neighbours, male and female, run out into the -street and a general _mle_ ensues, the masters, who hurry upon the -scene, seeking to restore quiet, while the 'prentices vent their high -spirits by doing all in their power to add to the hubbub. All is now -noise and disorder, pandemonium seeming to have been let loose upon -the dignified old town. - -Musically this tumult finds expression in a fugue whose chief theme is -the =Cudgel Motive=. - -[Music] - -From beneath the hubbub of voices--those of the 'prentices and -journeymen, delighted to take part in the shindy, of the women who are -terrified at it, and of the masters who strive to stop it, is heard -the theme of _Beckmesser's_ song, the real cause of the row. This is -another of those many instances in which Wagner vividly expresses in -his music the significance of what transpires on the stage. - -_Sachs_ finally succeeds in shoving the 'prentices and journeymen out -of the way. The street is cleared, but not before the cobbler-poet has -pushed _Eva_, who was about to elope with _Walther_, into her father's -arms and drawn _Walther_ after him into his shop. - -The street is quiet. And now, the rumpus subsided and all concerned in -it gone, the _Night Watchman_ appears, rubs his eyes and chants his -medival call. The street is flooded with moonlight. The _Watchman_ -with his clumsy halberd lunges at his own shadow, then goes up the -alley. - -We have had hubbub, we have had humour, and now we have a musical -ending elvish, roguish, and yet exquisite in sentiment. The effect is -produced by the Cudgel Motive played with the utmost delicacy on the -flute, while the theme of _Beckmesser's_ serenade merrily runs after -itself on clarinet and bassoon, and the muted violins softly breathe -the Midsummer Festival Motive. - -Act III. During this act the tender strain in _Sachs's_ sturdy -character is brought out in bold relief. Hence the prelude develops -what may be called three Sachs themes, two of them expressive of his -twofold nature as poet and cobbler, the third standing for the love -which his fellow-burghers bear him. - -The prelude opens with the Wahn Motive or Motive of Poetic Illusion. -This reflects the deep thought and poetic aspirations of _Sachs_ the -poet. It is followed by the theme of the beautiful chorus, sung later -in the act, in praise of _Sachs_: "Awake! draws nigh the break of -day." This theme, among the three heard in the prelude, points to -_Sachs's_ popularity. The third consists of portions of the cobbler's -song in the second act. This prelude has long been considered one of -Wagner's masterpieces. The themes are treated with the utmost -delicacy, so that we recognize through them both the tender, poetic -side of _Sachs's_ nature and his good-humoured brusqueness. =The Motive -of Poetic illusion= is deeply reflective, and it might be preferable to -name it the Motive of Poetic Thought, were it not that it is better to -preserve the significance of the term Wahn Motive, which there is -ample reason to believe originated with Wagner himself. The prelude -is, in fact, a subtle analysis of character expressed in music. - -[Music] - -How peaceful the scene on which the curtain rises. _Sachs_ is sitting -in an armchair in his sunny workshop, reading in a large folio. The -Illusion Motive has not yet died away in the prelude, so that it seems -to reflect the thoughts awakened in _Sachs_ by what he is reading. -_David_, dressed for the festival, enters just as the prelude ends. -There is a scene full of charming _bonhomie_ between _Sachs_ and his -'prentice, which is followed, when the latter has withdrawn, by -_Sachs's_ monologue: "Wahn! Wahn! Ueberall Wahn!" (Illusion, -everywhere illusion.) - -While the Illusion Motive seems to weave a poetic atmosphere about -him, _Sachs_, buried in thought, rests his head upon his arm over the -folio. The Illusion Motive is followed by the Spring Motive, which in -turn yields to the Nuremburg Motive as _Sachs_ sings the praises of -the stately old town. At his reference to the tumult of the night -before there are in the score corresponding allusions to the music of -that episode. "A glowworm could not find its mate," he sings, -referring to _Walther_ and _Eva_. The Midsummer Festival, Lyric, and -Nuremburg motives in union foreshadow the triumph of true art through -love on Nuremburg soil, and thus bring the monologue to a stately -conclusion. - -_Walther_ now enters from the chamber, which opens upon a gallery, -and, descending into the workshop, is heartily greeted by _Sachs_ with -the Sachs Motive, which dominates the immediately ensuing scene. Very -beautiful is the theme in which _Sachs_ protests against _Walther's_ -derision of the masters; for they are, in spite of their many -old-fogyish notions, the conservators of much that is true and -beautiful in art. - -_Walther_ tells _Sachs_ of a song which came to him in a dream during -the night, and sings two stanzas of this "Prize Song," _Sachs_ making -friendly critical comments as he writes down the words. The Nuremburg -Motive in sonorous and festive instrumentation closes this melodious -episode. - -When _Sachs_ and _Walther_ have retired _Beckmesser_ is seen peeping -into the shop. Observing that it is empty he enters hastily. He is -ridiculously overdressed for the approaching festival, limps, and -occasionally rubs his muscles as if he were still stiff and sore from -his drubbing. By chance his glance falls on the manuscript of the -"Prize Song" in _Sachs's_ handwriting on the table, when he breaks -forth in wrathful exclamations, thinking now that he has in the -popular master a rival for _Eva's_ hand. Hearing the chamber door -opening he hastily grabs the manuscript and thrusts it into his -pocket. _Sachs_ enters. Observing that the manuscript is no longer on -the table, he realizes that _Beckmesser_ has stolen it, and conceives -the idea of allowing him to keep it, knowing that the marker will fail -most wretchedly in attempting to give musical expression to -_Walther's_ inspiration. - -The scene places _Sachs_ in a new light. A fascinating trait of his -character is the dash of scapegrace with which it is seasoned. Hence, -when he thinks of allowing _Beckmesser_ to use the poem the Sachs -Motive takes on a somewhat facetious, roguish grace. There now ensues -a charming dialogue between _Sachs_ and _Eva_, who enters when -_Beckmesser_ has departed. This is accompanied by a transformation of -the Eva Motive, which now reflects her shyness and hesitancy in taking -_Sachs_ into her confidence. - -With it is joined the Cobbler Motive when _Eva_ places her foot upon -the stool while _Sachs_ tries on the shoes she is to wear at the -festival. When, with a cry of joy, she recognizes her lover as he -appears upon the gallery, and remains motionless, gazing upon him as -if spellbound, the lovely Summer Night Motive enhances the beauty of -the tableau. While _Sachs_ cobbles and chats away, pretending not to -observe the lovers, the Motive of Maidenly Reserve passes through many -modulations until there is heard a phrase from "Tristan and Isolde" -(the Isolde Motive), an allusion which is explained below. The Lyric -Motive introduces the third stanza of _Walther's_ "Prize Song," with -which he now greets _Eva_, while she, overcome with joy at seeing her -lover, sinks upon _Sachs's_ breast. The Illusion Motive rhapsodizes -the praises of the generous cobbler-poet, who seeks relief from his -emotions in bantering remarks, until _Eva_ glorifies him in a noble -burst of love and gratitude in a melody derived from the Isolde -Motive. - -It is after this that _Sachs_, alluding to his own love of _Eva_, -exclaims that he will have none of King Marke's triste experience; and -the use of the King Marke Motive at this point shows that the previous -echoes of the Isolde Motive were premeditated rather than accidental. - -_Magdalena_ and _David_ now enter, and _Sachs_ gives to _Walther's_ -"Prize Song" its musical baptism, utilizing chiefly the first and -second lines of the chorale which opens the first act. _David_ then -kneels down and, according to the custom of the day, receives from -_Sachs_ a box on the ear in token that he is advanced from 'prentice -to journeyman. Then follows the beautiful quintet, in which the "Prize -Song," as a thematic germ, puts forth its loveliest blossoms. This is -but one of many instances in which Wagner proved that when the -dramatic situation called for it he could conceive and develop a -melody of most exquisite fibre. - -After the quintet the orchestra resumes the Nuremburg Motive and all -depart for the festival. The stage is now shut off by a curtain behind -which the scene is changed from _Sachs's_ workshop to the meadow on -the banks of the Pegnitz, near Nuremburg. After a tumultuous -orchestral interlude, which portrays by means of motives already -familiar, with the addition of the fanfare of the town musicians, the -noise and bustle incidental to preparations for a great festival, the -curtain rises upon a lively scene. Boats decked out in flags and -bunting and full of festively clad members of the various guilds and -their wives and children are constantly arriving. To the right is a -platform decorated with the flags of the guilds which have already -gathered. People are making merry under tents and awnings where -refreshments are served. The 'prentices are having a jolly time of it -heralding and marshalling the guilds who disperse and mingle with the -merrymakers after the standard bearers have planted their banners near -the platform. - -Soon after the curtain rises the cobblers arrive, and as they march -down the meadow, conducted by the 'prentices, they sing in honour of -St. Crispin, their patron saint, a chorus, based on the Cobbler -Motive, to which a melody in popular style is added. The town -watchmen, with trumpets and drums, the town pipers, lute makers, etc., -and then the journeymen, with comical sounding toy instruments, march -past, and are succeeded by the tailors, who sing a humorous chorus, -telling how Nuremburg was saved from its ancient enemies by a tailor, -who sewed a goatskin around him and pranced around on the town walls, -to the terror of the hostile army, which took him for the devil. The -bleating of a goat is capitally imitated in this chorus. - -With the last chord of the tailors' chorus the bakers strike up their -song and are greeted in turn by cobblers and tailors with their -respective refrains. A boatful of young peasant girls in gay costumes -now arrives, and the 'prentices make a rush for the bank. A charming -dance in waltz time is struck up. The 'prentices with the girls dance -down toward the journeymen, but as soon as these try to get hold of -the girls, the 'prentices veer off with them in another direction. -This veering should be timed to fall at the beginning of those periods -of the dance to which Wagner has given, instead of eight measures, -seven and nine, in order by this irregularity to emphasize the ruse of -the 'prentices. - -The dance is interrupted by the arrival of the masters, the 'prentices -falling in to receive, the others making room for the procession. The -_Mastersingers_ advance to the stately strains of the Mastersinger -Motive, which, when _Kothner_ appears bearing their standard with the -figure of King David playing on his harp, goes over into the sturdy -measures of the Mastersingers' March. _Sachs_ rises and advances. At -sight of him the populace intone the noblest of all choruses: "Awake! -draws nigh the break of day," the words of which are a poem by the -real Hans Sachs. - -At its conclusion the populace break into shouts in praise of _Sachs_, -who modestly yet most feelingly gives them thanks. When _Beckmesser_ -is led to the little mound of turf upon which the singer is obliged to -stand, we have the humorous variation of the Mastersinger Motive from -the Prelude. _Beckmesser's_ attempt to sing _Walther's_ poem ends, as -_Sachs_ had anticipated, in utter failure. The town clerk's effort is -received with jeers. Before he rushes away, infuriated but utterly -discomfited, he proclaims that _Sachs_ is the author of the song they -have derided. The cobbler-poet declares to the people that it is not -by him; that it is a beautiful poem if sung to the proper melody and -that he will show them the author of the poem, who will in song -disclose its beauties. He then introduces _Walther_. The knight easily -succeeds in winning over people and masters, who repeat the closing -melody of his "Prize Song" in token of their joyous appreciation of -his new and wondrous art. _Pogner_ advances to decorate _Walther_ with -the insignia of the Mastersingers' Guild. - -[Music] - -In more ways than one the "Prize Song" is a mainstay of "Die -Meistersinger." It has been heard in the previous scene of the third -act, not only when _Walther_ rehearses it for _Sachs_, but also in -the quintet. Moreover, versions of it occur in the overture and -indeed, throughout the work, adding greatly to the romantic sentiment -of the score. For "Die Meistersinger" is a comedy of romance. - -In measures easily recognized from the Prelude, to which the Nuremburg -Motive is added, _Sachs_ now praises the masters and explains their -noble purpose as conservators of art. _Eva_ takes the wreath with -which _Walther_ has been crowned, and with it crowns _Sachs_, who has -meanwhile decorated the knight with the insignia. _Pogner_ kneels, as -if in homage, before _Sachs_, the masters point to the cobbler as to -their chief, and _Walther_ and _Eva_ remain on either side of him, -leaning gratefully upon his shoulders. The chorus repeats _Sachs's_ -final admonition to the closing measures of the Prelude. - - -PARSIFAL - - Stage Dedication Festival Play (Bhnenweihfestspiel) in - three acts, words and music by Richard Wagner. Produced - Bayreuth, July 26, 1882. Save in concert form, the work was - not given elsewhere until December 24, 1903, when it was - produced at the Metropolitan Opera House at that time under - the direction of Heinrich Conried. - - At the Bayreuth performances there were alternating casts. - Winckelmann was the _Parsifal_ of the _premire_, Gudehus of - the second performance, Jger of the third. The alternating - _Kundrys_ were Materna, Marianne Brandt, and Malten; - _Gurnemanz_ Scaria and Siehr; _Amfortas_ Reichmann; - _Klingsor_, Hill and Fuchs. Hermann Levi conducted. - - In the New York cast Ternina was _Kundry_, Burgstaller - _Parsifal_, Van Rooy _Amfortas_, Blass _Gurnemanz_, Goritz - _Klingsor_, Journet _Titurel_, Miss Moran and Miss Braendle - the first and second, Harden and Bayer the third and fourth - _Esquires_, Bayer and Mhlmann two _Knights_ of the Grail, - Homer a _Voice_. - - CHARACTERS - - AMFORTAS, son of TITUREL, ruler of the - Kingdom of the Grail _Baritone-Bass_ - TITUREL, former ruler _Bass_ - GURNEMANZ, a veteran Knight of the Grail _Bass_ - KLINGSOR, a magician _Bass_ - PARSIFAL _Tenor_ - KUNDRY _Soprano_ - FIRST AND SECOND KNIGHTS _Tenor and Bass_ - FOUR ESQUIRES _Sopranos and Tenors_ - SIX OF KLINGSOR'S FLOWER MAIDENS _Sopranos_ - - Brotherhood of the Knights of the Grail; Youths and Boys; - Flower Maidens (two choruses of sopranos and altos). - - _Time_--The Middle Ages. - - _Place_--Spain, near and in the Castle of the Holy Grail; in - Klingsor's enchanted castle and in the garden of his castle. - -[Illustration: Photographs of the First Performance of "Parsifal," -Bayreuth, 1882 - -The Grail-Bearer] - -[Illustration: Photographs of the First Performance of "Parsifal," -Bayreuth, 1882 - -Winckelmann and Materna as Parsifal and Kundry - -Scaria as Gurnemanz] - -"Parsifal" is a familiar name to those who have heard "Lohengrin." -Lohengrin, it will be remembered, tells Elsa that he is Parsifal's son -and one of the knights of the Holy Grail. The name is written Percival -in "Lohengrin," as well as in Tennyson's "Idyls of the King." Now, -however, Wagner returns to the quainter and more "Teutonic" form of -spelling. "Parsifal" deals with an earlier period in the history of -the Grail knighthood than "Lohengrin." But there is a resemblance -between the Grail music in "Parsifal" and the "Lohengrin" music--a -resemblance not in melody, nor even in outline, but merely in the -purity and spirituality that breathes through both. - -Three legends supplied Wagner with the principal characters in this -music-drama. They were "Percival le Galois; or Contes de Grail," by -Chrtien de Troyes (1190); "Parsifal," by Wolfram von Eschenbach, and -a manuscript of the fourteenth century called by scholars the -"Mabinogion." As usual, Wagner has not held himself strictly to any -one of these, but has combined them all, and revivified them through -the alchemy of his own genius. - -Into the keeping of _Titurel_ and his band of Christian knights has -been given the Holy Grail, the vessel from which the Saviour drank -when He instituted the Last Supper. Into their hands, too, has been -placed, as a weapon of defence against the ungodly, the Sacred Spear, -the arm with which the Roman soldier wounded the Saviour's side. The -better to guard these sanctified relics _Titurel_, as King of the -Grail knighthood, has reared a castle, Montsalvat, which, from its -forest-clad height, facing Arabian Spain, forms a bulwark of -Christendom against the pagan world and especially against _Klingsor_, -a sorcerer and an enemy of the good. Yet time and again this -_Klingsor_, whose stronghold is nearby, has succeeded in enticing -champions of the Grail into his magic garden, with its lure of -flower-maidens and its arch-enchantress _Kundry_, a rarely beautiful -woman, and in making them his servitors against their one-time -brothers-in-arms. - -Even _Amfortas_, _Titurel's_ son, to whom _Titurel_, grown old in -service and honour, has confided his reign and wardship, has not -escaped the thrall of _Klingsor's_ sorcery. Eager to begin his reign -by destroying _Klingsor's_ power at one stroke, he penetrated into the -garden to attack and slay him. But he failed to reckon with human -frailty. Yielding to the snare so skilfully laid by the sorcerer and -forgetting, at the feet of the enchantress, _Kundry_, the mission upon -which he had sallied forth, he allowed the Sacred Spear to drop from -his hand. It was seized by the evil-doer he had come to destroy, and -he himself was grievously wounded with it before the knights who -rushed to his rescue could bear him off. - -This wound no skill has sufficed to heal. It is sapping _Amfortas's_ -strength. Indecision, gloom, have come over the once valiant -brotherhood. Only the touch of the Sacred Spear that made the wound -will avail to close it, but there is only one who can regain it from -_Klingsor_. For to _Amfortas_, prostrate in supplication for a sign, a -mystic voice from the sanctuary of the Grail replied: - - By pity guided, - The guileless fool; - Wait for him, - My chosen tool. - -This prophecy the knights construe to signify that their king's -salvation can be wrought only by youth so "guileless," so wholly -ignorant of sin, that, instead of succumbing to the temptations of -_Klingsor's_ magic garden, he will become, through resisting them, -cognizant of _Amfortas's_ guilt, and, stirred by pity for him, make -his redemption the mission of his life, regain the Spear and heal him -with it. And so the Grail warders are waiting, waiting for the coming -of the "guileless fool." - -The working out of this prophecy forms the absorbing subject of the -story of "Parsifal." The plot is allegorical. _Parsifal_ is the -personification of Christianity, _Klingsor_ of Paganism, and the -triumph of _Parsifal_ over _Klingsor_ is the triumph of Christianity -over Paganism. - -The character of _Kundry_ is one of Wagner's most striking creations. -She is a sort of female Ahasuerus--a wandering Jewess. In the -Mabinogion manuscript she is no other than Herodias, condemned to -wander for ever because she laughed at the head of John the Baptist. -Here Wagner makes another change. According to him she is condemned -for laughing in the face of the Saviour as he was bearing the cross. -She seeks forgiveness by serving the Grail knights as messenger on her -swift horse, but ever and anon she is driven by the curse hanging over -her back to _Klingsor_, who changes her to a beautiful woman and -places her in his garden to lure the Knights of the Grail. She can be -freed only by one who resists her temptations. Finally she is freed by -_Parsifal_ and is baptized. In her character of Grail messenger she -has much in common with the wild messengers of Walhalla, the Valkyrs. -Indeed, in the Edda Saga, her name appears in the first part of the -compound Gundryggja, which denotes the office of the Valkyrs. - -THE VORSPIEL - -The _Vorspiel_ to "Parsifal" is based on three of the most deeply -religious motives in the entire work. It opens with the =Motive of the -Sacrament=, over which, when it is repeated, _arpeggios_ hover, as in -the religious paintings of old masters angel forms float above the -figure of virgin or saint. - -[Music] - -Through this motive we gain insight into the office of the Knights of -the Grail, who from time to time strengthen themselves for their -spiritual duties by partaking of the communion, on which occasions the -Grail itself is uncovered. This motive leads to the =Grail Motive=, -effectively swelling to forte and then dying away in ethereal -harmonies, like the soft light with which the Grail illumines the hall -in which the knights gather to worship. - -[Music] - -The trumpets then announce the =Motive of Faith=, severe but -sturdy--portraying superbly the immutability of faith. - -[Music] - -The Grail Motive is heard again and then the Motive of Faith is -repeated, its severity exquisitely softened, so that it conveys a -sense of peace which "passeth all understanding." - -[Music] - -The rest of the _Vorspiel_ is agitated. That portion of the Motive of -the Sacrament which appears later as the Spear Motive here assumes -through a slight change a deeply sad character, and becomes typical -throughout the work of the sorrow wrought by _Amfortas's_ crime. I -call it the =Elegiac Motive=. - -[Music] - -Thus the _Vorspiel_ depicts both the religious duties which play so -prominent a part in the drama, and unhappiness which _Amfortas's_ -sinful forgetfulness of these duties has brought upon himself and his -knights. - -Act I. One of the sturdiest of the knights, the aged _Gurnemanz_, grey -of head and beard, watches near the outskirts of the forest. One dawn -finds him seated under a majestic tree. Two young _Esquires_ lie in -slumber at his feet. Far off, from the direction of the castle, sounds -a solemn reveille. - -"Hey! Ho!" _Gurnemanz_ calls with brusque humour to the _Esquires_. -"Not forest, but sleep warders I deem you!" The youths leap to their -feet; then, hearing the solemn reveille, kneel in prayer. The Motive -of Peace echoes their devotional thoughts. A wondrous peace seems to -rest upon the scene. But the transgression of the _King_ ever breaks -the tranquil spell. For soon two _Knights_ come in the van of the -train that thus early bears the _King_ from a bed of suffering to the -forest lake nearby, in whose waters he would bathe his wound. They -pause to parley with _Gurnemanz_, but are interrupted by outcries from -the youths and sounds of rushing through air. - -"Mark the wild horsewoman!"--"The mane of the devil's mare flies -madly!"--"Aye, 'tis Kundry!"--"She has swung herself off," cry the -_Esquires_ as they watch the approach of the strange creature that -now rushes in--a woman clad in coarse, wild garb girdled high with a -snake-skin, her thick black hair tumbling about her shoulders, her -features swarthy, her dark eyes now flashing, now fixed and glassy. -Precipitately she thrusts a small crystal flask into _Gurnemanz's_ -hand. - -"Balsam--for the king!" There is a savagery in her manner that seems -designed to ward off thanks, when _Gurnemanz_ asks her whence she has -brought the flask, and she replies: "From farther away than your -thought can travel. If it fail, Arabia bears naught else that can ease -his pain. Ask no further. I am weary." - -Throwing herself upon the ground and resting her face on her hands, -she watches the _King_ borne in, replies to his thanks for the balsam -with a wild, mocking laugh, and follows him with her eyes as they bear -him on his litter toward the lake, while _Gurnemanz_ and four -_Esquires_ remain behind. - -_Kundry's_ rapid approach on her wild horse is accompanied by a -furious gallop in the orchestra. - -[Music] - -Then, as she rushes upon the stage, the =Kundry Motive=--a headlong -descent of the string instruments through four octaves--is heard. - -[Music] - -_Kundry's_ action in seeking balsam for the _King's_ wound gives us -insight into the two contradictory natures represented by her -character. For here is the woman who has brought all his suffering -upon _Amfortas_ striving to ease it when she is free from the evil -sway of _Klingsor_. She is at times the faithful messenger of the -Grail; at times the evil genius of its defenders. - -When _Amfortas_ is borne in upon a litter there is heard the =Motive of -Amfortas's Suffering=, expressive of his physical and mental agony. It -has a peculiar heavy, dragging rhythm, as if his wound slowly were -sapping his life. - -[Music] - -A beautiful idyl is played by the orchestra when the knights bear -_Amfortas_ to the forest lake. - -[Music] - -One of the youths, who has remained with _Gurnemanz_, noting that -_Kundry_ still lies where she had flung herself upon the ground, calls -out scornfully, "Why do you lie there like a savage beast?" - -"Are not even the beasts here sacred?" she retorts, but harshly, and -not as if pleading for sufferance. The other _Esquires_ would have -joined in harassing her had not _Gurnemanz_ stayed them. - -"Never has she done you harm. She serves the Grail, and only when she -remains long away, none knows in what distant lands, does harm come to -us." Then, turning to where she lies, he asks: "Where were you -wandering when our leader lost the Sacred Spear? Why were you not here -to help us then?" - -"I never help!" is her sullen retort, although a tremor, as if caused -by a pang of bitter reproach, passes over her frame. - -"If she wants to serve the Grail, why not send her to recover the -Sacred Spear!" exclaims one of the _Esquires_ sarcastically; and the -youths doubtless would have resumed their nagging of _Kundry_, had not -mention of the holy weapon caused _Gurnemanz_ to give voice to -memories of the events that have led to its capture by _Klingsor_. -Then, yielding to the pressing of the youths who gather at his feet -beneath the tree, he tells them of _Klingsor_--how the sorcerer has -sued for admission to the Grail brotherhood, which was denied him by -_Titurel_, how in revenge he has sought its destruction and now, -through possession of the Sacred Spear, hopes to compass it. - -Prominent with other motives already heard, is a new one, the =Klingsor -Motive=: - -[Music] - -During this recital _Kundry_ still lies upon the ground, a sullen, -forbidding looking creature. At the point when _Gurnemanz_ tells of -the sorcerer's magic garden and of the enchantress who has lured -_Amfortas_ to his downfall, she turns in quick, angry unrest, as if -she would away, but is held to the spot by some dark and compelling -power. There is indeed something strange and contradictory in this -wild creature, who serves the Grail by ranging distant lands in -search of balsam for the _King's_ wound, yet abruptly, vindictively -almost, repels proffered thanks, and is a sullen and unwilling -listener to _Gurnemanz's_ narrative. Furthermore, as _Gurnemanz_ -queried, where does she linger during those long absences, when harm -has come to the warders of the Grail and now to their _King_? The -Knights of the Grail do not know it, but it is none other than she -who, changed by _Klingsor_ into an enchantress, lures them into his -magic garden. - -_Gurnemanz_ concludes by telling the _Esquire_ that while _Amfortas_ -was praying for a sign as to who could heal him, phantom lips -pronounced these words: - - By pity lightened - The guileless fool; - Wait for him, - My chosen tool. - -This introduces an important motive, that of the =Prophecy=, a phrase of -simple beauty, as befits the significance of the words to which it is -sung. _Gurnemanz_ sings the entire motive and then the _Esquires_ take -it up. - -[Music] - -They have sung only the first two lines when suddenly their prayerful -voices are interrupted by shouts of dismay from the direction of the -lake. A moment later a wounded swan, one of the sacred birds of the -Grail brotherhood, flutters over the stage and falls dead near -_Gurnemanz_. The knights follow in consternation. Two of them bring -_Parsifal_, whom they have seized and accuse of murdering the sacred -bird. As he appears the magnificent =Parsifal Motive= rings out on the -horns: - -[Music] - -It is a buoyant and joyous motive, full of the wild spirit and freedom -of this child of nature, who knows nothing of the Grail and its -brotherhood or the sacredness of the swan, and freely boasts of his -skilful marksmanship. During this episode the Swan Motive from -"Lohengrin" is effectively introduced. Then follows _Gurnemanz's_ -noble reproof, sung to a broad and expressive melody. Even the animals -are sacred in the region of the Grail and are protected from harm. -_Parsifal's_ gradual awakening to a sense of wrong is one of the most -touching scenes of the music-drama. His childlike grief when he -becomes conscious of the pain he has caused is so simple and pathetic -that one cannot but be deeply affected. - -After _Gurnemanz_ has ascertained that _Parsifal_ knows nothing of the -wrong he committed in killing the swan he plies him with questions -concerning his parentage. _Parsifal_ is now gentle and tranquil. He -tells of growing up in the woods, of running away from his mother to -follow a cavalcade of knights who passed along the edge of the forest -and of never having seen her since. In vain he endeavours to recall -the many pet names she gave him. These memories of his early days -introduce the sad motive of his mother, =Herzeleid= (Heart's Sorrow) who -has died in grief. - -[Music] - -The old knight then proceeds to ply _Parsifal_ with questions -regarding his parentage, name, and native land. "I do not know," is -the youth's invariable answer. His ignorance, coupled, however, with -his nave nobility of bearing and the fact that he has made his way to -the Grail domain, engender in _Gurnemanz_ the hope that here at last -is the "guileless fool" for whom prayerfully they have been waiting, -and the _King_, having been borne from the lake toward the castle -where the holy rite of unveiling the Grail is to be celebrated that -day, thither _Gurnemanz_ in kindly accents bids the youth follow him. - -Then occurs a dramatically effective change of scene. The scenery -becomes a panorama drawn off toward the right, and as _Parsifal_ and -_Gurnemanz_ face toward the left they appear to be walking in that -direction. The forest disappears; a cave opens in rocky cliffs and -conceals the two; they are then seen again in sloping passages which -they appear to ascend. Long sustained trombone notes softly swell; -approaching peals of bells are heard. At last they arrive at a mighty -hall which loses itself overhead in a high vaulted dome, down from -which alone the light streams in. - -The change of scene is ushered in by the solemn =Bell Motive=, which is -the basis of the powerful orchestral interlude accompanying the -panorama, and also of the scene in the hall of the Grail Castle. - -[Music] - -As the communion, which is soon to be celebrated, is broken in upon by -the violent grief and contrition of _Amfortas_, so the majestic sweep -of this symphony is interrupted by the agonized =Motive of Contrition=, -which graphically portrays the spiritual suffering of the _King_. - -This subtly suggests the Elegiac Motive and the Motive of Amfortas's -Suffering, but in greatly intensified degrees. For it is like an -outcry of torture that affects both body and soul. - -With the Motive of the Sacrament resounding solemnly upon the -trombones, followed by the Bell Motive, sonorous and powerful, -_Gurnemanz_ and _Parsifal_ enter the hall, the old knight giving the -youth a position from which he can observe the proceedings. From the -deep colonnades on either side in the rear the knights issue, march -with stately tread, and arrange themselves at the horseshoe-shaped -table, which incloses a raised couch. Then, while the orchestra plays -a solemn processional based on the Bell Motive, they intone the -chorus: "To the last love feast." After the first verse a line of -pages crosses the stage and ascend into the dome. The graceful -interlude here is based on the Bell Motive. - -[Music] - -The chorus of knights closes with a glorious outburst of the Grail -Motive as _Amfortas_ is borne in, preceded by pages who bear the -covered Grail. The _King_ is lifted upon the couch and the holy vessel -is placed upon the stone table in front of it. When the Grail Motive -has died away amid the pealing of the bells, the youths in the gallery -below the dome sing a chorus of penitence based upon the Motive of -Contrition. Then the Motive of Faith floats down from the dome as an -unaccompanied chorus for boys' voices--a passage of ethereal -beauty--the orchestra whispering a brief postludium like a faint echo. -This is, when sung as it was at Bayreuth, where I heard the first -performance of "Parsifal" in 1882, the most exquisite effect of the -whole score. For spirituality it is unsurpassed. It is an absolutely -perfect example of religious music--a beautiful melody without the -slightest worldly taint. - -_Titurel_ now summons _Amfortas_ to perform his sacred office--to -uncover the Grail. At first, tortured by contrition for his sin, of -which the agony from his wound is a constant reminder, he refuses to -obey his aged father's summons. In anguish he cries out that he is -unworthy of the sacred office. But again ethereal voices float down -from the dome. They now chant the prophecy of the "guileless fool" -and, as if comforted by the hope of ultimate redemption, _Amfortas_ -uncovers the Grail. Dusk seems to spread over the hall. Then a ray of -brilliant light darts down upon the sacred vessel, which shines with a -soft purple radiance that diffuses itself through the hall. All are on -their knees save the youth, who has stood motionless and obtuse to the -significance of all he has heard and seen save that during -_Amfortas's_ anguish he has clutched his heart as if he too felt the -pang. But when the rite is over--when the knights have partaken of -communion--and the glow has faded, and the _King_, followed by his -knights, has been borne out, the youth remains behind, vigorous, -handsome, but to all appearances a dolt. - -"Do you know what you have witnessed?" _Gurnemanz_ asks harshly, for -he is grievously disappointed. - -For answer the youth shakes his head. - -"Just a fool, after all," exclaims the old knight, as he opens a side -door to the hall. "Begone, but take my advice. In future leave our -swans alone, and seek yourself, gander, a goose!" And with these harsh -words he pushes the youth out and angrily slams the door behind him. - -This jarring break upon the religious feeling awakened by the scene -would be a rude ending for the act, but Wagner, with exquisite tact, -allows the voices in the dome to be heard once more, and so the -curtains close, amid the spiritual harmonies of the Prophecy of the -Guileless Fool and of the Grail Motive. - -Act II. This act plays in _Klingsor's_ magic castle and garden. The -_Vorspiel_ opens with the threatful Klingsor motive, which is followed -by the Magic and Contrition Motives, the wild Kundry Motive leading -over to the first scene. - -In the inner keep of his tower, stone steps leading up to the -battlemented parapet and down into a deep pit at the back, stands -_Klingsor_, looking into a metal mirror, whose surface, through his -necromancy, reflects all that transpires within the environs of the -fastness from which he ever threatens the warders of the Grail. Of all -that just has happened in the Grail's domain it has made him aware; -and he knows that of which _Gurnemanz_ is ignorant--that the youth, -whose approach the mirror divulges, once in his power, vain will be -the prophecy of the "guileless fool" and his own triumph assured. For -it is that same "guileless fool" the old knight impatiently has thrust -out. - -_Klingsor_ turns toward the pit and imperiously waves his hand. A -bluish vapour rises from the abyss and in it floats the form of a -beauteous woman--_Kundry_, not the _Kundry_ of a few hours before, -dishevelled and in coarse garb girdled with snake-skin; but a houri, -her dark hair smooth and lustrous, her robe soft, rich Oriental -draperies. Yet even as she floats she strives as though she would -descend to where she has come from, while the sorcerer's harsh laugh -greets her vain efforts. This then is the secret of her strange -actions and her long disappearances from the Grail domain, during -which so many of its warders have fallen into _Klingsor's_ power! She -is the snare he sets, she the arch-enchantress of his magic garden. -Striving as he hints while he mocks her impotence, to expiate some sin -committed by her during a previous existence in the dim past, by -serving the brotherhood of the Grail knights, the sorcerer's power -over her is such that at any moment he can summon her to aid him in -their destruction. - -Well she knows what the present summons means. Approaching the tower -at this very moment is the youth whom she has seen in the Grail -forest, and in whom she, like _Klingsor_, has recognized the only -possible redeemer of _Amfortas_ and of--herself. And now she must lure -him to his doom and with it lose her last hope of salvation, now, aye, -now--for even as he mocks her, _Klingsor_ once more waves his hand, -castle and keep vanish as if swallowed up by the earth, and in its -place a garden heavy with the scent of gorgeous flowers fills the -landscape. - -The orchestra, with the Parsifal Motive, gives a spirited description -of the brief combat between _Parsifal_ and _Klingsor's_ knights. It is -amid the dark harmonies of the Klingsor Motive that the keep sinks out -of sight and the magic garden, spreading out in all directions, with -_Parsifal_ standing on the wall and gazing with astonishment upon the -brilliant scene, is disclosed. - -The _Flower Maidens_ in great trepidation for the fate of their lover -knights rush in from all sides with cries of sorrow, their confused -exclamations and the orchestral accompaniment admirably enforcing -their tumultuous actions. - -The Parsifal Motive again introduces the next episode, as _Parsifal_, -attracted by the grace and beauty of the girls, leaps down into the -garden and seeks to mingle with them. It is repeated several times in -the course of the scene. The girls, seeing that he does not seek to -harm them, bedeck themselves with flowers and crowd about him with -alluring gestures, finally circling around him as they sing this -caressing melody: - -[Music] - -The effect is enchanting, the music of this episode being a marvel of -sensuous grace. _Parsifal_ regards them with childlike, innocent joy. -Then they seek to impress him more deeply with their charms, at the -same time quarrelling among themselves over him. When their rivalry -has reached its height, _Kundry's_ voice--"Parsifal, tarry!"--is -wafted from a flowery nook nearby. - -[Music] - -"Parsifal!" In all the years of his wandering none has called him by -his name; and now it floats toward him as if borne on the scent of -roses. A beautiful woman, her arms stretched out to him, welcomes him -from her couch of brilliant, redolent flowers. Irresistibly drawn -toward her, he approaches and kneels by her side; and she, whispering -to him in tender accents, leans over him and presses a long kiss upon -his lips. It is the lure that has sealed the fate of many a knight of -the Grail. But in the youth it inspires a sudden change. The perilous -subtlety of it, that is intended to destroy, transforms the "guileless -fool" into a conscious man, and that man conscious of a mission. The -scenes he has witnessed in the Grail castle, the stricken _King_ whose -wound ever bled afresh, the part he is to play, the peril of the -temptation that has been placed in his path--all these things become -revealed to him in the rapture of that unhallowed kiss. In vain the -enchantress seeks to draw him toward her. He thrusts her from him. -Maddened by the repulse, compelled through _Klingsor's_ arts to see in -the handsome youth before her lawful prey, she calls upon the sorcerer -to aid her. At her outcry _Klingsor_ appears on the castle wall, in -his hand the Spear taken from _Amfortas_, and, as _Parsifal_ faces -him, hurls it full at him. But lo, it rises in its flight and remains -suspended in the air over the head of him it was aimed to slay. - -Reaching out and seizing it, _Parsifal_ makes with it the sign of the -cross. Castle and garden wall crumble into ruins, the garden shrivels -away, leaving in its place a sere wilderness, through which -_Parsifal_, leaving _Kundry_ as one dead upon the ground, sets forth -in search of the castle of the Grail, there to fulfil the mission with -which now he knows himself charged. - -Act III. Not until after long wanderings through the wilderness, -however, is it that _Parsifal_ once more finds himself on the -outskirts of the Grail forest. Clad from head to foot in black armour, -his visor closed, the Holy Spear in his hand, he approaches the spot -where _Gurnemanz_, now grown very old, still holds watch, while -_Kundry_, again in coarse garb, but grown strangely pale and gentle, -humbly serves the brotherhood. It is Good Friday morn, and peace -rests upon the forest. - -_Kundry_ is the first to discern the approach of the black knight. -From the tender exaltation of her mien, as she draws _Gurnemanz's_ -look toward the silent figure, it is apparent that she divines who it -is and why he comes. To _Gurnemanz_, however, he is but an armed -intruder on sanctified ground and upon a holy day, and, as the black -knight seats himself on a little knoll near a spring and remains -silent, the old warder chides him for his offence. Tranquilly the -knight rises, thrusts the Spear he bears into the ground before him, -lays down his sword and shield before it, opens his helmet, and, -removing it from his head, places it with the other arms, and then -himself kneels in silent prayer before the Spear. Surprise, -recognition of man and weapon, and deep emotion succeed each other on -_Gurnemanz's_ face. Gently he raises _Parsifal_ from his kneeling -posture, once more seats him on the knoll by the spring, loosens his -greaves and corselet, and then places upon him the coat of mail and -mantle of the knights of the Grail, while _Kundry_, drawing a golden -flask from her bosom anoints his feet and dries them with her loosened -hair. Then _Gurnemanz_ takes from her the flask, and, pouring its -contents upon _Parsifal's_ head, anoints him king of the knights of -the Grail. The new king performs his first office by taking up water -from the spring in the hollow of his hand and baptizing _Kundry_, -whose eyes, suffused with tears, are raised to him in gentle rapture. - -Here is heard the stately =Motive of Baptism=: - -[Music] - -The "Good Friday Spell," one of Wagner's most beautiful mood paintings -in tone color, is the most prominent episode in these scenes. - -[Music] - -Once more _Gurnemanz_, _Kundry_ now following, leads the way toward -the castle of the Grail. _Amfortas's_ aged father, _Titurel_, -uncomforted by the vision of the Grail, which _Amfortas_, in his -passionate contrition, deems himself too sullied to unveil, has died, -and the knights having gathered in the great hall, _Titurel's_ bier is -borne in solemn procession and placed upon a catafalque before -_Amfortas's_ couch. - -"Uncover the shrine!" shout the knights, pressing upon _Amfortas_. For -answer, and in a paroxysm of despair, he springs up, tears his -garments asunder and shows his open wound. "Slay me!" he cries. "Take -up your weapons! Bury your sword-blades deep--deep in me, to the -hilts! Kill me, and so kill the pain that tortures me!" - -As _Amfortas_ stands there in an ecstasy of pain, _Parsifal_ enters, -and, quietly advancing, touches the wound with the point of the Spear. - -"One weapon only serves to staunch your wounded side--the one that -struck it." - -_Amfortas's_ torture changes to highest rapture. The shrine is opened -and _Parsifal_, taking the Grail, which again radiates with light, -waves it gently to and fro, as _Amfortas_ and all the knights kneel in -homage to him, while _Kundry_, gazing up to him in gratitude, sinks -gently into the sleep of death and forgiveness for which she has -longed. - -The music of this entire scene floats upon ethereal _arpeggios_. The -Motive of Faith especially is exquisitely accompanied, its spiritual -harmonies finally appearing in this form. - -[Music] - -There are also heard the Motives of Prophecy and of the Sacrament, as -the knights on the stage and the youths and boys in the dome chant. -The Grail Motive, which is prominent throughout the scene, rises as if -in a spirit of gentle religious triumph and brings, with the Sacrament -Motive, the work to a close. - - - - -Gioachino Antonio Rossini - -(1792-1868) - - -It would be difficult to persuade any one today that Rossini was a -reformer of opera. But his instrumentation, excessively simple as it -seems to us, was regarded, by his contemporaries, as distracting too -much attention from the voices. This was one of the reasons his -_Semiramide_ was coolly received at its production in Venice, 1823. - -But however simple, not to say primitive, the instrumentation of his -Italian operas now strikes us, he made one great innovation in opera -for which we readily can grant him recognition as a reformer. He -dispensed with _secco_ recitative, the so-called "dry" recitative, -which I have mentioned as a drawback to the operatic scores of Mozart. -For this Rossini substituted a more dramatic recital of the text -leading up to the vocal numbers, and accompanied it with such -instruments, or combinations of instruments even to full orchestra, as -he considered necessary. We accept a well accompanied recitative in -opera as a matter of course. But in its day it was a bold step -forward, and Rossini should receive full credit for it. Indeed it will -be found that nearly all composers, whose works survive in the -repertoire, instead of tamely accepting the routine of workmanship in -opera, as inherited from their predecessors, had ideas of their own, -which they put into effect, sometimes at the temporary sacrifice of -popularity. Gluck and Wagner, especially the latter, were extreme -types of the musical reformer. Compared with them Rossini was mild. -But his merits should be conceded, and gratefully. - -Rossini often is spoken of as the "Swan of Pesaro," where he was born. -His mother sang _buffa_ rles in a travelling opera troupe, in the -orchestra of which his father was a horn player. After previous -musical instruction in Bologna, he was turned over to Angelo Tesei, -sang in church and afterwards travelled with his parents both as -singer and accompanist, thus gaining at first hand valuable experience -in matters operatic. In 1807 he entered the Liceo (conservatory) at -Bologna, studying 'cello under Cavedagni and composition with Padre -Mattei. By 1810 already he was able to bring out in Venice, and with -applause, a one act comedy opera, "La Cambiale di Matrimonio." During -1812 he received commissions for no less than five light operas, -scoring, in 1813, with his "Tancredi" his first success in the grand -manner. There was scarcely a year now that did not see a work from his -pen, sometimes two, until his "Guillaume Tell" was produced in Paris, -1829. This was an entire change of style from his earlier works, -possibly, however, foreshadowed by his "Comte Ory," a revision of a -previous score, and produced, as was his "Tell," at the Grand Opra. - -"Guillaume Tell" not only is written to a French libretto; it is in -the French style of grand opera, in which the vocal melody is less -ornate and the instrumental portion of the score more carefully -considered than in the Italian. - -During the remaining thirty-nine years of his life not another opera -did Rossini compose. He appears deliberately to have formed this -resolution in 1836, after hearing "Les Huguenots" by Meyerbeer, as if -he considered it useless for him to attempt to rival that composer. He -resided in Bologna and Florence until 1855, then in Paris, or near -there, dying at Ruelle. - -He presents the strange spectacle of a successful composer of opera, -who lived to be seventy-six, abruptly closing his dramatic career at -thirty-seven. - - -IL BARBIERE DI SIVIGLIA - -THE BARBER OF SEVILLE - - Opera in two acts, by Rossini; text by Cesare Sterbini, - founded on Beaumarchais. Produced, Argentina Theatre, Rome, - February 5, 1816; London, King's Theatre, March 10, 1818. - Paris, in Italian, 1819; in French, 1824. New York, in - English, at the Park Theatre, May 3, 1819, with Thomas - Phillipps and Miss Leesugg, as _Almaviva_ and _Rosina_; in - Italian, at the Park Theatre, November 29, 1825, with Manuel - Garcia, the elder, as _Almaviva_; Manuel Garcia, the - younger, _Figaro_; Signorina Garcia (afterwards the famous - Malibran), _Rosina_; Signor Rosick, _Dr. Bartolo_; Signor - Angrisani, _Don Basilio_; Signor Crivelli, the younger, - _Fiorello_, and Signora Garcia, _mre_, _Berta_. (See - concluding paragraphs of this article.) Adelina Patti, - Melba, Sembrich, Tetrazzini are among the prima donnas who - have been familiar to opera lovers in this country as - _Rosina_. Galli-Curci appeared in this rle in Chicago, - January 1, 1917. - - CHARACTERS - - COUNT ALMAVIVA _Tenor_ - DOCTOR BARTOLO _Bass_ - BASILIO, a Singing Teacher _Bass_ - FIGARO, a Barber _Baritone_ - FIORELLO, servant to the Count _Bass_ - AMBROSIO, servant to the Doctor _Bass_ - ROSINA, the Doctor's ward _Soprano_ - BERTA (or MARCELLINA), Rosina's Governess _Soprano_ - - Notary, Constable, Musicians and Soldiers. - - _Time_--Seventeenth Century. - - _Place_--Seville, Spain. - -Upon episodes in Beaumarchais's trilogy of "Figaro" comedies two -composers, Mozart and Rossini, based operas that have long maintained -their hold upon the repertoire. The three Beaumarchais comedies are -"Le Barbier de Sville," "Le Mariage de Figaro," and "La Mre -Coupable." Mozart selected the second of these, Rossini the first; so -that although in point of composition Mozart's "Figaro" (May, 1786) -antedates Rossini's "Barbiere" (February, 1816) by nearly thirty -years, "Il Barbiere di Siviglia" precedes "Le Nozze di Figaro" in -point of action. In both operas _Figaro_ is a prominent character, -and, while the composers were of wholly different nationality and -race, their music is genuinely and equally sparkling and witty. To -attempt to decide between them by the flip of a coin would be "heads I -win, tails you lose." - -There is much to say about the first performance of "Il Barbiere di -Siviglia"; also about the overture, the origin of _Almaviva's_ -graceful solo, "Ecco ridente in cielo," and the music selected by -prima donnas to sing in the "lesson scene" in the second act. But -these details are better preceded by some information regarding the -story and the music. - - * * * * * - -Act I, Scene 1. A street by _Dr. Bartolo's_ house. _Count Almaviva_, a -Grandee of Spain, is desperately in love with _Rosina_, the ward of -_Doctor Bartolo_. Accompanied by his servant Fiorello and a band of -lutists, he serenades her with the smooth, flowing measures of "Ecco -ridente in cielo," (Lo, smiling in the Eastern sky). - -[Music: Ecco ridente in cielo,] - -Just then _Figaro_, the barber, the general factotum and busybody of -the town, dances in, singing the famous patter air, "Largo al factotum -della citt" (Room for the city's factotum). - -[Music: Largo al factotum della citt largo,] - -He is _Dr. Bartolo's_ barber, and, learning from the _Count_ of his -heart's desire, immediately plots with him to bring about his -introduction to _Rosina_. There are two clever duets between _Figaro_ -and the _Count_--one in which _Almaviva_ promises money to the -_Barber_; the other in praise of love and pleasure. - -_Rosina_ is strictly watched by her guardian, _Doctor Bartolo_, who -himself plans to marry his ward, since she has both beauty and money. -In this he is assisted by _Basilio_, a music-master. _Rosina_, -however, returns the affection of the _Count_, and, in spite of the -watchfulness of her guardian, she contrives to drop a letter from the -balcony to _Almaviva_, who is still with _Figaro_ below, declaring her -passion, and at the same time requesting to know her lover's name. - -Scene 2. Room in _Dr. Bartolo's_ house. _Rosina_ enters. She sings the -brilliant "Una voce poco fa" (A little voice I heard just now), - -[Music: Una voce poco fa qui nel cor mi risuon] - -followed by "Io sono docile" (With mild and docile air). - -[Music: Io sono docile, son rispettosa,] - -_Figaro_, who has left _Almaviva_ and come in from the street, tells -her that the _Count_ is Signor Lindor, claims him as a cousin, and -adds that the young man is deeply in love with her. _Rosina_ is -delighted. She gives him a note to convey to the supposed Signor -Lindor. (Duet, _Rosina_ and _Figaro_: "Dunque io son, tu non -m'inganni?"--Am I his love, or dost thou mock me?) - -Meanwhile _Bartolo_ has made known to _Basilio_ his suspicions that -_Count Almaviva_ is in love with _Rosina_. _Basilio_ advises to start -a scandal about the _Count_ and, in an aria ("La calunnia") remarkable -for its descriptive crescendo, depicts how calumny may spread from the -first breath to a tempest of scandal. - -[Music: La calunnia un venticello] - -To obtain an interview with _Rosina_, the _Count_ disguises himself as -a drunken soldier, and forces his way into _Bartolo's_ house. The -disguise of _Almaviva_ is penetrated by the guardian, and the -pretended soldier is placed under arrest, but is at once released upon -secretly showing the officer his order as a Grandee of Spain. Chorus, -preceded by the trio, for _Rosina_, _Almaviva_ and _Bartolo_--"Fredda -ed immobile" (Awestruck and immovable). - -Act II. The _Count_ again enters _Bartolo's_ house. He is now -disguised as a music teacher, and pretends that he has been sent by -_Basilio_ to give a lesson in music, on account of the illness of the -latter. He obtains the confidence of _Bartolo_ by producing _Rosina's_ -letter to himself, and offering to persuade _Rosina_ that the letter -has been given him by a mistress of the _Count_. In this manner he -obtains the desired opportunity, under the guise of a music -lesson--the "music lesson" scene, which is discussed below--to hold a -whispered conversation with _Rosina_. _Figaro_ also manages to obtain -the keys of the balcony, an escape is determined on at midnight, and a -private marriage arranged. Now, however, _Basilio_ makes his -appearance. The lovers are disconcerted, but manage, by persuading the -music-master that he really is ill--an illness accelerated by a full -purse slipped into his hand by _Almaviva_--to get rid of him. Duet for -_Rosina_ and _Almaviva_, "Buona sera, mio Signore" (Fare you well -then, good Signore). - -[Illustration: Copyright photo by Mishkin - -Sammarco as Figaro in "The Barber of Seville"] - -[Music: - -(Count) Buona sera, mio Signore - -(Rosina) Buona sera, buona sera;] - -When the _Count_ and _Figaro_ have gone, _Bartolo_, who possesses the -letter _Rosina_ wrote to _Almaviva_, succeeds, by producing it, and -telling her he secured it from another lady-love of the _Count_, in -exciting the jealousy of his ward. In her anger she discloses the plan -of escape and agrees to marry her guardian. At the appointed time, -however, _Figaro_ and the _Count_ make their appearance--the lovers -are reconciled, and a notary, procured by _Bartolo_ for his own -marriage to _Rosina_, celebrates the marriage of the loving pair. When -the guardian enters, with officers of justice, into whose hands he is -about to consign _Figaro_ and the _Count_, he is too late, but is -reconciled by a promise that he shall receive the equivalent of his -ward's dower. - - * * * * * - -Besides the music that has been mentioned, there should be reference -to "the big quintet" of the arrival and departure of _Basilio_. Just -before _Almaviva_ and _Figaro_ enter for the elopement there is a -storm. The delicate trio for _Almaviva_, _Rosina_ and _Figaro_, -"Zitti, zitti, piano" (Softly, softly and in silence), bears, probably -without intention, a resemblance to a passage in Haydn's "Seasons." - -[Music: Zitti, zitti, piano, piano,] - -The first performance of "Il Barbiere di Siviglia," an opera that has -held its own for over a century, was a scandalous failure, which, -however, was not without its amusing incidents. Castil-Blaze, Giuseppe -Carpani in his "Rossiniane," and Stendhal in "Vie de Rossini" (a lot -of it "cribbed" from Carpani) have told the story. Moreover the -_Rosina_ of the evening, Mme. Giorgi-Righetti, who was both pretty and -popular, has communicated her reminiscences. - -December 26, 1815, Duke Cesarini, manager of the Argentine Theatre, -Rome, for whom Rossini had contracted to write two operas, brought out -the first of these, "Torvaldo e Dorliska," which was poorly received. -Thereupon Cesarini handed to the composer the libretto of "Il Barbiere -di Siviglia," which Paisiello, who was still living, had set to music -more than half a century before. A pleasant memory of the old master's -work still lingered with the Roman public. The honorarium was 400 -Roman crowns (about $400) and Rossini also was called upon to preside -over the orchestra at the pianoforte at the first three performances. -It is said that Rossini composed his score in a fortnight. Even if not -strictly true, from December 26th to the February 5th following is but -little more than a month. The young composer had too much sense not to -honour Paisiello; or, at least, to appear to. He hastened to write to -the old composer. The latter, although reported to have been intensely -jealous of the young maestro (Rossini was only twenty-five) since the -sensational success of the latter's "Elisabetta, Regina d'Inghilterra" -(Elizabeth, Queen of England), Naples, 1815, replied that he had no -objection to another musician dealing with the subject of his opera. -In reality, it is said, he counted on Rossini's making a glaring -failure of the attempt. The libretto was rearranged by Sterbini, and -Rossini wrote a preface, modest in tone, yet not without a hint that -he considered the older score out of date. But he took the precaution -to show Paisiello's letter to all the music lovers of Rome, and -insisted on changing the title of the opera to "Almaviva, ossia -l'Inutile Precauzione" (Almaviva, or the Useless Precaution). - -Nevertheless, as soon as the rumour spread that Rossini was making -over Paisiello's work, the young composer's enemies hastened to talk -in the cafs about what they called his "underhand action." Paisiello -himself, it is believed, was not foreign to these intrigues. A letter -in his handwriting was shown to Rossini. In this he is said to have -written from Naples to one of his friends in Rome urging him to -neglect nothing that would make certain the failure of Rossini's -opera. - -Mme. Giorgi-Righetti reports that "hot-headed enemies" assembled at -their posts as soon as the theatre opened, while Rossini's friends, -disappointed by the recent ill luck of "Torvaldo e Dorliska" were -timid in their support of the new work. Furthermore, according to Mme. -Giorgi-Righetti, Rossini weakly yielded to a suggestion from Garcia, -and permitted that artist, the _Almaviva_ of the premire, to -substitute for the air which is sung under _Rosina's_ balcony, a -Spanish melody with guitar accompaniment. The scene being laid in -Spain, this would aid in giving local colour to the work--such was the -idea. But it went wrong. By an unfortunate oversight no one had tuned -the guitar with which _Almaviva_ was to accompany himself, and Garcia -was obliged to do this on the stage. A string broke. The singer had to -replace it, to an accompaniment of laughter and whistling. This was -followed by _Figaro's_ entrance air. The audience had settled down for -this. But when they saw Zamboni, as _Figaro_, come on the stage with -another guitar, another fit of laughing and whistling seized them, and -the racket rendered the solo completely inaudible. _Rosina_ appeared -on the balcony. The public greatly admired Mme. Giorgi-Righetti and -was disposed to applaud her. But, as if to cap the climax of -absurdity, she sang: "Segui, o caro, deh segui cos" (Continue my -dear, do always so). Naturally the audience immediately thought of the -two guitars, and went on laughing, whistling, and hissing during the -entire duet between _Almaviva_ and _Figaro_. The work seemed doomed. -Finally _Rosina_ came on the stage and sang the "Una voce poco fa" (A -little voice I heard just now) which had been awaited with impatience -(and which today is still considered an operatic _tour de force_ for -soprano). The youthful charm of Mme. Giorgi-Righetti, the beauty of -her voice, and the favour with which the public regarded her, "won her -a sort of ovation" in this number. A triple round of prolonged -applause raised hopes for the fate of the work. Rossini rose from his -seat at the pianoforte, and bowed. But realizing that the applause was -chiefly meant for the singer, he called to her in a whisper, "Oh, -natura!" (Oh, human nature!) - -"Give her thanks," replied the artiste, "since without her you would -not have had occasion to rise from your seat." - -What seemed a favourable turn of affairs did not, however, last long. -The whistling was resumed louder than ever at the duet between -_Figaro_ and _Rosina_. "All the whistlers of Italy," says -Castil-Blaze, "seemed to have given themselves a rendezvous for this -performance." Finally, a stentorian voice shouted: "This is the -funeral of Don Pollione," words which doubtless had much spice for -Roman ears, since the cries, the hisses, the stamping, continued with -increased vehemence. When the curtain fell on the first act Rossini -turned toward the audience, slightly shrugged his shoulders, and -clapped his hands. The audience, though greatly offended by this show -of contemptuous disregard for its opinion, reserved its revenge for -the second act, not a note of which it allowed to be heard. - -At the conclusion of the outrage, for such it was, Rossini left the -theatre with as much nonchalance as if the row had concerned the work -of another. After they had gotten into their street clothes the -singers hurried to his lodgings to condole with him. He was sound -asleep! - -[Illustration: Photo copyright, 1916, by Victor Georg - -Galli-Curci as Rosina in "The Barber of Seville"] - -[Illustration: Copyright photo by Dupont - -Sembrich as Rosina in "The Barber of Seville"] - -There have been three historic failures of opera. One was the -"Tannhuser" fiasco, Paris, 1861; another, the failure of "Carmen," -Paris, 1875. The earliest I have just described. - -For the second performance of "Il Barbiere" Rossini replaced the -unlucky air introduced by Garcia with the "Ecco ridente in cielo," as -it now stands. This cavatina he borrowed from an earlier opera of his -own, "Aureliano in Palmira" (Aurelian in Palmyra). It also had figured -in a cantata (not an opera) by Rossini, "Ciro in Babilonia" (Cyrus in -Babylon)--so that measures first sung by a Persian king in the ancient -capital of Nebuchadnezzar, and then by a Roman emperor and his -followers in the city which flourished in an oasis in the Syrian -desert, were found suitable to be intoned by a lovesick Spanish count -of the seventeenth century as a serenade to his lady of Seville. It -surely is amusing to discover in tracing this air to its original -source, that "Ecco ridente in cielo" (Lo, smiles the morning in the -sky) figured in "Aureliano in Palmira" as an address to Isis--"Sposa -del grande Osiride" (Spouse of the great Osiris). - -Equally amusing is the relation of the overture to the opera. The -original is said to have been lost. The present one has nothing to do -with the ever-ready _Figaro_, the coquettish _Rosina_, or the -sentimental _Almaviva_, although there have been writers who have -dilated upon it as reflecting the spirit of the opera and its -characters. It came from the same source as "Lo, smiles the morning in -the sky"--from "Aureliano," and in between had figured as the overture -to "Elisabetta, Regina d'Inghilterra." It is thus found to express in -"Elisabetta" the conflict of love and pride in one of the most haughty -souls of whom history records the memory, and in "Il Barbiere" the -frolics of _Figaro_. But the Italians, prior to Verdi's later period, -showed little concern over such unfitness of things, for it is -recorded that this overture, when played to "Il Barbiere," was much -applauded. - -"Ecco ridente in cielo," it is gravely pointed out by early writers on -Rossini, is the "first example of modulation into the minor key later -so frequently used by this master and his crowd of imitators." Also -that "this ingenious way of avoiding the beaten path was not really a -discovery of Rossini's, but belongs to Majo (an Italian who composed -thirteen operas) and was used by several musicians before Rossini." -What a delightful pother over a modulation that the veriest tyro would -now consider hackneyed! However, "Ecco ridente," adapted in such haste -to "Il Barbiere" after the failure of Garcia's Spanish ditty, was sung -by that artist the evening of the second performance, and loudly -applauded. Moreover, Rossini had eliminated from his score everything -that seemed to him to have been reasonably disapproved of. Then, -pretending to be indisposed, he went to bed in order to avoid -appearing at the pianoforte. The public, while not over-enthusiastic, -received the work well on this second evening; and before long Rossini -was accompanied to his rooms in triumph several evenings in -succession, by the light of a thousand torches in the hands of the -same Romans who had hissed his opera but a little while before. The -work was first given under the title Rossini had insisted on, but soon -changed back to that of the original libretto, "Il Barbiere di -Siviglia." - -It is a singular fact that the reception of "Il Barbiere" in Paris was -much the same as in Rome. The first performance in the Salle Louvois -was coldly received. Newspapers compared Rossini's "Barber" -unfavourably with that of Paisiello. Fortunately the opposition -demanded a revival of Paisiello's work. Par, musical director at the -Thtre Italien, not unwilling to spike Rossini's guns, pretended to -yield to a public demand, and brought out the earlier opera. But the -opposite of what had been expected happened. The work was found to be -superannuated. It was voted a bore. It scored a fiasco. Rossini -triumphed. The elder Garcia, the _Almaviva_ of the production in Rome, -played the same rle in Paris, as he also did in London, and at the -first Italian performance of the work in New York. - -Rossini had the reputation of being indolent in the extreme--when he -had nothing to do. We have seen that when the overture to "Il Barbiere -di Siviglia" was lost (if he really ever composed one), he did not -take the trouble to compose another, but replaced it with an earlier -one. In the music lesson scene in the second act the original score is -said to have contained a trio, presumably for _Rosina_, _Almaviva_, -and _Bartolo_. This is said to have been lost with the overture. As -with the overture, Rossini did not attempt to recompose this number -either. He simply let his prima donna sing anything she wanted to. -"_Rosina_ sings an air, ad libitum, for the occasion," reads the -direction in the libretto. Perhaps it was Giorgi-Righetti who first -selected "La Biondina in gondoletta," which was frequently sung in the -lesson scene by Italian prima donnas. Later there was substituted the -air "Di tanti palpiti" from the opera "Tancredi," which is known as -the "aria dei rizzi," or "rice aria," because Rossini, who was a great -gourmet, composed it while cooking his rice. Pauline Viardot-Garcia -(Garcia's daughter), like her father in the unhappy premire of the -opera, sang a Spanish song. This may have been "La Calesera," which -Adelina Patti also sang in Paris about 1867. Patti's other selections -at this time included the laughing song, the so-called "L'clat de -Rire" (Burst of Laughter) from Auber's "Manon Lescaut," as highly -esteemed in Paris in years gone by as Massenet's "Manon" now is. In -New York I have heard Patti sing, in this scene, the Arditi waltz, "Il -Bacio" (The Kiss); the bolero of Hlne, from "Les Vpres Siciliennes" -(The Sicilian Vespers), by Verdi; the "Shadow Dance" from Meyerbeer's -"Dinorah"; and, in concluding the scene, "Home, Sweet Home," which -never failed to bring down the house, although the navet with which -she sang it was more affected than affecting. - -Among prima donnas much earlier than Patti there were at least two, -Grisi and Alboni (after whom boxes were named at the Academy of Music) -who adapted a brilliant violin piece, Rode's "Air and Variations," to -their powers of vocalization and sang it in the lesson scene. I -mention this because the habit of singing an air with variations -persisted until Mme. Sembrich's time. She sang those by Proch, a -teacher of many prima donnas, among them Tietjens and Peschka-Leutner, -who sang at the Peace Jubilee in Boston (1872) and was the first to -make famous her teacher's coloratura variations, with "flauto -concertante." Besides these variations, Mme. Sembrich sang Strauss's -"Voce di Primavera" waltz, "Ah! non giunge," from "La Sonnambula," the -bolero from "The Sicilian Vespers" and "O luce di quest'anima," from -"Linda di Chamounix." The scene was charmingly brought to an end by -her seating herself at the pianoforte and singing, to her own -accompaniment, Chopin's "Maiden's Wish." Mme. Melba sang Arditi's -waltz, "Se Saran Rose," Massenet's "Sevillana," and the mad scene from -"Lucia," ending, like Mme. Sembrich, with a song to which she played -her own accompaniment, her choice being Tosti's "Mattinata." Mme. -Galli-Curci is apt to begin with the brilliant vengeance air from "The -Magic Flute," her encores being "L'clat de Rire" by Auber and -"Charmante Oiseau" (Pretty Bird) from David's "La Perle du Brsil" -(The Pearl of Brazil). "Home, Sweet Home" and "The Last Rose of -Summer," both sung by her to her own accompaniment, conclude this -interesting "lesson," in which every _Rosina_, although supposedly a -pupil receiving a lesson, must be a most brilliant and accomplished -prima donna. - -The artifices of opera are remarkable. The most incongruous things -happen. Yet because they do not occur in a drawing-room in real life, -but on a stage separated from us by footlights, we lose all sense of -their incongruity. The lesson scene occurs, for example, in an opera -composed by Rossini in 1816. But the compositions now introduced into -that scene not only are not by Rossini but, for the most, are modern -waltz songs and compositions entirely different from the class that a -voice pupil, at the time the opera was composed, could possibly have -sung. But so convincing is the fiction of the stage, so delightfully -lawless its artifices, that these things do not trouble us at all. -Mme. Galli-Curci, however, by her choice of the "Magic Flute" aria -shows that it is entirely possible to select a work that already was a -classic at the time "Il Barbiere" was composed, yet satisfies the -demand of a modern audience for brilliant vocalization in this scene. - -There is evidence that in the early history of "Il Barbiere," -Rossini's "Di tanti palpiti" (Ah! these heartbeats) from his opera -"Tancredi" (Tancred), not only was invariably sung by prima donnas in -the lesson scene, but that it almost became a tradition to use it in -this scene. In September, 1821, but little more than five years after -the work had its premire, it was brought out in France (Grand -Thtre, Lyons) with French text by Castil-Blaze, who also -superintended the publication of the score. - -"I give this score," he says, "as Rossini wrote it. But as several -pieces have been transposed to favour certain Italian opera singers, I -do not consider it useless to point out these transpositions here.... -Air No. 10, written in G, is sung in A." Air No. 10, published by -Castil-Blaze as an integral part of the score of "Il Barbiere," occurs -in the lesson scene. It is "Di tanti palpiti" from "Tancredi." - -[Music: Di tanti palpiti e tante pene] - -Readers familiar with the history of opera, therefore aware that -Alboni was a contralto, will wonder at her having appeared as -_Rosina_, when that rle is associated with prima donnas whose voices -are extremely high and flexible. But the rle was written for low -voice. Giorgi-Righetti, the first _Rosina_, was a contralto. As it now -is sung by high sopranos, the music of the rle is transposed from the -original to higher keys in order to give full scope for brilliant -vocalization on high notes. - -Many liberties have been taken by prima donnas in the way of vocal -flourishes and a general decking out of the score of "Il Barbiere" -with embellishments. The story goes that Patti once sang "Una voce -poco fa," with her own frills added, to Rossini, in Paris. - -"A very pretty song! Whose is it?" is said to have been the composer's -cutting comment. - -There is another anecdote about "Il Barbiere" which brings in -Donizetti, who was asked if he believed that Rossini really had -composed the opera in thirteen days. - -"Why not? He's so lazy," is the reported reply. - -If the story is true, Donizetti was a very forward young man. He was -only nineteen when "Il Barbiere" was produced, and had not yet brought -out his first opera. - -The first performance in America of "The Barber of Seville" was in -English at the Park Theatre, New York, May 3, 1819. (May 17th, cited -by some authorities, was the date of the third performance, and is so -announced in the advertisements.) Thomas Phillips was _Almaviva_ and -Miss Leesugg _Rosina_. "Report speaks in loud terms of the new opera -called 'The Barber of Seville' which is announced for this evening. -The music is said to be very splendid and is expected to be most -effective." This primitive bit of "publicity," remarkable for its day, -appeared in _The Evening Post_, New York, Monday, May 3, 1819. The -second performance took place May 7th. Much music was interpolated. -Phillips, as _Almaviva_, introduced "The Soldier's Bride," "Robin -Adair," "Pomposo, or a Receipt for an Italian Song," and "the -favourite duet with Miss Leesugg, of 'I love thee.'" (One wonders what -was left of Rossini's score.) In 1821 he appeared again with Miss -Holman as _Rosina_. - -That Phillips should have sung _Figaro_, a baritone rle in "Le Nozze -di Figaro," and _Almaviva_, a tenor part, in "Il Barbiere," may seem -odd. But in the Mozart opera he appeared in Bishop's adaptation, in -which the _Figaro_ rle is neither too high for a baritone, nor too -low for a tenor. In fact the liberties Bishop took with Mozart's score -are so great (and so outrageous) that Phillips need have hesitated at -nothing. - -On Tuesday, November 22, 1825, Manuel Garcia, the elder, issued the -preliminary announcement of his season of Italian opera at the Park -Theatre, New York. The printers appear to have had a struggle with the -Italian titles of operas and names of Italian composers. For _The -Evening Post_ announces that "The Opera of 'H. Barbiora di Seviglia,' -by Rosina, is now in rehearsal and will be given as soon as possible." -That "soon as possible" was the evening of November 29th, and is -regarded as the date of the first performance in this country of opera -in Italian. - - -SEMIRAMIDE - - Opera in two acts by Rossini, words by Gaetana Rossi, - founded on Voltaire's tragedy, "Smiramis." Produced, - February 3, 1823, Fenice Theatre, Venice; London, King's - Theatre, July 15, 1824; Paris, July 9, 1860, as Smiramis; - New York, April 25, 1826; 1855 (with Grisi and Vestivalli); - 1890 (with Patti and Scalchi). - - CHARACTERS - - SEMIRAMIDE, Queen of Babylon _Soprano_ - ARSACES, Commander of the Assyrian Army _Contralto_ - GHOST OF NINUS _Bass_ - OROE, Chief of the Magi _Bass_ - ASSUR, a Prince _Baritone_ - AZEMA, a Princess _Soprano_ - IDRENUS } { _Tenor_ - MITRANUS } of the royal house household { _Baritone_ - - Magi, Guards, Satraps, Slaves. - - _Time_--Antiquity. - - _Place_--Babylon. - -"Semiramide" seems to have had its day. Yet, were a soprano and a -contralto, capable of doing justice to the rles of _Semiramide_ and -_Arsaces_, to appear in conjunction in the operatic firmament the -opera might be successfully revived, as it was for Patti and Scalchi. -The latter, in her prime when she first appeared here, was one of the -greatest of contraltos. I think that all, who, like myself, had the -good fortune to hear that revival of "Semiramide," still consider the -singing by Patti and Scalchi of the duet, "Giorno d'orrore" (Day of -horror) the finest example of _bel canto_ it has been their privilege -to listen to. For beauty and purity of tone, smoothness of phrasing, -elegance, and synchronization of embellishment it has not been -equalled here since. - -In the first act of the opera is a brilliant aria for _Semiramide_, -"Bel raggio lusinghier" (Bright ray of hope),--the one piece that has -kept the opera in the phonograph repertoire. - -[Music: Bel raggio lusinghier] - -A priests' march and chorus, which leads up to the finale of the first -act, is accompanied not only by orchestra, but also by full military -band on the stage, the first instance of the employment of the latter -in Italian opera. The duet, "Giorno d'orrore," is in the second act. - -[Music] - -For many years the overture to "Semiramide" was a favourite at popular -concerts. It was admired for the broad, hymnlike air in the -introduction, which in the opera becomes an effective chorus, - -[Music] - -and for the graceful, lively melody, which is first announced on the -clarinet. I call it "graceful" and "lively," and so it would be -considered today. But in the opera it accompanies - -[Music] - -the cautious entrance of priests into a darkened temple where a deep -mystery is impending, and, at the time the opera was produced, this -music, which now we would describe as above, was supposed to be -"shivery" and gruesome. In fact the scene was objected to by audiences -of that now seemingly remote period, on the ground that the orchestra -was too prominent and that, in the treatment of the instrumental score -to his operas, Rossini was leaning too heavily toward German models! -But this, remember, was in 1824. - -The story of "Semiramide" can be briefly told. _Semiramide_, Queen of -Babylon, has murdered her husband, _Ninus_, the King. In this deed she -was assisted by _Prince Assur_, who expects to win her hand and the -succession to the throne. - -_Semiramide_, however, is enamoured of a comely youth, _Arsaces_, -victorious commander of her army, and supposedly a Scythian, but in -reality her own son, of which relationship only _Oroe_, the chief -priest of the temple, is aware. _Arsaces_ himself is in love with the -royal Princess _Azema_. - -At a gathering in the temple, the gates of the tomb of _Ninus_ are -opened as if by invisible hands. The shade of _Ninus_ announces that -_Arsaces_ shall be his successor; and summons him to come to the tomb -at midnight there to learn the secret of his assassination. - -Enraged at the prophecy of the succession of _Arsaces_ and knowing of -his coming visit to the tomb of _Ninus_, _Assur_ contrives to enter -it; while _Semiramide_, who now knows that the young warrior is her -son, comes to the tomb to warn him against _Assur_. The three -principal personages in the drama are thus brought together at its -climax. _Assur_ makes what would be a fatal thrust at _Arsaces_. -_Semiramide_ interposes herself between the two men and receives the -death wound. _Arsaces_ then fights and kills _Assur_, ascends the -throne and weds _Azema_. - -According to legend, Semiramis, when a babe, was fed by doves; and, -after reigning for forty-two years, disappeared or was changed into a -dove and flew away. For the first New York performance Garcia -announced the work as "La Figlia dell'Aria, or Semiramide" (The -Daughter of the Air, etc.). - - -GUILLAUME TELL - -WILLIAM TELL - - Opera by Rossini, originally in five acts, cut down to three - by omitting the third act and condensing the fourth and - fifth into one, then rearranged in four; words by "Jouy" - (V.J. tienne), rearranged by Hippolyte and Armand Marast. - Produced, Grand Opra, Paris, August 3, 1829, Nourrit being - the original _Arnold_; revived with Duprez, 1837. Italy, - "Guglielmo Tell," at Lucca, September 17, 1831. London, - Drury Lane, 1830, in English; Her Majesty's Theatre, 1839, - in Italian. In New York the title rle has been sung by Karl - Formes, who made his first American tour in 1857. The - interpreters of _Arnold_ have included the Polish tenor - Mierzwinski at the Academy of Music, and Tamagno. - - CHARACTERS - - WILLIAM TELL _Baritone_ - HEDWIGA, Tell's wife _Soprano_ - JEMMY, Tell's son _Soprano_ - ARNOLD, suitor of Matilda _Tenor_ - MELCTHAL, Arnold's father _Bass_ - GESSLER, governor of Schwitz and Uri _Bass_ - MATILDA, Gessler's daughter _Soprano_ - RUDOLPH, captain in Gessler's guard _Tenor_ - WALTER FURST _Bass_ - LEUTHOLD, a shepherd _Bass_ - RUEDI, a fisherman _Tenor_ - - Peasants, Knights, Pages, Ladies, Hunters, Soldiers, Guards, - and three Bridal Couples. - - _Time_--Thirteenth Century. - - _Place_--Switzerland. - -_Arnold_, a Swiss patriot and son of the venerable Swiss leader, -_Melcthal_, has saved from drowning _Matilda_, daughter of the -Austrian tyrant _Gessler_, whom the Swiss abhor. _Arnold_ and -_Matilda_ have fallen in love with each other. - -Act I. A beautiful May morning has dawned over the Lake of Lucerne, on -which _Tell's_ house is situated. It is the day of the Shepherd -Festival. According to ancient custom the grey-haired _Melcthal_ -blesses the loving couples among them. But his own son, _Arnold_, does -not ask a blessing of the old man. Yet, although he loves _Matilda_, -his heart also belongs to his native land. The festival is interrupted -by the sound of horns. It is the train of _Gessler_, the hated tyrant. -_Leuthold_ rushes in, breathless. In order to protect his daughter -from dishonour, he has been obliged to kill one of _Gessler's_ -soldiers. He is pursued. To cross the lake is his only means of -escape. But who will take him in the face of the storm that is coming -up? _Tell_ wastes no time in thinking. He acts. It is the last -possible moment. _Gessler's_ guards already are seen, _Rudolph_ at -their head. With _Tell's_ aid the fugitive escapes them, but they turn -to the country folk, and seize and carry off old _Melcthal_. - -Act II. In a valley by a lake _Arnold_ and _Matilda_ meet and again -pledge their love. _Arnold_ learns from _Tell_ and _Walter_ that his -father has been slain by _Gessler's_ order. His thoughts turn to -vengeance. The three men bind themselves by oath to free Switzerland. -The cantons gather and swear to throw off the Austrian yoke. - -Act III. The market-place in Altdorf. It is the hundredth anniversary -of Austrian rule in Switzerland. Fittingly to celebrate the day -_Gessler_ has ordered his hat to be placed on top of a pole. The Swiss -are commanded to make obeisance to the hat. _Tell_ comes along holding -his son _Jemmy_ by the hand. He refuses to pay homage to the hat. As -in him is also recognized the man who saved _Leuthold_, he must be -punished. _Gessler_ cynically orders him to shoot an apple from -_Jemmy's_ head. The shot succeeds. Fearless, as before, _Tell_ informs -_Gessler_ that the second arrow was intended for him, had the first -missed its mark. _Tell's_ arrest is ordered, but the armed Swiss, who -have risen against Austria, approach. _Gessler_ falls by _Tell's_ -shot; the fight ends with the complete victory for the Swiss. -_Matilda_ who still loves _Arnold_ finds refuge in his arms. - -"Guillaume Tell" is the only opera by an Italian of which it can be -said that the overture has gained world-wide fame, and justly so, -while the opera itself is so rarely heard that it may almost be said -to have passed out of the repertoire. Occasionally it is revived for -the benefit of a high tenor like Tamagno. In point of fact, however, -it is too good a work to be made the vehicle of a single operatic -star. It is a question if, with a fine ensemble, "Guillaume Tell" -could not be restored to the list of operas regularly given. Or, is it -one of those works more famous than effective; and is that why, at -this point I am reminded of a passage in Whistler's "Ten O'clock"? The -painter is writing of art and of how little its spirit is affected by -the personality of the artist, or even by the character of a whole -people. - -"A whimsical goddess," he writes, "and a capricious, her strong sense -of joy tolerates no dullness, and, live we never so spotlessly, still -may she turn her back upon us. - -"As, from time immemorial, has she done upon the Swiss in their -mountains. - -"What more worthy people! Whose every Alpine gap yawns with tradition, -and is stocked with noble story; yet, the perverse and scornful one -will none of it, and the sons of patriots are left with the clock that -turns the mill, and the sudden cuckoo, with difficulty restrained in -its box!" - -Because we associate Switzerland with tourists, personally conducted -and otherwise, with hotels, guides, and a personnel trained to -welcome, entertain, and speed the departing guest, is it difficult for -us to grasp the heroic strain in "Guillaume Tell"? Surely it is a -picturesque opera; and Switzerland has a heroic past. Probably the -real reasons for the lack of public interest in the opera are the -clumsy libretto and the fact that Rossini, an Italian, was not wholly -in his element in composing a grand opera in the French style, which -"Guillaume Tell" is. It would be difficult to point out just how and -where the style hampered the composer, but there constantly is an -undefined feeling that it did--that the score is not as spontaneous -as, for example, "The Barber of Seville"; and that, although -"Guillaume Tell" is heroic, the "sudden cuckoo, with difficulty -restrained in its box," may at any time pop out and join in the -proceedings. - -The care which Rossini bestowed on this work is seen in the layout and -composition of the overture, which as an instrumental number is as -fine a _tour de force_ as his "Una voce poco fa," "Bel raggio," or -"Giorno d'orrore" are for voice. The slow introduction denotes Alpine -calm. There is a beautiful passage for violoncellos, which has been -quoted in books on instrumentation. In it Rossini may well have harked -back to his student years, when he was a pupil in violoncello playing -at the conservatory in Bologna. The calm is followed by a storm and -this, in turn, by a "Ranz des Vaches." The final section consists of a -trumpet call, followed by a fast movement, which can be played so as -to leave the hearer quite breathless. It is supposed to represent the -call to arms and the uprising of the Swiss against their Austrian -oppressors, whose yoke they threw off. - -The most striking musical number in the first act of the opera, is -_Arnold's_ "Ah, Matilda." - -[Music: Ah! Matilda, io t'amo, t'adoro [Transcriber's Note: original -ends with incorrect 'e amoe']] - -A tenor with powerful high tones in his voice always can render this -with great effect. In fact it is so effective that its coming so early -in the work is a fault of construction which in my opinion has been a -factor in the non-success of the opera as a whole. Even a tenor like -Mierzwinski, "a natural singer of short-lived celebrity," with -remarkable high notes, in this number could rouse to a high pitch of -enthusiasm an audience that remained comparatively calm the rest of -the evening. - -The climax of the second act is the trio between _Arnold_, _Tell_, and -_Walter_, followed by the assembly of the cantons and the taking of -the oath to conquer or die ("La gloria infiammi--i nostri petti"--May -glory our hearts with courage exalt). - -Its most effective passage begins as follows: - -[Music] - -Another striking musical number is _Arnold's_ solo in the last act, at -sight of his ruined home, "O muto asil" (O, silent abode). - -The opera ends with a hymn to liberty, "I boschi, i monti" (Through -forests wild, o'er mountain peaks). - -At the initial performance of "Guillaume Tell" in Paris, there was no -indication that the opera was not destined to remain for many years in -the repertoire. It was given fifty-six times. Then, because of the -great length of the opera, only the second act was performed in -connection with some other work, until the sensational success of -Duprez, in 1837, led to a revival. - -"Guillaume Tell," given in full, would last nearly five hours. The -poor quality of the original libretto by "Jouy" led to the revision by -Bis, but even after that there had to be cuts. - -"Ah, Maestro," exclaimed an enthusiastic admirer of Rossini to that -master, "I heard your 'William Tell' at the Opera last night!" - -"What?" asked Rossini. "The whole of it?" - -Clever; but by his question Rossini unconsciously put his finger on -the weak spot of the opera he intended to be his masterpiece. Be it -never so well given, it is long-winded. - - - - -Vincenzo Bellini - -(1802-1835) - - -Bellini, born in Catania, Sicily, November 3, 1802, is the composer of -"La Sonnambula," one of the most popular works of the old type of -Italian opera still found in the repertoire. "I Puritani," another -work by him, was given for the opening of two New York opera houses, -Palmo's in 1844, and Hammerstein's Manhattan, in 1903. But it -maintains itself only precariously. "Norma" is given still more -rarely, although it contains "Casta diva," one of the most famous -solos for soprano in the entire Italian repertory. - -This composer died at the village of Puteaux, France, September 23, -1835, soon after the highly successful production of "I Puritani" in -Paris, and while he was working on a commission to compose two operas -for the San Carlo Theatre, Naples, which had come to him through the -success of "Puritani." He was only thirty-two. - -It is not unlikely that had this composer, with his facile and -graceful gift for melody, lived longer he would have developed, as -Verdi did, a maturer and broader style, and especially have paid more -attention to the instrumentation of his operas, a detail which he -sadly neglected. - - -LA SONNAMBULA - -THE SLEEPWALKER - - Opera in three acts by Bellini, words by Felice Romani. - Produced, Carcano Theatre, Milan, March 6, 1831. London, - King's Theatre, July 28, 1831; in English, Drury Lane, May - 1, 1833. New York, Park Theatre, November 13, 1835, in - English, with Brough, Richings, and Mr. and Mrs. Wood; in - Italian, Palmo's Opera House, May 11, 1844; frequently sung - by Gerster and by Adelina Patti at the Academy of Music, and - at the Metropolitan Opera House by Sembrich; at the - Manhattan Opera House by Tetrazzini. - - CHARACTERS - - COUNT RODOLPHO, Lord of the castle _Bass_ - TERESA, proprietress of the mill _Soprano_ - AMINA, her foster daughter _Soprano_ - LISA, proprietress of the village inn _Soprano_ - ELVINO, a young farmer _Tenor_ - ALESSIO, a villager _Bass_ - - Notary, Villagers, etc. - - _Time_--Early Nineteenth Century. - - _Place_--A Village in Switzerland. - -Act I. The village green. On one side an inn. In the background a -water mill. In the distance mountains. As the curtain rises the -villagers are making merry, for they are about to celebrate a nuptial -contract between _Amina_, an orphan brought up as the foster-child of -_Teresa_, the mistress of the village mill, and _Elvino_, a young -landowner of the neighbourhood. These preparations, however, fill with -jealousy the heart of _Lisa_, the proprietress of the inn. For she is -in love with _Elvino_. Nor do _Alessio's_ ill-timed attentions please -her. _Amina_ enters under the care of _Teresa_, and returns her thanks -to her neighbours for their good wishes. She has two attractive solos. -These are "Come per me sereno" (How, for me brightly shining) - -[Music: Come per me sereno] - -and "Sovra il sen la man mi posa" (With this heart its joy -revealing). - -[Music: Sovra il sen la man mi posa,] - -Both are replete with grace and charm. - -When the village _Notary_ and _Elvino_ appear the contract is signed -and attested, and _Elvino_ places a ring on _Amina's_ finger. Duet: -"Prendi, l'anel ti dono" (Take now the ring I give you), a composition -in long-flowing expressive measures. - -Then the village is startled by the crack of whips and the rumble of -wheels. A handsome stranger in officer's fatigue uniform appears. He -desires to have his horses watered and fed, before he proceeds to the -castle. The road is bad, night is approaching. Counselled by the -villagers, and urged by _Lisa_, the officer consents to remain the -night at the inn. - -The villagers know it not at this time, but the officer is _Rodolpho_, -the lord of the castle. He looks about him and recalls the scenes of -his youth: "Vi ravviso" (As I view). - -[Music: Vi ravviso a luoghi ameni,] - -He then gallantly addresses himself to _Amina_ in the charming air, -"Tu non sai con quei begli occhi" (You know not, maid, the light your -eyes within). - -[Music: Tu non sai con quei begli occhi,] - -_Elvino_ is piqued at the stranger's attentions to his bride, but -_Teresa_ warns all present to retire, for the village is said to be -haunted by a phantom. The stranger treats the superstition lightly, -and, ushered in by _Lisa_, retires to the village inn. All then wend -their several ways homeward. _Elvino_, however, finds time to upbraid -_Amina_ for seemingly having found much pleasure in the stranger's -gallant speeches, but before they part there are mutual concessions -and forgiveness. - -Act II. _Rodolpho's_ sleeping apartment at the inn. He enters, -conducted by _Lisa_. She is coquettish, he quite willing to meet her -halfway in taking liberties with her. He learns from her that his -identity as the lord of the castle has now been discovered by the -villagers, and that they will shortly come to the inn to offer their -congratulations. - -He is annoyed, but quite willing that _Lisa's_ attractions shall atone -therefor. At that moment, however, there is a noise without, and -_Lisa_ escapes into an adjoining room. In her haste she drops her -handkerchief, which _Rodolpho_ picks up and hangs over the bedpost. A -few moments later he is amazed to see _Amina_, all in white, raise his -window and enter his room. He realizes almost immediately that she is -walking in her sleep, and that it is her somnambulism which has given -rise to the superstition of the village phantom. In her sleep _Amina_ -speaks of her approaching marriage, of _Elvino's_ jealousy, of their -quarrel and reconciliation. _Rodolpho_, not wishing to embarrass her -by his presence should she suddenly awaken, extinguishes the candles, -steps out of the window and closes it lightly after him. Still asleep -_Amina_ sinks down upon the bed. - -The villagers enter to greet _Rodolpho_. As the room is darkened, and, -to their amusement, they see the figure of a woman on the bed, they -are about to withdraw discreetly, when _Lisa_, who knows what has -happened, enters with a light, brings in _Elvino_, and points out -_Amina_ to him. The light, the sounds, awaken her. Her natural -confusion at the situation in which she finds herself is mistaken by -_Elvino_ for evidence of guilt. He casts her off. The others, save -_Teresa_, share his suspicions. _Teresa_, in a simple, natural way, -takes the handkerchief hanging over the bedpost and places it around -_Amina's_ neck, and when the poor, grief-stricken girl swoons, as -_Elvino_ turns away from her, her foster-mother catches her in her -arms. - -In this scene, indeed in this act, the most striking musical number is -the duet near the end. It is feelingly composed, and, as befits the -situation of a girl mistakenly, yet none the less cruelly, accused by -her lover, is almost wholly devoid of vocal embellishment. It begins -with _Amina's_ protestations of innocence: "D'un pensiero, e d'un -accento" (Not in thought's remotest region). - -When _Elvino's_ voice joins hers there is no comfort for her in his -words. He is still haunted by dark suspicions. - -[Music] - -An unusual and beautiful effect is the closing of the duet with an -expressive phrase for tenor alone: "Questo pianto del mio cor" (With -what grief my heart is torn). - -[Music] - -Act III, Scene 1. A shady valley between the village and the castle. -The villagers are proceeding to the castle to beg _Rodolpho_ to -intercede with _Elvino_ for _Amina_. _Elvino_ meets _Amina_. Still -enraged at what he considers her perfidy, he snatches from her finger -the ring he gave her. _Amina_ still loves him. She expresses her -feelings in the air: "Ah! perch non posso odiarti" (Ah! Why is it I -cannot hate him [Transcriber's Note: should be 'hate you']). - -Scene 2. The village, near _Teresa's_ mill. Water runs through the -race and the wheel turns rapidly. A slender wooden bridge, spanning -the wheel, gives access from some dormer lights in the millroof to an -old stone flight of steps leading down to the foreground. - -_Lisa_ has been making hay while the sun shines. She has induced -_Elvino_ to promise to marry her. Preparations for the wedding are on -foot. The villagers have assembled. _Rodolpho_ endeavours to dissuade -_Elvino_ from the step he is about to take. He explains that _Amina_ -is a somnambulist. But _Elvino_ has never heard of somnambulism. He -remains utterly incredulous. - -_Teresa_ begs the villagers to make less disturbance, as poor _Amina_ -is asleep in the mill. The girl's foster-mother learns of _Elvino's_ -intention of marrying _Lisa_. Straightway she takes from her bosom -_Lisa's_ handkerchief, which she found hanging over _Rodolpho's_ -bedpost. _Lisa_ is confused. _Elvino_ feels that she, too, has -betrayed him. _Rodolpho_ again urges upon _Elvino_ that _Amina_ never -was false to him--that she is the innocent victim of sleepwalking. - -"Who can prove it?" _Elvino_ asks in agonized tones. - -"Who? She herself!--See there!" exclaims _Rodolpho_. - -For at that very moment _Amina_, in her nightdress, lamp in hand, -emerges from a window in the mill roof. She passes along, still -asleep, to the lightly built bridge spanning the mill wheel, which is -still turning round quickly. Now she sets foot on the narrow, insecure -bridge. The villagers fall on their knees in prayer that she may cross -safely. _Rodolpho_ stands among them, head uncovered. As _Amina_ -crosses the bridge a rotting plank breaks under her footsteps. The -lamp falls from her hand into the torrent beneath. She, however, -reaches the other side, and gains the stone steps, which she descends. -Still walking in her sleep, she advances to where stand the villagers -and _Rodolpho_. She kneels and prays for _Elvino_. Then rising, she -speaks of the ring he has taken from her, and draws from her bosom the -flowers given to her by him on the previous day. "Ah! non credea -mirarti s presto estinto, o fiore" (Scarcely could I believe it that -so soon thou would'st wither, O blossoms). - -[Music: Ah! non credea mirarti s presto estinto, o fiore,] - -Gently _Elvino_ replaces the ring upon her finger, and kneels before -her. "Viva Amina!" cry the villagers. She awakens. Instead of sorrow, -she sees joy all around her, and _Elvino_, with arms outstretched, -waiting to beg her forgiveness and lead her to the altar. - - "Ah! non giunge uman pensiero - Al contento ond'io son piena" - (Mingle not an earthly sorrow - With the rapture now o'er me stealing). - -[Music: - - Ah! non giunge uman pensiero - Al contento ond'io son piena] - -It ends with this brilliant passage: - -[Music] - -The "Ah! non giunge" is one of the show-pieces of Italian opera. Nor -is its brilliance hard and glittering. It is the brightness of a -tender soul rejoicing at being enabled to cast off sorrow. Indeed, -there is about the entire opera a sweetness and a gentle charm, that -go far to account for its having endured so long in the repertoire, -out of which so many works far more ambitious have been dropped. - -Opera-goers of the old Academy of Music days will recall the bell-like -tones of Etelka Gerster's voice in "Ah! non giunge"; nor will they -ever forget the bird-like, spontaneous singing in this rle of Adelina -Patti, gifted with a voice and an art such as those who had the -privilege of hearing her in her prime have not heard since, nor are -likely to hear again. Admirers of Mme. Sembrich's art also are justly -numerous, and it is fortunate for habitus of the Metropolitan that -she was so long in the company singing at that house. She was a -charming _Amina_. Tetrazzini was brilliant in "La Sonnambula." -_Elvino_ is a stick of a rle for tenor. _Rodolpho_ has the redeeming -grace of chivalry. _Amina_ is gentle, charming, appealing. - -The story of "Sonnambula" is simple and thoroughly intelligible, which -cannot be said for all opera plots. The mainspring of the action is -the interesting psycho-physical manifestation of somnambulism. This is -effectively worked out. The crossing of the bridge in the last scene -is a tense moment in the simple story. It calls for an interesting -stage "property"--the plank that breaks without precipitating _Amina_, -who sometimes may have more embonpoint than voice, into the mill-race. -All these elements contribute to the success of "La Sonnambula," -which, produced in 1831, still is a good evening's entertainment. - -_Amina_ was one of Jenny Lind's favourite rles. There is a beautiful -portrait of her in the character by Eichens. It shows her, in the last -act, kneeling and singing "Ah! non credea," and is somewhat of a -rarity. A copy of it is in the print department of the New York Public -Library. It is far more interesting than her better known portraits. - - -NORMA - - Opera in two acts, by Bellini; words by Felice Romani, based - on an old French story. Produced, December 26, 1831, Milan. - King's Theatre, June 20, 1833, in Italian; Drury Lane, June - 24, 1837, in English. Paris, Thtre des Italiens, 1833. - New York, February 25, 1841, at the Park Theatre; October 2, - 1854, for the opening of the Academy of Music, with Grisi, - Mario, and Susini; December 19, 1891, Metropolitan Opera - House, with Lilli Lehmann as _Norma_. - - CHARACTERS - - POLLIONE, Roman Pro-consul in Gaul _Tenor_ - OROVESO, Archdruid, father of Norma _Bass_ - NORMA, High-priestess of the druidical - temple of Esus _Soprano_ - ADALGISA, a virgin of the temple _Contralto_ - CLOTILDA, Norma's confidante _Soprano_ - FLAVIUS, a centurion _Tenor_ - - Priests, Officers of the Temple, Gallic Warriors, - Priestesses and Virgins of the Temple, and Two Children of - Norma and Pollione. - - _Time_--Roman Occupation, about 50 B.C. - - _Place_--Gaul. - -Act I. Sacred grove of the Druids. The high priest _Oroveso_ comes -with the Druids to the sacred grove to beg of the gods to rouse the -people to war and aid them to accomplish the destruction of the -Romans. Scarcely have they gone than the Roman Pro-consul _Pollione_ -appears and confides to his Centurion, _Flavius_, that he no longer -loves _Norma_, although she has broken her vows of chastity for him -and has borne him two sons. He has seen _Adalgisa_ and loves her. - -At the sound of the sacred instrument of bronze that calls the Druids -to the temple, the Romans disappear. The priests and priestesses -approach the altar. _Norma_, the high-priestess, daughter of -_Oroveso_, ascends the steps of the altar. No one suspects her -intimacy with the Roman enemy. But she loves the faithless man and -therefore seeks to avert the danger that threatens him, should Gaul -rise against the Romans, by prophesying that Rome will fall through -its own weakness, and declaring that it is not yet the will of the -gods that Gaul shall go to war. She also prays to the "chaste goddess" -for the return of the Roman leader, who has left her. Another -priestess is kneeling in deep prayer. This is _Adalgisa_, who also -loves _Pollione_. - -The scene changes and shows _Norma's_ dwelling. The priestess is -steeped in deep sadness, for she knows that _Pollione_ plans to desert -her and their offspring, although she is not yet aware of her rival's -identity. _Adalgisa_ comes to her to unburden her heart to her -superior. She confesses that to her faith she has become untrue -through love--and love for a Roman. _Norma_, thinking of her own -unfaithfulness to her vows, is about to free _Adalgisa_ from hers, -when _Pollione_ appears. Now she learns who the beloved Roman of -_Adalgisa_ is. But the latter turns from _Pollione_. She loves _Norma_ -too well to go away with the betrayer of the high-priestess. - -Act II. _Norma_, filled with despair, is beside the cradle of her -little ones. An impulse to kill them comes over her. But motherhood -triumphs over unrequited love. She will renounce her lover. _Adalgisa_ -shall become the happy spouse of _Pollione_, but shall promise to take -the place of mother to her children. _Adalgisa_, however, will not -hear of treachery to _Norma_. She goes to _Pollione_, but only to -remind him of his duty. - -The scene changes again to a wooded region of the temple in which the -warriors of Gaul have gathered. _Norma_ awaits the result of -_Adalgisa's_ plea to _Pollione_; then learns that she has failed and -has come back to the grove to pass her life as a priestess. _Norma's_ -wrath is now beyond control. Three times she strikes the brazen -shield; and, when the warriors have gathered, they joyfully hear her -message: War against the Romans! But with their deep war song now -mingles the sound of tumult from the temple. A Roman has broken into -the sacred edifice. He has been captured. It is _Pollione_, who she -knows has sought to carry off _Adalgisa_. The penalty for his -intrusion is death. But _Norma_, moved by love to pity, and still -hoping to save her recreant lover, submits a new victim to the -enraged Gauls--a perjured virgin of the priesthood. - -"Speak, then, and name her!" they cry. - -To their amazement she utters her own name, then confesses all to her -father, and to his care confides her children. - -A pyre has been erected. She mounts it, but not alone. _Pollione_, his -love rekindled at the spectacle of her greatness of soul, joins her. -In the flames he, too, will atone for their offences before God. - - * * * * * - -The ambition of every dramatic soprano of old was to don the robes of -a priestess, bind her brow with the mystic vervain, take in her hand a -golden sickle, and appear in the sacred grove of the Druids, there to -invoke the chaste goddess of the moon in the famous "Casta diva." -Prima donnas of a later period found further inspiration thereto in -the beautiful portrait of Grisi as _Norma_. Perhaps the last to yield -to the temptation was Lilli Lehmann, who, not content with having -demonstrated her greatness as _Brnnhilde_ and _Isolde_, desired in -1891, to demonstrate that she was also a great _Norma_, a -demonstration which did not cause her audience to become unduly -demonstrative. The fact is, it would be difficult to revive -successfully "Norma" as a whole, although there is not the slightest -doubt that "Casta diva, che in argenti" (Chaste goddess, may thy -silver beam), is one of the most exquisite gems of Italian song. - -[Music: Casta Diva,] - -It is followed immediately by "Ah! bello a me ritorna" (Beloved, -return unto me), which, being an allegro, contrasts effectively with -the long, flowing measures of "Casta diva." - -Before this in the opera there has occurred another familiar number, -the opening march and chorus of the Druids, "Dell'aura tua profetica" -(With thy prophetic oracle). - -[Music] - -There is a fine trio for _Norma_, _Adalgisa_, and _Pollione_, at the -end of the first act, "Oh! di qual sei tu vittima" (O, how his art -deceived you). - -[Music: Oh! di qual sei tu vittima] - -In the scene between _Norma_ and _Adalgisa_, in the second act, is the -duet, "Mira, O, Norma!" (Hear me, Norma). - -[Music: Mira, o, Norma! a' tuoi ginocchi,] - -Among the melodious passages in the opera, this is second in beauty -only to "Casta diva." - - -I PURITANI - -THE PURITANS - - Opera in three acts, by Bellini; words by Count Pepoli. - Produced, Paris, Thtre des Italiens, January 25, 1835, - with Grisi as _Elvira_, Rubini as _Arturo_, Tamburini as - _Riccardo_ and Lablache as _Giorgio_. London, King's - Theatre, May 21, 1835, in Italian (I Puritani ed i - Cavalieri). New York, February 3, 1844; Academy of Music, - 1883, with Gerster; Manhattan Opera House, December 3, 1906, - with Bonci as _Arturo_, and Pinkert as _Elvira_; and in 1909 - with Tetrazzini as _Elvira_. - - CHARACTERS - - LORD GAUTIER WALTON of the Puritans _Bass_ - SIR GEORGE WALTON, his brother, - of the Puritans _Bass_ - LORD ARTHUR TALBOT, of the Cavaliers _Tenor_ - SIR RICHARD FORTH, of the Puritans _Baritone_ - SIR BENNO ROBERTSON, of the Puritans _Tenor_ - HENRIETTA, of France, widow of Charles I. _Soprano_ - ELVIRA, daughter of Lord Walton _Soprano_ - - Puritans, Soldiers of the Commonwealth, Men-at-Arms, Women, - Pages, etc. - - _Time_--During the Wars between Cromwell and the Stuarts. - - _Place_--Near Plymouth, England. - -Act I is laid in a fortress near Plymouth, held by _Lord Walton_ for -Cromwell. _Lord Walton's_ daughter, _Elvira_, is in love with _Lord -Arthur Talbot_, a cavalier and adherent of the Stuarts, but her father -has promised her hand to _Sir Richard Forth_, like himself a follower -of Cromwell. He relents, however, and _Elvira_ is bidden by her uncle, -_Sir George Walton_, to prepare for her nuptials with _Arthur_, for -whom a safe-conduct to the fortress has been provided. - -_Queen Henrietta_, widow of Charles I., is a prisoner in the fortress. -On discovering that she is under sentence of death, _Arthur_, loyal to -the Stuarts, enables her to escape by draping her in _Elvira's_ bridal -veil and conducting her past the guards, as if she were the bride. -There is one critical moment. They are met by _Sir Richard_, who had -hoped to marry _Elvira_. The men draw their swords, but a -disarrangement of the veil shows _Sir Richard_ that the woman he -supposes to be _Lord Arthur's_ bride is not _Elvira_. He permits them -to pass. When the escape is discovered, _Elvira_, believing herself -deserted, loses her reason. Those who had gathered for the nuptials, -now, in a stirring chorus, invoke maledictions upon _Arthur's_ head. - -Act II plays in another part of the fortress. It concerns itself -chiefly with the exhibition of _Elvira's_ madness. But it has also the -famous martial duet, "Suoni la tromba" (Sound the trumpet), in which -_Sir George_ and _Sir Richard_ announce their readiness to meet -_Arthur_ in battle and strive to avenge _Elvira's_ sad plight. - -Act III is laid in a grove near the fortress. _Arthur_, although -proscribed, seeks out _Elvira_. Her joy at seeing him again -temporarily lifts the clouds from her mind, but renewed evidence of -her disturbed mental state alarms her lover. He hears men, whom he -knows to be in pursuit of him, approaching, and is aware that capture -means death, but he will not leave _Elvira_. He is apprehended and is -about to be executed when a messenger arrives with news of the defeat -of the Stuarts and a pardon for all prisoners. _Arthur_ is freed. The -sudden shock of joy restores _Elvira's_ reason. The lovers are united. - - * * * * * - -As an opera "I Puritani" lacks the navet of "La Sonnambula," nor has -it any one number of the serene beauty of the "Casta diva" in "Norma." -Occasionally, however, it is revived for a tenor like Bonci, whose -elegance of phrasing finds exceptional opportunity in the rle of -_Arthur_; or for some renowned prima donna of the brilliant coloratura -type, for whom _Elvira_ is a grateful part. - -The principal musical numbers are, in act first, _Sir Richard Forth's_ -cavatina, "Ah! per sempre io ti perdei" (Ah! forever have I lost -thee); _Arthur's_ romance, "A te o cara" (To thee, beloved); - -[Music: A te o cara, amor talora,] - -and _Elvira's_ sparkling polacca, "Son vergin vezzosa" (I am a -blithesome maiden). - -[Music: Son vergin vezzosa, in vesto di sposa,] - -In the second act we have _Elvira's_ mad scene, "Qui la voce sua -soave" (It was here in sweetest accents). - -[Music: Qui la voce sua soave] - -For _Elvira_ there also is in this act the beautiful air, "Vien, -diletto" (Come, dearest love). - -The act closes with the duet for baritone and bass, between _Sir -Richard_ and _Sir George_, "Suoni la tromba," a fine proclamation of -martial ardour, which "in sonorousness, majesty and dramatic -intensity," as Mr. Upton writes, "hardly has an equal in Italian -opera." - -[Music: - - Suoni la tromba, e intrepido - Io pugner da forte;] - -"A una fonte afflitto e solo" (Sad and lonely by a fountain), a -beautiful number for _Elvira_ occurs in the third act. - -There also is in this act the impassioned "Star teco ognor" (Still to -abide), for _Arthur_, with _Elvira's_ reply, "Caro, non ho parola" -(All words, dear love are wanting). - -It was in the duet at the end of Act II, on the occasion of the -opera's revival for Gerster, that I heard break and go to pieces the -voice of Antonio Galassi, the great baritone of the heyday of Italian -opera at the Academy of Music. "Suoni la tromba!"--He could sound it -no more. The career of a great artist was at an end. - -"I Puritani" usually is given in Italian, several of the characters -having Italian equivalents for English names--_Arturo_, _Riccardo_, -_Giorgio_, _Enrichetta_, etc. - -The first performance in New York of "I Puritani," which opened -Palmo's Opera House, was preceded by a "public rehearsal," which was -attended by "a large audience composed of the Boards of Aldermen, -editors, police officers, and musical people," etc. Signora Borghese -and Signor Antognini "received vehement plaudits." Antognini, however, -does not appear in the advertised cast of the opera. Signora Borghese -was _Elvira_, Signor Perozzi _Arturo_, and Signor Valtellino -_Giorgio_. The performance took place Friday, February 2, 1844. - - - - -Gaetano Donizetti - -(1797-1848) - - -The composer of "Lucia di Lammermoor," an opera produced in 1835, but -seemingly with a long lease of life yet ahead of it, was born at -Bergamo, November 29, 1797. He composed nearly seventy operas. - -His first real success, "Anna Bolena," was brought out in Rome, in -1830. Even before that, however, thirty-one operas by him had been -performed. Of his many works, the comparatively few still heard -nowadays are, in the order of their production, "L'Elisire d'Amore," -"Lucrezia Borgia," "Lucia di Lammermoor," "La Figlia del Reggimento," -"La Favorita," "Linda di Chamounix," and "Don Pasquale." A clever -little one-act comedy opera, "Il Campanello di Notte" (The Night Bell) -was revived in New York in the spring of 1917. - -With a gift for melody as facile as Bellini's, Donizetti is more -dramatic, his harmonization less monotonous, and his orchestration -more careful. This is shown by his choice of instruments for special -effects, like the harp solo preceding the appearance of _Lucia_, the -flute obligato in the mad scene in the opera of which she is the -heroine, and the bassoons introducing "Una furtiva lagrima," in -"L'Elisire d'Amore." He is a distinct factor in the evolution of -Italian opera from Rossini to and including Verdi, from whom, in turn, -the living Italian opera composers of note derive. - -Donizetti's father was a weaver, who wished his son to become a -lawyer. But he finally was permitted to enter the conservatory at -Bergamo, where, among other teachers, he had J.H. Mayr in harmony. He -studied further, on Mayr's recommendation, with Padre Martini. - -As his father wanted him to teach so that he would be self-supporting, -he enlisted in the army, and was ordered to Venice. There in his -leisure moments he composed his first opera, "Enrico di Borgogna," -produced, Venice, 1818. In 1845 he was stricken with paralysis. He -died at Bergamo, April 8, 1848. - - -L'ELISIRE D'AMORE - -THE ELIXIR OF LOVE - - Opera, in two acts. Music by Donizetti; words by Felice - Romani. Produced, Milan, May 12, 1832; London, December 10, - 1836; New Orleans, March 30, 1842; New York, Academy of - Music, 1883-84, with Gerster; Metropolitan Opera House, - 1904, with Sembrich, Caruso, Scotti, and Rossi. - - CHARACTERS - - NEMORINO, a young peasant _Tenor_ - ADINA, wealthy, and owner of a farm _Soprano_ - BELCORE, a sergeant _Baritone_ - DULCAMARA, a quack doctor _Bass_ - GIANNETTA, a peasant girl _Soprano_ - - _Time_--Nineteenth Century. - - _Place_--A small Italian village. - -Act I. Beauty and riches have made the young peasant woman, _Adina_, -exacting. She laughs at the embarrassed courting of the true-hearted -peasant lad, _Nemorino_; she laughs at the story of "Tristan and -Isolde," and rejoices that there are now no more elixirs to bring the -merry heart of woman into slavish dependence on love. Yet she does not -seem so much indifferent to _Nemorino_ as piqued over his lack of -courage to come to the point. - -_Sergeant Belcore_ arrives in the village at the head of a troop of -soldiers. He seeks to win _Adina's_ heart by storm. The villagers -tease _Nemorino_ about his soldier rival. The young peasant is almost -driven to despair by their raillery. Enter the peripatetic quack, _Dr. -Dulcamara_. For a ducat _Nemorino_ eagerly buys of him a flask of -cheap Bordeaux, which the quack assures him is an elixir of love, and -that, within twenty-four hours, it will enable him to win _Adina_. -_Nemorino_ empties the flask at a draught. A certain effect shows -itself at once. Under the influence of the Bordeaux he falls into -extravagant mirth, sings, dances--and grieves no more about _Adina_, -who becomes piqued and, to vex _Nemorino_, engages herself to marry -_Sergeant Belcore_. An order comes to the troops to move. The -_Sergeant_ presses for an immediate marriage. To this _Adina_, still -under the influence of pique, consents. _Nemorino_ seeks to console -himself by louder singing and livelier dancing. - -Act II. The village is assembled on _Adina's_ farm to celebrate her -marriage with the _Sergeant_. But it is noticeable that she keeps -putting off signing the marriage contract. _Nemorino_ awaits the -effect of the elixir. To make sure of it, he buys from _Dulcamara_ a -second bottle. Not having the money to pay for it, and _Belcore_ being -on the lookout for recruits, _Nemorino_ enlists and, with the money he -receives, pays _Dulcamara_. The fresh dose of the supposed elixir -makes _Nemorino_ livelier than ever. He pictures to himself the glory -of a soldier's career. He also finds himself greatly admired by the -village girls, for enlisting. _Adina_ also realizes that he has joined -the army out of devotion to her, and indicates that she favours him -rather than _Belcore_. But he now has the exalted pleasure of treating -her with indifference, so that she goes away very sad. He attributes -his luck to the elixir. - -[Illustration: Photo by White - -Hempel (Adina) and Caruso (Nemorino) in "L'Elisir d'Amore"] - -The villagers have learned that his rich uncle is dead and has left a -will making him his heir. But because this news has not yet been -communicated to him, he thinks their attentions due to the -love-philtre, and believes the more firmly in its efficacy. In any -event, _Adina_ has perceived, upon the _Sergeant's_ pressing her to -sign the marriage contract, that she really prefers _Nemorino_. Like a -shrewd little woman, she takes matters into her own hands, and buys -back from _Sergeant Belcore_ her lover's enlistment paper. Having thus -set him free, she behaves so coyly that _Nemorino_ threatens to seek -death in battle, whereupon she faints right into his arms. The -_Sergeant_ bears this unlucky turn of affairs with the bravery of a -soldier, while _Dulcamara's_ fame becomes such that he can sell to the -villagers his entire stock of Bordeaux for love elixir at a price that -makes him rich. - -The elixir of life of this "Elixir of Love" is the romance for tenor -in the second act, "Una furtiva lagrima" (A furtive tear), which -_Nemorino_ sings as _Adina_ sadly leaves him, when she thinks that he -has become indifferent to her. It was because of Caruso's admirable -rendition of this beautiful romance that the opera was revived at the -Metropolitan Opera House, New York, in 1904. Even the instrumental -introduction to it, in which the bassoons carry the air, is -captivating. - -[Music: - - Una furtiva lagrima - Negl'occhi suoi spunt;] - -Act I is laid on _Adina's_ farm. _Adina_ has a florid air, "Chiedi -all'aura lusinghiera" (Go, demand of yon light zephyr), with which she -turns aside from _Nemorino's_ attentions. - -[Music: Chiedi all'aura lusinghiera,] - -The scene then changes to a square in the village. Here _Dr. -Dulcamara_ makes his entry, singing his buffo air, "Udite, udite, o -rustici" (Give ear, now, ye rustic ones). There are two attractive -duets in this scene. One is for _Nemorino_ and _Dr. Dulcamara_, -"Obbligato! obbligato!" (Thank you kindly! thank you kindly!). - -[Music] - -The other, for _Adina_ and _Nemorino_, is "Esulti pur la barbara per -poco alle mie pene" (Tho' now th' exulting cruel one can thus deride -my bitter pain). - -Act II, which shows a room in _Adina's_ farmhouse, opens with a bright -chorus of rejoicing at her approaching wedding. _Dulcamara_ brings out -a piece of music, which he says is the latest thing from Venice, a -barcarole for two voices. He and _Adina_ sing it; a dainty duet, "Io -son ricco, e tu sei bella" (I have riches, thou hast beauty) which -figures in all the old potpourris of the opera. - -[Music: - - Io son ricco, e tu sei bella; - Io ducati, e vezzi hai tu] - -There is a scene for _Nemorino_, _Giannetta_, and the peasants, in -which _Nemorino_ praises the elixir, "Dell'elisir mirabile" (Of this -most potent elixir). Later comes another duet for _Adina_ and -_Dulcamara_, "Quanto amore!" (What affection!) in which _Adina_ -expresses her realization of the death of _Nemorino's_ affection for -her. - -"The score of 'Elisire d'Amore,'" says the _Dictionnaire des Opras_, -"is one of the most pleasing that the Bergamo composer has written in -the comic vein. It abounds in charming motifs and graceful melodies. -In the first act the duet for tenor and bass between the young -villager and _Dr. Dulcamara_ is a little masterpiece of animation, the -accompaniment of which is as interesting as the vocal parts. The most -striking passages of the second act are the chorus, 'Cantiamo, facciam -brindisi'; the barcarole for two voices, 'Io son ricco, e tu sei -bella'; the quartet, 'Dell'elisir mirabile'; the duet between _Adina_ -and _Dulcamara_, 'Quanto amore'; and finally the lovely and -smoothly-flowing romance of Nemorino, 'Una furtiva lagrima,' which is -one of the most remarkable inspirations of Donizetti." - - -LUCREZIA BORGIA - - Opera, in a prologue and two acts, by Donizetti; words by - Felice Romani, after Victor Hugo. Produced, La Scala, Milan, - 1834; Thtre des Italiens, Paris, 1840; London, 1839; in - English, 1843; New York, Astor Place Opera House, 1847; with - Grisi, September 5, 1854; with Tietjens and Brignoli, 1876; - Academy of Music, October 30, 1882; Metropolitan Opera - House, with Caruso, 1902. - - CHARACTERS - - ALFONSO D'ESTE, Duke of Ferrara _Baritone_ - LUCREZIA BORGIA _Soprano_ - MAFFIO ORSINI _Contralto_ - GENNARO } Young noblemen in { _Tenor_ - LIVEROTTO } the service of the { _Tenor_ - VITELLOZZO } Venetian Republic { _Bass_ - GAZELLO _Bass_ - RUSTIGHELLO, in the service of DON ALFONSO _Tenor_ - GUBETTA } { _Bass_ - ASTOLFO } in the service of Lucrezia { _Tenor_ - - Gentlemen-at-arms, officers, and nobles of the Venetian - Republic; same, attached to court of Alfonso; - ladies-in-waiting, Capuchin monks, etc. - - _Time_--Early sixteenth century. - - _Place_--Venice and Ferrara. - -When an opera, without actually maintaining itself in the repertory, -nevertheless is an object of occasional revival, it is sure to contain -striking passages that seem to justify the experiment of bringing it -forward again. "Lucrezia Borgia" has a male character, _Maffio -Orsini_, sung by a contralto. _Orsini's_ _ballata_, "Il segreto per -esser felici" (O the secret of bliss in perfection), is a famous -contralto air which Ernestine Schumann-Heink, with her voice of -extraordinary range, has made well known all over the United States. - -I quote the lines from the Ditson libretto: - - O the secret of bliss in perfection, - Is never to raise an objection, - Whether winter hang tears on the bushes, - Or the summer-kiss deck them with blushes. - Drink, and pity the fool who on sorrow, - Ever wastes the pale shade of a thought. - Never hope for one jot from the morrow, - Save a new day of joy by it brought! - -The music has all the dash and abandon that the words suggest. -_Orsini_ sings it at a banquet in Ferrara. Suddenly from a -neighbouring room comes the sound of monks' voices chanting a dirge. A -door opens. The penitents, still chanting, enter. The lights grow dim -and one by one go out. The central doors swing back. _Lucrezia Borgia_ -appears in the entrance. The banqueters are her enemies. She has -poisoned the wine they have just quaffed to _Orsini's_ song. They are -doomed. The dirge is for them. But--what she did not know--among them -is _Gennaro_, her illegitimate son, whom she dearly loves. She offers -him an antidote, but in vain. He will not save himself, while his -friends die. She then discloses the fact that she is his mother. But, -even then, instead of accepting her proffered aid to save his life, he -repulses her. _Lucrezia_ herself then drains the poisoned cup from -which he has quaffed, and sinks, dying, upon his prostrate form. Such -is the sombre setting for the _Brindisi_--the drinking song--"the -secret of bliss in perfection"--when heard in the opera. - -[Music: - - Il segreto per esser felici - S per prova e l'insegno agli amici] - -The tenor rle of _Gennaro_ also has tempted to occasional revivals of -the work. Mario introduced for this character as a substitute for a -scene in the second act, a recitative and air by Lillo, "Com' soave -quest'ora di silenzio" (Oh! how delightful this pleasing hour of -silence), a change which is sometimes followed. - -Prologue. Terrace of the Grimani palace, Venice. Festival by night. -_Gennaro_, weary, separates from his friends and falls asleep on a -stone bench of the terrace. Here he is discovered by _Lucrezia_, who -is masked. She regards him with deep affection. "Com' bello quale -incanto" (Holy beauty, child of nature) she sings. - -[Music: Com' bello quale incanto] - -_Gennaro_ awakens. In answer to her questions he tells her that he has -been brought up by a poor fisherman, "Di pescatore ignobile" (Deem'd -of a fisher's lowly race). - -[Music: Di pescatore ignobile] - -The youth's friends come upon the scene. _Maffio Orsini_ tears the -mask from _Lucrezia's_ face, and in a dramatic concerted number he and -his friends remind _Lucrezia_, for the benefit of _Gennaro_, who had -been struck by her beauty and was unaware that she was the hated -_Borgia_, how each has lost a brother or other relative through her. -"Maffio Orsini, signora, son'io cui svenaste il dormente fratello" -(Madam, I am Orsini. My brother you did poison, the while he was -sleeping). And so each one in order. - -[Music: Maffio Orsini, signora, son'io] - -_Gennaro_ turns from her in loathing. She faints. - -Act I. A public place in Ferrara. On one side a palace. _Alfonso_, -who, incidentally, is _Lucrezia's_ fourth husband, she having done -away with his predecessors by poison, or other murderous means, is -jealous of _Gennaro_. Like the youth himself, he is ignorant that -_Lucrezia_ is his mother, and is persuaded that he is her paramour. He -has two solos. The first is "Vieni, la mia vendetta" (Haste then to -glut a vengeance); the second, "Qualunque sia l'evento" (On this I -stake my fortune). - -[Music: Qualunque sia l'evento che pu recar fortuna,] - -_Gennaro_ and his friends come into the Plaza. They see the letters -BORGIA under the escutcheon of the palace. _Gennaro_, to show his -detestation of _Lucrezia's_ crimes, rushes up the steps and with his -sword hacks away the first letter of the name, leaving only ORGIA. At -the command of the _Duke_, he is arrested. - -_Lucrezia_, not knowing who has committed the outrage, demands of her -husband that its perpetrator be put to death. _Alfonso_, with cynical -readiness, consents. _Gennaro_ is led in. _Lucrezia_ now pleads for -his life. The _Duke_ is firm, even though _Lucrezia_ quite casually -reminds him that he is her fourth husband and may share the fate of -the other three. ("Aye, though the fourth of my husbands, you lord -it.") His comment is the command that _Gennaro_ shall meet death by -quaffing a goblet of poisoned wine handed to him by _Lucrezia_ -herself. There is here a strong trio for _Lucrezia_, _Gennaro_, and -_Alfonso_, as _Alfonso_ pours wine for himself and _Lucrezia_ from a -silver flagon, while he empties the poisoned contents of a gold -vessel, "the Borgia wine," into _Gennaro's_ cup. But _Lucrezia_ has -the antidote; and, the _Duke_ having left her with _Gennaro_, in order -that she shall have the pleasure of watching the death of the man of -whom he suspects her to be enamored, she gives it to _Gennaro_, and -bids him flee from _Ferrara_. - -Act II is laid in the Negroni palace, and is the scene of the banquet, -which has already been described. - -When "Lucrezia Borgia" was produced in Paris, in 1840, Victor Hugo, -author of the drama upon which the libretto is based, objected. The -French have long gone much further than we do in protecting the -property rights of authors and artists in their creations. The -producers of the opera were obliged to have the libretto rewritten. -The title was changed to "La Rinegata" and the scene was transferred -to Turkey. - - -LUCIA DI LAMMERMOOR - - Opera in three acts, by Donizetti; words by Salvatore - Cammarano, after Scott's novel, "The Bride of Lammermoor." - Produced, San Carlo Theatre, Naples, September 26, 1835, - with Persiani as _Lucia_, and Duprez as _Edgardo_, the rles - having been especially composed for these artists. London, - Her Majesty's Theatre, April 5, 1838, and, in English, at - the Princess Theatre, January 19, 1848. Paris, 1839. New - York in English, at the Park Theatre, November 17, 1845; - and, in Italian, November 14, 1849. Among celebrated - _Lucias_ heard in this country, are Patti, Gerster, Melba, - Sembrich, Tetrazzini and Galli-Curci (Chicago, November 21, - 1916); among _Edgardos_, Italo Campanini and Caruso. - - CHARACTERS - - LORD HENRY ASHTON, of Lammermoor _Baritone_ - LUCY, his sister _Soprano_ - EDGAR, Master of Ravenswood _Tenor_ - LORD ARTHUR BUCKLAW _Tenor_ - RAYMOND, chaplain at Lammermoor _Bass_ - ALICE, companion to Lucy _Mezzo-Soprano_ - NORMAN, follower of Lord Ashton _Tenor_ - - Relatives, Retainers, and Friends of the House of - Lammermoor. - - _Time_--About 1700. - - _Place_--Scotland. - - (Note. The characters in Italian are Enrico, Lucia, Edgardo, - Arturo, Raimondo, Alisa, and Normanno.) - -"Lucia di Lammermoor" is generally held to be Donizetti's finest work. -"In it the vein of melody--now sparkling, now sentimental, now -tragic--which embodies Donizetti's best claim on originality and -immortality, finds, perhaps, freest and broadest development." These -words are quoted from Baker's _Biographical Dictionary of Musicians_, -a volume that rarely pauses to comment on an individual work. "Lucia" -is indeed its composer's masterpiece; and a masterpiece of Italian -opera in the older definition of that term. Its melodies are many and -beautiful, and even when ornate in passages, are basically expressive -of the part of the tragic story to which they relate. Moreover, the -sextet at the end of the second act when _Edgar of Ravenswood_ appears -upon the scene just as Lucy with trembling hand has affixed her -signature to the contract of marriage between _Lord Bucklaw_ and -herself, ranks as one of the finest pieces of dramatic music in all -opera, and as a concerted number is rivalled, in Italian opera, by -only one other composition, the quartet in "Rigoletto." - -The sextet in "Lucia" rises to the full height of the dramatic -situation that has been created. It does so because the music -reflects the part each character plays in the action. It has -"physiognomy"--individual aspect and phraseology for each participant -in the drama; but, withal, an interdependence, which blends the -voices, as they are swept along, into one grand, powerful, and -dramatic climax. - -Another number, the mad scene in the third act, gives coloratura -sopranos an opportunity for technical display equal to that afforded -by the lesson scene in "Il Barbiere di Siviglia"; and, unlike the -latter, the music does not consist of interpolated selections, but of -a complete _scena_ with effective recitatives and brilliant solos, -that belong to the score. - -In the story of "Lucia," the heroine's brother, _Lord Henry Ashton_ of -Lammermoor, in order to retrieve his fallen fortunes, and extricate -himself from a perilous situation in which his participation in -political movements directed against the King has placed him, arranges -a marriage between his sister and _Lord Arthur Bucklaw_. _Lucy_ -herself knows nothing of this arrangement. _Henry_, on the other hand, -is equally ignorant of an attachment which exists between _Lucy_ and -_Edgar of Ravenswood_, between whose family and his own there long has -been a deadly feud. When he discovers it, he uses the most underhand -methods to break it off. - -_Edgar of Ravenswood_ is the last of his race. While he is absent on a -mission to France in the interests of Scotland, he despatches many -letters to _Lucy_. These letters are intercepted by _Henry_ who also -arranges that a forged paper, tending to prove the infidelity of -_Edgar_, is shown to _Lucy_. Urged by the necessities of her brother, -and believing herself deserted by her lover, _Lucy_ unwillingly -consents to become the bride of _Lord Arthur Bucklaw_. But, just as -she has signed the marriage contract, _Edgar of Ravenswood_ suddenly -appears. He has returned from France, and now comes to claim the hand -of _Lucy_--but too late. Convinced that _Lucy_ has betrayed his love, -he casts the ring she gave him at her feet and invokes imprecations -upon her and his ancient enemies, the House of Lammermoor. - -At night he is sought out in his gloomy castle by _Henry_. They agree -upon a duel to be fought near the tombs of the Ravenswoods, on the -ensuing morning, when _Edgar_, weary of life, and the last of a doomed -race, intends to throw himself on his adversary's weapon. But the -burden of woe has proved too much for _Lucy_ to bear. At night, after -retiring, she goes out of her mind, slays her husband, and dies of her -sorrows. - -_Edgar_ awaits his enemy in the churchyard of Ravenswood. But _Ashton_ -has fled. Instead, _Edgar's_ solitude is interrupted by a train of -mourners coming from the Castle of Lammermoor. Upon hearing of -_Lucy's_ death he plunges his dagger into his breast, and sinks down -lifeless in the churchyard where repose the remains of his ancestors. - -On the stage this story is developed so that shortly after the curtain -rises on Act I, showing a grove near the Castle of Lammermoor, _Henry_ -learns from _Norman_ the latter's suspicions that _Lucy_ and _Edgar_ -have been meeting secretly in the park of Lammermoor. _Norman_ has -despatched his huntsmen to discover, if they can, whether or not his -suspicions are correct. "Cruda funesta smania" (each nerve with fury -trembleth) sings _Henry_. - -Returning, the hunters relate, in a brisk chorus, that - - Long they wander'd o'er the mountain, - Search'd each cleft around the fountain, - -finally to learn by questioning a falconer that the intruder upon the -domain of Lammermoor was none other than _Edgar of Ravenswood_. Rage -and the spirit of revenge are expressed in _Henry's_ vigorous aria, -"La pietade in suo favore" (From my breast I mercy banish). - -[Music: La pietade in suo favore] - -The scene changes to the park near a fountain. What now occurs is -usually as follows. The curtain rises, and shows the scene--evening -and moonlight. There is played a beautiful harp solo, an unusual and -charming effect in opera. Having prepared the mood for the scene which -is to follow, it is promptly encored and played all over again. Then -_Lucy_ appears with her companion, _Alice_. To her she relates the -legend of the fountain, "Regnava nel silenzio" (Silence o'er all was -reigning). - -[Music: Regnava nel silenzio] - -This number gives an idea of the characteristics of _Lucy's_ principal -solos. It is brilliant in passages, yet its melody is dreamy and -reflective. Largely due to this combination of traits is the -popularity of "Lucia di Lammermoor," in which, although there is -comparatively little downright cheerful music, it is relieved of gloom -by the technical brilliancy for which it often calls;--just as, in -fact, _Lucy's_ solo following the legend of the fountain, dispels the -dark forebodings it inspired. This second solo for _Lucy_, one of the -best-known operatic numbers for soprano, is the "Quando rapito" (Then -swift as thought). - -[Music: Quando rapito in estasi del pi cocente ardore] - -Another beautiful and familiar number is the duet between _Lucy_ and -_Edgar_, who has come to tell her of his impending departure for -France and to bid her farewell: "Verranno a te [Transcriber's Note: -original has incorrect "l"] sull'aure" (My sighs shall on the balmy -breeze). - -[Music: Verranno a te sull'aure i miei sospiri ardenti] - -Act II. Apartment in the Castle of Lammermoor. "Il pallor funesto, -orrendo" (See these cheeks so pale and haggard). - -[Music: Il pallor funesto, orrendo] - -In this sad air _Lucy_ protests to her brother against the marriage -which he has arranged for her with _Bucklaw_. _Henry_ then shows her -the forged letter, which leads her to believe that she has been -betrayed by her lover. "Soffriva nel pianto, languia nel dolore" (My -sufferings and sorrow I've borne without repining) begins the duet -between _Lucy_ and _Henry_ with an especially effective cadenza--a -dramatic number. - -Though believing herself deserted by _Edgar_, _Lucy_ still holds back -from the thought of marriage with another, and yields only to save her -brother from a traitor's death, and even then not until she has sought -counsel from _Raymond_, the chaplain of Lammermoor, who adds his -persuasions to _Henry's_. - -The scene of the signing of the dower opens with a quick, bright -chorus of guests who have assembled for the ceremony. - -[Music] - -There is an interchange of courtesies between _Henry_ and _Arthur_; -and then _Lucy_ enters. The sadness of her mien is explained by her -brother to _Arthur_ on the ground that she is still mourning the death -of her mother. Desperate, yet reluctant, _Lucy_ signs the contracts of -dower; and at that moment, one of the most dramatic in opera, _Edgar_, -a sombre figure, but labouring under evident though suppressed -tension, appears at the head of the broad flight of steps in the -background, and slowly comes forward. - -The orchestra preludes briefly: - -[Music] - -[Illustration: Photo by Mishkin - -Caruso as Edgardo in "Lucia di Lammermoor"] - -[Illustration: Photo copyright, 1916, by Victor Georg - -Galli-Curci as Lucia in "Lucia di Lammermoor"] - -The greatest ensemble number in Italian opera, the sextet, has begun. -_Edgardo_: "Chi mi frena in tal momento? Chi tronc dell'ire il -corso?" (What restrains me at this moment? Why my sword do I not -straightway draw?): - -[Music: Chi mi frena in tal momento?] - -Because he sees _Lucy_ "as a rose 'mid tempest bending": - -[Music] - -Even _Henry_ is moved to exclaim, "To my own blood I am a traitor": - -[Music] - -The chorus swells the volume of sound, but _Lucy's_ voice soars -despairingly above all: - -[Music] - -_Lucy_ and _Edgar_--they are the victims of _Henry's_ treachery, as -will soon transpire. - -Act III. The first scene is laid in _Edgar's_ gloomy castle, whither -at night comes _Henry_ to challenge him to a duel at morn. - -The scene then changes back to Lammermoor, where the wedding guests -still are feasting. Their revels are halted by _Raymond_, who, -horror-stricken, announces to them that _Lucy_ has gone mad and slain -her husband; and soon the unhappy bride herself appears. Then follows -the mad scene, one of the greatest "show numbers" for soprano, with -the further merit that it fits perfectly into the scheme of the work. - -This is an elaborate _scena_. In an earlier part of the opera -Donizetti made effective use of a harp. In the mad scene he introduces -a flute obligato, which plays around the voice, joins with it, touches -it with sharp, brilliant accentuations, and glides with it up and down -the scale in mellifluous companionship. - -In a brief article in _The Musician_, Thomas Tapper writes that "to -perform the mad scene has been an inspiration and incentive to -attainment for many singers. Its demands are severe. There must be the -'mood,' that is, the characterization of the mental state of _Lucy_ -must be evidenced both in vocal tone and physical movement. The aria -requires an unusual degree of facility. Its transparency demands -adherence to pitch that must not vary a shade from the truth (note the -passage where voice and flute are in unison). The coloratura soprano -is here afforded unusual opportunity to display fluency and -flexibility of voice, to portray the character that is 'as Ophelia -was'; the dramatic intensity is paramount and must be sustained at a -lofty eminence. In brief, the aria is truly a _tour de force_." - -One of the best things in the above is its insistence on the "mood," -the emotional situation that underlies the music. However brilliant -the singing of the prima donna, something in her performance must yet -convey to her hearers a sense of the sad fortunes of _Lucy of -Lammermoor_. - -To the accomplishment of this Donizetti lends a helping hand by -introducing, as a mournful reminiscence, the theme of the first act -love duet for _Lucy_ and _Edgar_ ("My sighs shall on the balmy -breeze"); also by the dreaminess of the two melodies, "Alfin son tua" -(Thine am I ever); - -[Music] - -and "Spargi d'amaro pianto" (Shed thou a tear of sorrow). - -[Music] - -Preceding the first of these, and also between the two, are dramatic -recitatives, in which the flute, possibly introduced merely for -musical effect, yet, with its clear, limpid notes, by no means -untypical of _Lucy's_ pure and spiritual personality, is prominent in -the instrumental part of the score. Upon a brilliant phrase of -vocalization, like "Yet shall we meet, dear Edgar, before the altar," - -[Music: Qui ricovriamo, Edgardo, a pi dell'ara] - -it follows with this phrase: - -[Music] - -which simple, even commonplace, as it seems, nevertheless, in place, -has the desired effect of ingenuousness and charm; while the passage -beginning, - -[Music] - -has decided dramatic significance. - -I also give an example of a passage in which flute and voice combine -in a manner that requires impeccable intonation on the singer's part. - -[Music: a noi sar, la vita etc.] - -The _scena_ ends with a _stretto_, a concluding passage taken in more -rapid tempo in order to enhance the effect. - -It is always interesting to me to hear this scene, when well rendered, -and to note the simple means employed by the composer to produce the -impression it makes. - -The flute is an instrument that long has been the butt of humorists. -"What is worse than one flute?"--"Two flutes." This is a standard -musical joke. The kind suggestion also has been volunteered that _Lucy -of Lammermoor_ went out of her head, not because she was deserted by -_Edgar_, but because she was accompanied by a flute. - -Nevertheless the flute is precisely the instrument required as an -_obligato_ to this scene. Italian composers, as a rule, pay little -attention to instrumentation. Yet it is a fact that, when they make a -special choice of an instrument in order to produce a desired effect, -their selection usually proves a happy inspiration. The flute and the -harp in "Lucia" are instances; the bassoons in the introduction to -"Una furtiva lagrima" (A furtive tear) in "L'Elisire d'Amore" furnish -another; and the wood-wind in the "Semiramide" duet, "Giorno d'orrore" -(Dark day of horror) may also be mentioned. - -There is a point in the mad scene where it is easy to modulate into -the key of G major. Donizetti has written in that key the aria "Perch -non ho del vento" (Oh, for an eagle's pinions) which sopranos -sometimes introduce during the scene, since it was composed for that -purpose. - -Probably the air is unfamiliar to opera-goers in this country. Lionel -Mapleson, the librarian of the Metropolitan Opera House, never has -heard it sung there, and was interested to know where I had found it. -As it is a florid, brilliant piece of music, and well suited to the -scene, I quote a line of it, as a possible hint to some prima donna. - -[Music: Perch non ho del vento l'infaticabil vole] - -During the finale of the opera, laid near the churchyard where lie the -bones of _Edgar's_ ancestors, _Lucy's_ lover holds the stage. His -final aria, "Tu che a Dio spiegasti l'ali" (Tho' from earth thou'st -flown before me), is a passage of mournful beauty, which has few -equals in Italian opera. - -[Music: Tu che a Dio spiegasti l'ali, o bell'alma innamorata] - -Of the singers of former days who have been heard here as _Lucia_, -Adelina Patti interpreted the rle with the least effort and the -greatest brilliancy. Hers was a pure flexible soprano, which seemed to -flow forth spontaneously from an inexhaustible reservoir of song. -Unfortunately she was heard here by many long after her day had -passed. She had too many "farewells." But those who heard her at her -best, always will remember her as the possessor of a naturally -beautiful voice, exquisitely trained. - -Italo Campanini, a tenor who was in his prime when Mapleson was -impresario at the Academy of Music, was one of the great _Edgardos_. -He was an elder brother of Cleofante Campanini, orchestral conductor -and director of the Chicago Opera Company. - -As for Caruso, rarely have I witnessed such excitement as followed the -singing of the sextet the evening of his first appearance as _Edgardo_ -at the Metropolitan Opera House. It is a fact that the policeman in -the lobby, thinking a riot of some sort had broken loose in the -auditorium, grabbed his night stick and pushed through the swinging -doors--only to find an audience vociferously demanding an encore. Even -granted that some of the excitement was "worked up," it was, -nevertheless, a remarkable demonstration. - -The rle of _Enrico_, though, of course, of less importance than -_Edgardo_, can be made very effective by a baritone of the first rank. -Such, for example, was Antonio Galassi, who, like Campanini, was one -of Mapleson's singers. He was a tall, well-put-up man; and when, in -the sextet, at the words " mio rosa inaridita" [Transcriber's Note: -should be ' mio sangue, l'ho tradita'] (Of thine own blood thou'rt -the betrayer), he came forward in one stride, and projected his voice -into the proceedings, it seemed as if, no matter what happened to the -others, he could take the entire affair on his broad shoulders and -carry it through to success. - - -LA FIGLIA DEL REGGIMENTO - -LA FILLE DU RGIMENT--THE DAUGHTER OF THE REGIMENT. - - Opera in two acts, by Donizetti; words by Bayard and Jules - H. Vernoy (Marquis St. Georges). Produced, Opra Comique, - Paris, as "La Fille du Rgiment," February 11, 1840; Milan, - October 30, 1840; London, in English, at the Surrey Theatre, - December 21, 1847; the same season in Italian, with Jenny - Lind. First American performance, New Orleans, March 7, - 1843. _Marie_ was a favorite rle with Jenny Lind, Sontag, - Lucca, and Patti, all of whom appeared in it in New York; - also Sembrich, with Charles Gilibert as _Sulpice_, - Metropolitan Opera House, 1902-03; and Hempel, with Scotti - as _Sulpice_, same house, December 17, 1917. Tetrazzini, - McCormack, and Gilibert, Manhattan Opera House, 1909. An - opera with a slight hold on the repertoire, but liable to - occasional revival for coloratura sopranos. - - CHARACTERS - - MARIE, the "Daughter of the Regiment," - but really the daughter of the Marquise - de Birkenfeld _Soprano_ - SULPICE, Sergeant of French Grenadiers _Bass_ - TONIO, a Tyrolese peasant in love with Marie; - afterwards an officer of Grenadiers _Tenor_ - MARQUISE DE BIRKENFELD _Soprano_ - HORTENSIO, steward to the Marquise _Bass_ - CORPORAL _Bass_ - - Soldiers, peasants, friends of the Marquise, etc. - - _Time_--1815. - - _Place_--Mountains of the Swiss Tyrol. - -Act I. A passage in the Tyrolese mountains. On the right is a cottage, -on the left the first houses of a village. Heights in the background. -Tyrolese peasants are grouped on rising ground, as if on the lookout. -Their wives and daughters kneel before a shrine to the Virgin. The -_Marquise de Birkenfeld_ is seated on a rustic bench. Beside her -stands _Hortensio_, her steward. They have been caught in the eddy of -the war. An engagement is in progress not far away. The Tyrolese -chorus sings valiantly, the women pray; the French are victorious. And -why not? Is not the unbeaten Twenty-first Regiment of Grenadiers among -them? - -One of them is coming now, _Sergeant Sulpice_, an old grumbler. After -him comes a pretty girl in uniform, a vivandire--_Marie_, the -daughter of the regiment, found on the field of battle when she was a -mere child, and brought up by a whole regiment of fathers, the spoiled -darling of the grenadiers. She sings "Apparvi alla luce, sul campo -guerrier" - -[Music: - - Apparvi alla luce, - Sul campo guerrier,] - -(I first saw the light in the camp of my brave grenadiers), which ends -in a brilliant cadenza. - -[Music] - -This indicates why the revival of this opera attends the appearance -upon the horizon of a coloratura star. It is typical of the -requirements of the character. - -The _Sergeant_ puts her through a drill. Then they have a "Rataplan" -duet, which may be called a repetition of _Marie's_ solo with an -accompaniment of rataplans. The drum is the music that is sweetest to -her; and, indeed, _Marie's_ manipulation of the drumsticks is a -feature of the rle. - -But for a few days _Marie_ has not been as cheerful as formerly. She -has been seen with a young man. _Sulpice_ asks her about him. She -tells the _Sergeant_ that this young man saved her life by preventing -her from falling over a precipice. That, however, establishes no claim -upon her. The regiment has decreed that only a grenadier shall have -her for wife. - -There is a commotion. Some soldiers drag in _Tonio_, whom they charge -as a spy. They have discovered him sneaking about the camp. His would -have been short shrift had not _Marie_ pleaded for him, for he is none -other than her rescuer. As he wants to remain near _Marie_, he decides -to become a soldier. The grenadiers celebrate his decision by drinking -to his health and calling upon _Marie_ to sing the "Song of the -Regiment," a dapper tune, which is about the best-known number of the -score: "Ciascun lo dice, ciascun lo s! il Reggimento, ch'egual non -ha." - - (All men confess it, - Go where we will! - Our gallant Regiment - Is welcome still.) - -[Music: - - Ciascun lo dice, - Ciascun lo s! - il Reggimento - Ch'egual non ha.] - -There is then a love scene for _Marie_ and _Tonio_, followed by a duet -for them, "A voti cos ardente" [Transcriber's Note: should be 'A -confession s ardente'] (No longer can I doubt it). - -Afterwards the grenadiers sing a "Rataplan" chorus. - -[Music: Rataplan, rataplan, rataplan,] - -But, alas, the _Sergeant_ has been informed that the _Marquise de -Birkenfeld_ desires safe conduct. Birkenfeld! That is the very name to -which were addressed certain papers found on _Marie_ when she was -discovered as a baby on the battlefield. The _Marquise_ examines the -papers, declares that _Marie_ is her niece and henceforth must live -with her in the castle. Poor _Tonio_ has become a grenadier in vain. -The regiment cannot help him. It can only lament with him that their -daughter is lost to them. She herself is none too happy. She sings a -sad farewell, "Convien partir! o miei compagni d'arme" (Farewell, a -long farewell, my dear companions). - -Act II. In the castle of the _Marquise_. _Marie_ is learning to dance -the minuet and to sing classical airs. But in the midst of her singing -she and _Sulpice_, whom the _Marquise_ also has brought to the castle, -break out into the "Song of the Regiment" and stirring "rataplans." -Their liveliness, however, is only temporary, for poor _Marie_ is to -wed, at her aunt's command, a scion of the ducal house of Krakenthorp. -The march of the grenadiers is heard. They come in, led by _Tonio_, -who has been made a captain for valour. _Sulpice_ can now see no -reason why _Marie_ should not marry him instead of the nobleman -selected by her aunt. And, indeed, _Marie_ and _Tonio_ decide to -elope. But the _Marquise_ confesses to the _Sergeant_, in order to win -his aid in influencing _Marie_, that the girl really is her daughter, -born out of wedlock. _Sulpice_ informs _Marie_, who now feels that she -cannot go against her mother's wishes. - -In the end, however, it is _Marie_ herself who saves the situation. -The guests have assembled for the signing of the wedding contract, -when _Marie_, before them all, sings fondly of her childhood with the -regiment, and of her life as a vivandire, "Quando il destino, in -mezzo a strage ria" (When I was left, by all abandoned). - -The society people are scandalized. But the _Marquise_ is so touched -that she leads _Tonio_ to _Marie_ and places the girl's hand in that -of her lover. The opera ends with an ensemble, "Salute to France!" - - -LA FAVORITA - -THE FAVORITE - - Opera in four acts, by Donizetti; words by Alphonse Royer - and Gustave Waez [Transcriber's Note: more commonly 'Vaz'], - adapted from the drama "Le Comte de Comminges," of - Baculard-Darnaud. Produced at the Grand Opra, Paris, - December 2, 1840. London, in English, 1843; in Italian, - 1847. New York, Park Theatre, October 4, 1848. - - CHARACTERS - - ALFONSO XI., King of Castile _Baritone_ - FERDINAND, a young novice of the Monastery - of St. James of Compostella; afterwards - an officer _Tenor_ - DON GASPAR, the King's Minister _Tenor_ - BALTHAZAR, Superior of the Monastery - of St. James _Bass_ - LEONORA DI GUSMANN _Soprano_ - INEZ, her confidante _Soprano_ - - Courtiers, guards, monks, ladies of the court, attendants. - - _Time_--About 1340. - - _Place_--Castile, Spain. - -_Leonora_, with Campanini as _Fernando_, was, for a number of seasons, -one of the principal rles of Annie Louise Cary at the Academy of -Music. Mantelli as _Leonora_, Cremonini as _Fernando_, Ancona as _King -Alfonso_, and Planon as _Balthazar_, appeared, 1895-96, at the -Metropolitan, where "La Favorita" [Transcriber's Note: this is the -Italian title] was heard again in 1905; but the work never became a -fixture, as it had been at the Academy of Music. The fact is that -since then American audiences, the most spoiled in the world, have -established an operatic convention as irrevocable as the laws of the -Medes and Persians. In opera the hero must be a tenor, the heroine a -true soprano. "La Favorita" fulfils the first requisite, but not the -second. The heroine is a rle for contralto, or mezzo-soprano. Yet the -opera contains some of Donizetti's finest music, both solo and -ensemble. Pity 'tis not heard more frequently. - -There is in "La Favorita" a strong, dramatic scene at the end of the -third act. As if to work up to this as gradually as possible, the -opera opens quietly. - -_Ferdinand_, a novice in the Monastery of St. James of Compostella, -has chanced to see and has fallen in love with _Leonora_, the mistress -of _Alfonso_, King of Castile. He neither knows her name, nor is he -aware of her equivocal position. So deeply conceived is his passion, -it causes him to renounce his novitiate and seek out its object. - -Act I. The interior of the monastery. _Ferdinand_ makes known to -_Balthazar_, the Superior, that he desires to renounce his novitiate, -because he has fallen in love, and cannot banish the woman of his -affections from his thoughts. He describes her to the priest as "Una -vergine, un angel di Dio" (A virgin, an angel of God). - -[Music: Una vergine, un angel di Dio] - -Although this air bears no resemblance to "Celeste Ada" its flowing -measures and melodious beauty, combined with its position so early in -the opera, recall the Verdi aria--and prepare for it the same -fate--which is to be marred by the disturbance caused by late-comers -and to remain unheard by those who come still later. - -_Balthazar's_ questions elicit from _Ferdinand_ that his only -knowledge of the woman, whose praises he has sung, is of her youth and -beauty. Name and station are unknown to him, although he believes her -to be of high rank. _Balthazar_, who had hoped that in time -_Ferdinand_ would become his successor as superior of the monastery, -releases him reluctantly from his obligations, and prophesies, as the -novice turns away from the peaceful shades of the cloister, that he -will retrace his steps, disappointed and heart-broken, to seek refuge -once more within the monastery's walls. - -The scene changes to an idyllic prospect on the island of St. Leon, -where _Leonora_ lives in splendour. She, in her turn, is deeply -enamoured of _Ferdinand_, yet is convinced that, because of her -relations with _King Alfonso_, he will despise her should he discover -who she is. But so great is her love for him, that, without letting -him learn her name or station, she has arranged that he shall be -brought, blindfolded, to the island. - -"Bei raggi lucenti" (Bright sunbeams, lightly dancing), a graceful -solo and chorus for _Inez_, _Leonora's_ confidante, and her woman -companions, opens the scene. - -It is followed by "Dolce zeffiro, il seconda" (Gentle zephyr, lightly -wafted), which is sung by the chorus of women, as the boat conveying -_Ferdinand_ touches the island and he, after disembarking, has the -bandage withdrawn from over his eyes, and looks in amazement upon the -charming surroundings amid which he stands. He questions _Inez_ -regarding the name and station of her who holds gentle sway over the -island, but in vain. _Inez_ and her companions retire, as _Leonora_ -enters. She interrupts _Ferdinand's_ delight at seeing her by telling -him--but without giving her reasons--that their love can lead only to -sorrow; that they must part. He protests vehemently. She, however, -cannot be moved from her determination that he shall not be sacrificed -to their love, and hands him a parchment, which she tells him will -lead him to a career of honour. - -He still protests. But at that moment _Inez_, entering hurriedly, -announces the approach of the _King_. _Leonora_ bids _Ferdinand_ -farewell and goes hastily to meet _Alfonso_. _Ferdinand_ now believes -that the woman with whom he has fallen in love is of rank so high that -she cannot stoop to wed him, yet expresses her love for him by seeking -to advance him. This is confirmed when, on reading the scroll she has -given him, he discovers that it gratifies his highest ambition and -confers upon him a commission in the army. The act closes with his -martial air, "S, che un tuo solo accento" (Oh, fame, thy voice -inspiring). - -He sees the path to glory open up before him, and with it the hope -that some great deed may yet make him worthy to claim the hand of the -woman he loves. - -Act II. Gardens of the Palace of the Alcazar. _Ferdinand's_ dream of -glory has come true. We learn, through a brief colloquy between -_Alfonso_ and _Don Gaspar_, his minister, that the young officer has -led the Spanish army to victory against the Moors. Indeed, this very -palace of the Alcazar has been wrested from the enemy by the young -hero. - -_Gaspar_ having retired, the _King_, who has no knowledge of the love -between _Ferdinand_ and _Leonora_, sings of his own passion for her in -the expressive air, "Vien, Leonora, a' piedi tuoi" (Come, Leonora, -before the kneeling). - -The object of his love enters, accompanied by her confidante. The -_King_ has prepared a fte in celebration of _Ferdinand's_ victory, -but _Leonora_, while rejoicing in the honours destined to be his, is -filled with foreboding because of the illicit relations between -herself and the _King_, when she truly loves another. Moreover, these -fears find justification in the return of _Gaspar_ with a letter in -_Ferdinand's_ handwriting, and intended for _Leonora_, but which the -minister has intercepted in the hand of _Inez_. The _King's_ angry -questions regarding the identity of the writer are interrupted by -confused sounds from without. There enters _Balthazar_, preceded by a -priest bearing a scroll with the Papal seal. He faces the _King_ and -_Leonora_ while the lords and ladies, who have gathered for the fte, -look on in apprehension, though not wholly without knowledge of what -is impending. - -For there is at the court of _Alfonso_ a strong party that condemns -the _King's_ illicit passion for _Leonora_, so openly shown. This -party has appealed to the Papal throne against the _King_. The Pope -has sent a Bull to _Balthazar_, in which the Superior of the Monastery -of St. James is authorized to pronounce the interdict on the _King_ if -the latter refuses to dismiss his favourite from the Court and restore -his legitimate wife to her rights. It is with this commission -_Balthazar_ has now appeared before the _King_, who at first is -inclined to refuse obedience to the Papal summons. He wavers. -_Balthazar_ gives him time till the morrow, and until then withholds -his anathema. - -_Balthazar's_ vigorous yet dignified denunciation of the _King_, "Ah -paventa il furor d'un Dio vendicatore" (Do not call down the wrath of -God, the avenger, upon thee), forms a broadly sonorous foundation for -the finale of the act. - -[Music: Ah paventa il furor d'un Dio vendicatore,] - -Act III. A salon in the Palace of the Alcazar. In a brief scene the -_King_ informs his minister that he has decided to heed the behest of -the church and refrain from braving the Papal malediction. He bids -_Gaspar_ send _Leonora_ to him, but, at the first opportunity, to -arrest _Inez_, her accomplice. - -It is at this juncture, as _Gaspar_ departs, that _Ferdinand_ appears -at court, returning from the war, in which he has not only -distinguished himself by his valour, but actually has saved the -kingdom. _Alfonso_ asks him to name the prize which he desires as -recompense for his services. _Leonora_ enters. _Ferdinand_, seeing -her, at once asks for the bestowal of her hand upon him in marriage. -The _King_, who loves her deeply, and has nearly risked the wrath of -the Pope for her sake, nevertheless, because immediately aware of the -passion between the two, gives his assent, but with reluctance, as -indeed appears from the irony that pervades his solo, "A tanto amor" -(Thou flow'r belov'd). - -He then retires with _Ferdinand_. - -_Leonora_, touched by the _King's_ magnanimity, inspired by her love -for _Ferdinand_, yet shaken by doubts and fears, because aware that he -knows nothing of her past, now expresses these conflicting feelings in -her principal air, "O, mio Fernando," one of the great Italian airs -for mezzo-soprano. - -[Music: O, mio Fernando, della terra il trono] - -She considers that their future happiness depends upon _Ferdinand's_ -being truthfully informed of what her relations have been with the -_King_, thus giving him full opportunity to decide whether, with this -knowledge of her guilt, he will marry her, or not. Accordingly she -despatches _Inez_ with a letter to him. _Inez_, as she is on her way -to deliver this letter, is intercepted by _Gaspar_, who carries out -the _King's_ command and orders her arrest. She is therefore unable to -place in _Ferdinand's_ hands the letter of _Leonora_. - -Into the presence of the assembled nobles the _King_ now brings -_Ferdinand_, decorates him with a rich chain, and announces that he -has created him Count of Zamora. The jealous lords whisper among -themselves about the scandal of _Ferdinand's_ coming marriage with the -mistress of the _King_; but _Leonora_, who enters in bridal attire, -finds _Ferdinand_ eagerly awaiting her, and ready to wed her, -notwithstanding, as she believes, his receipt of her communication and -complete knowledge of her past. - -While the ceremony is being performed in another apartment, the nobles -discuss further the disgrace to _Ferdinand_ in this marriage. That -_Leonora_ was the mistress of the _King_ is, of course, a familiar -fact at court, and the nobles regard _Ferdinand's_ elevation to the -rank of nobility as a reward, not only for his defeat of the Moors, -but also for accommodatingly taking _Leonora_ off the hands of the -_King_, when the latter is threatened with the malediction of Rome. -They cannot imagine that the young officer is ignorant of the -relations that existed between his bride and the _King_. - -_Ferdinand_ re-enters. In high spirits he approaches the courtiers, -offers them his hand, which they refuse. _Balthazar_ now comes to -learn the decision of the _King_. _Ferdinand_, confused by the -taunting words and actions of the courtiers, hastens to greet -_Balthazar_, who, not having seen him since he has returned victorious -and loaded with honours, embraces him, until he hears _Gaspar's_ -ironical exclamation, "Leonora's bridegroom!" _Balthazar_ starts back, -and it is then _Ferdinand_ learns that he has just been wedded "alla -bella del Re"--to the mistress of the _King_. - -At this moment, when _Ferdinand_ has but just been informed of what he -can only interpret as his betrayal by the _King_ and the royal -favourite, _Alfonso_ enters, leading _Leonora_, followed by her -attendants. In a stirring scene, the dramatic climax of the opera, -_Ferdinand_ tears from his neck the chain _Alfonso_ has bestowed upon -him, and throws it contemptuously upon the floor, breaks his sword and -casts it at the _King's_ feet, then departs with _Balthazar_, the -nobles now making a passage for them, and saluting, while they sing - - "Ferdinand, the truly brave, - We salute, and pardon crave!" - -Act IV. The cloisters of the Monastery of St. James. Ceremony of -_Ferdinand's_ entry into the order. "Splendon pi belle in ciel le -stelle" (Behold the stars in splendour celestial), a distinguished -solo and chorus for _Balthazar_ and the monks. - -Left alone, _Ferdinand_ gives vent to his sorrow, which still -persists, in the romance, "Spirto gentil" (Spirit of Light), one of -the most exquisite tenor solos in the Italian repertory. - -[Music: Spirto gentil, ne' sogni miei brillasti un d, ma ti perdei] - -In 1882, thirty-four years after Donizetti's death, there was produced -in Rome an opera by him entitled "Il Duca d'Alba" (The Duke of Alba). -Scribe wrote the libretto for Rossini, who does not appear to have -used it. So it was passed on to Donizetti, who composed, but never -produced it. "Spirto gentil" was in this opera, from which Donizetti -simply transferred it. - -_Balthazar_ and the monks return. With them _Ferdinand_ enters the -chapel. _Leonora_, disguised as a novice, comes upon the scene. She -hears the chanting of the monks, _Ferdinand's_ voice enunciating his -vows. He comes out from the chapel, recognizes _Leonora_, bids her be -gone. "Ah! va, t'invola! e questa terra" (These cloisters fly, etc.). - -She, however, tells him of her unsuccessful effort to let him know of -her past, and craves his forgiveness for the seeming wrong she has -wrought upon him. "Clemente al par di Dio" [Transcriber's Note: some -scores render this as 'Pietoso al par del Nume'] (Forgiveness through -God I crave of thee). - -All of _Ferdinand's_ former love returns for her. "Vieni, ah! vieni," -etc. (Joy once more fills my breast). - -He would bear her away to other climes and there happily pass his days -with her. But it is too late. _Leonora_ dies in his arms. "By tomorrow -my soul, too, will want your prayers," are _Ferdinand's_ words to -_Balthazar_, who, approaching, has drawn _Leonora's_ cowl over her -dishevelled hair. He calls upon the monks to pray for a departed -soul. - - -LINDA DI CHAMOUNIX - -LINDA OF CHAMOUNIX - - Opera, in three acts, by Donizetti; words by Rossi. - Produced, May 19, 1842, Theatre near the Carinthian Gate - (Krnthnerthor), Vienna. London, June, 1843. New York, - Palma's Opera House, January 4, 1847, with Clothilda Barili; - Academy of Music, March 9, 1861, with Clara Louise Kellogg, - later with Patti as _Linda_ and Galassi as _Antonio_; - Metropolitan Opera House, April 23, 1890, with Patti. - - CHARACTERS - - MARQUIS DE BOISFLEURY _Bass_ - CHARLES, Vicomte de Sirval _Tenor_ - PREFECT _Bass_ - PIERROT _Contralto_ - LINDA _Soprano_ - ANTONIO _Baritone_ - MADELINE _Soprano_ - INTENDANT _Tenor_ - - Peasant men and women, Savoyards, etc. - - _Time_--1760, during the reign of Louis XV. - - _Place_--Chamounix and Paris. - -"Linda di Chamounix" contains an air for soprano without which no -collection of opera arias is complete. This is _Linda's_ aria in the -first act, "O luce di quest'anima" (Oh! star that guid'st my fervent -love). When Donizetti was composing "Linda di Chamounix" for Vienna, -with this air and its fluent embellishments, he also was writing for -the Imperial chapel a "Miserere" and an "Ave Maria" which were highly -praised for a style as severe and restrained as "O luce di -quest'anima" is light and graceful. - -"Linda di Chamounix" is in three acts, entitled "The Departure," -"Paris," "The Return." The story is somewhat nave, as its exposition -will show. - -Act I. The village of Chamounix. On one side a farmhouse. On an -eminence a church. _Antonio_ and _Madeline_ are poor villagers. -_Linda_ is their daughter. She has fallen in love with an artist, -_Charles_, who really is the _Viscount de Sirval_, but has not yet -disclosed his identity to her. When the opera opens _Linda's_ parents -are in fear of being dispossessed by the _Marquis de Boisfleury_, who -is _Charles's_ uncle, but knows nothing of his nephew's presence in -Chamounix, or of his love for _Linda_. She, it may be remarked, is one -of those pure, sweet, unsophisticated creatures, who exist only on the -stage, and possibly only in opera. - -When the opera opens, _Antonio_ returns from a visit to the -_Marquis's_ agent, the _Intendant_. Hopes have been held out to him -that the _Marquis_ will relent. _Antonio_ communicates these hopes to -his wife in the beautiful solo, "Ambo nati in questa valle" (We were -both in this valley nurtured). - -[Music: Ambo nati in questa valle,] - -There are shouts of "Viva!" without. The _Marquis_ has arrived. He -seems kindness itself to the old couple. He asks for _Linda_, but she -has gone to prayers in the chapel. We learn from an aside between the -_Marquis_ and his _Intendant_, that the _Marquis's_ apparent -benevolence is merely part of a libidinous scheme which involves -_Linda_, whose beauty has attracted the titled rou. - -After this scene, _Linda_ comes on alone and sings "O luce di -quest'anima." - -[Music: - - O luce di quest'anima, - Delizia, amore e vita;] - -I also quote the concluding phrase: - -[Music: - - Unita nostra sorte, - In ciel, in ciel sar.] - -Savoyards are preparing to depart for Paris to go to work there. Among -them is _Pierrot_, with his hurdy-gurdy. He sings a charming ballad, -"Per sua madre and una figlia" (Once a better fortune seeking). - -There is then a love scene between _Linda_ and _Charles_, with the -effective duet, "A consolarmi affrettisi" (Oh! that the blessed day -were come, when standing by my side), a phrase which is heard again -with significant effect in the third act. - -[Music: - - A consolarmi affrettisi, - Tal giorno sospirato,] - -_Antonio_ then learns from the good _Prefect_ of the village that the -latter suspects the _Marquis_ of sinister intentions toward _Linda_. -Indeed at that moment _Linda_ comes in with a paper from the -_Marquis_, which assures to her parents their home; but, she adds, -navely, that she has been invited by the _Marquis_ to the castle. -Parents and _Prefect_ are alarmed for her safety. The _Prefect_ has a -brother in Paris. To his protection it is decided that _Linda_ shall -go with her Savoyard friends, who even now are preparing to depart. - -Act II. Room in a handsome, well-furnished apartment in Paris. This -apartment is _Linda's_. In it she has been installed by _Charles_. The -natural supposition, that it has been paid for by her virtue, is in -this instance a mistake, but one, I am sure, made by nine people out -of ten of those who see the opera, since the explanation of how she -got there consists merely of a few incidental lines in recitative. - -_Linda_ herself, but for her incredible navet would realize the -impossibility of the situation. - -A voice singing in the street she recognizes as _Pierrot's_, calls him -up to her, and assists him with money, of which she appears to have -plenty. She tells him that the _Prefect's_ brother, in whose house -she was to have found protection, had died. She was obliged to support -herself by singing in the street. Fortunately she had by chance met -_Charles_, who disclosed to her his identity as the _Viscount de -Sirval_. He is not ready to marry her yet on account of certain family -complications, but meanwhile has placed her in this apartment, where -he provides for her. There is a duet, in which _Linda_ and _Pierrot_ -sing of her happiness. - -_Pierrot_ having left, the _Marquis_, who has discovered her retreat, -but does not know that it is provided by his nephew _Charles_, calls -to force his unwelcome attentions upon her. He laughs, as is not -unnatural, at her protestations that she is supported here in -innocence; but when she threatens him with possible violence from her -intended, he has a neat little solo of precaution, ending "Guardati, -pensaci, marchese mio" (Be cautious--ponder well, Marquis most -valiant). - -The _Marquis_, having prudently taken his departure, _Linda_ having -gone to another room, and _Charles_ having come in, we learn from his -recitative and air that his mother, the Marquise de Sirval, has -selected a wife for him, whom she insists he shall marry. He hopes to -escape from this marriage, but, as his mother has heard of _Linda_ and -also insists that he shall give her up, he has come to explain matters -to her and temporarily to part from her. But when he sees her, her -beauty so moves him that his courage fails him, although, as he goes, -there is a sadness in his manner that fills her with sad forebodings. - -For three months _Linda_ has heard nothing from her parents. Letters, -with money, which she has sent them, have remained unanswered--another -of the situations in which this most artless heroine of opera -discovers herself, without seeking the simple and obvious way of -relieving the suspense. - -In any event, her parents have become impoverished through the -_Marquis de Boisfleury's_ disfavour, for at this moment her father, in -the condition of a mendicant, comes in to beg the intercession in his -behalf of the _Viscount de Sirval_ (Charles). Not recognizing _Linda_, -he mistakes her for _Charles's_ wife. She bestows bounteous alms upon -him, but hesitates to make herself known, until, when he bends over to -kiss her hand she cannot refrain from disclosing herself. Her -surroundings arouse his suspicions, which are confirmed by _Pierrot_, -who comes running in with the news that he has learned of preparations -for the marriage of _Charles_ to a lady of his mother's choice. In a -scene (which a fine singer like Galassi was able to invest with real -power) _Antonio_ hurls the alms _Linda_ has given him at her feet, -denounces her, and departs. _Pierrot_ seeks to comfort her. But alas! -her father's denunciation of her, and, above all, what she believes to -be _Charles's_ desertion, have unseated her reason. - -Act III. The village of Chamounix. The Savoyards are returning and are -joyfully greeted. _Charles_, who has been able to persuade his mother -to permit him to wed _Linda_, has come in search of her. Incidentally -he has brought solace for _Antonio_ and _Madeline_. The De Sirvals are -the real owners of the farm, the _Marquis_, _Charles's_ uncle, being -only their representative. _Linda's_ parents are to remain in -undisturbed possession of the farm;--but where is she? - -_Pierrot_ is heard singing. Whenever he sings he is able to persuade -_Linda_ to follow him. Thus her faithful friend gradually has led her -back to Chamounix. And when _Charles_ chants for her a phrase of their -first act duet, "O consolarmi affrettisi," her reason returns, and it -is "Ah! di tue pene sparve il sogno" (Ah! the vision of my sorrow -fades). - -In this drama of navet, an artlessness which I mention again because -I think it is not so much the music as the libretto that has become -old-fashioned, even the _Marquis_ comes in for a good word. For when -he too offers his congratulations, what does _Linda_ do but refer to -the old libertine, who has sought her ruin, as "him who will be my -uncle dear." - - -DON PASQUALE - - Opera, in three acts, by Donizetti; words by Salvatore - Cammarano, adapted from his earlier libretto, "Ser - Marc'Antonio," which Stefano Pavesi had set to music in - 1813. Produced, Paris, January 4, 1843, Thtre des - Italiens. London, June 30, 1843. New York, March 9, 1846, in - English; 1849, in Italian; revived for Bonci (with di - Pasquali, Scotti, and Pini-Corsi) at the New Theatre, - December 23, 1909; given also at the Metropolitan Opera - House with Sembrich as _Norina_. - - CHARACTERS - - DON PASQUALE, an old bachelor _Bass_ - DR. MALATESTA, his friend _Baritone_ - ERNESTO, nephew of Don Pasquale _Tenor_ - NORINA, a young widow, affianced to Ernesto _Soprano_ - A NOTARY _Baritone_ - - Valets, chambermaids, majordomo, dress-makers, hairdresser. - - _Time_--Early nineteenth century. - - _Place_--Rome. - -"Don Pasquale" concerns an old man about to marry. He also is wealthy. -Though determined himself to have a wife, on the other hand he is very -angry with his nephew, _Ernesto_, for wishing to marry, and threatens -to disinherit him. _Ernesto_ is greatly disturbed by these threats. So -is his lady-love, the sprightly young widow, _Norina_, when he reports -them to her. - -_Pasquale's_ friend, _Dr. Malatesta_, not being able to dissuade him -from marriage, pretends to acquiesce in it. He proposes that his -sister shall be the bride, and describes her as a timid, nave, -ingenuous girl, brought up, he says, in a convent. She is, however, -none other than _Norina_, the clever young widow, who is in no degree -related to _Malatesta_. She quickly enters into the plot, which -involves a mock marriage with _Don Pasquale_. An interview takes -place. The modest graces of the supposed convent girl charm the old -man. The marriage--a mock ceremony, of course--is hurriedly -celebrated, so hurriedly that there is no time to inform the -distracted _Ernesto_ that the proceedings are bogus. - -_Norina_ now displays toward _Don Pasquale_ an ungovernable temper. -Moreover she spends money like water, and devotes all her energies to -nearly driving the old man crazy. When he protests, she boxes his -ears. He is on the point of suicide. Then at last _Malatesta_ lets him -know that he has been duped. _Notary_ and contract are fictitious. He -is free. With joy he transfers to _Ernesto_ his conjugal burden--and -an income. - -Act I plays in a room in _Don Pasquale's_ house and later in a room in -_Norina's_, where she is reading a romance. She is singing "Quel -guardo" (Glances so soft) and "So anch'io la virt magica" (I, too, -thy magic virtues know) in which she appears to be echoing in thought -what she has been reading about in the book. - -[Music: - - So anch'io la virt magica - D'un guardo a tempo e loco] - -The duet, in which she and _Malatesta_ agree upon the plot--the "duet -of the rehearsal"--is one of the sprightly numbers of the score. - -Act II is in a richly furnished salon of _Don Pasquale's_ house. This -is the scene of the mock marriage, of _Norina's_ assumed display of -temper and extravagance, _Don Pasquale's_ distraction, _Ernesto's_ -amazement and enlightenment, and _Malatesta's_ amused co-operation. In -this act occur the duet of the box on the ears, and the quartet, which -begins with _Pasquale's_ "Son ardito" [Transcriber's Note: should be -'Son tradito'] (I am betrayed). It is the finale of the act and -considered a masterpiece. - -Act III is in two scenes, the first in _Don Pasquale's_ house, where -everything is in confusion; the second in his garden, where _Ernesto_ -sings to _Norina_ the beautiful serenade, "Com' gentil" (Soft beams -the light). - -[Music: Com' gentil, la notte a mezzo April,] - -_Don Pasquale_, who has suspected _Norina_ of having a rendezvous in -the garden, rushes out of concealment with _Malatesta_. But _Ernesto_ -is quick to hide, and _Norina_ pretends no one has been with her. This -is too much for _Don Pasquale_, and _Malatesta_ now makes it the -occasion for bringing about the dnouement, and secures the old man's -most willing consent to the marriage between _Ernesto_ and _Norina_. - -When the opera had its original production in Paris, Lablache was _Don -Pasquale_, Mario _Ernesto_, Tamburini _Malatesta_, and Grisi _Norina_. -Notwithstanding this brilliant cast, the work did not seem to be going -well at the rehearsals. After one of these, Donizetti asked the music -publisher, Dormoy, to go with him to his lodgings. There he rummaged -among a lot of manuscripts until, finding what he was looking for, he -handed it to Dormoy. - -"There," he said, "give this to Mario and tell him to sing it in the -last scene in the garden as a serenade to _Norina_." - -When the opera was performed Mario sang it, while Lablache, behind the -scenes, played an accompaniment on the lute. It was the serenade. Thus -was there introduced into the opera that air to which, more than any -other feature of the work, it owes its occasional resuscitation. - -A one-act comedy opera by Donizetti, "Il Campanello di Notte" (The -Night Bell) was produced in Naples in 1836. It would hardly be worth -referring to but for the fact that it is in the repertoire of the -Society of American Singers, who gave it, in an English version by -Sydney Rosenfeld, at the Lyceum Theatre, New York, May 7, 1917. This -little work turns on the attempts of a lover, who has been thrown -over, to prevent his successful rival, an apothecary, from going to -bed on the night of his marriage. He succeeds by adopting various -disguises, ringing the night bell, and asking for medicine. In the -American first performance David Bispham was the apothecary, called in -the adaptation, _Don Hannibal Pistacchio_. Miss Gates, the _Serafina_, -interpolated "O luce di quest'anima," from "Linda di Chamounix." Mr. -Reiss was _Enrico_, the lover. - - - - -Giuseppe Verdi - -(1813-1901) - - -Verdi ranks as the greatest Italian composer of opera. There is a -marked distinction between his career and those of Bellini and -Donizetti. The two earlier composers, after reaching a certain point -of development, failed to advance. No later opera by Bellini equals -"La Sonnambula"; none other by Donizetti ranks with "Lucia di -Lammermoor." - -But Verdi, despite the great success of "Ernani," showed seven years -later, with "Rigoletto," an amazing progress in dramatic expression -and skill in ensemble work. "Il Trovatore" and "La Traviata" were -other works of the period ushered in by "Rigoletto." Eighteen years -later the composer, then fifty-eight years old, gave evidence of -another and even more notable advance by producing "Ada," a work -which marks the beginning of a new period in Italian opera. Still not -satisfied, Verdi brought forward "Otello" (1887) and "Falstaff" -(1893), scores which more nearly resemble music-drama than opera. - -Thus the steady forging ahead of Verdi, the unhalting development of -his genius, is the really great feature of his career. In fact no -Italian composer since Verdi has caught up with "Falstaff," which may -be as profitably studied as "Le Nozze di Figaro," "Il Barbiere di -Siviglia," "Die Meistersinger," and "Der Rosenkavalier." Insert -"Falstaff" in this list, in its proper place between "Meistersinger" -and "Rosenkavalier," and you have the succession of great operas -conceived in the divine spirit of comedy, from 1786 to 1911. - -In the article on "Un Ballo in Maschera," the political use made of -the letters of Verdi's name is pointed out. See p. 428. - -Verdi was born at Roncole, near Busseto, October 9, 1813. He died at -Rome, January 27, 1901. There remains to be said that, at eighteen, he -was refused admission to the Milan Conservatory "on the score of lack -of musical talent." - -What fools these mortals be! - - -ERNANI - - Opera, in four acts, by Verdi; words by Francesco Maria - Piave, after Victor Hugo's drama, "Hernani." Produced, - Fenice Theatre, Venice, March 9, 1844; London, Her Majesty's - Theatre, March 8, 1845; New York, 1846, at the Astor Place - Theatre. Patti, at the Academy of Music, Sembrich at the - Metropolitan Opera House, have been notable interpreters of - the rle of _Elvira_. - - CHARACTERS - - DON CARLOS, King of Castile _Baritone_ - DON RUY GOMEZ DI SILVA, Grandee of Spain _Bass_ - ERNANI, or JOHN OF ARAGON, a bandit chief _Tenor_ - DON RICCARDO, esquire to the King _Tenor_ - JAGO, esquire to SILVA _Bass_ - ELVIRA, kinswoman to SILVA _Soprano_ - GIOVANNA, in ELVIRA'S service _Soprano_ - - Mountaineers and bandits, followers of _Silva_, ladies of - _Elvira_, followers of _Don Carlos_, electors and pages. - - _Time_--Early sixteenth century. - - _Place_--Spain. - -_John of Aragon_ has become a bandit. His father, the Duke of Segovia, -had been slain by order of _Don Carlos's_ father. _John_, proscribed -and pursued by the emissaries of the King, has taken refuge in the -fastnesses of the mountains of Aragon, where, under the name of -_Ernani_, he has become leader of a large band of rebel mountaineers. -_Ernani_ is in love with _Donna Elvira_, who, although she is about -to be united to her relative, the aged _Ruy Gomez di Silva_, a grandee -of Spain, is deeply enamoured of the handsome, chivalrous bandit -chief. - -_Don Carlos_, afterwards Emperor Charles V., also has fallen violently -in love with _Elvira_. By watching her windows he has discovered that -at dead of night a young cavalier (_Ernani_) gains admission to her -apartments. He imitates her lover's signal, gains admission to her -chamber, and declares his passion. Being repulsed, he is about to drag -her off by force, when a secret panel opens, and he finds himself -confronted by _Ernani_. In the midst of a violent scene _Silva_ -enters. To allay his jealousy and anger, naturally aroused by finding -two men, apparently rival suitors, in the apartment of his affianced, -the _King_, whom _Silva_ has not recognized, reveals himself, and -pretends to have come in disguise to consult him about his approaching -election to the empire, and a conspiracy that is on foot against his -life. Then the _King_, pointing to _Ernani_, says to _Silva_, "It doth -please us that this, our follower, depart," thus insuring _Ernani's_ -temporary safety--for a Spaniard does not hand an enemy over to the -vengeance of another. - -Believing a rumour that _Ernani_ has been run down and killed by the -_King's_ soldiers, _Elvira_ at last consents to give her hand in -marriage to _Silva_. On the eve of the wedding, however, _Ernani_, -pursued by the _King_ with a detachment of troops, seeks refuge in -_Silva's_ castle, in the disguise of a pilgrim. Although not known to -_Silva_, he is, under Spanish tradition, his guest, and from that -moment entitled to his protection. - -_Elvira_ enters in her bridal attire. _Ernani_ is thus made aware that -her nuptials with _Don Silva_ are to be celebrated on the morrow. -Tearing off his disguise, he reveals himself to _Silva_, and demands -to be delivered up to the _King_, preferring death to life without -_Elvira_. But true to his honour as a Spanish host, _Silva_ refuses. -Even his enemy, _Ernani_, is safe in his castle. Indeed he goes so far -as to order his guards to man the towers and prepare to defend the -castle, should the _King_ seek forcible entry. He leaves the apartment -to make sure his orders are being carried out. The lovers find -themselves alone. When _Silva_ returns they are in each other's arms. -But as the _King_ is at the castle gates, he has no time to give vent -to his wrath. He gives orders to admit the _King_ and his men, bids -_Elvira_ retire, and hides _Ernani_ in a secret cabinet. The _King_ -demands that _Silva_ give up the bandit. The grandee proudly refuses. -_Ernani_ is his guest. The _King's_ wrath then turns against _Silva_. -He demands the surrender of his sword and threatens him with death, -when _Elvira_ interposes. The _King_ pardons _Silva_, but bears away -_Elvira_ as hostage for the loyalty of her kinsman. - -The _King_ has gone. From the wall _Silva_ takes down two swords, -releases his guest from his hiding place, and bids him cross swords -with him to the death. _Ernani_ refuses. His host has just protected -his life at the danger of his own. But, if _Silva_ insists upon -vengeance, let grandee and bandit first unite against the _King_, with -whom the honour of _Elvira_ is unsafe. _Elvira_ rescued, _Ernani_ will -give himself up to _Silva_, to whom, handing him his hunting horn, he -avows himself ready to die, whenever a blast upon it shall be sounded -from the lip of the implacable grandee. _Silva_, who has been in -entire ignorance of the _King's_ passion for _Elvira_, grants the -reprieve, and summons his men to horse. - -He sets on foot a conspiracy against the _King_. A meeting of the -conspirators is held in the Cathedral of Aix-la-Chapelle, in the -vault, within which stands the tomb of Charlemagne. Here it is -resolved to murder the _King_. A ballot decides who shall do the deed. -_Ernani's_ name is drawn. - -The _King_, however, has received information of the time and place -of this meeting. From the tomb he has been an unobserved witness of -the meeting and purpose of the conspirators. Booming of cannon outside -tells him of his choice as head of the Holy Roman Empire. Emerging -from the tomb, he shows himself to the awed conspirators, who imagine -they see Charlemagne issuing forth to combat them. At the same moment -the doors open. The electors of the Empire enter to pay homage to -Charles V. - -"The herd to the dungeon, the nobles to the headsman," he commands. - -_Ernani_ advances, discovers himself as John of Aragon, and claims the -right to die with the nobles--"to fall, covered, before the _King_." -But upon _Elvira's_ fervent plea, the _King_, now also Emperor, -commences his reign with an act of grace. He pardons the conspirators, -restores to _Ernani_ his titles and estates, and unites him with -_Elvira_. - -_Silva_, thwarted in his desire to marry _Elvira_, waits until -_Ernani_ and _Elvira_, after their nuptials, are upon the terrace of -_Ernani's_ castle in Aragon. At their most blissful moment he sounds -the fatal horn. _Ernani_, too chivalrous to evade his promise, stabs -himself in the presence of the grim avenger and of _Elvira_ who falls -prostrate upon his lifeless body. - -In the opera, this plot develops as follows: Act I opens in the camp -of the bandits in the mountains of Aragon. In the distance is seen the -Moorish castle of _Silva_. The time is near sunset. Of _Ernani's_ -followers, some are eating and drinking, or are at play, while others -are arranging their weapons. They sing, "Allegri, beviamo" (Haste! -Clink we our glasses). - -_Ernani_ sings _Elvira's_ praise in the air, "Come rugiada al cespite" -(Balmier than dew to drooping bud). - -[Music: Come rugiada al cespite] - -This expressive number is followed by one in faster time, "O tu, che -l'alma adora" (O thou toward whom, adoring soul). - -[Music: - - O tu, che l'alma adora, - Vien, vien, la mia vita infiora,] - -Enthusiastically volunteering to share any danger _Ernani_ may incur -in seeking to carry off _Elvira_, the bandits, with their chief at -their head, go off in the direction of _Silva's_ castle. - -The scene changes to _Elvira's_ apartment in the castle. It is night. -She is meditating upon _Ernani_. When she thinks of _Silva_, "the -frozen, withered spectre," and contrasts with him _Ernani_, who "in -her heart ever reigneth," she voices her thoughts in that famous air -for sopranos, one of Verdi's loveliest inspirations, "Ernani! -involami" (Ernani! fly with me). - -[Music: - - Ernani! Ernani! involami - All'abborrito amplesso.] - -It ends with a brilliant cadenza, "Un Eden quegli antri a me" (An Eden -that opens to me). - -[Music: un Eden quegli antri a me.] - -Young maidens bearing wedding gifts enter. They sing a chorus of -congratulation. To this _Elvira_ responds with a graceful air, the -sentiment of which, however, is expressed as an aside, since it refers -to her longing for her young, handsome and chivalrous lover. "Tutto -sprezzo che d'Ernani" (Words that breathe thy name Ernani). - -[Music: Tutto sprezzo che d'Ernani] - -The young women go. Enter _Don Carlos_, the _King_. There is a -colloquy, in which _Elvira_ protests against his presence; and then a -duet, which the _King_ begins, "Da quel d che t'ho veduta" (From the -day, when first thy beauty). - -A secret panel opens. The _King_ is confronted by _Ernani_, and by -_Elvira_, who has snatched a dagger from his belt. She interposes -between the two men. _Silva_ enters. What he beholds draws from him -the melancholy reflections--"Infelice! e tu credevi" (Unhappy me! and -I believed thee), - -[Music: Infelice! e tu credevi] - -an exceptionally fine bass solo. He follows it with the vindictive -"Infin, che un brando vindice" (In fine a swift, unerring blade). - -Men and women of the castle and the _King's_ suite have come on. The -monarch is recognized by _Silva_, who does him obeisance, and, at the -_King's_ command, is obliged to let _Ernani_ depart. An ensemble -brings the act to a close. - -Act II. Grand hall in _Silva's_ castle. Doors lead to various -apartments. Portraits of the Silva family, surmounted by ducal -coronets and coats-of-arms, are hung on the walls. Near each portrait -is a complete suit of equestrian armour, corresponding in period to -that in which lived the ancestor represented in the portrait. A large -table and a ducal chair of carved oak. - -The persistent chorus of ladies, though doubtless aware that _Elvira_ -is not thrilled at the prospect of marriage with her "frosty" kinsman, -and has consented to marry him only because she believes _Ernani_ -dead, enters and sings "Esultiamo!" (Exultation!), then pays tribute -to the many virtues and graces of the bride. - -To _Silva_, in the full costume of a Grandee of Spain, and seated in -the ducal chair, is brought in _Ernani_, disguised as a monk. He is -welcomed as a guest; but, upon the appearance of _Elvira_ in bridal -array, throws off his disguise and offers his life, a sacrifice to -_Silva's_ vengeance, as the first gift for the wedding. _Silva_, -however, learning that he is pursued by the _King_, offers him the -protection due a guest under the roof of a Spaniard. - -"Ah, morir potessi adesso" (Ah, to die would be a blessing) is the -impassioned duet sung by _Elvira_ and _Ernani_, when _Silva_ leaves -them together. - -[Music: - - Ah, morir potessi adesso - O mio Ernani sul tuo petto] - -_Silva_, even when he returns and discovers _Elvira_ in _Ernani's_ -arms, will not break the law of Spanish hospitality, preferring to -wreak vengeance in his own way. He therefore hides _Ernani_ so -securely that the _King's_ followers, after searching the castle, are -obliged to report their complete failure to discover a trace of him. -Chorus: "Fu esplorato del castello" (We have now explored the castle). - -Then come the important episodes described--the _King's_ demand for -the surrender of _Silva's_ sword and threat to execute him; _Elvira's_ -interposition; and the _King's_ sinister action in carrying her off as -a hostage, after he has sung the significant air, "Vieni meco, sol di -rose" (Come with me, a brighter dawning waits for thee). - -[Music: Vieni meco, sol di rose] - -_Ernani's_ handing of his hunting horn to _Silva_, and his arousal of -the grandee to an understanding of the danger that threatens _Elvira_ -from the _King_, is followed by the finale, a spirited call to arms by -_Silva_, _Ernani_, and chorus, "In arcione, in arcione, cavalieri!" -(To horse, to horse, cavaliers!). - -_Silva_ and _Ernani_ distribute weapons among the men, which they -brandish as they rush from the hall. - -Act III. The scene is a sepulchral vault, enclosing the tomb of -Charlemagne in the Cathedral of Aix-la-Chapelle. The tomb is entered -by a heavy door of bronze, upon which is carved in large characters -the word "Charlemagne." Steps lead to the great door of the vault. -Other and smaller tombs are seen and other doors that give on other -passageways. Two lamps, suspended from the roof, shed a faint light. - -It is into this sombre but grandiose place the _King_ has come in -order to overhear, from within the tomb of his greatest ancestor, the -plotting of the conspirators. His soliloquy, "Oh, de' verd'anni miei" -(Oh, for my youthful years once more), derives impressiveness both -from the solemnity of the situation and the music's flowing measure. - -[Music: Oh de' verd'anni miei] - -The principal detail in the meeting of the conspirators is their -chorus, "Si ridesti il Leon di Castiglia" (Let the lion awake in -Castilia). Dramatically effective, too, in the midst of the plotting, -is the sudden booming of distant cannon. It startles the conspirators. -Cannon boom again. The bronze door of the tomb swings open. - -Then the _King_ presents himself at the entrance of the tomb. Three -times he strikes the door of bronze with the hilt of his dagger. The -principal entrance to the vault opens. To the sound of trumpets six -Electors enter, dressed in cloth of gold. They are followed by pages -carrying, upon velvet cushions, the sceptre, crown, and other imperial -insignia. Courtiers surround the Emperor. _Elvira_ approaches. The -banners of the Empire are displayed. Many torches borne by soldiers -illuminate the scene. The act closes with the pardon granted by the -_King_, and the stirring finale, "Oh, sommo Carlo!" (Charlemagne!) - -Act IV, on the terrace of _Ernani's_ castle, is brief, and there is -nothing to add to what has been said of its action. _Ernani_ asks -_Silva_ to spare him till his lips have tasted the chalice filled by -love. He recounts his sad life: "Solingo, errante, misero" (To linger -in exiled misery). - -_Silva's_ grim reply is to offer him his choice between a cup of -poison and a dagger. He takes the latter. "Ferma, crudele, estinguere" -(Stay thee, my lord, for me at least) cries _Elvira_, wishing to share -his fate. In the end there is left only the implacable avenger, to -gloat over _Ernani_, dead, and _Elvira_ prostrate upon his form. - - * * * * * - -"Ernani," brought out in 1844, is the earliest work by Verdi that -maintains a foothold in the modern repertoire, though by no means a -very firm one. And yet "Ernani" is in many respects a fine opera. One -wonders why it has not lasted better. Hanslick, the Viennese critic, -made a discriminating criticism upon it. He pointed out that whereas -in Victor Hugo's drama the mournful blast upon the hunting horn, when -heard in the last act, thrills the listener with tragic forebodings, -in the opera, after listening to solos, choruses, and a full orchestra -all the evening, the audience is but little impressed by the sounding -of a note upon a single instrument. That comment, however, presupposes -considerable subtlety, so far undiscovered, on the part of operatic -audiences. - -The fact is, that since 1844 the whirligig of time has made -one--two--three--perhaps even four revolutions, and with each -revolution the public taste that prevailed, when the first audience -that heard the work in the Teatro Fenice, went wild over "Ernani -Involami" and "Sommo Carlo," has become more remote and undergone more -and more changes. To turn back operatic time in its flight requires -in the case of "Ernani," a soprano of unusual voice and personality -for _Elvira_, a tenor of the same qualities for the picturesque rle -of _Ernani_, a fine baritone for _Don Carlos_, and a sonorous basso, -who doesn't look too much like a meal bag, for _Don Ruy Gomez di -Silva_, Grandee of Spain. - -Early in its career the opera experienced various vicissitudes. The -conspiracy scene had to be toned down for political reasons before the -production of the work was permitted. Even then the chorus, "Let the -lion awake in Castilia," caused a political demonstration. In Paris, -Victor Hugo, as author of the drama on which the libretto is based, -raised objections to its representation, and it was produced in the -French capital as "Il Proscritto" (The Proscribed) with the characters -changed to Italians. Victor Hugo's "Hernani" was a famous play in -Sarah Bernhardt's repertoire during her early engagements in this -country. Her _Doa Sol_ (_Elvira_ in the opera) was one of her finest -achievements. On seeing the play, with her in it, I put to test -Hanslick's theory. The horn was thrilling in the play. It certainly is -less so in the opera. - - -RIGOLETTO - - Opera in three acts, by Verdi; words by Francesco Maria - Piave, founded on Victor Hugo's play, "Le Roi s'Amuse." - Produced, Fenice Theatre, Venice, March 11, 1851; London, - Covent Garden, May 14, 1853; Paris, Thtre des Italiens, - January 19, 1857; New York, Academy of Music, November 4, - 1857, with Bignardi and Frezzolini. Caruso made his dbut in - America at the Metropolitan Opera House, New York, as the - _Duke_ in "Rigoletto," November 23, 1903; Galli-Curci hers, - as _Gilda_, Chicago, November 18, 1916. - - CHARACTERS - - THE DUKE OF MANTUA _Tenor_ - RIGOLETTO, his jester, a hunchback _Baritone_ - COUNT CEPRANO } { _Bass_ - COUNT MONTERONE } Nobles { _Baritone_ - SPARAFUCILE, a bravo _Bass_ - BORSA, in the Duke's service _Tenor_ - MARULLO _Bass_ - COUNTESS CEPRANO _Soprano_ - GILDA, daughter of Rigoletto _Soprano_ - GIOVANNI, her duenna _Soprano_ - MADDALENA, sister to Sparafucile _Contralto_ - - Courtiers, nobles, pages, servants. - - _Time_--Sixteenth century. - - _Place_--Mantua. - -"Rigoletto" is a distinguished opera. Composed in forty days in 1851, -nearing three-quarters of a century of life before the footlights, it -still retains its vitality. Twenty years, with all they imply in -experience and artistic growth, lie between "Rigoletto" and "Ada." -Yet the earlier opera, composed so rapidly as to constitute a _tour de -force_ of musical creation, seems destined to remain a close second in -popularity to the more mature work of its great composer. - -There are several reasons for the public's abiding interest in -"Rigoletto." It is based upon a most effective play by Victor Hugo, -"Le Roi s'Amuse," known to English playgoers in Tom Taylor's -adaptation as "The Fool's Revenge." The jester was one of Edwin -Booth's great rles. This rle of the deformed court jester, -_Rigoletto_, the hunchback, not only figures in the opera, but has -been vividly characterized by Verdi in his music. It is a vital, -centralizing force in the opera, concentrating and holding attention, -a character creation that appeals strongly both to the singer who -enacts it and to the audience who sees and hears it. The rle has -appealed to famous artists. Ronconi (who taught singing in New York -for a few years, beginning in 1867) was a notable _Rigoletto_; so was -Galassi, whose intensely dramatic performance still is vividly -recalled by the older opera-goers; Renaud at the Manhattan Opera -House, Titta Ruffo at the Metropolitan Opera House, Philadelphia, both -made their American dbuts as _Rigoletto_. - -But the opera offers other rles of distinction. Mario was a famous -_Duke_ in other days. Caruso made his sensational dbut at the -Metropolitan in the character of the volatile _Duca di Mantua_, -November 23, 1903. We have had as _Gilda_ Adelina Patti, Melba, and -Tetrazzini, to mention but a few; and the heroine of the opera is one -of the rles of Galli-Curci, who appeared in it in Chicago, November -18, 1916. No coloratura soprano can, so to speak, afford to be without -it. - -Thus the opera has plot, a central character of vital dramatic -importance, and at least two other characters of strong interest. But -there is even more to be said in its behalf. For, next to the sextet -in "Lucia," the quartet in the last act of "Rigoletto" is the finest -piece of concerted music in Italian opera--and many people will object -to my placing it only "next" to that other famous ensemble, instead of -on complete equality with, or even ahead of it. - -The "argument" of "Rigoletto" deals with the amatory escapades of the -_Duke of Mantua_. In these he is aided by _Rigoletto_, his jester, a -hunchback. _Rigoletto_, both by his caustic wit and unscrupulous -conduct, has made many enemies at court. _Count Monterone_, who comes -to the court to demand the restoration of his daughter, who has been -dishonoured by the _Duke_, is met by the jester with laughter and -derision. The _Count_ curses _Rigoletto_, who is stricken with -superstitious terror. - -For _Rigoletto_ has a daughter, _Gilda_, whom he keeps in strict -seclusion. But the _Duke_, without being aware who she is, has seen -her, unknown to her father, and fallen in love with her. _Count -Ceprano_, who many times has suffered under _Rigoletto's_ biting -tongue, knowing that she is in some way connected with the jester, in -fact believing her to be his mistress, and glad of any opportunity of -doing him an injury, forms a plan to carry off the young girl, and so -arranges it that _Rigoletto_ unwittingly assists in her abduction. -When he finds that it is his own daughter whom he has aided to place -in the power of the _Duke_, he determines to murder his master, and -engages _Sparafucile_, a bravo, to do so. This man has a sister, -_Maddalena_, who entices the _Duke_ to a lonely inn. She becomes -fascinated with him, however, and begs her brother to spare his life. -This he consents to do if before midnight any one shall arrive at the -inn whom he can kill and pass off as the murdered _Duke_. _Rigoletto_, -who has recovered his daughter, brings her to the inn so that, by -being a witness of the _Duke's_ inconstancy, she may be cured of her -unhappy love. She overhears the plot to murder her lover, and -_Sparafucile's_ promise to his sister. Determined to save the _Duke_, -she knocks for admittance, and is stabbed on entering. _Rigoletto_ -comes at the appointed time for the body. _Sparafucile_ brings it out -in a sack. The jester is about to throw it into the water, sack and -all, when he hears the _Duke_ singing. He tears open the sack, only to -find his own daughter, at the point of death. - -Act I opens in a salon in the _Duke's_ palace. A suite of other -apartments is seen extending into the background. All are brilliantly -lighted for the fte that is in progress. Courtiers and ladies are -moving about in all directions. Pages are passing to and fro. From an -adjoining salon music is heard and bursts of merriment. - -[Music] - -There is effervescent gayety in the orchestral accompaniment to the -scene. A minuet played by an orchestra on the stage is curiously -reminiscent of the minuet in Mozart's "Don Giovanni." The _Duke_ and -_Borsa_ enter from the back. They are conversing about an "unknown -charmer"--none other than _Gilda_--whom the _Duke_ has seen at church. -He says that he will pursue the adventure to the end, although a -mysterious man visits her nightly. - -Among a group of his guests the _Duke_ sees the _Countess Ceprano_, -whom he has been wooing quite openly, in spite of the _Count's_ -visible annoyance. The dashing gallant cares nothing about what anyone -may think of his escapades, least of all the husbands or other -relatives of the ladies. "Questa o quella per me pari sono" (This one, -or that one, to me 'tis the same). - -[Music] - -This music floats on air. It gives at once the cue to the _Duke's_ -character. Like _Don Giovanni_ he is indifferent to fate, flits from -one affair to another, and is found as fascinating as he is dangerous -by all women, of whatever degree, upon whom he confers his doubtful -favours. - -_Rigoletto_, hunchbacked but agile, sidles in. He is in cap and bells, -and carries the jester's bauble. The immediate object of his satire is -_Count Ceprano_, who is watching his wife, as she is being led off on -the _Duke's_ arm. _Rigoletto_ then goes out looking for other victims. -_Marullo_ joins the nobles. He tells them that _Rigoletto_, despite -his hump, has an inamorata. The statement makes a visible impression -upon _Count Ceprano_, and when the nobles, after another sally from -the jester, who has returned with the _Duke_, inveigh against his -bitter tongue, the _Count_ bids them meet him at night on the morrow -and he will guarantee them revenge upon the hunchback for the gibes -they have been obliged to endure from him. - -The gay music, which forms a restless background to the recitatives of -which I have given the gist, - -[Music] - -trips buoyantly along, to be suddenly broken in upon by the voice of -one struggling without, and who, having freed himself from those -evidently striving to hold him back, bursts in upon the scene. It is -the aged _Count Monterone_. His daughter has been dishonoured by the -_Duke_, and he denounces the ruler of Mantua before the whole -assembly. His arrest is ordered. _Rigoletto_ mocks him until, drawing -himself up to his full height, the old noble not only denounces him, -but calls down upon him a father's curse. - -_Rigoletto_ is strangely affrighted. He cowers before _Monterone's_ -malediction. It is the first time since he has appeared at the -gathering that he is not gibing at someone. Not only is he subdued; he -is terror-stricken. - -_Monterone_ is led off between halberdiers. The gay music again breaks -in. The crowd follows the _Duke_. But _Rigoletto_? - -The scene changes to the street outside of his house. It is secluded -in a courtyard, from which a door leads into the street. In the -courtyard are a tall tree and a marble seat. There is also seen at the -end of the street, which has no thoroughfare, the gable end of _Count -Ceprano's_ palace. It is night. - -As _Rigoletto_ enters, he speaks of _Monterone's_ curse. His entrance -to the house is interrupted by the appearance of _Sparafucile_, an -assassin for hire. In a colloquy, to which the orchestra supplies an -accompaniment, interesting because in keeping with the scene, he -offers to _Rigoletto_ his services, should they be needed, in putting -enemies out of the way--and his charges are reasonable. - -[Music] - -_Rigoletto_ has no immediate need of him, but ascertains where he can -be found. - -_Sparafucile_ goes. _Rigoletto_ has a soliloquy, beginning, "How like -are we!--the tongue, my weapon, the dagger his! to make others laugh -is my vocation,--his to make them weep!... Tears, the common solace of -humanity, are to me denied.... 'Amuse me buffoon'--and I must obey." -His mind still dwells on the curse--a father's curse, pronounced upon -him, a father to whom his daughter is a jewel. He refers to it, even -as he unlocks the door that leads to his house, and also to his -daughter, who, as he enters, throws herself into his arms. - -He cautions her about going out. She says she never ventures beyond -the courtyard save to go to church. He grieves over the death of his -wife--_Gilda's_ mother--that left her to his care while she was still -an infant. "Deh non parlare al misero" (Speak not of one whose loss to -me). - -[Music: Deh non parlare al misero] - -He charges her attendant, _Giovanna_, carefully to guard her. _Gilda_ -endeavours to dispel his fears. The result is the duet for _Rigoletto_ -and _Gilda_, beginning with his words to _Giovanna_, "Veglia, o donna, -questo fiore" (Safely guard this tender blossom). - -[Illustration: Photo copyright, 1916, by Victor Georg - -Galli-Curci as Gilda in "Rigoletto"] - -[Illustration: Copyright photo by Dupont - -Caruso as the Duke in "Rigoletto"] - -_Rigoletto_ hears footsteps in the street and goes out through the -door of the courtyard to see who may be there. As the door swings out, -the _Duke_, for it is he, in the guise of a student, whose stealthy -footsteps have been heard by the jester, conceals himself behind it, -then slips into the courtyard, tosses a purse to _Giovanna_, and hides -in the shadow of the tree. _Rigoletto_ reappears for a brief moment to -say good-bye to _Gilda_ and once more to warn _Giovanna_ to guard her -carefully. - -When he has gone _Gilda_ worries because fear drove her to refrain -from revealing to her father that a handsome youth has several times -followed her from church. This youth's image is installed in her -heart. "I long to say to him 'I lo--'" - -The _Duke_ steps out of the tree's shadow, motions to _Giovanna_ to -retire and, throwing himself at _Gilda's_ feet, takes the words out of -her mouth by exclaiming, "I love thee!" - -No doubt taken by surprise, yet also thrilled with joy, she hearkens -to him rapturously as he declares, " il sol dell'anima, la vita -amore" (Love is the sun by which passion is kindled). - -[Music: il sol dell'anima, la vita amore,] - -The meeting is brief, for again there are footsteps outside. But their -farewell is an impassioned duet, "Addio speranza ed anima" (Farewell, -my hope, my soul, farewell). - -He has told her that he is a student, by name Walter Mald. When he -has gone, she muses upon the name, and, when she has lighted a candle -and is ascending the steps to her room, she sings the enchanting -coloratura air, "Caro nome che il mio cor" (Dear name, my heart -enshrines). - -[Music: - - Caro nome che il mio cor - Festi primo palpitar,] - -If the _Gilda_ be reasonably slender and pretty, the scene, with the -courtyard, the steps leading up to the room, and the young maiden -gracefully and tenderly expressing her heart's first romance, is -charming, and in itself sufficient to account for the attraction which -the rle holds for prima donnas. - -Tiptoeing through the darkness outside come _Marullo_, _Ceprano_, -_Borsa_, and other nobles and courtiers, intent upon seeking revenge -for the gibes _Rigoletto_ at various times has aimed at them, by -carrying off the damsel, whom they assume to be his inamorata. At that -moment, however, the jester himself appears. They tell him they have -come to abduct the _Countess Ceprano_ and bear her to the Ducal -palace. To substantiate this statement _Marullo_ quickly has the keys -to _Ceprano's_ house passed to him by the _Count_, and in the darkness -holds them out to _Rigoletto_, who, his suspicions allayed because he -can feel the Ceprano crest in basso-relievo on the keys, volunteers to -aid in the escapade. _Marullo_ gives him a mask and, as if to fasten -it securely, ties it with a handkerchief, which he passes over the -piercings for the eyes. _Rigoletto_, confused, holds a ladder against -what he believes to be the wall of _Ceprano's_ house. By it, the -abductors climb his own wall, enter his house, gag, seize, and carry -away _Gilda_, making their exit from the courtyard, but in their hurry -failing to observe a scarf that has fluttered from their precious -burden. - -_Rigoletto_ is left alone in the darkness and silence. He tears off -his mask. The door to his courtyard is open. Before him lies _Gilda's_ -scarf. He rushes into the house, into her room; reappears, staggering -under the weight of the disaster, which, through his own unwitting -connivance, has befallen him. - -"Ah! La maledizione!" he cries out. It is _Monterone's_ curse. - -Act II has its scene laid in the ducal palace. This salon has large -folding doors in the background and smaller ones on each side, above -which are portraits of the _Duke_ and of the Duchess, a lady who, -whether from a sense of delicacy or merely to serve the convenience of -the stage, does not otherwise appear in the opera. - -The _Duke_ is disconsolate. He has returned to _Rigoletto's_ house, -found it empty. The bird had flown. The scamp mourns his loss--in -affecting language and music, "Parmi veder le lagrime" (Fair maid, -each tear of mine that flows). - -In a capital chorus he is told by _Marullo_ and the others that they -have abducted _Rigoletto's_ inamorata. - -[Music: Scorrendo uniti remota via] - -The _Duke_ well knows that she is the very one whose charms are the -latest that have enraptured him. "Possente amor mi chiama" (To her I -love with rapture). - -He learns from the courtiers that they have brought her to the palace. -He hastens to her, "to console her," in his own way. It is at this -moment _Rigoletto_ enters. He knows his daughter is in the palace. He -has come to search for her. Aware that he is in the presence of those -who took advantage of him and thus secured his aid in the abduction of -the night before, he yet, in order to accomplish his purpose, must -appear light-hearted, question craftily, and be diplomatic, although -at times he cannot prevent his real feelings breaking through. It is -the ability of Verdi to give expression to such varied emotions which -make this scene one of the most significant in his operas. It is -dominated by an orchestral motive, that of the clown who jests while -his heart is breaking. - -[Music: La r, la r, la la, la r, la r, la r, la r etc.] - -Finally he turns upon the crowd that taunts him, hurls invective upon -them; and, when a door opens and _Gilda_, whose story can be read in -her aspect of despair, rushes into his arms, he orders the courtiers -out of sight with a sense of outrage so justified that, in spite of -the flippant words with which they comment upon his command, they obey -it. - -Father and daughter are alone. She tells him her story--of the -handsome youth, who followed her from church--"Tutte le feste al -tempio" (One very festal morning). - -Then follows her account of their meeting, his pretence that he was a -poor student, when, in reality, he was the _Duke_--to whose chamber -she was borne after her abduction. It is from there she has just come. -Her father strives to comfort her--"Piangi, fanciulla" (Weep, my -child). - -At this moment he is again reminded of the curse pronounced upon him -by the father whose grief with him had been but the subject of ribald -jest. _Count Monterone_, between guards, is conducted through the -apartment to the prison where he is to be executed for denouncing the -_Duke_. Then _Rigoletto_ vows vengeance upon the betrayer of _Gilda_. - -But such is the fascination which the _Duke_ exerts over women that -_Gilda_, fearing for the life of her despoiler, pleads with her father -to "pardon him, as we ourselves the pardon of heaven hope to gain," -adding, in an aside, "I dare not say how much I love him." - -It was a corrupt, carefree age. Victor Hugo created a debonair -character--a libertine who took life lightly and flitted from pleasure -to pleasure. And so Verdi lets him flit from tune to tune--gay, -melodious, sentimental. There still are plenty of men like the _Duke_, -and plenty of women like _Gilda_ to love them; and other women, be it -recalled, as discreet as the Duchess, who does not appear in this -opera save as a portrait on the wall, from which she calmly looks down -upon a jester invoking vengeance upon her husband, because of the -wrong he has done the girl, who weeps on the breast of her hunchback -father. - -To Act III might be given as a sub-title, "The Fool's Revenge," the -title of Tom Taylor's adaptation into English of Victor Hugo's play. -The scene shows a desolate spot on the banks of the Mincio. On the -right, with its front to the audience, is a house two stories high, in -a very dilapidated state, but still used as an inn. The doors and -walls are so full of crevices that whatever is going on within can be -seen from without. In front are the road and the river; in the -distance is the city of Mantua. It is night. - -The house is that of _Sparafucile_. With him lives his sister, -_Maddalena_, a handsome young gypsy woman, who lures men to the inn, -there to be robbed--or killed, if there is more money to be had for -murder than for robbery. _Sparafucile_ is seen within, cleaning his -belt and sharpening his sword. - -Outside are _Rigoletto_ and _Gilda_. She cannot banish the image of -her despoiler from her heart. Hither the hunchback has brought her to -prove to her the faithlessness of the _Duke_. She sees him in the garb -of a soldier coming along the city wall. He descends, enters the inn, -and calls for wine and a room for the night. Shuffling a pack of -cards, which he finds on the table, and pouring out the wine, he sings -of woman. This is the famous "La donna mobile" (Fickle is woman -fair). - -[Music: - - La donna mobile - Qual piuma al vento,] - -It has been highly praised and violently criticized; and usually gets -as many encores as the singer cares to give. As for the criticisms, -the cadenzas so ostentatiously introduced by singers for the sake of -catching applause, are no more Verdi's than is the high C in "Il -Trovatore." The song is perfectly in keeping with the _Duke's_ -character. It has grace, verve, and buoyancy; and, what is an -essential point in the development of the action from this point on, -it is easily remembered. In any event I am glad that among my operatic -experiences I can count having heard "La donna mobile" sung by such -great artists as Campanini, Caruso, and Bonci, the last two upon their -first appearances in the rle in this country. - -At a signal from _Sparafucile_, _Maddalena_ joins the _Duke_. He -presses his love upon her. With professional coyness she pretends to -repulse him. This leads to the quartet, with its dramatic -interpretation of the different emotions of the four participants. The -_Duke_ is gallantly urgent and pleading: "Bella figlia dell'amore" -(Fairest daughter of the graces). - -[Music] - -_Maddalena_ laughingly resists his advances: "I am proof, my gentle -wooer, 'gainst your vain and empty nothings." - -[Music] - -_Gilda_ is moved to despair: "Ah, thus to me of love he spoke." - -[Music] - -_Rigoletto_ mutters of vengeance. - -It is the _Duke_ who begins the quartet; _Maddalena_ who first joins -in by coyly mocking him; _Gilda_ whose voice next falls upon the night -with despairing accents; _Rigoletto_ whose threats of vengeance then -are heard. With the return of the theme, after the first cadence, the -varied elements are combined. - -They continue so to the end. _Gilda's_ voice, in brief cries of grief, -rising twice to effective climaxes, then becoming even more poignant -through the syncopation of the rhythm. - -Rising to a beautiful and highly dramatic climax, the quartet ends -pianissimo. - -This quartet usually is sung as the pice de rsistance of the opera, -and is supposed to be the great event of the performance. I cannot -recall a representation of the work with Nilsson and Campanini in -which this was not the case, and it was so at the Manhattan when -"Rigoletto" was sung there by Melba and Bonci. But at the -Metropolitan, since Caruso's advent, "Rigoletto" has become a "Caruso -opera," and the stress is laid on "La donna mobile," for which -numerous encores are demanded, while with the quartet, the encore is -deliberately side-stepped--a most interesting process for the -initiated to watch. - -[Illustration: Photo by Hall - -The Quartet in "Rigoletto" - -The Duke (Sheehan), Maddalena (Albright), Gilda (Easton), Rigoletto -(Goff)] - -[Illustration: Copyright photo by Dupont - -Riccardo Martin as Manrico in "Il Trovatore"] - -After the quartet, _Sparafucile_ comes out and receives from -_Rigoletto_ half of his fee to murder the _Duke_, the balance to be -paid when the body, in a sack, is delivered to the hunchback. -_Sparafucile_ offers to throw the sack into the river, but that does -not suit the fool's desire for revenge. He wants the grim -satisfaction of doing so himself. Satisfied that _Gilda_ has seen -enough of the _Duke's_ perfidy, he sends her home, where, for safety, -she is to don male attire and start on the way to Verona, where he -will join her. He himself also goes out. - -A storm now gathers. There are flashes of lightning; distant rumblings -of thunder. The wind moans. (Indicated by the chorus, _ bouche -ferme_, behind the scenes.) The _Duke_ has gone to his room, after -whispering a few words to _Maddalena_. He lays down his hat and sword, -throws himself on the bed, sings a few snatches of "La donna -mobile," and in a short time falls asleep. _Maddalena_, below, stands -by the table. _Sparafucile_ finishes the contents of the bottle left -by the _Duke_. Both remain silent for awhile. - -_Maddalena_, fascinated by the _Duke_, begins to plead for his life. -The storm is now at its height. Lightning plays vividly across the -sky, thunder crashes, wind howls, rain falls in torrents. Through this -uproar of the elements, to which night adds its terrors, comes -_Gilda_, drawn as by a magnet to the spot where she knows her false -lover to be. Through the crevices in the wall of the house she can -hear _Maddalena_ pleading with _Sparafucile_ to spare the _Duke's_ -life. "Kill the hunchback," she counsels, "when he comes with the -balance of the money." But there is honour even among assassins as -among thieves. The bravo will not betray a customer. - -_Maddalena_ pleads yet more urgently. Well--_Sparafucile_ will give -the handsome youth one desperate chance for life: Should any other man -arrive at the inn before midnight, that man will he kill and put in -the sack to be thrown into the river, in place of _Maddalena's_ -temporary favourite. A clock strikes the half-hour. _Gilda_ is in male -attire. She determines to save the _Duke's_ life--to sacrifice hers -for his. She knocks. There is a moment of surprised suspense within. -Then everything is made ready. _Maddalena_ opens the door, and runs -forward to close the outer one. _Gilda_ enters. For a moment one -senses her form in the darkness. A half-stifled outcry. Then all is -buried in silence and gloom. - -The storm is abating. The rain has ceased; the lightning become -fitful, the thunder distant and intermittent. _Rigoletto_ returns. "At -last the hour of my vengeance is nigh." A bell tolls midnight. He -knocks at the door. _Sparafucile_ brings out the sack, receives the -balance of his money, and retires into the house. "This sack his -winding sheet!" exclaims the hunchback, as he gloats over it. The -night has cleared. He must hurry and throw it into the river. - -Out of the second story of the house and on to the wall steps the -figure of a man and proceeds along the wall toward the city. -_Rigoletto_ starts to drag the sack with the body toward the stream. -Lightly upon the night fall the notes of a familiar voice singing: - - La donna mobile - Qual piuma al vento; - Muta d'accento, - E di pensiero. - - (Fickle is woman fair, - Like feather wafted; - Changeable ever, - Constant, ah, never.) - -It is the _Duke_. Furiously the hunchback tears open the sack. In it -he beholds his daughter. Not yet quite dead, she is able to whisper, -"Too much I loved him--now I die for him." There is a duet: _Gilda_, -"Lass in cielo" (From yonder sky); _Rigoletto_, "Non morir" (Ah, -perish not). - -"Maledizione!"--The music of _Monterone's_ curse upon the ribald -jester, now bending over the corpse of his own despoiled daughter, -resounds on the orchestra. The fool has had his revenge. - -For political reasons the performance of Victor Hugo's "Le Roi -s'Amuse" was forbidden in France after the first representation. In -Hugo's play the principal character is Triboulet, the jester of -Franois I. The King, of course, also is a leading character; and -there is a pen-portrait of Saint-Vallier. It was considered unsafe, -after the revolutionary uprisings in Europe in 1848, to present on the -stage so licentious a story involving a monarch. Therefore, to avoid -political complications, and copyright ones possibly later, the -Italian librettist laid the scene in Mantua. _Triboulet_ became -_Rigoletto_; _Franois I._ the _Duke_, and _Saint-Vallier_ the _Count -Monterone_. Early in its career the opera also was given under the -title of "Viscardello." - - -IL TROVATORE - -THE TROUBADOUR - - Opera in four acts, by Verdi; words by Salvatore Cammarano, - based on the Spanish drama of the same title by Antonio - Garcia Gutierrez. Produced, Apollo Theatre, Rome, January - 19, 1853. Paris, Thtre des Italiens, December 23, 1854; - Grand Opra, in French as "Le Trouvre," January 12, 1857. - London, Covent Garden, May 17, 1855; in English, as "The - Gypsy's Vengeance," Drury Lane, March 24, 1856. America: New - York, April 30, 1855, with Brignoli (_Manrico_), Steffanone - (_Leonora_), Amodio (_Count di Luna_), and Vestvali - (_Azucena_); Philadelphia, Walnut Street Theatre, January - 14, 1856, and Academy of Music, February 25, 1857; New - Orleans, April 13, 1857. Metropolitan Opera House, New York, - in German, 1889; 1908, Caruso, Eames, and Homer. Frequently - performed at the Academy of Music, New York, with Campanini - (_Manrico_), Nilsson (_Leonora_), and Annie Louise Cary - (_Azucena_); and Del Puente or Galassi as _Count di Luna_. - - CHARACTERS - - COUNT DI LUNA, a young noble of Aragon _Baritone_ - FERRANDO, DI LUNA'S captain of the guard _Bass_ - MANRICO, a chieftain under the Prince - of Biscay, and reputed son of AZUCENA _Tenor_ - RUIZ, a soldier in MANRICO'S service _Tenor_ - AN OLD GYPSY _Baritone_ - DUCHESS LEONORA, lady-in-waiting to a - Princess of Aragon _Soprano_ - INEZ, confidante of LEONORA _Soprano_ - AZUCENA, a Biscayan gypsy woman _Mezzo-Soprano_ - - Followers of COUNT DI LUNA and of MANRICO; messenger, - gaoler, soldiers, nuns, gypsies. - - _Time_--Fifteenth century. - - _Place_--Biscay and Aragon. - -For many years "Il Trovatore" has been an opera of world-wide -popularity, and for a long time could be accounted the most popular -work in the operatic repertoire of practically every land. While it -cannot be said to retain its former vogue in this country, it is still -a good drawing card, and, with special excellences of cast, an -exceptional one. - -The libretto of "Il Trovatore" is considered the acme of absurdity; -and the popularity of the opera, notwithstanding, is believed to be -entirely due to the almost unbroken melodiousness of Verdi's score. - -While it is true, however, that the story of this opera seems to be a -good deal of a mix-up, it is also a fact that, under the spur of -Verdi's music, even a person who has not a clear grasp of the plot can -sense the dramatic power of many of the scenes. It is an opera of -immense verve, of temperament almost unbridled, of genius for the -melodramatic so unerring that its composer has taken dance rhythms, -like those of mazurka and waltz, and on them developed melodies most -passionate in expression and dramatic in effect. Swift, spontaneous, -and stirring is the music of "Il Trovatore." Absurdities, -complexities, unintelligibilities of story are swept away in its -unrelenting progress. "Il Trovatore" is the Verdi of forty working at -white heat. - -One reason why the plot of "Il Trovatore" seems such a jumbled-up -affair is that a considerable part of the story is supposed to have -transpired before the curtain goes up. These events are narrated by -_Ferrando_, the _Count di Luna's_ captain of the guard, soon after -the opera begins. But as even spoken narrative on the stage makes -little impression, narrative when sung may be said to make none at -all. Could the audience know what _Ferrando_ is singing about, the -subsequent proceedings would not appear so hopelessly involved, or -appeal so strongly to humorous rhymesters, who usually begin their -parodies on the opera with, - - This is the story - of "Il Trovatore." - -What is supposed to have happened before the curtain goes up on the -opera is as follows: The old Count di Luna, sometime deceased, had two -sons nearly of the same age. One night, when they still were infants, -and asleep, in a nurse's charge in an apartment in the old Count's -castle, a gypsy hag, having gained stealthy entrance into the chamber, -was discovered leaning over the cradle of the younger child, Garzia. -Though she was instantly driven away, the child's health began to fail -and she was believed to have bewitched it. She was pursued, -apprehended and burned alive at the stake. - -Her daughter, _Azucena_, at that time a young gypsy woman with a child -of her own in her arms, was a witness to the death of her mother, -which she swore to avenge. During the following night she stole into -the castle, snatched the younger child of the Count di Luna from its -cradle, and hurried back to the scene of execution, intending to throw -the baby boy into the flames that still raged over the spot where they -had consumed her mother. Almost bereft of her senses, however, by her -memory of the horrible scene she had witnessed, she seized and hurled -into the flames her own child, instead of the young Count (thus -preserving, with an almost supernatural instinct for opera, the baby -that was destined to grow up into a tenor with a voice high enough to -sing "Di quella pira"). - -Thwarted for the moment in her vengeance, _Azucena_ was not to be -completely baffled. With the infant Count in her arms she fled and -rejoined her tribe, entrusting her secret to no one, but bringing him -up--_Manrico, the Troubadour_--as her own son; and always with the -thought that through him she might wreak vengeance upon his own -kindred. - -When the opera opens, _Manrico_ has grown up; she has become old and -wrinkled, but is still unrelenting in her quest of vengeance. The old -Count has died, leaving the elder son, _Count di Luna_ of the opera, -sole heir to his title and possessions, but always doubting the death -of the younger, despite the heap of infant's bones found among the -ashes about the stake. - -"After this preliminary knowledge," quaintly says the English -libretto, "we now come to the actual business of the piece." Each of -the four acts of this "piece" has a title: Act I, "Il Duello" (The -Duel); Act II, "La Gitana" (The Gypsy); Act III, "Il Figlio della -Zingara" (The Gypsy's Son); Act IV, "Il Supplizio" (The Penalty). - -Act I. Atrium of the palace of Aliaferia, with a door leading to the -apartments of the _Count di Luna_. _Ferrando_, the captain of the -guard, and retainers, are reclining near the door. Armed men are -standing guard in the background. It is night. The men are on guard -because _Count di Luna_ desires to apprehend a minstrel knight, a -troubadour, who has been heard on several occasions to be serenading -from the palace garden, the _Duchess Leonora_, for whom a deep, but -unrequited passion sways the _Count_. - -Weary of the watch, the retainers beg _Ferrando_ to tell them the -story of the _Count's_ brother, the stolen child. This _Ferrando_ -proceeds to do in the ballad, "Abbietta zingara" (Sat there a gypsy -hag). - -_Ferrando's_ gruesome ballad and the comments of the horror-stricken -chorus dominate the opening of the opera. The scene is an unusually -effective one for a subordinate character like _Ferrando_. But in "Il -Trovatore" Verdi is lavish with his melodies--more so, perhaps, than -in any of his other operas. - -The scene changes to the gardens of the palace. On one side a flight -of marble steps leads to _Leonora's_ apartment. Heavy clouds obscure -the moon. _Leonora_ and _Inez_ are in the garden. From the -confidante's questions and _Leonora's_ answers it is gathered that -_Leonora_ is enamoured of an unknown but valiant knight who, lately -entering a tourney, won all contests and was crowned victor by her -hand. She knows her love is requited, for at night she has heard her -_Troubadour_ singing below her window. In the course of this narrative -_Leonora_ has two solos. The first of these is the romantic "Tacea la -notte placida" (The night calmly and peacefully in beauty seemed -reposing). - -[Music: - - Tacea la notte placida, - E bella in ciel sereno;] - -It is followed by the graceful and engaging "Di tale amor che dirsi" -(Of such a love how vainly), - -[Music: Di tale amor che dirsi] - -with its brilliant cadenza. - -_Leonora_ and _Inez_ then ascend the steps and retire into the palace. -The _Count di Luna_ now comes into the garden. He has hardly entered -before the voice of the _Troubadour_, accompanied on a lute, is heard -from a nearby thicket singing the familiar romanza, "Deserto sulla -terra" (Lonely on earth abiding). - -[Music: Deserto sulla terra] - -From the palace comes _Leonora_. Mistaking the Count in the shadow of -the trees for her _Troubadour_, she hastens toward him. The moon -emerging from a cloud, she sees the figure of a masked cavalier, -recognizes it as that of her lover, and turns from the _Count_ toward -the _Troubadour_. Unmasking, the _Troubadour_ now discloses his -identity as _Manrico_, one who, as a follower of the Prince of Biscay, -is proscribed in Aragon. The men draw their swords. There is a trio -that fairly seethes with passion--"Di geloso amor sprezzato" (Fires of -jealous, despised affection). - -[Music] - -These are the words, in which the _Count_ begins the trio. It -continues with "Un istante almen dia loco" (One brief moment thy fury -restraining). - -[Music: Un istante almen dia loco] - -The men rush off to fight their duel. _Leonora_ faints. - -Act II. An encampment of gypsies. There is a ruined house at the foot -of a mountain in Biscay; the interior partly exposed to view; within a -great fire is lighted. Day begins to dawn. - -_Azucena_ is seated near the fire. _Manrico_, enveloped in his mantle, -is lying upon a mattress; his helmet is at his feet; in his hand he -holds a sword, which he regards fixedly. A band of gypsies are sitting -in scattered groups around them. - -Since an almost unbroken sequence of melodies is a characteristic of -"Il Trovatore," it is not surprising to find at the opening of this -act two famous numbers in quick succession;--the famous "Anvil -Chorus," - -[Music] - -in which the gypsies, working at the forges, swing their hammers and -bring them down on clanking metal in rhythm with the music; the chorus -being followed immediately by _Azucena's_ equally famous "Stride la -vampa" (Upward the flames roll). - -[Music: Stride la vampa!] - -In this air, which the old gypsy woman sings as a weird, but -impassioned upwelling of memories and hatreds, while the tribe gathers -about her, she relates the story of her mother's death. "Avenge thou -me!" she murmurs to _Manrico_, when she has concluded. - -The corps de ballet which, in the absence of a regular ballet in "Il -Trovatore," utilizes this scene and the music of the "Anvil Chorus" -for its picturesque saltations, dances off. The gypsies now depart, -singing their chorus. With a pretty effect it dies away in the -distance. - -[Music] - -Swept along by the emotional stress under which she labours, _Azucena_ -concludes her narrative of the tragic events at the pyre, voice and -orchestral accompaniment uniting in a vivid musical setting of her -memories. Naturally, her words arouse doubts in _Manrico's_ mind as to -whether he really is her son. She hastens to dispel these; they were -but wandering thoughts she uttered. Moreover, after the recent battle -of Petilla, between the forces of Biscay and Aragon, when he was -reported slain, did she not search for and find him, and has she not -been tenderly nursing him back to strength? - -The forces of Aragon were led by _Count di Luna_, who but a short time -before had been overcome by _Manrico_ in a duel in the palace -garden;--why, on that occasion, asks the gypsy, did he spare the -_Count's_ life? - -_Manrico's_ reply is couched in a bold, martial air, "Mal reggendo -all'aspro assalto" (Ill sustaining the furious encounter). - -But at the end it dies away to _pp_, when he tells how, when the -_Count's_ life was his for a thrust, a voice, as if from heaven, bade -him spare it--a suggestion, of course, that although neither _Manrico_ -nor the _Count_ know that they are brothers, _Manrico_ unconsciously -was swayed by the relationship, a touch of psychology rare in Italian -opera librettos, most unexpected in this, and, of course, completely -lost upon those who have not familiarized themselves with the plot of -"Il Trovatore." Incidentally, however, it accounts for a musical -effect--the _pp_, the sudden softening of the expression, at the end -of the martial description of the duel. - -Enter now _Ruiz_, a messenger from the Prince of Biscay, who orders -_Manrico_ to take command of the forces defending the stronghold of -Castellor, and at the same time informs him that _Leonora_, believing -reports of his death at Petilla, is about to take the veil in a -convent near the castle. - -The scene changes to the cloister of this convent. It is night. The -_Count_ and his followers, led by _Ferrando_, and heavily cloaked, -advance cautiously. It is the _Count's_ plan to carry off _Leonora_ -before she becomes a nun. He sings of his love for her in the air, "Il -Balen" (The Smile)--"Il balen del suo sorriso" (Of her smile, the -radiant gleaming)--which is justly regarded as one of the most chaste -and beautiful baritone solos in Italian opera. - -[Music: Il balen del suo sorriso] - -It is followed by an air _alla marcia_, also for the _Count_, "Per me -ora fatale" (Oh, fatal hour impending). - -[Music: Per me ora fatale,] - -A chorus of nuns is heard from within the convent. _Leonora_, with -_Inez_, and her ladies, come upon the scene. They are about to proceed -from the cloister into the convent when the _Count_ interposes. But -before he can seize _Leonora_, another figure stands between them. It -is _Manrico_. With him are _Ruiz_ and his followers. The _Count_ is -foiled. - -"E deggio!--e posso crederlo?" (And can I still my eyes believe!) -exclaims _Leonora_, as she beholds before her _Manrico_, whom she had -thought dead. It is here that begins the impassioned finale, an -ensemble consisting of a trio for _Leonora_, _Manrico_, and the _Count -di Luna_, with chorus. - -Act III. The camp of _Count di Luna_, who is laying siege to -Castellor, whither _Manrico_ has safely borne _Leonora_. There is a -stirring chorus for _Ferrando_ and the soldiers. - -[Music] - -The _Count_ comes from his tent. He casts a lowering gaze at the -stronghold from where his rival defies him. There is a commotion. -Soldiers have captured a gypsy woman found prowling about the camp. -They drag her in. She is _Azucena_. Questioned, she sings that she is -a poor wanderer, who means no harm. "Giorni poveri vivea" (I was poor, -yet uncomplaining). - -[Illustration: Copyright photo by Dupont - -Schumann-Heink as Azucena in "Il Trovatore"] - -But _Ferrando_, though she thought herself masked by the grey hairs -and wrinkles of age, recognizes her as the gypsy who, to avenge her -mother, gave over the infant brother of the _Count_ to the flames. In -the vehemence of her denials, she cries out to _Manrico_, whom she -names as her son, to come to her rescue. This still further enrages -the _Count_. He orders that she be cast into prison and then burned at -the stake. She is dragged away. - -The scene changes to a hall adjoining the chapel in the stronghold of -Castellor. _Leonora_ is about to become the bride of _Manrico_, who -sings the beautiful lyric, "Amor--sublime amore" ('Tis love, sublime -emotion). - -Its serenity makes all the more effective the tumultuous scene that -follows. It assists in giving to that episode, one of the most famous -in Italian opera, its true significance as a dramatic climax. - -Just as _Manrico_ takes _Leonora's_ hand to lead her to the altar of -the chapel, _Ruiz_ rushes in with word that _Azucena_ has been -captured by the besiegers and is about to be burned to death. Already -through the windows of Castellor the glow of flames can be seen. Her -peril would render delay fatal. Dropping the hand of his bride, -_Manrico_, draws his sword, and, as his men gather, sings "Di quella -pira l'orrendo foco" (See the pyre blazing, oh, sight of horror), and -rushes forth at the head of his soldiers to attempt to save _Azucena_. - -[Music] - -The line, "O teco almeno, corro a morir" (Or, all else failing, to die -with thee), contains the famous high C. - -[Music: O teco almeno corro a morir] - -This is a _tour de force_, which has been condemned as vulgar and -ostentatious, but which undoubtedly adds to the effectiveness of the -number. There is, it should be remarked, no high C in the score of "Di -quella pira." In no way is Verdi responsible for it. It was introduced -by a tenor, who saw a chance to make an effect with it, and succeeded -so well that it became a fixture. A tenor now content to sing "O teco -almeno" as Verdi wrote it - -[Music] - -would never be asked to sing it. - -Dr. Frank E. Miller, author of _The Voice_ and _Vocal Art Science_, -the latter the most complete exposition of the psycho-physical -functions involved in voice-production, informs me that a series of -photographs have been made (by an apparatus too complicated to -describe) of the vibrations of Caruso's voice as he takes and holds -the high C in "Di quella pira." The record measures fifty-eight feet. -While it might not be correct to say that Caruso's high C is -fifty-eight feet long, the record is evidence of its being superbly -taken and held. - -Not infrequently the high C in "Di quella pira" is faked for tenors -who cannot reach it, yet have to sing the rle of _Manrico_, or who, -having been able to reach it in their younger days and at the height -of their prime, still wish to maintain their fame as robust tenors. -For such the number is transposed. The tenor, instead of singing high -C, sings B-flat, a tone and a half lower, and much easier to take. By -flourishing his sword and looking very fierce he usually manages to -get away with it. Transpositions of operatic airs, requiring unusually -high voices, are not infrequently made for singers, both male and -female, no longer in their prime, but still good for two or three more -"farewell" tours. All they have to do is to step up to the footlights -with an air of perfect confidence, which indicates that the great -moment in the performance has arrived, deliver, with a certain -assumption of effort--the semblance of a real _tour de force_--the -note which has conveniently been transposed, and receive the -enthusiastic plaudits of their devoted admirers. But the assumption of -effort must not be omitted. The tenor who sings the high C in "Di -quella pira" without getting red in the face will hardly be credited -with having sung it at all. - -Act IV. _Manrico's_ sortie to rescue his supposed mother failed. His -men were repulsed, and he himself was captured and thrown into the -dungeon tower of Aliaferia, where _Azucena_ was already enchained. The -scene shows a wing of the palace of Aliaferia. In the angle is a tower -with window secured by iron bars. It is night, dark and clouded. - -_Leonora_ enters with _Ruiz_, who points out to her the place of -_Manrico's_ confinement, and retires. That she has conceived a -desperate plan to save her lover appears from the fact that she wears -a poison ring, a ring with a swift poison concealed under the jewel, -so that she can take her own life, if driven thereto. - -Unknown to _Manrico_, she is near him. Her thoughts wander to -him;--"D'amor sull'ali rosee" (On rosy wings of love depart). - -[Music: D'amor sull'ali rosee] - -It is followed by the "Miserere," which was for many years and perhaps -still is the world over the most popular of all melodies from opera, -although at the present time it appears to have been superseded by -the "Intermezzo" from "Cavalleria Rusticana." - -The "Miserere" is chanted by a chorus within. - -[Music] - -Against this as a sombre background are projected the heart-broken -ejaculations of _Leonora_. - -[Music] - -Then _Manrico's_ voice in the tower intones "Ah! che la morte ognora" -(Ah! how death still delayeth). - -[Music] - -One of the most characteristic phrases, suggestions of which occur -also in "La Traviata" and even in "Ada," is the following: - -[Music: a chi desia, a chi desia morir!] - -Familiarity may breed contempt, and nothing could well be more -familiar than the "Miserere" from "Il Trovatore." Yet, well sung, it -never fails of effect; and the gaoler always has to let _Manrico_ come -out of the tower and acknowledge the applause of an excited house, -while _Leonora_ stands by and pretends not to see him, one of those -little fictions and absurdities of old-fashioned opera that really -add to its charm. - -The _Count_ enters, to be confronted by _Leonora_. She promises to -become his wife if he will free _Manrico_. _Di Luna's_ passion for her -is so intense that he agrees. There is a solo for _Leonora_, "Mira, di -acerbe lagrime" (Witness the tears of agony), followed by a duet -between her and the _Count_, who little suspects that, _Manrico_ once -freed, she will escape a hated union with himself by taking the poison -in her ring. - -The scene changes to the interior of the tower. _Manrico_ and -_Azucena_ sing a duet of mournful beauty, "Ai nostri monti" (Back to -our mountains). - -[Music: Ai nostri monti] [Music: Riposa o madre, io prono e muto] - -_Leonora_ enters and bids him escape. But he suspects the price she -has paid; and his suspicions are confirmed by herself, when the poison -she has drained from beneath the jewel in her ring begins to take -effect and she feels herself sinking in death, while _Azucena_, in her -sleep, croons dreamily, "Back to our mountains." - -The _Count di Luna_, coming upon the scene, finds _Leonora_ dead in -her lover's arms. He orders _Manrico_ to be led to the block at once -and drags _Azucena_ to the window to witness the death of her supposed -son. - -"It is over!" exclaims _Di Luna_, when the executioner has done his -work. - -"The victim was thy brother!" shrieks the gypsy hag. "Thou art -avenged, O mother!" - -She falls near the window. - -"And I still live!" exclaims the _Count_. - -With that exclamation the cumulative horrors, set to the most tuneful -score in Italian opera, are over. - - -LA TRAVIATA - -THE FRAIL ONE - - Opera in three acts by Verdi; words by Francesco Maria - Piave, after the play "La Dame aux Camlias," by Alexandre - Dumas, _fils_. Produced Fenice Theatre, Venice, March 6, - 1853. London, May 24, 1856, with Piccolomini. Paris, in - French, December 6, 1856; in Italian, October 27, 1864, with - Christine Nilsson. New York, Academy of Music, December 3, - 1856, with La Grange (_Violetta_), Brignoli (_Alfredo_), and - Amodio (_Germont, pre_). Nilsson, Patti, Melba, Sembrich - and Tetrazzini have been among famous interpreters of the - rle of _Violetta_ in America. Galli-Curci first sang - _Violetta_ in this country in Chicago, December 1, 1916. - - CHARACTERS - - ALFREDO GERMONT, lover of VIOLETTA _Tenor_ - GIORGIO GERMONT, his father _Baritone_ - GASTONE DE LETORIRES _Tenor_ - BARON DOUPHOL, a rival of ALFREDO _Bass_ - MARQUIS D'OBIGNY _Bass_ - DOCTOR GRENVIL _Bass_ - GIUSEPPE, servant to VIOLETTA _Tenor_ - VIOLETTA VALRY, a courtesan _Soprano_ - FLORA BERVOIX, her friend _Mezzo-Soprano_ - ANNINA, confidante of VIOLETTA _Soprano_ - - Ladies and gentlemen who are friends and guests in the - houses of Violetta and Flora; servants and masks; dancers - and guests as matadors, picadors, and gypsies. - - _Time_--Louis XIV. [Transcriber's Note: The correct time is - about 1850. See author's discussion below.] - - _Place_--Paris and vicinity. - -[Illustration: Copyright photo by Mishkin - -Galli-Curci as Violetta in "La Traviata"] - -At its production in Venice in 1853 "La Traviata" was a failure, for -which various reasons can be advanced. The younger Dumas's play, "La -Dame aux Camlias," familiar to English playgoers under the incorrect -title of "Camille," is a study of modern life and played in modern -costume. When Piave reduced his "Traviata" libretto from the play, he -retained the modern period. This is said to have nonplussed an -audience accustomed to operas laid in the past and given in "costume." -But the chief blame for the fiasco appears to have rested with the -singers. Graziani, the _Alfredo_, was hoarse. Salvini-Donatelli, the -_Violetta_, was inordinately stout. The result was that the scene of -her death as a consumptive was received with derision. Varesi, the -baritone, who sang _Giorgio Germont_, who does not appear until the -second act, and is of no importance save in that part of the opera, -considered the rle beneath his reputation--notwithstanding -_Germont's_ beautiful solo, "Di Provenza"--and was none too cheerful -over it. There is evidence in Verdi's correspondence that the composer -had complete confidence in the merits of his score, and attributed its -failure to its interpreters. - -When the opera was brought forward again a year later, the same city -which had decried it as a failure acclaimed it a success. On this -occasion, however, the period of the action differed from that of the -play. It was set back to the time of Louis XIV., and costumed -accordingly. There is, however, no other opera today in which this -matter of costume is so much a go-as-you-please affair for the -principals, as it is in "La Traviata." I do not recall if Christine -Nilsson dressed _Violetta_ according to the Louis XIV. period, or not; -but certainly Adelina Patti and Marcella Sembrich, both of whom I -heard many times in the rle (and each of them the first time they -sang it here) wore the conventional evening gown of modern times. To -do this has become entirely permissible for prima donnas in this -character. Meanwhile the _Alfredo_ may dress according to the Louis -XIV. period, or wear the swallow-tail costume of today, or compromise, -as some do, and wear the swallow-tail coat and modern waistcoat with -knee-breeches and black silk stockings. As if even this diversity were -not yet quite enough, the most notable _Germont_ of recent years, -Renaud, who, at the Manhattan Opera House, sang the rle with the most -exquisite refinement, giving a portrayal as finished as a genre -painting by Meissonnier, wore the costume of a gentleman of Provence -of, perhaps, the middle of the last century. But, as I have hinted -before, in old-fashioned opera, these incongruities, which would be -severely condemned in a modern work, don't amount to a row of pins. -Given plenty of melody, beautifully sung, and everything else can go -hang. - -Act I. A salon in the house of _Violetta_. In the back scene is a -door, which opens into another salon. There are also side doors. On -the left is a fireplace, over which is a mirror. In the centre of the -apartment is a dining-table, elegantly laid. _Violetta_, seated on a -couch, is conversing with _Dr. Grenvil_ and some friends. Others are -receiving the guests who arrive, among whom are _Baron Douphol_ and -_Flora_ on the arm of the _Marquis_. - -The opera opens with a brisk ensemble. _Violetta_ is a courtesan -(_traviata_). Her house is the scene of a revel. Early in the -festivities _Gaston_, who has come in with _Alfred_, informs -_Violetta_ that his friend is seriously in love with her. She treats -the matter with outward levity, but it is apparent that she is touched -by _Alfred's_ devotion. Already, too, in this scene, there are slight -indications, more emphasized as the opera progresses, that consumption -has undermined _Violetta's_ health. - -First in the order of solos in this act is a spirited drinking song -for _Alfred_, which is repeated by _Violetta_. After each measure the -chorus joins in. This is the "Libiamo ne' lieti calici" (Let us quaff -from the wine cup o'erflowing). - -[Music: Libiamo, libiamo ne' lieti calici] - -Music is heard from an adjoining salon, toward which the guests -proceed. _Violetta_ is about to follow, but is seized with a -coughing-spell and sinks upon a lounge to recover. _Alfred_ has -remained behind. She asks him why he has not joined the others. He -protests his love for her. At first taking his words in banter, she -becomes more serious, as she begins to realize the depth of his -affection for her. How long has he loved her? A year, he answers. "Un -d felice, eterea" (One day a rapture ethereal), he sings. - -In this the words, "Di quell'amor ch' palpito" (Ah, 'tis with love -that palpitates) are set to a phrase which _Violetta_ repeats in the -famous "Ah, fors' lui," just as she has previously repeated the -drinking song. - -Verdi thus seems to intend to indicate in his score the effect upon -her of _Alfred's_ genuine affection. She repeated his drinking song. -Now she repeats, like an echo of heartbeats, his tribute to a love of -which she is the object. - -It is when _Alfred_ and the other guests have retired that _Violetta_, -lost in contemplation, her heart touched for the first time, sings "Ah -fors' lui che l'anima" (For him, perchance, my longing soul). - -[Music: Ah, fors' lui che l'anima solinga ne' tumulti, solinga ne' -tumulti] - -Then she repeats, in the nature of a refrain, the measures already -sung by _Alfred_. Suddenly she changes, as if there were no hope of -lasting love for woman of her character, and dashes into the brilliant -"Sempre libera degg'io folleggiare di gioja in gioja" (Ever free shall -I still hasten madly on from pleasure to pleasure). - -[Music: Sempre libera degg'io folleggiare] - -With this solo the act closes. - -Act II. Salon on the ground floor of a country house near Paris, -occupied by _Alfred_ and _Violetta_, who for him has deserted the -allurements of her former life. _Alfred_ enters in sporting costume. -He sings of his joy in possessing _Violetta_: "Di miei bollenti -spiriti" (Wild my dream of ecstasy). - -From _Annina_, the maid of _Violetta_, he learns that the expenses of -keeping up the country house are much greater than _Violetta_ has told -him, and that, in order to meet the cost, which is beyond his own -means, she has been selling her jewels. He immediately leaves for -Paris, his intention being to try to raise money there so that he may -be able to reimburse her. - -After he has gone, _Violetta_ comes in. She has a note from _Flora_ -inviting her to some festivities at her house that night. She smiles -at the absurdity of the idea that she should return, even for an -evening, to the scenes of her former life. Just then a visitor is -announced. She supposes he is a business agent, whom she is expecting. -But, instead, the man who enters announces that he is _Alfred's_ -father. His dignity, his courteous yet restrained manner, at once fill -her with apprehension. She has foreseen separation from the man she -loves. She now senses that the dread moment is impending. - -The elder _Germont's_ plea that she leave _Alfred_ is based both upon -the blight threatened his career by his liaison with her, and upon -another misfortune that will result to the family. There is not only -the son; there is a daughter. "Pura siccome un angelo" (Pure as an -angel) sings _Germont_, in the familiar air: - -[Music: Pura siccome un angelo] - -[Illustration: Copyright photo by Dupont - -Farrar as Violetta in "La Traviata"] - -[Illustration: Photo by Mishkin - -Scotti as Germont in "La Traviata"] - -Should the scandal of _Alfred's_ liaison with _Violetta_ continue, the -family of a youth, whom the daughter is to marry, threaten to break -off the alliance. Therefore it is not only on behalf of his son, it is -also for the future of his daughter, that the elder _Germont_ pleads. -As in the play, so in the opera, the reason why the rle of the -heroine so strongly appeals to us is that she makes the sacrifice -demanded of her--though she is aware that among other unhappy -consequences to her, it will aggravate the disease of which she is a -victim and hasten her death, wherein, indeed, she even sees a solace. -She cannot yield at once. She prays, as it were, for mercy: "Non -sapete" (Ah, you know not). - -Finally she yields: "Dite alla giovine" (Say to thy daughter); then -"Imponete" (Now command me); and, after that, "Morr--la mia memoria" -(I shall die--but may my memory). - -_Germont_ retires. _Violetta_ writes a note, rings for _Annina_, and -hands it to her. From the maid's surprise as she reads the address, it -can be judged to be for _Flora_, and, presumably, an acceptance of her -invitation. When _Annina_ has gone, she writes to _Alfred_ informing -him that she is returning to her old life, and that she will look to -_Baron Douphol_ to maintain her. _Alfred_ enters. She conceals the -letter about her person. He tells her that he has received word from -his father that the latter is coming to see him in an attempt to -separate him from her. Pretending that she leaves, so as not to be -present during the interview, she takes of him a tearful farewell. - -_Alfred_ is left alone. He picks up a book and reads listlessly. A -messenger enters and hands him a note. The address is in _Violetta's_ -handwriting. He breaks the seal, begins to read, staggers as he -realizes the import, and would collapse, but that his father, who has -quietly entered from the garden, holds out his arms, in which the -youth, believing himself betrayed by the woman he loves, finds refuge. - -"Di Provenza il mar, il suol chi dal cor ti cancell" (From fair -Provence's sea and soil, who hath won thy heart away), sings the -elder _Germont_, in an effort to soften the blow that has fallen upon -his son. - -[Music: Di Provenza il mar, il suol] - -_Alfred_ rouses himself. Looking about vaguely, he sees _Flora's_ -letter, glances at the contents, and at once concludes that -_Violetta's_ first plunge into the vortex of gayety, to return to -which she has, as he supposes, abandoned him, will be at _Flora's_ -fte. - -"Thither will I hasten, and avenge myself!" he exclaims, and departs -precipitately, followed by his father. - -The scene changes to a richly furnished and brilliantly lighted salon -in _Flora's_ palace. The fte is in full swing. There is a ballet of -women gypsies, who sing as they dance "Noi siamo zingarelle" (We're -gypsies gay and youthful). - -_Gaston_ and his friends appear as matadors and others as picadors. -_Gaston_ sings, while the others dance, " Piquillo, un bel gagliardo" -('Twas Piquillo, so young and so daring). - -It is a lively scene, upon which there enters _Alfred_, to be followed -soon by _Baron Douphol_ with _Violetta_ on his arm. _Alfred_ is seated -at a card table. He is steadily winning. "Unlucky in love, lucky in -gambling!" he exclaims. _Violetta_ winces. The _Baron_ shows evidence -of anger at _Alfred's_ words and is with difficulty restrained by -_Violetta_. The _Baron_, with assumed nonchalance, goes to the gaming -table and stakes against _Alfred_. Again the latter's winnings are -large. A servant's announcement that the banquet is ready is an -evident relief to the _Baron_. All retire to an adjoining salon. For a -brief moment the stage is empty. - -_Violetta_ enters. She has asked for an interview with _Alfred_. He -joins her. She begs him to leave. She fears the _Baron's_ anger will -lead him to challenge _Alfred_ to a duel. The latter sneers at her -apprehensions; intimates that it is the _Baron_ she fears for. Is it -not the _Baron Douphol_ for whom he, _Alfred_, has been cast off by -her? _Violetta's_ emotions almost betray her, but she remembers her -promise to the elder _Germont_, and exclaims that she loves the -_Baron_. - -_Alfred_ tears open the doors to the salon where the banquet is in -progress. "Come hither, all!" he shouts. - -They crowd upon the scene. _Violetta_, almost fainting, leans against -the table for support. Facing her, _Alfred_ hurls at her invective -after invective. Finally, in payment of what she has spent to help him -maintain the house near Paris in which they have lived together, he -furiously casts at her feet all his winnings at the gaming table. She -faints in the arms of _Flora_ and _Dr. Grenvil_. - -The elder _Germont_ enters in search of his son. He alone knows the -real significance of the scene, but for the sake of his son and -daughter cannot disclose it. A dramatic ensemble, in which _Violetta_ -sings, "Alfredo, Alfredo, di questo core non puoi comprendere tutto -l'amore" (Alfred, Alfred, little canst thou fathom the love within my -heart for thee) brings the act to a close. - -Act III. _Violetta's_ bedroom. At the back is a bed with the curtains -partly drawn. A window is shut in by inside shutters. Near the bed -stands a tabouret with a bottle of water, a crystal cup, and different -kinds of medicine on it. In the middle of the room is a toilet-table -and settee. A little apart from this is another piece of furniture -upon which a night-lamp is burning. On the left is a fireplace with a -fire in it. - -_Violetta_ awakens. In a weak voice she calls _Annina_, who, waking up -confusedly, opens the shutters and looks down into the street, which -is gay with carnival preparations. _Dr. Grenvil_ is at the door. -_Violetta_ endeavours to rise, but falls back again. Then, supported -by _Annina_, she walks slowly toward the settee. The doctor enters in -time to assist her. _Annina_ places cushions about her. To _Violetta_ -the physician cheerfully holds out hope of recovery, but to _Annina_ -he whispers, as he is leaving, that her mistress has but few hours -more to live. - -_Violetta_ has received a letter from the elder _Germont_ telling her -that _Alfred_ has been apprised by him of her sacrifice and has been -sent for to come to her bedside as quickly as possible. But she has -little hope that he will arrive in time. She senses the near approach -of death. "Addio del passato" (Farewell to bright visions) she sighs. -For this solo, - -[Music: Addio del passato bei sogni ridenti,] - -when sung in the correct interpretive mood, should be like a sigh from -the depths of a once frail, but now purified soul. - -A bacchanalian chorus of carnival revellers floats up from the street. -_Annina_, who had gone out with some money which _Violetta_ had given -her to distribute as alms, returns. Her manner is excited. _Violetta_ -is quick to perceive it and divine its significance. _Annina_ has seen -_Alfred_. He is waiting to be announced. The dying woman bids _Annina_ -hasten to admit him. A moment later he holds _Violetta_ in his arms. -Approaching death is forgotten. Nothing again shall part them. They -will leave Paris for some quiet retreat. "Parigi, o cara, noi -lasceremo" (We shall fly from Paris, beloved), they sing. - -[Music: Parigi, o cara, noi lasceremo] - -But it is too late. The hand of death is upon the woman's brow. "Gran -Dio! morir s giovine" (O, God! to die so young). - -The elder _Germont_ and _Dr. Grenvil_ have come in. There is nothing -to be done. The cough that racked the poor frail body has ceased. _La -traviata_ is dead. - -Not only were "Il Trovatore" and "La Traviata" produced in the same -year, but "La Traviata" was written between the date of "Trovatore's" -premire at Rome (January 19th) and March 6th. Only four weeks in all -are said to have been devoted to it, and part of the time Verdi was -working on "Trovatore" as well. Nothing could better illustrate the -fecundity of his genius, the facility with which he composed. But it -was not the fatal facility that sacrifices real merit for temporary -success. There are a few echoes of "Trovatore" in "Traviata"; but the -remarkable achievement of Verdi is not in having written so beautiful -an opera as "La Traviata" in so short a time, but in having produced -in it a work in a style wholly different from "Il Trovatore." The -latter palpitates with the passions of love, hatred, and vengeance. -The setting of the action encourages these. It consists of palace -gardens, castles, dungeons. But "La Traviata" plays in drawing-rooms. -The music corresponds with these surroundings. It is vivacious, -graceful, gentle. When it palpitates, it is with sorrow. The opera -also contains a notably beautiful instrumental number--the -introduction to the third act. This was a favourite piece with -Theodore Thomas. Several times--years ago--I heard it conducted by him -at his Popular Concerts. - -Oddly enough, although "Il Trovatore" is by far the more robust and at -one time was, as I have stated, the most popular opera in the world, I -believe that today the advantage lies with "La Traviata," and that, as -between the two, there belongs to that opera the ultimate chance of -survival. I explain this on the ground that, in "Il Trovatore" the -hero and heroine are purely musical creations, the real character -drawing, dramatically and musically, being in the rle of _Azucena_, -which, while a principal rle, has not the prominence of _Leonora_ or -_Manrico_. In "La Traviata," on the other hand, we have in the -original of _Violetta_--the _Marguerite Gauthier_ of Alexandre Dumas, -_fils_--one of the great creations of modern drama, the frail woman -redeemed by the touch of an artist. Piave, in his libretto, preserves -the character. In the opera, as in the play, one comprehends the -injunction, "Let him who is not guilty throw the first stone." For -Verdi has clothed _Violetta_ in music that brings out the character so -vividly and so beautifully that whenever I see "Traviata" I recall the -first performance in America of the Dumas play by Bernhardt, then in -her slender and supple prime, and the first American appearance in it -of Duse, with her exquisite intonation and restraint of gesture. - -In fact, operas survive because the librettist has known how to create -a character and the composer how to match it with his musical genius. -Recall the dashing _Don Giovanni_; the resourceful _Figaro_, both in -the Mozart and the Rossini opera; the real interpretive quality of a -mild and gracious order in the heroine of "La Sonnambula"--innocence -personified; the gloomy figure of _Edgardo_ stalking through "Lucia di -Lammermoor"; the hunchback and the titled gallant in "Rigoletto," and -you can understand why these very old operas have lived so long. They -are not make-believe; they are real. - - -UN BALLO IN MASCHERA - -THE MASKED BALL - - Opera in three acts, by Verdi; words by Somma, based on - Scribe's libretto for Auber's opera, "Gustave III., ou Le - Bal Masqu" (Gustavus III., or the Masked Ball). Produced, - Apollo Theatre, Rome, February 17, 1859. Paris, Thtre des - Italiens, January 13, 1861. London, June 15, 1861. New York, - February 11, 1861. Revivals, Metropolitan Opera House, N.Y., - with Jean de Reszke, 1903; with Caruso, Eames, Homer, - Scotti, Planon, and Journet, February 6, 1905; with Caruso, - Destinn, Matzenauer, Hempel, and Amato, November 22, 1913. - - CHARACTERS - - RICHARD, Count of Warwick and Governor of - Boston (or Riccardo, Duke of Olivares and - Governor of Naples) _Tenor_ - AMELIA (Adelia) _Soprano_ - REINHART (Renato), secretary to the Governor - and husband of Amelia _Baritone_ - SAMUEL } enemies of the Governor _Bass_ - TOM (Tommaso) } - SILVAN, a sailor _Soprano_ - OSCAR (Edgardo), a page _Soprano_ - ULRICA, a negress astrologer _Contralto_ - - A judge, a servant of Amelia, populace, guards, etc., - conspirators, maskers, and dancing couples. - - _Place_--Boston, or Naples. - - _Time_--Late seventeenth or middle eighteenth century. - -The English libretto of "Un Ballo in Maschera," literally "A Masked -Ball," but always called by us "The Masked Ball," has the following -note: - -"The scene of Verdi's 'Ballo in Maschera' was, by the author of the -libretto, originally laid in one of the European cities. But the -government censors objected to this, probably, because the plot -contained the record of a successful conspiracy against an established -prince or governor. By a change of scene to the distant, and, to the -author, little-known, city of Boston, in America, this difficulty -seems to have been obviated. The fact should be borne in mind by -Bostonians and others, who may be somewhat astonished at the events -which are supposed to have taken place in the old Puritan city." - -Certainly the events in "The Masked Ball" are amazing for the Boston -of Puritan or any other time, and it was only through necessity that -the scene of the opera was laid there. Now that political reasons for -this no longer exist, it is usually played with the scene laid in -Naples. - -Auber produced, in 1833, an opera on a libretto by Scribe, entitled -"Gustave III., ou Le Bal Masqu." Upon this Scribe libretto the book -of "Un Ballo in Maschera" is based. Verdi's opera was originally -called "Gustavo III.," and, like the Scribe-Auber work, was written -around the assassination of Gustavus III., of Sweden, who, March 16, -1792, was shot in the back during a masked ball at Stockholm. - -Verdi composed the work for the San Carlo Theatre, Naples, where it -was to have been produced for the carnival of 1858. But January 14th -of that year, and while the rehearsals were in progress, Felice -Orsini, an Italian revolutionist, made his attempt on the life of -Napoleon III. In consequence the authorities forbade the performance -of a work dealing with the assassination of a king. The suggestion -that Verdi adapt his music to an entirely different libretto was put -aside by the composer, and the work was withdrawn, with the result -that a revolution nearly broke out in Naples. People paraded the -street, and by shouting "Viva Verdi!" proclaimed, under guise of the -initials of the popular composer's name, that they favoured the cause -of a united Italy, with Victor Emanuel as King; viz.: Vittorio -Emmanuele Re D'Italia (Victor Emanuel, King of Italy). Finally the -censor in Rome suggested, as a way out of the difficulty, that the -title of the opera be changed to "Un Ballo in Maschera" and the scene -transferred to Boston. For however nervous the authorities were about -having a king murdered on the stage, they regarded the assassination -of an English governor in far-off America as a quite harmless -diversion. So, indeed, it proved to be, the only excitement evinced by -the audience of the Apollo Theatre, Rome, on the evening of February -18, 1859, being the result of its enthusiasm over the various musical -numbers of the work, this enthusiasm not being at all dampened by the -fact that, with the transfer to Boston, two of the conspirators, -_Samuel_ and _Tommaso_, became negroes, and the astrologer who figures -in the opera, a negress. - -The sensible change of scene from Boston to Naples is said to have -been initiated in Paris upon the instance of Mario, who "would never -have consented to sing his ballad in the second act in short -pantaloons, silk stockings, red dress, and big epaulettes of gold -lace. He would never have been satisfied with the title of Earl of -Warwick and the office of governor. He preferred to be a grandee of -Spain, to call himself the Duke of Olivares, and to disguise himself -as a Neapolitan fisherman, besides paying little attention to the -strict accuracy of the rle, but rather adapting it to his own gifts -as an artist." The ballad referred to in this quotation undoubtedly is -_Richard's_ barcarolle, "Di' tu se fedele il flutto m'aspetta" -(Declare if the waves will faithfully bear me). - -Act I. Reception hall in the Governor's house. _Richard, Earl of -Warwick_, is giving an audience. _Oscar_, a page, brings him the list -of guests invited to a masked ball. _Richard_ is especially delighted -at seeing on it the name of _Amelia_, the wife of his secretary, -_Reinhart_, although his conscience bitterly reproaches him for loving -_Amelia_, for _Reinhart_ is his most faithful friend, ever ready to -defend him. The secretary also has discovered a conspiracy against his -master; but as yet has been unable to learn the names of the -conspirators. - -At the audience a judge is announced, who brings for signature the -sentence of banishment against an old fortune teller, the negress -_Ulrica_. _Oscar_, however, intercedes for the old woman. _Richard_ -decides to visit her in disguise and test her powers of divination. - -The scene changes to _Ulrica's_ hut, which _Richard_ enters disguised -as a fisherman. Without his knowledge, _Amelia_ also comes to consult -the negress. Concealed by a curtain he hears her ask for a magic herb -to cure her of the love which she, a married woman, bears to -_Richard_. The old woman tells her of such an herb, but _Amelia_ must -gather it herself at midnight in the place where stands the gibbet. -_Richard_ thus learns that she loves him, and of her purpose to be at -the place of the gibbet at midnight. When she has gone he comes out of -his concealment and has his fortune told. _Ulrica_ predicts that he -will die by the hand of a friend. The conspirators, who are in his -retinue, whisper among themselves that they are discovered. "Who will -be the slayer?" asks Richard. The answer is, "Whoever first shall -shake your hand." At this moment _Reinhart_ enters, greets his friend -with a vigorous shake of the hand, and _Richard_ laughs at the evil -prophecy. His retinue and the populace rejoice with him. - -Act II. Midnight, beside the gallows. _Amelia_, deeply veiled, comes -to pluck the magic herb. _Richard_ arrives to protect her. _Amelia_ is -unable to conceal her love for him. But who comes there? It is -_Reinhart_. Concern for his master has called him to the spot. The -conspirators are lying in wait for him nearby. _Richard_ exacts from -_Reinhart_ a promise to escort back to the city the deeply veiled -woman, without making an attempt to learn who she is, while he himself -returns by an unfrequented path. _Reinhart_ and his companion fall -into the hands of the conspirators. The latter do not harm the -secretary, but want at least to learn who the _Governor's_ sweetheart -is. They lift the veil. _Reinhart_ sees his own wife. Rage grips his -soul. He bids the leaders of the conspiracy to meet with him at his -house in the morning. - -Act III. A study in _Reinhart's_ dwelling. For the disgrace he has -suffered he intends to kill _Amelia_. Upon her plea she is allowed to -embrace her son once more. He reflects that, after all, _Richard_ is -much the more guilty of the two. He refrains from killing her, but -when he and the conspirators draw lots to determine who shall kill -_Richard_, he calls her in, and, at his command, she draws a piece of -paper from an urn. It bears her husband's name, drawn unwittingly by -her to indicate the person who is to slay the man she loves. Partly to -remove _Amelia's_ suspicions, _Reinhart_ accepts the invitation to the -masked ball which _Oscar_ brings him, _Richard_, of course, knowing -nothing of what has transpired. - -In the brilliant crowd of maskers, the scene having changed to that of -the masked ball, _Reinhart_ learns from _Oscar_ what disguise is worn -by _Richard_. _Amelia_, who, with the eyes of apprehensive love, also -has recognized _Richard_, implores him to flee the danger that -threatens him. But _Richard_ knows no fear. In order that the honour -of his friend shall remain secure, he has determined to send him as an -envoy to England, accompanied by his wife. Her, he tells _Amelia_, he -will never see again. "Once more I bid thee farewell, for the last -time, farewell." - -"And thus receive thou my farewell!" exclaims _Reinhart_, stabbing him -in the side. - -With his last words _Richard_ assures _Reinhart_ of the guiltlessness -of _Amelia_, and admonishes all to seek to avenge his death on no one. - -It is hardly necessary to point out how astonishing these proceedings -are when supposed to take place in Colonial Boston. Even the one -episode of _Richard, Earl of Warwick_, singing a barcarolle in the hut -of a negress who tells fortunes is so impossible that it affects the -whole story with incredibility. But Naples--well, anything will go -there. In fact, as truth is stranger than fiction, we even can regard -the events of "The Masked Ball" as occurring more naturally in an -Italian city than in Stockholm, where the assassination of Gustavus -III. at a masquerade actually occurred. - -Although the opera is a subject of only occasional revival, it -contains a considerable amount of good music and a quintet of -exceptional quality. - -Early in the first act comes _Richard's_ solo, "La rivedr -nell'estasi" (I shall again her face behold). - -[Music: La rivedr nell'estasi] - -This is followed by the faithful _Reinhart's_ "Alla vita che t'arride" -(To thy life with joy abounding), with horn solo. - -Strikingly effective is _Oscar's_ song, in which the page vouches for -the fortune-teller. "Volta la terrea fronte alle stelle" (Lift up -thine earthly gaze to where the stars are shining). - -[Music: Volta la terrea fronte alle stelle] - -In the scene in the fortune-teller's hut are a trio for _Amelia_, -_Ulrica_, and _Richard_, while the latter overhears _Amelia's_ welcome -confession of love for himself, and _Richard's_ charming barcarolle -addressed to the sorceress, a Neapolitan melody, "Di' tu se fedele il -flutto m'aspetta" (Declare if the waves will faithfully bear me). - -[Music: Di' tu se fedele il flutto m'aspetta,] - -The quintet begins with _Richard's_ laughing disbelief in _Ulrica's_ -prophecy regarding himself, " scherzo od follia" ('Tis an idle -folly). - -Concluding the scene is the chorus, in which, after the people have -recognized _Richard_, they sing what has been called, "a kind of 'God -Save the King' tribute to his worth"--"O figlio d'Inghilterra" (O son -of mighty England). - -The second act opens with a beautiful air for _Amelia_, "Ma dall'arido -stelo divulsa" (From the stem, dry and withered, dissevered). - -An impassioned duet occurs during the meeting at the place of the -gibbet between _Richard_ and _Amelia_: "O qual soave brivido" (Oh, -what delightful ecstasies). - -The act ends with a quartet for _Amelia_, _Reinhart_, _Samuel_, and -_Tom_. - -In the last act is _Amelia's_ touching supplication to her husband, in -which "The weeping of the violoncello and the veiled key of E-flat -minor stretch to the last limits of grief this prayer of the wife and -mother,"--"Morr, ma prima in grazia" (I die, but first in mercy). - -"O dolcezze perdute!" (O delights now lost for ever) sings her -husband, in a musical inspiration prefaced by harp and flute. - -During the masked ball there is a quintet for _Amelia_, _Oscar_, -_Reinhart_, _Samuel_, and _Tom_, from which the sprightly butterfly -allegro of _Oscar_, "Di che fulgor, che musiche" (What brilliant -lights, what music gay) detaches itself, while later on the _Page_ has -a buoyant "tra-la-la" solo, beginning, in reply to _Reinhart's_ -question concerning _Richard's_ disguise, "Saper vorreste di che si -veste" (You'd fain be hearing what mask he's wearing). - -There is a colloquy between _Richard_ and _Amelia_. Then the -catastrophe. - - -BEFORE AND AFTER "UN BALLO" - -Prior to proceeding to a consideration of "Ada," I will refer briefly -to certain works by Verdi, which, although not requiring a complete -account of story and music, should not be omitted from a book on -opera. - -At the Teatro San Carlo, Naples, December 8, 1849, Verdi brought out -the three-act opera "Luisa Miller," based on a play by Schiller, -"Kabale und Liebe" (Love and Intrigue). It appears to have been -Verdi's first real success since "Ernani" and to have led up to that -achieved by "Rigoletto" a year later, and to the successes of "Il -Trovatore" and "La Traviata." "Luisa Miller" was given at the Academy -of Music, New York, October 20, 1886, by Angelo's Italian Opera -Company. Giulia Valda was _Luisa_ and Vicini _Rodolfo_. - -The story is a gloomy one. The first act is entitled "Love," the -second "Intrigue," the third "Poison." - - CHARACTERS - - COUNT WALTER _Bass_ - RODOLFO, his son _Tenor_ - MILLER, an old soldier _Bass_ - LUISA, his daughter _Soprano_ - FREDERICA, DUCHESS OF OSTHEIM, - Walter's niece _Contralto_ - LAURA, a peasant girl _Contralto_ - - Ladies attending the Duchess, pages, servants, archers, and - villagers. - -_Luisa_ is the daughter of _Miller_, an old soldier. There is ardent -love between her and _Rodolfo_, the son of _Count Walter_, who has -concealed his real name and rank from her and her father and is known -to them as a peasant named Carlo. Old _Miller_, however, has a -presentiment that evil will result from their attachment. This is -confirmed on his being informed by _Wurm_ that Carlo is _Rodolfo_, his -master's son. _Wurm_ is himself in love with _Luisa_. - -The _Duchess Frederica_, _Count Walter's_ niece, arrives at the -castle. She had been brought up there with _Rodolfo_, and has from -childhood cherished a deep affection for him; but, compelled by her -father to marry the Duke d'Ostheim, has not seen _Rodolfo_ for some -years. The Duke, however, having died, she is now a widow, and, on the -invitation of _Count Walter_, who has, unknown to _Rodolfo_, made -proposals of marriage to her on his son's behalf, she arrives at the -castle, expecting to marry at once the love of her childhood. The -_Count_ having been informed by _Wurm_ of his son's love for _Luisa_, -resolves to break off their intimacy. _Rodolfo_ reveals to the -_Duchess_ that he loves another. He also discloses his real name and -position to _Luisa_ and her father. The _Count_ interrupts this -interview between the lovers. Enraged at his son's persistence in -preferring a union with _Luisa_, he calls in the guard and is about to -consign her and her father to prison, when he is, for the moment, -deterred and appalled by _Rodolfo's_ threat to reveal that the -_Count_, aided by _Wurm_, assassinated his predecessor, in order to -obtain possession of the title and estates. - -_Luisa's_ father has been seized and imprisoned by the _Count's_ -order. She, to save his life, consents, at the instigation of _Wurm_, -to write a letter in which she states that she had never really loved -_Rodolfo_, but only encouraged him on account of his rank and fortune, -of which she was always aware; and finally offering to fly with -_Wurm._ This letter, as the _Count_ and his steward have arranged, -falls into the hands of _Rodolfo_, who, enraged by the supposed -treachery of the woman he loves, consents to marry the _Duchess_, but -ultimately resolves to kill _Luisa_ and himself. - -_Luisa_ also has determined to put an end to her existence. _Rodolfo_ -enters her home in the absence of _Miller_, and, after extracting from -_Luisa's_ own lips the avowal that she did write the letter, he pours -poison into a cup. She unwittingly offers it to him to quench his -thirst. Afterwards, at his request, she tastes it herself. She had -sworn to _Wurm_ that she would never reveal the fact of the compulsion -under which she had written the letter, but feeling herself released -from her oath by fast approaching death, she confesses the truth to -_Rodolfo_. The lovers die in the presence of their horror-stricken -parents. - -The principal musical numbers include _Luisa's_ graceful and -brilliant solo in the first act--"Lo vidi, e'l primo palpito" (I saw -him and my beating heart). Besides there is _Old Miller's_ air, "Sacra -la scelta d'un consorte" (Firm are the links that are forged at the -altar), a broad and beautiful melody, which, were the opera better -known, would be included in most of the operatic anthologies for bass. - -There also should be mentioned _Luisa's_ air in the last act, "La -tomba un letto sparso di fiori" (The tomb a couch is, covered with -roses). - - * * * * * - -"I Vespri Siciliani" (The Sicilian Vespers) had its first performance -at the Grand Opra, Paris, under the French title, "Les Vpres -Siciliennes," June 13, 1855. It was given at La Scala, Milan, 1856; -London, Drury Lane, 1859; New York, Academy of Music, November 7, -1859; and revived there November, 1868. The work also has been -presented under the title of "Giovanna di Guzman." The libretto is by -Scribe and deals with the massacre of the French invaders of Sicily, -at vespers, on Easter Monday, 1282. The principal characters are _Guy -de Montford_, French Viceroy, _baritone_; _Arrigo_, a Sicilian -officer, _tenor_; _Duchess Hlne_, a prisoner, _soprano_; _Giovanni -di Procida_, a native conspirator, _bass_. _Arrigo_, who afterwards is -discovered to be the brutal _Guy de Montford's_ son, is in love with -_Hlne_. The plot turns upon his efforts to rescue her. - -There is one famous number in the "The Sicilian Vespers." This is the -"Bolero," sung by _Hlne_--"Merc, dilette amiche" (My thanks, -beloved companions). - - * * * * * - -At Petrograd, November 10, 1862, there was brought out Verdi's opera -in four acts, "La Forza del Destino" (The Force of Destiny). London -heard it in June, 1867; New York, February 2, 1865, and, with the last -act revised by the composer, at the Academy of Music in 1880, with -Annie Louise Cary, Campanini, Galassi, and Del Puente. The principal -characters are _Marquis di Calatrava_, _bass_; _Donna Leonora_ and -_Don Carlo_, his children, _soprano_ and _baritone_; _Don Alvaro_, -_tenor_; _Abbot of the Franciscan Friars_, _bass_. There are -muleteers, peasants, soldiers, friars, etc. The scenes are laid in -Spain and Italy; the period is the middle of the eighteenth century. -The libretto is based on the play, "Don Alvaro o La Fuerza de Sino" by -the Duke of Rivas. - -_Don Alvaro_ is about to elope with _Donna Leonora_, daughter of the -_Marquis_, when the latter comes upon them and is accidentally killed -by _Don Alvaro_. The _Marquis_ curses his daughter with his dying -breath and invokes the vengeance of his son, _Don Carlo_, upon her and -her lover. She escapes in male attire to a monastery, confesses to the -_Abbot_, and is conducted by him to a cave, where he assures her of -absolute safety. - -_Don Alvaro_ and _Don Carlo_ meet before the cave. They fight a duel -in which _Don Alvaro_ mortally wounds _Don Carlo_. _Donna Leonora_, -coming out of the cave and finding her brother dying, goes to him. -With a last effort he stabs her in the heart. _Don Alvaro_ throws -himself over a nearby precipice. - -"Madre, pietosa Vergine" (Oh, holy Virgin) is one of the principal -numbers of the opera. It is sung by _Donna Leonora_, kneeling in the -moonlight near the convent, while from within is heard the chant of -the priests. - -The "Madre pietosa" also is utilized as a theme in the overture. - - * * * * * - -"Don Carlos," produced at the Grand Opra, Paris, March 11, 1867, -during the Universal Exposition, was the last opera composed by Verdi -before he took the musical world by storm with "Ada." The work is in -four acts, the libretto, by Mry and du Locle, having been reduced -from Schiller's tragedy of the same title as the opera. - -The characters are _Philip II._, of Spain, _bass_; _Don Carlos_, his -son, _tenor_; _Rodrigo, Marquis de Posa_, _baritone_; _Grand -Inquisitor_, _bass_; _Elizabeth de Valois_, Queen of _Philip II._, and -stepmother of _Don Carlos_, _soprano_; _Princess Eboli_, _soprano_. In -the original production the fine rle of _Rodrigo_ was taken by Faure. - -_Don Carlos_ and _Elizabeth de Valois_ have been in love with each -other, but for reasons of state _Elizabeth_ has been obliged to marry -_Philip II._, _Don Carlos's_ father. The son is counselled by -_Rodrigo_ to absent himself from Spain by obtaining from his father a -commission to go to the Netherlands, there to mitigate the cruelties -practised by the Spaniards upon the Flemings. _Don Carlos_ seeks an -audience with _Elizabeth_, in order to gain her intercession with -_Philip_. The result, however, of the meeting, is that their passion -for each other returns with even greater intensity than before. -_Princess Eboli_, who is in love with _Don Carlos_, becomes cognizant -of the _Queen's_ affection for her stepson, and informs the _King_. -_Don Carlos_ is thrown into prison. _Rodrigo_, who visits him there, -is shot by order of _Philip_, who suspects him of aiding Spain's -enemies in the Low Countries. _Don Carlos_, having been freed, makes a -tryst with the _Queen_. Discovered by the _King_, he is handed over by -him to the Inquisition to be put to death. - - * * * * * - -"La Forza del Destino" and "Don Carlos" lie between Verdi's middle -period, ranging from "Luisa Miller" to "Un Ballo in Maschera" and -including "Rigoletto," "Il Trovatore," and "La Traviata," and his -final period, which began with "Ada." It can be said that in "La -Forza" and "Don Carlos" Verdi had absorbed considerable of Meyerbeer -and Gounod, while in "Ada," in addition to these, he had assimilated -as much of Wagner as is good for an Italian. The enrichment of the -orchestration in the two immediate predecessors of "Ada" is apparent, -but not so much so as in that masterpiece of operatic composition. He -produced in "Ada" a far more finished score than in "La Forza" or -"Don Carlos," sought and obtained many exquisite instrumental effects, -but always remained true to the Italian principle of the supremacy of -melody in the voice. - - -ADA - - Grand opera in four acts by Giuseppe Verdi. Plot by Mariette - Bey. Written in French prose by Camille du Locle. Translated - into Italian verse by Antonio Ghislanzoni. - - Produced in Cairo, Egypt, December 24, 1871; La Scala, - Milan, under the composer's direction, February 8, 1872; - Thtre Italien, Paris, April 22, 1876; Covent Garden, - London, June 22, 1876; Academy of Music, New York, November - 26, 1873; Grand Opra, Paris, March 22, 1880; Metropolitan - Opera House, with Caruso, 1904. - - CHARACTERS - - ADA, an Ethiopian slave _Soprano_ - AMNERIS, daughter of the King of Egypt _Contralto_ - AMONASRO, King of Ethiopia, father of Ada _Baritone_ - RHADAMES, captain of the Guard _Tenor_ - RAMPHIS, High Priest _Bass_ - KING OF EGYPT _Bass_ - MESSENGER _Tenor_ - - Priests, soldiers, Ethiopian slaves, prisoners, Egyptians, - etc. - - _Time_--Epoch of the Pharaohs. - - _Place_--Memphis and Thebes. - -"Ada" was commissioned by Ismail Pacha, Khedive of Egypt, for the -Italian Theatre in Cairo, which opened in November, 1869. The opera -was produced there December 24, 1871; not at the opening of the house, -as sometimes is erroneously stated. Its success was sensational. - -Equally enthusiastic was its reception when brought out at La Scala, -Milan, February 7, 1872, under the direction of Verdi himself, who was -recalled thirty-two times and presented with an ivory baton and -diamond star with the name of Ada in rubies and his own in other -precious stones. - -It is an interesting fact that "Ada" reached New York before it did -any of the great European opera houses save La Scala. It was produced -at the Academy of Music under the direction of Max Strakosch, November -26, 1873. I am glad to have heard that performance and several other -performances of it that season. For the artists who appeared in it -gave a representation that for brilliancy has not been surpassed if, -indeed, it has been equalled. In support of this statement it is only -necessary to say that Italo Campanini was _Rhadames_, Victor Maurel -_Amonasro_, and Annie Louise Cary _Amneris_. No greater artists have -appeared in these rles in this country. Mlle. Torriani, the _Ada_, -while not so distinguished, was entirely adequate. Nannetti as -_Ramphis_, the high priest, Scolara as the _King_, and Boy as the -_Messenger_, completed the cast. - -I recall some of the early comment on the opera. It was said to be -Wagnerian. In point of fact "Ada" is Wagnerian only as compared with -Verdi's earlier operas. Compared with Wagner himself, it is -Verdian--purely Italian. It was said that the fine melody for the -trumpets on the stage in the pageant scene was plagiarized from a -theme in the Coronation March of Meyerbeer's "Prophte." Slightly -reminiscent the passage is, and, of course, stylistically the entire -scene is on Meyerbeerian lines; but these resemblances no longer are -of importance. - -Paris failed to hear "Ada" until April, 1876, and then at the Thtre -Italien, instead of at the Grand Opra, where it was not heard until -March, 1880, when Maurel was the _Amonasro_ and douard de Reszke, -later a favourite basso at the Metropolitan Opera House, the _King_. -In 1855 Verdi's opera, "Les Vpres Siciliennes" (The Sicilian Vespers) -had been produced at the Grand Opra and occurrences at the rehearsals -had greatly angered the composer. The orchestra clearly showed a -disinclination to follow the composer's minute directions regarding -the manner in which he wished his work interpreted. When, after a -conversation with the chef d'orchestre, the only result was plainly an -attempt to annoy him, he put on his hat, left the theatre, and did not -return. In 1867 his "Don Carlos" met only with a _succs d'estime_ at -the Opra. He had not forgotten these circumstances, when the Opra -wanted to give "Ada." He withheld permission until 1880. But when at -last this was given, he assisted at the production, and the public -authorities vied in atoning for the slights put upon him so many years -before. The President of France gave a banquet in his honour and he -was created a Grand Officer of the National Order of the Legion of -Honour. - -When the Khedive asked Verdi to compose a new opera especially for the -new opera house at Cairo, and inquired what the composer's terms would -be, Verdi demanded $20,000. This was agreed upon and he was then given -the subject he was to treat, "Ada," which had been suggested to the -Khedive by Mariette Bey, the great French Egyptologist. The composer -received the rough draft of the story. From this Camille du Locle, a -former director of the Opra Comique, who happened to be visiting -Verdi at Busseto, wrote a libretto in French prose, "scene by scene, -sentence by sentence," as he has said, adding that the composer showed -the liveliest interest in the work and himself suggested the double -scene in the finale of the opera. The French prose libretto was -translated into Italian verse by Antonio Ghislanzoni, who wrote more -than sixty opera librettos, "Ada" being the most famous. Mariette Bey -brought his archeological knowledge to bear upon the production. "He -revived Egyptian life of the time of the Pharaohs; he rebuilt ancient -Thebes, Memphis, the Temple of Phtah; he designed the costumes and -arranged the scenery. And under these exceptional circumstances, -Verdi's new opera was produced." - -Verdi's score was ready a year before the work had its premire. The -production was delayed by force of circumstances. Scenery and costumes -were made by French artists. Before these accessories could be shipped -to Cairo, the Franco-Prussian war broke out. They could not be gotten -out of Paris. Their delivery was delayed accordingly. - -Does the score of "Ada" owe any of its charm, passion, and dramatic -stress to the opportunity thus afforded Verdi of going over it and -carefully revising it, after he had considered it finished? Quite -possibly. For we know that he made changes, eliminating, for instance, -a chorus in the style of Palestrina, which he did not consider -suitable to the priesthood of Isis. Even this one change resulted in -condensation, a valuable quality, and in leaving the exotic music of -the temple scene entirely free to exert to the full its fascination of -local colour and atmosphere. - -The story is unfolded in four acts and seven scenes. - -Act I. Scene 1. After a very brief prelude, the curtain rises on a -hall in the _King's_ palace in Memphis. Through a high gateway at the -back are seen the temples and palaces of Memphis and the pyramids. - -It had been supposed that, after the invasion of Ethiopia by the -Egyptians, the Ethiopians would be a long time in recovering from -their defeat. But _Amonasro_, their king, has swiftly rallied the -remnants of his defeated army, gathered new levies to his standard, -and crossed the frontier--all this with such extraordinary rapidity -that the first news of it has reached the Egyptian court in Memphis -through a messenger hot-foot from Thebes with the startling word that -the sacred city itself is threatened. - -[Illustration: Copyright photo by Dupont - -Emma Eames as Ada] - -[Illustration: Copyright photo by Dupont - -Salza as Rhadames in "Ada"] - -While the priests are sacrificing to Isis in order to learn from the -goddess whom she advises them to choose as leader of the Egyptian -forces, _Rhadames_, a young warrior, indulges in the hope that he may -be the choice. To this hope he joins the further one that, -returning victorious, he may ask the hand in marriage of _Ada_, an -Ethiopian slave of the Egyptian King's daughter, _Amneris_. To these -aspirations he gives expression in the romance, "Celeste Ada" -(Radiant Ada). - -[Music: Celeste Ada] - -It ends effectively with the following phrase: - -[Music: un trono vicino al sol, un trono vicino al sol] - -He little knows that _Ada_ is of royal birth or that _Amneris_ -herself, the Princess Royal, is in love with him and, having noted the -glances he has cast upon _Ada_, is fiercely jealous of her--a -jealousy that forms the mainspring of the story and leads to its -tragic dnouement. - -A premonition of the emotional forces at work in the plot is given in -the "Vieni, O diletta" (Come dearest friend), beginning as a duet -between _Amneris_ and _Ada_ and later becoming a trio for them and -_Rhadames_. In this the _Princess_ feigns friendship for _Ada_, but, -in asides, discloses her jealous hatred of her. - -Meanwhile the Egyptian hosts have gathered before the temple. There -the _King_ announces that the priests of Isis have learned from the -lips of that goddess the name of the warrior who is to lead the -army--_Rhadames_! It is the _Princess_ herself who, at this great -moment in his career, places the royal standard in his hands. But amid -the acclaims that follow, as _Rhadames_, to the strains of march and -chorus, is conducted by the priests to the temple of Phtah to be -invested with the consecrated armour, _Amneris_ notes the fiery look -he casts upon _Ada_. Is this the reason _Rhadames_, young, handsome, -brave, has failed to respond to her own guarded advances? Is she, a -princess, to find a successful rival in her own slave? - -Meanwhile _Ada_ herself is torn by conflicting emotions. She loves -_Rhadames_. When the multitude shouts "Return victorious!" she joins -in the acclamation. Yet it is against her own people he is going to -give battle, and the Ethiopians are led by their king, _Amonasro_, her -father. For she, too, is a princess, as proud a princess in her own -land as _Amneris_, and it is because she is a captive and a slave that -her father has so swiftly rallied his army and invaded Egypt in a -desperate effort to rescue her, facts which for obvious reasons she -carefully has concealed from her captors. - -It is easy to imagine _Ada's_ agonized feelings since _Rhadames_ has -been chosen head of the Egyptian army. If she prays to her gods for -the triumph of the Ethiopian arms, she is betraying her lover. If she -asks the gods of victory to smile upon _Rhadames_, she is a traitress -to her father, who has taken up arms to free her, and to her own -people. Small wonder if she exclaims, as she contemplates her own -wretched state: - -"Never on earth was heart torn by more cruel agonies. The sacred names -of father, lover, I can neither utter nor remember. For the one--for -the other--I would weep, I would pray!" - -This scene for _Ada_, beginning "Ritorna vincitor" (Return -victorious), in which she echoes the acclamation of the martial chorus -immediately preceding, is one of the very fine passages of the score. -The lines to which it is set also have been highly praised. They -furnished the composer with opportunity, of which he made full use, to -express conflicting emotions in music of dramatic force and, in its -concluding passage, "Numi piet" (Pity, kind heaven), of great -beauty. - -[Music: - - Numi piet - Del mio soffrir! - Speme non v'ha - pel mio dolor.] - -Scene 2. _Ramphis_, the high priest, at the foot of the altar; priests -and priestesses; and afterwards _Rhadames_ are shown in the Temple of -Vulcan at Memphis. A mysterious light descends from above. A long row -of columns, one behind the other, is lost in the darkness; statues of -various deities are visible; in the middle of the scene, above a -platform rises the altar, surmounted by sacred emblems. From golden -tripods comes the smoke of incense. - -A chant of the priestesses, accompanied by harps, is heard from the -interior. _Rhadames_ enters unarmed. While he approaches the altar, -the priestesses execute a sacred dance. On the head of _Rhadames_ is -placed a silver veil. He is invested with consecrated armor, while the -priests and priestesses resume the religious chant and dance. - -The entire scene is saturated with local colour. Piquant, exotic, it -is as Egyptian to the ear as to the eye. You see the temple, you hear -the music of its devotees, and that music sounds as distinctively -Egyptian as if Mariette Bey had unearthed two examples of ancient -Egyptian temple music and placed them at the composer's disposal. It -is more likely, however, that the themes are original with Verdi and -that the Oriental tone colour, which makes the music of the scene so -fascinating, is due to his employment of certain intervals peculiar to -the music of Eastern people. The interval, which, falling upon Western -ears, gives an Oriental clang to the scale, consists of three -semi-tones. In the very Eastern sounding themes in the temple scenes -in "Ada," these intervals are G to F-flat, and D to C-flat. - -The sacred chant, - -[Music] - -twice employs the interval between D and C-flat, the first time -descending, the second time ascending, in which latter it sounds more -characteristic to us, because we regard the scale as having an upward -tendency, whereas in Oriental systems the scale seems to have been -regarded as tending downward. - -In the sacred dance, - -[Music] - -the interval is from G to F-flat. The intervals, where employed in the -two music examples just cited, are bracketed. The interval of three -semi-tones--the characteristic of the Oriental scale--could not be -more clearly shown than it is under the second bracket of the sacred -dance. - -Act II. Scene 1. In this scene, which takes place in a hall in the -apartments of _Amneris_, the Princess adopts strategy to discover if -_Ada_ returns the passion which she suspects in _Rhadames_. -Messengers have arrived from the front with news that _Rhadames_ has -put the Ethiopians to utter rout and is returning with many trophies -and captives. Naturally _Ada_ is distraught. Is her lover safe? Was -her father slain? It is while _Ada's_ mind and heart are agitated by -these questions that _Amneris_ chooses the moment to test her feelings -and wrest from her the secret she longs yet dreads to fathom. The -Princess is reclining on a couch in her apartment in the palace at -Thebes, whither the court has repaired to welcome the triumphant -Egyptian army. Slaves are adorning her for the festival or agitating -the air with large feather fans. Moorish slave boys dance for her -delectation and her attendants sing: - - While on thy tresses rain - Laurels and flowers interwoven, - Let songs of glory mingle - With strains of tender love. - -In the midst of these festive preparations _Ada_ enters, and -_Amneris_, craftily feigning sympathy for her lest she be grieving -over the defeat of her people and the possible loss in battle of -someone dear to her, affects to console her by telling her that -_Rhadames_, the leader of the Egyptians, has been slain. - -It is not necessary for the Princess to watch the girl intently in -order to note the effect upon her of the sudden and cruelly contrived -announcement. Almost as suddenly, having feasted her eyes on the slave -girl's grief, the Princess exclaims: "I have deceived you; _Rhadames_ -lives!" - -"He lives!" Tears of gratitude instead of despair now moisten _Ada's_ -eyes as she raises them to Heaven. - -"You love him; you cannot deny it!" cries _Amneris_, forgetting in her -furious jealousy her dignity as a Princess. "But know, you have a -rival. Yes--in me. You, my slave, have a rival in your mistress, a -daughter of the Pharaohs!" - -Having fathomed her slave's secret, she vents the refined cruelty of -her jealous nature upon the unfortunate girl by commanding her to be -present at the approaching triumphant entry of _Rhadames_ and the -Egyptian army: - -"Come, follow me, and you shall learn if you can contend with me--you, -prostrate in the dust, I on the throne beside the king!" - -What has just been described is formulated by Verdi in a duet for -_Amneris_ and _Ada_, "Amore! gaudio tormento" (Oh, love! Oh, joy and -sorrow!), which expresses the craftiness and subtlety of the Egyptian -Princess, the conflicting emotions of _Ada_, and the dramatic stress -of the whole episode. - -This phrase especially seems to express the combined haughtiness and -jealousy in the attitude of _Amneris_ toward _Ada_: - -[Music] - -Scene 2. Brilliant indeed is the spectacle to which _Ada_ is -compelled to proceed with the Princess. It is near a group of palms at -the entrance to the city of Thebes that the _King_ has elected to give -_Rhadames_ his triumph. Here stands the temple of Ammon. Beyond it a -triumphal gate has been erected. When the _King_ enters to the cheers -of the multitude and followed by his gaudily clad court, he takes his -seat on the throne surmounted by a purple canopy. To his left sits -_Amneris_, singling out for her disdainful glances the most unhappy of -her slaves. - -A blast of trumpets, and the victorious army begins its defile past -the throne. After the foot soldiers come the chariots of war; then the -bearers of the sacred vases and statues of the gods, and a troupe of -dancing girls carrying the loot of victory. A great flourish of -trumpets, an outburst of acclaim, and _Rhadames_, proudly standing -under a canopy borne high on the shoulders of twelve of his officers, -is carried through the triumphal gate and into the presence of his -_King_. As the young hero descends from the canopy, the monarch, too, -comes down from the throne and embracing him exclaims: - -"Savior of your country, I salute you. My daughter with her own hand -shall place the crown of laurels upon your brow." And when -_Amneris_, suiting her action to her father's words, crowns -_Rhadames_, the _King_ continues: "Now ask of me whatever you most -desire. I swear by my crown and by the sacred gods that nothing shall -be denied to you this day!" - -[Illustration: Copyright photo by Dupont - -Louise Homer as Amneris in "Ada"] - -[Illustration: Copyright photo by Mishkin - -Rosina Galli in the Ballet of "Ada"] - -But although no wish is nearer the heart of _Rhadames_ than to obtain -freedom for _Ada_, he does not consider the moment as yet opportune. -Therefore he requests that first the prisoners of war be brought -before the _King_. When they enter, one of them, by his proud mien and -spirited carriage, easily stands forth from the rest. Hardly has -_Ada_ set eyes upon him than she utters the startled exclamation, "My -father!" - -It is indeed none other than _Amonasro_, the Ethiopian king, who, his -identity unknown to the Egyptians, has been made captive by them. -Swiftly gliding over to where _Ada_ stands, he whispers to her not to -betray his rank to his captors. Then, turning to the Egyptian monarch, -he craftily describes how he has seen the king of Ethiopia dead at his -feet from many wounds, and concludes by entreating clemency for the -conquered. Not only do the other captives and _Ada_ join in his -prayer, but the people, moved by his words and by his noble aspect, -beg their king to spare the prisoners. The priests, however, protest. -The gods have delivered these enemies into the hands of Egypt; let -them be put to death lest, emboldened by a pardon so easily obtained, -they should rush to arms again. - -Meanwhile _Rhadames_ has had eyes only for _Ada_, while _Amneris_ -notes with rising jealousy the glances he turns upon her hated slave. -At last _Rhadames_, carried away by his feelings, himself joins in the -appeal for clemency. "Oh, _King_," he exclaims, "by the sacred gods -and by the splendour of your crown, you swore to grant my wish this -day! Let it be life and liberty for the Ethiopian prisoners." But the -high priest urges that even if freedom is granted to the others, -_Ada_ and her father be detained as hostages and this is agreed upon. -Then the _King_, as a crowning act of glory for _Rhadames_, leads -_Amneris_ forth, and addressing the young warrior, says: - -"_Rhadames_, the country owes everything to you. Your reward shall be -the hand of _Amneris_. With her one day you shall reign over Egypt." - -A great shout goes up from the multitude. Unexpectedly _Amneris_ sees -herself triumphant over her rival, the dream of her heart fulfilled, -and _Ada_ bereft of hope, since for _Rhadames_ to refuse the hand of -his king's daughter would mean treason and death. And so while all -seemingly are rejoicing, two hearts are sad and bewildered. For -_Ada_, the man she adores appears lost to her forever and all that is -left to her, the tears of hopeless love; while to _Rhadames_ the heart -of _Ada_ is worth more than the throne of Egypt, and its gift, with -the hand of _Amneris_, is like the unjust vengeance of the gods -descending upon his head. - -This is the finale of the second act. It has been well said that not -only is it the greatest effort of the composer, but also one of the -grandest conceptions of modern musical and specifically operatic art. -The importance of the staging, the magnificence of the spectacle, the -diversity of characterization, and the strength of action of the drama -all conspire to keep at an unusually high level the inspiration of the -composer. The triumphal chorus, "Gloria all'Egitto" (Glory to Egypt), -is sonorous and can be rendered with splendid effect. - -It is preceded by a march. - -[Music] - -Then comes the chorus of triumph. - -[Music] - -Voices of women join in the acclaim. - -[Music] - -The trumpets of the Egyptian troops execute a most brilliant -modulation from A-flat to B-natural. - -The reference here is to the long, straight trumpets with three valves -(only one of which, however, is used). These trumpets, in groups of -three, precede the divisions of the Egyptian troops. The trumpets of -the first group are tuned in A-flat. - -[Music] - -When the second group enters and intones the same stirring march theme -in B-natural, the enharmonic modulation to a tone higher gives an -immediate and vastly effective "lift" to the music and the scene. - -[Music] - -The entrance of _Rhadames_, borne on high under a canopy by twelve -officers, is a dramatic climax to the spectacle. But a more emotional -one is to follow. - -The recognition of _King Amonasro_ by his daughter; the supplication -of the captives; the plea of _Rhadames_ and the people in their -favour; the vehement protests of the priests who, in the name of the -gods of Egypt, demand their death; the diverse passions which agitate -_Rhadames_, _Ada_, and _Amneris_; the hope of vengeance that -_Amonasro_ cherishes--all these conflicting feelings are musically -expressed with complete success. The structure is reared upon -_Amonasro's_ plea to the _King_ for mercy for the Ethiopian captives, -"Ma tu, re, tu signore possente" (But thou, O king, thou puissant -lord). - -[Music] - -When the singer who takes the rle of _Amonasro_ also is a good actor, -he will know how to convey, between the lines of this supplication, -his secret thoughts and unavowed hope for the reconquest of his -freedom and his country. After the Egyptian _King_ has bestowed upon -_Rhadames_ the hand of _Amneris_, the chorus, "Gloria all'Egitto," is -heard again, and, above its sonorous measures, _Ada's_ cry: - - What hope now remains to me? - To him, glory and the throne; - To me, oblivion--the tears - Of hopeless love. - -It is largely due to Verdi's management of the score to this elaborate -scene that "Ada" not only has superseded all spectacular operas that -came before it, but has held its own against and survived practically -all those that have come since. The others were merely spectacular. In -"Ada" the surface radiates and glows because beneath it seethe the -fires of conflicting human passion. In other operas spectacle is -merely spectacle. In "Ada" it clothes in brilliant habiliments the -forces of impending and on-rushing tragedy. - -Act III. That tragedy further advances toward its consummation in the -present act. - -It is a beautiful moonlight night on the banks of the Nile--moonlight -whose silvery rays are no more exquisite than the music that seems -steeped in them. - -[Music] - -Half concealed in the foliage is the temple of Isis, from which issues -the sound of women's voices, softly chanting. A boat approaches the -shore and out of it steps _Amneris_ and the high priest, with a train -of closely veiled women and several guards. The _Princess_ is about to -enter upon a vigil in the temple to implore the favour of the goddess -before her nuptials with _Rhadames_. - -For a while after they have entered the temple, the shore seems -deserted. But from the shadow of a grove of palms _Ada_ cautiously -emerges into the moonlight. In song she breathes forth memories of her -native land: _Oh, patria mia!--O cieli azzurri!_ (Oh, native -land!--Oh, skies of tender blue!). - -[Music: O cieli azzurri, o dolci aure native,] - -The phrase, _O patria mia! mai pi ti rivedr_ (Oh, native land! I -ne'er shall see thee more)--a little further on--recalls the famous -"Non ti scordar" from the "Miserere" in "Trovatore." Here _Rhadames_ -has bid _Ada_ meet him. Is it for a last farewell? If so, the Nile -shall be her grave. She hears a swift footfall, and turning, in -expectation of seeing _Rhadames_, beholds her father. He has fathomed -her secret and divined that she is here to meet _Rhadames_--the -betrothed of _Amneris_! Cunningly _Amonasro_ works upon her feelings. -Would she triumph over her rival? The Ethiopians again are in arms. -Again _Rhadames_ is to lead the Egyptians against them. Let her draw -from him the path which he intends to take with his army and that path -shall be converted into a fatal ambuscade. - -At first the thought is abhorrent to _Ada_; but her father by -craftily inciting her love of country and no less her jealousy and -despair, at last is able to wrest consent from her; then draws back -into the shadow as he hears _Rhadames_ approaching. - -This duet of _Ada_ and _Amonasro_ is and will remain one of the -beautiful dramatic efforts of the Italian repertory. The situation is -one of those in which Verdi delights; he is in his element. - -It is difficult to bring _Ada_ to make the designs of her father -agree with her love for the young Egyptian chief. But the subtlety of -the score, its warmth, its varied and ably managed expression, almost -make plausible the submission of the young girl to the adjurations of -_Amonasro_, and excusable a decision of which she does not foresee the -consequences. To restore the crown to her father, to view again her -own country, to escape an ignominious servitude, to prevent her lover -becoming the husband of _Amneris_, her rival,--such are the thoughts -which assail her during this duet, and they are quite capable of -disturbing for a moment her better reason. _Amonasro_ sings these -phrases, so charming in the Italian: - - Rivedrai le foreste imbalsamate, - Le fresche valli, i nostri templi d'or! - Sposa felice a lui che amasti tanto, - Tripudii immensi ivi potrai gioir!... - - (Thou shalt see again the balmy forests, - The green valleys, and our golden temples. - Happy bride of him thou lovest so much, - Great rejoicing thenceforth shall be thine.) - -As she still is reluctant to lure from her lover the secret of the -route by which, in the newly planned invasion of her country, the -Egyptians expect to enter Ethiopia, _Amonasro_ changes his tactics and -conjures up for her in music a vision of the carnage among her people, -and finally invokes her mother's ghost, until, in pianissimo, -dramatically contrasting with the force of her father's savage -imprecation, she whispers, _O patria! quanto mi costi!_ (Oh, native -land! how much thou demandest of me!). - -_Amonasro_ leaves. _Ada_ awaits her lover. When she somewhat coldly -meets _Rhadames's_ renewed declaration of love with the bitter protest -that the rites of another love are awaiting him, he unfolds his plan -to her. He will lead the Egyptians to victory and on returning with -these fresh laurels, he will prostrate himself before the _King_, lay -bare his heart to him, and ask for the hand of _Ada_ as a reward for -his services to his country. But _Ada_ is well aware of the power of -_Amneris_ and that her vengeance would swiftly fall upon them both. -She can see but one course to safety--that _Rhadames_ join her in -flight to her native land, where, amid forest groves and the scent of -flowers, and all forgetful of the world, they will dream away their -lives in love. This is the beginning of the dreamy yet impassioned -love duet--"Fuggiam gli ardori inospiti" (Ah, fly with me). She -implores him in passionate accents to escape with her. Enthralled by -the rapture in her voice, thrilled by the vision of happiness she -conjures up before him, he forgets for the moment country, duty, all -else save love; and exclaiming, "Love shall be our guide!" turns to -fly with her. - -This duet, charged with exotic rapture, opens with recitativo phrases -for _Ada_. I have selected three passages for quotation: "L tra -foreste vergini" (There 'mid the virgin forest groves); "Di fiori -profumate" (And 'mid the scent of flowers); and "In estasi la terra -scorderem" (In ecstasy the world forgotten). - -[Music: L tra foreste vergini,] - -[Music: In estasi beate la terra scorderem,] - -[Music: in estasi la terra scorderem,] - -But Ada, feigning alarm, asks: - -"By what road shall we avoid the Egyptian host?" - -"The path by which our troops plan to fall upon the enemy will be -deserted until tomorrow." - -"And that path?" - -"The pass of Napata." - -A voice echoes his words, "The pass of Napata." - -"Who hears us?" exclaims _Rhadames_. - -"The father of _Ada_ and king of the Ethiopians," and _Amonasro_ -issues forth from his hiding place. He has uncovered the plan of the -Egyptian invasion, but the delay has been fatal. For at the same -moment there is a cry of "Traitor!" from the temple. - -It is the voice of _Amneris_, who with the high priest has overheard -all. _Amonasro_, baring a dagger, would throw himself upon his -daughter's rival, but _Rhadames_ places himself between them and bids -the Ethiopian fly with _Ada_. _Amonasro_, drawing his daughter away -with him, disappears in the darkness; while _Rhadames_, with the -words, "Priest, I remain with you," delivers himself a prisoner into -his hands. - -Act IV. Scene 1. In a hall of the Royal Palace _Amneris_ awaits the -passage, under guard, of _Rhadames_ to the dungeon where the priests -are to sit in judgment upon him. There is a duet between _Rhadames_ -and this woman, who now bitterly repents the doom her jealousy is -about to bring upon the man she loves. She implores him to exculpate -himself. But _Rhadames_ refuses. Not being able to possess _Ada_ he -will die. - -He is conducted to the dungeon, from where, as from the bowels of the -earth, she hears the sombre voices of the priests. - - Ramfis. (Nel sotterraneo.) - Radames--Radames: tu rivelasti - Della patria i segreti allo straniero.... - - Sacer. Discolpati! - - Ramfis. Egli tace. - - Tutti. Traditor! - - - Ramphis. (In the subterranean hall.) - Rhadames, Rhadames, thou didst reveal - The country's secrets to the foreigner.... - - Priests. Defend thyself! - - Ramphis. He is silent. - - All. Traitor! - -The dramatically condemnatory "Traditor!" is a death knell for her -lover in the ears of _Amneris_. And after each accusation, silence by -_Rhadames_, and cry by the priests of "Traitor!" _Amneris_ realizes -only too well that his approaching doom is to be entombed alive! Her -revulsions of feeling from hatred to love and despair find vent in -highly dramatic musical phrases. In fact _Amneris_ dominates this -scene, which is one of the most powerful passages for mezzo-soprano in -all opera. - -Scene 2. This is the famous double scene. The stage setting is divided -into two floors. The upper floor represents the interior of the Temple -of Vulcan, resplendent with light and gold; the lower floor a -subterranean hall and long rows of arcades which are lost in the -darkness. A colossal statue of Osiris, with the hands crossed, -sustains the pilasters of the vault. - -In the temple _Amneris_ and the priestesses kneel in prayer. And -_Rhadames_? Immured in the dungeon and, as he thought, to perish -alone, a form slowly takes shape in the darkness, and his own name, -uttered by the tender accents of a familiar voice, falls upon his ear. -It is _Ada_. Anticipating the death to which he will be sentenced, -she has secretly made her way into the dungeon before his trial and -there hidden herself to find reunion with him in death. And so, while -in the temple above them the unhappy _Amneris_ kneels and implores the -gods to vouchsafe Heaven to him whose death she has compassed, -_Rhadames_ and _Ada_, blissful in their mutual sacrifice, await the -end. - -From "Celeste Ada," _Rhadames's_ apostrophe to his beloved, with -which the opera opens, to "O, terra, addio; addio, valle di pianti!" -(Oh, earth, farewell! Farewell, vale of tears!), - -[Music: O terra addio; addio valle di pianti] - -which is the swan-song of _Rhadames_ and _Ada_, united in death in -the stone-sealed vault,--such is the tragic fate of love, as set forth -in this beautiful and eloquent score by Giuseppe Verdi. - - -OTELLO - -OTHELLO - - Opera in four acts, by Verdi. Words by Arrigo Boto, after - Shakespeare. Produced, La Scala, Milan, February 5, 1887, - with Tamagno (_Otello_), and Maurel (_Iago_). London, Lyceum - Theatre, July 5, 1889. New York, Academy of Music, under - management of Italo Campanini, April 16, 1888, with Marconi, - Tetrazzini, Galassi, and Scalchi. (Later in the engagement - Marconi was succeeded by Campanini.); Metropolitan Opera - House, 1894, with Tamagno, Albani, Maurel; 1902, Alvarez, - Eames, and Scotti; later with Slezak, Alda, and Scotti; - Manhattan Opera House, with Zenatello, Melba, and Sammarco. - - CHARACTERS - - OTHELLO, a Moor, general in the army - of Venice _Tenor_ - IAGO, ancient to Othello _Baritone_ - CASSIO, lieutenant to Othello _Tenor_ - RODERIGO, a Venetian _Tenor_ - LODOVICO, Venetian ambassador _Bass_ - MONTANO, Othello's predecessor in the - government of Cyprus _Bass_ - A HERALD _Bass_ - DESDEMONA, wife of Othello _Soprano_ - EMILIA, wife of Iago _Mezzo-Soprano_ - - Soldiers and sailors of the Republic of Venice; men, women, - and children of Venice and of Cyprus; heralds; soldiers of - Greece, Dalmatia, and Albania; innkeeper and servants. - - _Time_--End of fifteenth century. - - _Place_--A port of the island of Cyprus. - -Three years after the success of "Ada," Verdi produced at Milan his -"Manzoni Requiem"; but nearly sixteen years were to elapse between -"Ada" and his next work for the lyric stage. "Ada," with its far -richer instrumentation than that of any earlier work by Verdi, yet is -in form an opera. "Otello" more nearly approaches a music-drama, but -still is far from being one. It is only when Verdi is compared with -his earlier self that he appears Wagnerian. Compared with Wagner, he -remains characteristically Italian--true to himself, in fact, as -genius should be. - -Nowhere, perhaps, is this matter summed up as happily as in Baker's -_Biographical Dictionary of Musicians_: "Undoubtedly influenced by his -contemporaries Meyerbeer, Gounod, and Wagner in his treatment of the -orchestra, Verdi's dramatic style nevertheless shows a natural and -individual development, and has remained essentially Italian as an -orchestral accompaniment of vocal melody; but his later -instrumentation is far more careful in detail and luxuriant than that -of the earlier Italian school, and his melody more passionate and -poignant in expression." - -"Otello" is a well-balanced score, composed to a libretto by a -distinguished poet and musician--the composer of "Mefistofele." It has -vocal melodies, which are rounded off and constitute separate -"numbers" (to employ an expression commonly applied to operatic airs), -and its recitatives are set to a well thought out instrumental -accompaniment. - -It is difficult to explain the comparative lack of success with the -public of Verdi's last two scores for the lyric stage, "Otello" and -"Falstaff." Musicians fully appreciate them. Indeed "Falstaff," which -followed "Otello," is considered one of the greatest achievements in -the history of opera. Yet it is rarely given, and even "Otello" has -already reached the "revival" stage, while "Ada," "Rigoletto," "La -Traviata," and "Il Trovatore" are fixtures, although "Rigoletto" was -composed thirty-six years before "Otello" and forty-two before -"Falstaff." Can it be that critics (including myself) and professional -musicians have been admiring the finished workmanship of Verdi's last -two scores, while the public has discovered in them a halting -inspiration, a too frequent substitution of miraculous skill for the -old-time _flair_, and a lack of that careless but attractive -occasional _laissez faire aller_ of genius, which no technical -perfection can replace? Time alone can answer. - -When "Otello" opens, _Desdemona_ has preceded her husband to Cyprus -and is living in the castle overlooking the port. There are a few bars -of introduction. - -[Illustration: Photo by White - -Alda as Desdemona in "Otello"] - -Act I. In the background a quay and the sea; a tavern with an arbour; -it is evening. - -Through a heavy storm _Othello's_ ship is seen to be making port. -Among the crowd of watchers, who exclaim upon the danger to the -vessel, are _Iago_ and _Roderigo_. _Othello_ ascends the steps to the -quay, is acclaimed by the crowd, and proceeds to the castle followed -by _Cassio_, _Montano_, and soldiers. The people start a wood fire -and gather about it dancing and singing. - -It transpires in talk between _Iago_ and _Roderigo_ that _Iago_ hates -_Othello_ because he has advanced _Cassio_ over him, and that -_Roderigo_ is in love with _Desdemona_. - -The fire dies out, the storm has ceased. _Cassio_ has returned from -the castle. Now comes the scene in which _Iago_ purposely makes him -drunk, in order to cause his undoing. They, with others, are grouped -around the table outside the tavern. _Iago_ sings his drinking song, -"Inaffia l'ugola! trinca tracanna" (Then let me quaff the noble wine, -from the can I'll drink it). - -[Music: Inaffia l'ugola! trinca, tracanna,] - -Under the influence of the liquor _Cassio_ resents the taunts of -_Roderigo_, instigated by _Iago_. _Montano_ tries to quiet him. -_Cassio_ draws. There follows the fight in which _Montano_ is wounded. -The tumult, swelled by alarums and the ringing of bells, brings -_Othello_ with _Desdemona_ to the scene. _Cassio_ is dismissed from -the Moor's service. _Iago_ has scored his first triumph. - -The people disperse. Quiet settles upon the scene. _Othello_ and -_Desdemona_ are alone. The act closes with their love duet, which -_Desdemona_ begins with "Quando narravi" (When thou dids't speak). - -[Music] - -Act II. A hall on the ground floor of the castle. _Iago_, planning to -make _Othello_ jealous of _Desdemona_, counsels _Cassio_ to induce -the Moor's wife to plead for his reinstatement. _Cassio_ goes into a -large garden at the back. _Iago_ sings his famous "Credo in un Dio -crudel che m'ha creato" [Transcriber's Note: should be 'un Dio -crudel,' but 'crudel' was possibly omitted deliberately, as 'cruel' is -also missing from the translation] (I believe in a God, who has -created me in his image). This is justly regarded as a masterpiece of -invective. It does not appear in Shakespeare, so that the lines are as -original with Boto as the music is with Verdi. Trumpets, employed in -what may be termed a declamatory manner, are conspicuous in the -accompaniment. - -_Iago_, seeing _Othello_ approach, leans against a column and looks -fixedly in the direction of _Desdemona_ and _Cassio_, exclaiming, as -_Othello_ enters, "I like not that!" As in the corresponding scene in -the play, this leads up to the questioning of him by _Othello_ and to -_Iago's_ crafty answers, which not only apply the match to, but also -fan the flame of _Othello's_ jealousy, as he watches his wife with -_Cassio_. - -Children, women, and Cypriot and Albanian sailors now are seen with -_Desdemona_. They bring her flowers and other gifts. Accompanying -themselves on the cornemuse, and small harps, they sing a mandolinata, -"Dove guardi splendono" (Wheresoe'er thy glances fall). This is -followed by a graceful chorus for the sailors, who bring shells and -corals. - -The scene and _Desdemona's_ beauty deeply move the _Moor_. He cannot -believe her other than innocent. But, unwittingly, she plays into -_Iago's_ hand. For her first words on joining _Othello_ are a plea for -_Cassio_. All the _Moor's_ jealousy is re-aroused. When she would -apply her handkerchief to his heated brow, he tears it from her hand, -and throws it to the ground. _Emilia_ picks it up, but _Iago_ takes it -from her. The scene is brought to a close by a quartet for -_Desdemona_, _Othello_, _Iago_, and _Emilia_. - -_Othello_ and _Iago_ are left together again. _Othello_ voices the -grief that shakes his whole being, in what Mr. Upton happily describes -as "a pathetic but stirring melody." In it he bids farewell, not only -to love and trust, but to the glories of war and battle. The trumpet -is effectively employed in the accompaniment to this outburst of -grief, which begins, "Addio sante memorie" (Farewell, O sacred -memories). - -[Music: Addio sante memorie, addio sublimi incanti del pensier] - -To such a fury is the _Moor_ aroused that he seizes _Iago_, hurls him -to the ground, and threatens to kill him should his accusations -against _Desdemona_ prove false. There is a dramatic duet in which -_Iago_ pledges his aid to _Othello_ in proving beyond doubt the -falseness of _Desdemona_. - -Act III. The great hall of the castle. At the back a terrace. After a -brief scene in which the approach of a galley with the Venetian -ambassadors is announced, _Desdemona_ enters. Wholly unaware of the -cause of _Othello's_ strange actions toward her, she again begins to -plead for _Cassio's_ restoration to favour. _Iago_ has pretended to -_Othello_ that _Desdemona's_ handkerchief (of which he surreptitiously -possessed himself) had been given by her to _Cassio_, and this has -still further fanned the flame of the _Moor's_ jealousy. The scene, -for _Othello_, is one of mingled wrath and irony. Upon her knees -_Desdemona_ vows her constancy: "Esterrefatta fisso lo sguardo tuo -tremendo" (Upon my knees before thee, beneath thy glance I tremble). I -quote the phrase, "Io prego il cielo per te con questo pianto" (I pray -my sighs rise to heaven with prayer). - -[Music: Io prego il cielo per te con questo pianto] - -_Othello_ pushes her out of the room. He soliloquizes: "Dio! mi potevi -scagliar tutti i mali della miseria" (Heav'n had it pleased thee to -try me with affliction). - -_Iago_, entering, bids _Othello_ conceal himself; then brings in -_Cassio_, who mentions _Desdemona_ to _Iago_, and also is led by -_Iago_ into light comments on other matters, all of which _Othello_, -but half hearing them from his place of concealment, construes as -referring to his wife. _Iago_ also plays the trick with the -handkerchief, which, having been conveyed by him to _Cassio_, he now -induces the latter (within sight of _Othello_) to draw from his -doublet. There is a trio for _Othello_ (still in concealment), _Iago_, -and _Cassio_. - -The last-named having gone, and the _Moor_ having asked for poison -with which to kill _Desdemona_, _Iago_ counsels that _Othello_ -strangle her in bed that night, while he goes forth and slays -_Cassio_. For this counsel _Othello_ makes _Iago_ his lieutenant. - -The Venetian ambassadors arrive. There follows the scene in which the -recall of _Othello_ to Venice and the appointment of _Cassio_ as -Governor of Cyprus are announced. This is the scene in which, also, -the _Moor_ strikes down _Desdemona_ in the presence of the -ambassadors, and she begs for mercy--"A terra--s--nel livido fango" -(Yea, prostrate here, I lie in the dust); and "Quel sol sereno e -vivido che allieta il cielo e il mare" (The sun who from his cloudless -sky illumes the heavens and sea). - -[Music: Quel Sol sereno e vivido che allieta il cielo e il mare] - -After this there is a dramatic sextet. - -All leave, save the _Moor_ and his newly created lieutenant. Overcome -by rage, _Othello_ falls in a swoon. The people, believing that the -_Moor_, upon his return to Venice, is to receive new honours from the -republic, shout from outside, "Hail, Othello! Hail to the lion of -Venice!" - -"There lies the lion!" is _Iago's_ comment of malignant triumph and -contempt, as the curtain falls. - -Act IV. The scene is _Desdemona's_ bedchamber. There is an orchestral -introduction of much beauty. Then, as in the play, with which I am -supposing the reader to be at least fairly familiar, comes the brief -dialogue between _Desdemona_ and _Emilia_. _Desdemona_ sings the -pathetic little willow song, said to be a genuine Italian folk tune -handed down through many centuries. - -[Music: Piangea cantando nell'erma landa, piangea la mesta.... O Salce!] - -_Emilia_ goes, and _Desdemona_ at her prie-Dieu, before the image of -the Virgin, intones an exquisite "Ave Maria," beginning and ending in -pathetic monotone, with an appealing melody between. - -[Music: Prega per chi adorando a te si prostra, Ave! Amen!] - -_Othello's_ entrance is accompanied by a powerful passage on the -double basses. - -Then follows the scene of the strangling, through which are heard -mournfully reminiscent strains of the love duet that ended the first -act. _Emilia_ discloses _Iago's_ perfidy. _Othello_ kills himself. - - -FALSTAFF - - Opera in three acts, by Verdi; words by Arrigo Boto, after - Shakespeare's "Merry Wives of Windsor" and "King Henry IV." - Produced, La Scala, Milan, March 12, 1893. Paris, Opra - Comique, April 18, 1894. London, May 19, 1894. New York, - Metropolitan Opera House, February 4, 1895. This was the - first performance of "Falstaff" in North America. It had - been heard in Buenos Aires, July 19, 1893. The Metropolitan - cast included Maurel as _Falstaff_, Eames as _Mistress - Ford_, Zlie de Lussan as _Nannetta_ (_Anne_), Scalchi as - _Dame Quickly_, Campanini as _Ford_, Russitano as _Fenton_. - Scotti, Destinn, Alda, and Gay also have appeared at the - Metropolitan in "Falstaff." The London production was at - Covent Garden. - - CHARACTERS - - SIR JOHN FALSTAFF _Baritone_ - FENTON, a young gentleman _Tenor_ - FORD, a wealthy burgher _Baritone_ - DR. CAJUS _Tenor_ - BARDOLPH } followers of Falstaff { _Tenor_ - PISTOL } { _Bass_ - ROBIN, a page in Ford's household - MISTRESS FORD _Soprano_ - ANNE, her daughter _Soprano_ - MISTRESS PAGE _Mezzo-Soprano_ - DAME QUICKLY _Mezzo-Soprano_ - - Burghers and street-folk, Ford's servants, maskers, as - elves, fairies, witches, etc. - - _Time_--Reign of Henry IV. - - _Scene_--Windsor. - - Note. In the Shakespeare comedy _Anne Ford_ is _Anne Page_. - -Shakespeare's comedy, "The Merry Wives of Windsor," did not have its -first lyric adaptation when the composer of "Rigoletto" and "Ada," -influenced probably by his distinguished librettist, penned the score -of his last work for the stage. "Falstaff," by Salieri, was produced -in Vienna in 1798; another "Falstaff," by Balfe, came out in London -in 1838. Otto Nicolai's opera "The Merry Wives of Windsor" is -mentioned on p. 80 of this book. The character of _Falstaff_ also -appears in "Le Songe d'une Nuit d't" (The Midsummer Night's Dream) -by Ambroise Thomas, Paris, 1850, "where the type is treated with an -adept's hand, especially in the first act, which is a masterpiece of -pure comedy in music." "Le Songe d'une Nuit d't" was, in fact, -Thomas's first significant success. A one-act piece, "Falstaff," by -Adolphe Adam, was produced at the Thtre Lyrique in 1856. - -The comedy of the "Merry Wives," however, was not the only Shakespeare -play put under contribution by Boto. At the head of the "Falstaff" -score is this note: "The present comedy is taken from 'The Merry Wives -of Windsor' and from several passages in 'Henry IV.' by Shakespeare." - -Falstaff, it should be noted, is a historic figure; he was a brave -soldier; served in France; was governor of Honfleur; took an important -part in the battle of Agincourt, and was in all the engagements before -the walls of Orleans, where the English finally were obliged to -retreat before Joan of Arc. Sir John Falstaff died at the age of -eighty-two years in county Norfolk, his native shire, after numerous -valiant exploits, and having occupied his old age in caring for the -interests of the two universities of Oxford and Cambridge, to the -foundation of which he had largely contributed. To us, however, he is -known almost wholly as an enormously stout comic character. - -The first scene in the first act of the work by Boto and Verdi shows -_Falstaff_ in a room of the Garter Inn. He is accompanied by those two -good-for-nothings in his service, _Bardolph_ and _Pistol_, ragged -blackguards, whom he treats with a disdain measured by their own low -standards. _Dr. Cajus_ enters. He comes to complain that _Falstaff_ -has beaten his servants; also that _Bardolph_ and _Pistol_ made him -drunk and then robbed him. _Falstaff_ laughs and browbeats him out of -countenance. He departs in anger. - -_Falstaff_ has written two love letters and despatched them to two -married belles of Windsor--_Mistress Alice Ford_ and _Mistress Meg -Page_, asking each one for a rendezvous. - -The scene changes to the garden of _Ford's_ house, and we are in -presence of the "merry wives"--_Alice Ford_, _Meg Page_, and _Mistress -Quickly_. With them is _Anne Ford_, _Mistress Ford's_ daughter. -Besides the garden there is seen part of the Ford house and the public -road. In company with _Dame Quickly_, _Meg_ has come to pay a visit to -_Alice Ford_, to show her a letter which she has just received from -_Falstaff_. _Alice_ matches her with one she also has received from -him. The four merry women then read the two letters, which, save for -the change of address, are exactly alike. The women are half amused, -half annoyed, at the pretensions of the fat knight. They plan to -avenge themselves upon him. Meanwhile _Ford_ goes walking before his -house in company with _Cajus_, young _Fenton_ (who is in love with -_Anne_), _Bardolph_, and _Pistol_. The last two worthies have betrayed -their master. From them _Ford_ has learned that _Falstaff_ is after -his wife. He too meditates revenge, and goes off with the others, -except _Fenton_, who lingers, kisses _Anne_ through the rail fence of -the garden, and sings a love duet with her. The men return. _Fenton_ -rejoins them. _Anne_ runs back to her mother, and the four women are -seen up-stage, concocting their conspiracy of revenge. - -The second act reverts to the Garter Inn, where _Falstaff_ is still at -table. _Dame Quickly_ comes with a message from _Alice_ to agree to -the rendezvous he has asked for. It is at the Ford house between two -and three o'clock, it being Ford's custom to absent himself at that -time. _Falstaff_ is pompously delighted. He promises to be prompt. - -Hardly has _Dame Quickly_ left, when _Ford_ arrives. He introduces -himself to _Falstaff_ under an assumed name, presents the knight with -a purse of silver as a bait, then tells him that he is in love with -_Mistress Ford_, whose chastity he cannot conquer, and begs _Falstaff_ -to lay siege to her and so make the way easier for him. _Falstaff_ -gleefully tells him that he has a rendezvous with her that very -afternoon. This is just what _Ford_ wanted to know. - -The next scene takes place in _Ford's_ house, where the four women get -ready to give _Falstaff_ the reception he merits. One learns here, -quite casually from talk between _Mistress Ford_ and _Anne_, that -_Ford_ wants to marry off the girl to the aged pedant _Cajus_, while -she, of course, will marry none but _Fenton_, with whom she is in -love. Her mother promises to aid her plans. - -_Falstaff's_ arrival is announced. _Dame Quickly_, _Meg_, and _Anne_ -leave _Mistress Ford_ with him, but conceal themselves in readiness to -come in response to the first signal. They are needed sooner than -expected. _Ford_ is heard approaching. Quick! The fat lover must be -concealed. This is accomplished by getting him behind a screen. _Ford_ -enters with his followers, hoping to surprise the rake. With them he -begins a search of the rooms. While they are off exploring another -part of the house the women hurry _Falstaff_ into a big wash basket, -pile the soiled clothes over him, and fasten it down. Scarcely has -this been done when _Ford_ comes back, thinking of the screen. Just -then he hears the sound of kissing behind this piece of furniture. No -longer any doubt! _Falstaff_ is hidden there with his wife. He knocks -down the screen--and finds behind it _Anne_ and _Fenton_, who have -used to their own purpose the diversion of attention from them by the -hunt for _Falstaff_. _Ford_, more furious than ever, rushes out. His -wife and her friends call in the servants, who lift the basket and -empty it out of the window into the Thames, which flows below. When -_Ford_ comes back, his wife leads him to the window and shows him -_Falstaff_ striking out clumsily for the shore, a butt of ridicule -for all who see him. - -In the third act _Dame Quickly_ is once more seen approaching -_Falstaff_, who is seated on a bench outside the Garter Inn. In behalf -of _Mistress Ford_, she offers him another rendezvous. _Falstaff_ -wants to hear no more, but _Dame Quickly_ makes so many good excuses -for her friend that he decides to meet _Mistress Ford_ at the time and -place asked for by her--midnight, at Herne's oak in Windsor forest, -_Falstaff_ to appear in the disguise of the black huntsman, who, -according to legend, hung himself from the oak, with the result that -the spot is haunted by witches and sprites. - -_Falstaff_, in the forest at midnight, is surrounded by the merry -women, the whole _Ford_ entourage, and about a hundred others, all -disguised and masked. They unite in mystifying, taunting, and -belabouring him, until at last he realizes whom he has to deal with. -And as it is necessary for everything to end in a wedding, it is then -that _Mistress Ford_ persuades her husband to abandon his plan to take -the pedantic _Dr. Cajus_ for son-in-law and give his daughter _Anne_ -to _Fenton_. - -Even taking into account "Otello," the general form of the music in -"Falstaff" is an innovation for Verdi. All the scenes are connected -without break in continuity, as in the Wagnerian music-drama, but -applied to an entirely different style of music from Wagner's. "It -required all the genius and dramatic experience of a Verdi, who had -drama in his blood, to succeed in a lyrical adventure like 'Falstaff,' -the whole score of which displays amazing youthfulness, dash, and -spirit, coupled with extraordinary grace." On the other hand, as -regards inspiration pure and simple, it has been said that there is -not found in "Falstaff" the freshness of imagination or the abundance -of ideas of the earlier Verdi, and that one looks in vain for one of -those motifs _di prima intenzione_, like the romance of _Germont_ in -"La Traviata," the song of the _Duke_ in "Rigoletto," or the -"Miserere" in "Il Trovatore," and so many others that might be named. -The same writer, however, credits the score with remarkable purity of -form and with a _sveltesse_ and lightness that are astonishing in the -always lively attraction of the musical discourse, to say nothing of a -"charming orchestration, well put together, likeable and full of -coquetry, in which are found all the brilliancy and facility of the -Rossini method." - -Notwithstanding the above writer's appreciative words regarding the -instrumentation of "Falstaff," he has fallen foul of the work, because -he listened to it purely in the spirit of an opera-goer, and judged it -as an opera instead of as a music-drama. If I may be pardoned the -solecism, a music-drama "listens" different from an opera. A person -accustomed only to opera has his ears cocked for song soaring above an -accompaniment that counts for nothing save as a support for the voice. -The music-lover, who knows what a music-drama consists of, is aware -that it presents a well-balanced score, in which the orchestra -frequently changes place with the voice in interpreting the action. It -is because in "Falstaff" Verdi makes the orchestra act and sing--which -to an opera-goer, his ears alert for vocal melody, means nothing--that -the average audience, expecting something like unto what Verdi has -given them before, is disappointed. Extremists, one way or another, -are one-sided. Whoever is able to appreciate both opera and -music-drama, a catholicity of taste I consider myself fortunate in -possessing, can admire "Rigoletto," "Il Trovatore," and "La Traviata" -as much as the most confirmed devotee of opera; but can also go -further, and follow Verdi into regions where the intake is that of the -pure spirit of comedy at times exhaled by the voice, at times by the -orchestra. - -While not divided into distinct "numbers," there are passages in -"Falstaff" in which Verdi has concentrated his attention on certain -characteristic episodes. In the first scene of the first act occurs -_Falstaff's_ lyric in praise of _Mistress Ford_, "O amor! Sguardo di -stella!" (O Love, with star-like eyes). I quote the beautiful passage -at "Alice il nome" (And Alice is her name). - -[Music: (Copyright, 1893, by G. Ricordi & Co.)] - -The same scene has the honour monologue from "King Henry IV.," which -is purely declamatory, but with a remarkably vivid and characteristic -accompaniment, in which especially the bassoons and clarinets comment -merrily on the sarcastic sentences addressed to _Bardolph_ and -_Pistol_. - -In the second scene of Act I, besides the episodes in which _Mistress -Ford_ reads _Falstaff's_ letter, the unaccompanied quartet for the -women ("Though shaped like a barrel, he fain would come courting"), -the quartet for the men, and the close of the act in which both -quartets take part, there is the piquant duet for _Anne_ and _Fenton_, -in which the lovers kiss each other between the palings of the fence. -From this duet I quote the amatory exchange of phrases, "Labbra di -foco" (Lips all afire) and "Labbra di fiore" (Lips of a flower) -between _Anne_ and _Fenton_. - -[Music: (Copyright, 1893, by G. Ricordi & Co.)] - -As the curtain falls _Mistress Ford_ roguishly quotes a line from -_Falstaff's_ verses, the four women together add another quotation, -"Come una stella sull'immensit" (Like some sweet star that sparkles -all the night), and go out laughing. In fact the music for the women -takes many a piquant turn. - -[Music: (Copyright, 1893, by G. Ricordi & Co.)] - -In Act II, the whole scene between _Falstaff_ and _Dame Quickly_ is -full of witty commentary by the orchestra. The scene between -_Falstaff_ and _Ford_ also derives its significance from the -instrumentation. _Ford's_ monologue, when he is persuaded by -_Falstaff's_ boastful talk that his wife is fickle, is highly -dramatic. The little scene of _Ford's_ and _Falstaff's_ -departure--_Ford_ to expose his betrayal by his wife, _Falstaff_ for -his rendezvous with her--"is underscored by a graceful and very -elegant orchestral dialogue." - -The second scene of this act has _Dame Quickly's_ madcap narrative of -her interview with _Falstaff_; and _Falstaff's_ ditty sung to -_Mistress Ford_, "Quand'ero paggio del Duca di Norfolk" (When I was -page to the Duke of Norfolk). From the popular point of view, this is -the outstanding musical number of the work. It is amusing, pathetic, -graceful, and sad; irresistible, in fact, in its mingled sentiments of -comedy and regret. Very brief, it rarely fails of encores from one to -four in number. I quote the following: - -[Music: Quand'ero paggio del Duca di Norfolk ero sottile, sottile, -sottile, - -(Copyright, 1893, by G. Ricordi & Co.)] - -The search for _Falstaff_ by _Ford_ and his followers is most -humorously treated in the score. - -In Act III, in the opening scene, in which _Falstaff_ soliloquizes -over his misadventures, the humour, so far as the music is concerned, -is conveyed by the orchestra. - -From _Fenton's_ song of love, which opens the scene at Herne's oak in -Windsor forest, I quote this expressive passage: - -[Music: (Copyright, 1893, by G. Ricordi & Co.)] - -Another delightful solo in this scene is _Anne's_ "Erriam sotto la -luna" (We'll dance in the moonlight). - -[Music: (Copyright, 1893, by G. Ricordi & Co.)] - -There are mysterious choruses--sibilant and articulately -vocalized--and a final fugue. - - - - -Arrigo Boto, 1842- - - -MEFISTOFELE - -(MEPHISTOPHELES) - - Opera in four acts; words and music by Arrigo Boto, the - book based on Goethe's _Faust_. Produced, without success, - La Scala, Milan, March 5, 1868; revised and revived, with - success, Bologna, October 4, 1875. London, Her Majesty's - Theatre, July 1, 1880. New York, Academy of Music, November - 24, 1880, with Campanini, Valleria, Cary, and Novara; and - Metropolitan Opera House, December 5, 1883, Campanini, - Nilsson, Trebelli, and Mirabella. Revivals: Metropolitan - Opera House, 1889 (Lehmann); 1896 (Calv); 1901 (Margaret - McIntyre, Homer, and Planon); 1904 (Caruso and Eames); 1907 - (Chaliapine); later with Caruso, Hempel, Destinn, and Amato. - Manhattan Opera House, 1906, with Renaud. Chicago Opera - Company, with Ruffo. The singer of _Margaret_ usually takes - the part of _Elena_ (Helen), and the _Martha_ also is the - _Pantalis_. - - CHARACTERS - - MEFISTOFELE _Bass_ - FAUST _Tenor_ - MARGHERITA _Soprano_ - MARTHA _Contralto_ - WAGNER _Tenor_ - ELENA _Soprano_ - PANTALIS _Contralto_ - NERENO _Tenor_ - - Mystic choir, celestial phalanxes, cherubs, penitents, - wayfarers, men-at-arms, huntsmen, students, citizens, - populace, townsmen, witches, wizards, Greek chorus, sirens, - nayads, dancers, warriors. - - _Time_--Middle Ages. - - _Place_--Heaven; Frankfurt, Germany; Vale of Tempe, Ancient - Greece. - -"Mefistofele" is in a prologue, four acts, and epilogue. In Gounod's -"Faust," the librettists were circumspect, and limited the book of the -opera to the first part of Goethe's _Faust_, the story of _Faust_ and -_Marguerite_--succinct, dramatic, and absorbing. Only for the ballet -did they reach into the second part of Goethe's play and appropriate -the scene on the Brocken, which, however, is frequently omitted. - -Boto, himself a poet, based his libretto on both parts of Goethe's -work, and endeavoured to give it the substratum of philosophy upon -which the German master reared his dramatic structure. This, however, -resulted in making "Mefistofele" two operas in one. Wherever the work -touches on the familiar story of _Faust_ and _Marguerite_, it is -absorbingly interesting, and this in spite of the similarity between -some of its scenes and those of Gounod's "Faust." When it strays into -Part II of Goethe's drama, the main thread of the action suddenly -seems broken. The skein ravels. That is why one of the most profound -works for the lyric stage, one of the most beautiful scores that has -come out of Italy, is heard so rarely. - -Theodore T. Barker prefaces his translation of the libretto, published -by Oliver Ditson Company, with a recital of the story. - -The Prologue opens in the nebulous regions of space, in which float -the invisible legions of angels, cherubs, and seraphs. These lift -their voices in a hymn of praise to the Supreme Ruler of the universe. -_Mefistofele_ enters on the scene at the close of the anthem, and, -standing erect amid the clouds, with his feet upon the border of his -cloak, mockingly addresses the Deity. In answer to the question from -the mystic choir, "Knowest thou Faust?" he answers contemptuously, and -offers to wager that he will be able to entice _Faust_ to evil, and -thus gain a victory over the powers of good. The wager is accepted, -and the spirits resume their chorus of praise. - -Musically the Prologue is full of interest. There are five distinct -periods of music, varied in character, so that it gives necessary -movement to a scene in which there is but little stage action. There -are the prelude with mystic choir; the sardonic scherzo foreshadowing -the entry of _Mefistofele_; his scornful address, in which finally he -engages to bring about the destruction of _Faust's_ soul; a vivacious -chorus of cherubs (impersonated by twenty-four boys); a psalmody of -penitents and spirits. - -Act I. The drama opens on Easter Sunday, at Frankfort-on-the-Main. -Crowds of people of all conditions move in and out of the city gates. -Among them appears a grey friar, an object of both reverence and -dread to those near him. The aged _Dr. Faust_ and his pupil _Wagner_ -descend from a height and enter upon the scene, shadowed by the friar, -whose actions they discuss. _Faust_ returns to his laboratory, still -at his heels the friar, who, unheeded, enters with him, and conceals -himself in an alcove. _Faust_ gives himself to meditation, and upon -opening the sacred volume, is startled by a shriek from the friar as -he rushes from his place of concealment. _Faust_ makes the all-potent -"sign of Solomon," which compels _Mefistofele_ to throw off his -friar's disguise and to appear in his own person in the garb of a -cavalier, with a black cloak upon his arm. In reply to _Faust's_ -questionings, he declares himself the spirit that denieth all things, -desiring only the complete ruin of the world, and a return to chaos -and night. He offers to make _Faust_ the companion of his wanderings, -upon certain conditions, to which the latter agrees, saying: "If thou -wilt bring me one hour of peace, in which my soul may rest--if thou -wilt unveil the world and myself before me--if I may find cause to say -to some flying moment, 'Stay, for thou art blissful,' then let me die, -and let hell's depths engulf me." The contract completed, -_Mefistofele_ spreads his cloak, and both disappear through the air. - -The first scene of this act gains its interest from the reflection in -the music of the bustle and animation of the Easter festival. The -score plastically follows the many changing incidents of the scene -upon the stage. Conspicuous in the episodes in _Faust's_ laboratory -are _Faust's_ beautiful air, "Dai campi, dai prati" (From the fields -and from the meadows); and _Mefistofele's_ proclamation of his -identity, "Son lo spirito che nega" (I am the spirit that denieth). - -Act II opens with the garden scene. _Faust_, rejuvenated, and under -the name of _Henry_; _Margaret_, _Mefistofele_, and _Martha_ stroll -here and there in couples, chatting and love-making. Thence -_Mefistofele_ takes _Faust_ to the heights of the Brocken, where he -witnesses the orgies of the Witches' Sabbath. The fiend is welcomed -and saluted as their king. _Faust_, benumbed and stupefied, gazes into -the murky sky, and experiences there a vision of _Margaret_, pale, -sad, and fettered with chains. - -In this act the garden scene is of entrancing grace. It contains -_Faust's_ "Colma il tuo cor d'un palpito" (Flood thou thy heart with -all the bliss), and the quartet of farewell, with which the scene -ends, _Margaret_, with the gay and reckless laugh of ineffable bliss, -exclaiming to _Faust_ that she loves him. The scene in the Brocken, -besides the whirl of the witches' orgy, has a solo for _Mefistofele_, -when the weird sisters present to him a glass globe, reflected in -which he sees the earth. "Ecco il mondo" (Behold the earth). - -Act III. The scene is a prison. _Margaret_ lies extended upon a heap -of straw, mentally wandering, and singing to herself. _Mefistofele_ -and _Faust_ appear outside the grating. They converse hurriedly, and -_Faust_ begs for the life of _Margaret_. _Mefistofele_ promises to do -what he can, and bids him haste, for the infernal steeds are ready for -flight. He opens the cell, and _Faust_ enters it. _Margaret_ thinks -the jailors have come to release her, but at length recognizes her -lover. She describes what followed his desertion of her, and begs him -to lay her in death beside her loved ones;--her babe, whom she -drowned, her mother whom she is accused of having poisoned. _Faust_ -entreats her to fly with him, and she finally consents, saying that in -some far distant isle they may yet be happy. But the voice of -_Mefistofele_ in the background recalls her to the reality of the -situation. She shrinks away from _Faust_, prays to Heaven for mercy, -and dies. Voices of the celestial choir are singing softly "She's -saved!" _Faust_ and _Mefistofele_ escape, as the executioner and his -escort appear in the background. - -The act opens with _Margaret's_ lament, "L'altra notte in fonda al -mare" (To the sea, one night in sadness), in which she tells of the -drowning of her babe. There is an exquisite duet, for _Margaret_ and -_Faust_, "Lontano, sui flutti d'un ampio oceano" (Far away, o'er the -waves of a far-spreading ocean). - -Act IV. _Mefistofele_ takes _Faust_ to the shores of the Vale of -Tempe. _Faust_ is ravished with the beauty of the scene while -_Mefistofele_ finds that the orgies of the _Brocken_ were more to his -taste. - -'Tis the night of the classic Sabbath. A band of young maidens appear, -singing and dancing. _Mefistofele_, annoyed and confused, retires. -_Helen_ enters with chorus, and, absorbed by a terrible vision, -rehearses the story of Troy's destruction. _Faust_ enters, richly clad -in the costume of a knight of the fifteenth century, followed by -_Mefistofele_, _Nereno_, _Pantalis_, and others, with little fauns and -sirens. Kneeling before _Helen_, he addresses her as his ideal of -beauty and purity. Thus pledging to each other their love and -devotion, they wander through the bowers and are lost to sight. - -_Helen's_ ode, "La luna immobile innonda l'etere" (Motionless -floating, the moon floods the dome of night); her dream of the -destruction of Troy; the love duet for _Helen_ and _Faust_, "Ah! -Amore! mistero celeste" ('Tis love, a mystery celestial); and the -dexterous weaving of a musical background by orchestra and chorus, are -the chief features in the score to this act. - -In the Epilogue, we find _Faust_ in his laboratory once more--an old -man, with death fast approaching, mourning over his past life, with -the holy volume open before him. Fearing that _Faust_ may yet escape -him, _Mefistofele_ spreads his cloak, and urges _Faust_ to fly with -him through the air. Appealing to Heaven, _Faust_ is strengthened by -the sound of angelic songs, and resists. Foiled in his efforts, -_Mefistofele_ conjures up a vision of beautiful sirens. _Faust_ -hesitates a moment, flies to the sacred volume, and cries, "Here at -last I find salvation"; then falling on his knees in prayer, -effectually overcomes the temptations of the evil one. He then dies -amid a shower of rosy petals, and to the triumphant song of a -celestial choir. _Mefistofele_ has lost his wager, and holy influences -have prevailed. - -We have here _Faust's_ lament, "Giunto sul passo estremo" (Nearing the -utmost limit); his prayer, and the choiring of salvation. - - * * * * * - -Arrigo Boto was, it will be recalled, the author of the books to -Ponchielli's opera "La Gioconda," and Verdi's "Otello" and "Falstaff." -He was born in Padua, February 24, 1842. From 1853 to 1862 he was a -pupil of the Milan Conservatory. During a long sojourn in Germany and -Poland he became an ardent admirer of Wagner's music. Since -"Mefistofele" Boto has written and composed another opera, "Nerone" -(Nero), but has withheld it from production. - - - - -Amilcare Ponchielli - -(1834-1886) - - -Amilcare Ponchielli, the composer of "La Gioconda," was born at -Paderno Fasolaro, Cremona, August 31, 1834. He studied music, 1843-54, -at the Milan Conservatory. In 1856 he brought out at Cremona an opera, -"I Promessi Sposi" (The Betrothed), which, in a revised version, -Milan, 1872, was his first striking success. The same care Ponchielli -bestowed upon his studies, which lasted nearly ten years, he gave to -his works. Like "I Promessi Sposi," his opera, "I Lituani" (The -Lithuanians), brought out in 1874, was revived ten years later, as -"Alguna"; and, while "La Gioconda" (1876) did not wait so long for -success, it too was revised and brought out in a new version before it -received popular acclaim. Among his other operas are, 1880, "Il -Figliuol Prodigo" (The Prodigal Son), and, 1885, "Marion Delorme." "La -Gioconda," however, is the only one of his operas that has made its -way abroad. - -Ponchielli died at Milan, January 16, 1886. He was among the very -first Italian composers to yield to modern influences and enrich his -score with instrumental effects intended to enhance its beauty and -give the support of an eloquent and expressive accompaniment to the -voice without, however, challenging its supremacy. His influence upon -his Italian contemporaries was considerable. He, rather than Verdi, is -regarded by students of music as the founder of the modern school of -Italian opera. What really happened is that there was going on in -Italy, influenced by a growing appreciation of Wagner's works among -musicians, a movement for a more advanced style of lyric drama. -Ponchielli and Boto were leaders in this movement. Verdi, a far -greater genius than either of these, was caught up in it, and, because -of his genius, accomplished more in it than the actual leaders. -Ponchielli's influence still is potent. For he was the teacher of the -most famous living Italian composer of opera, Giacomo Puccini. - - -LA GIOCONDA - -THE BALLAD SINGER - - Opera in four acts by Ponchielli, libretto by Arrigo Boto, - after Victor Hugo's play, "Angelo, Tyrant of Padua." Boto - signed the book with his anagram, "Tobia Gorrio." Produced - in its original version, La Scala, Milan, April 8, 1876; and - with a new version of the libretto in Genoa, December, 1876. - London, Covent Garden, May 31, 1883. New York, December 20, - 1883 (for details, see below); revived, Metropolitan Opera - House, November 28, 1904, with Nordica, Homer, Edyth Walker, - Caruso, Giraldoni, and Planon; later with Destinn, Ober, - and Amato. - - CHARACTERS - - LA GIOCONDA, a ballad singer _Soprano_ - LA CIECA, her blind mother _Contralto_ - ALVISE, one of the heads of the - State Inquisition _Bass_ - LAURA, his wife _Mezzo-Soprano_ - ENZO GRIMALDO, a Genoese noble _Tenor_ - BARNABA, a spy of the Inquisition _Baritone_ - ZUNE, a boatman _Bass_ - ISPO, a public letter-writer _Tenor_ - A PILOT _Bass_ - - Monks, senators, sailors, shipwrights, ladies, gentlemen, - populace, maskers, guards, etc. - - _Time_--17th Century. - - _Place_--Venice. - -[Illustration: Copyright photo by Mishkin - -Amato as Barnaba in "La Gioconda"] - -Twenty-one years elapsed between the production of "La Gioconda" at -the Metropolitan Opera House and its revival. Since its reawakening it -has taken a good hold on the repertoire, which makes it difficult to -explain why it should have been allowed to sleep so long. It may be -that possibilities of casting it did not suggest themselves. Not -always does "Cielo e mar" flow as suavely from lips as it does from -those of Caruso. Then, too, managers are superstitious, and may have -hesitated to make re-trial of anything that had been attempted at that -first season of opera at the Metropolitan, one of the most disastrous -on record. Even Praxede Marcelline Kochanska (in other words Marcella -Sembrich), who was a member of Henry E. Abbey's troupe, was not -re-engaged for this country, and did not reappear at the Metropolitan -until fourteen years later. - -"La Gioconda" was produced at that house December 20, 1883, with -Christine Nilsson in the title rle; Scalchi as _La Cieca_; -Fursch-Madi as _Laura_; Stagno as _Enzo_; Del Puente as _Barnaba_; and -Novara as _Alvise_. Cavalazzi, one of the leading dancers of her day, -appeared in the "Danza delle Ore" (Dance of the Hours). It was a good -performance, but Del Puente hardly was sinister enough for _Barnaba_, -or Stagno distinguished enough in voice and personality for _Enzo_. - -There was in the course of the performance an unusual occurrence and -one that is interesting to hark back to. Nilsson had a voice of great -beauty--pure, limpid, flexible--but not one conditioned to a severe -dramatic strain. Fursch-Madi, on the other hand, had a large, powerful -voice and a singularly dramatic temperament. When _La Gioconda_ and -_Laura_ appeared in the great duet in the second act, "L'amo come il -fulgor del creato" (I love him as the light of creation), Fursch-Madi, -without great effort, "took away" this number from Mme. Nilsson, and -completely eclipsed her. When the two singers came out in answer to -the recalls, Mme. Nilsson, as etiquette demanded, was slightly in -advance of the mezzo-soprano, for whom, however, most of the applause -was intended. Mme. Fursch-Madi was a fine singer, but lacked the -pleasing personality and appealing temperament that we spoiled -Americans demand of our singers. She died, in extreme poverty and -after a long illness, in a little hut on one of the Orange mountains -in New Jersey, where an old chorus singer had given her shelter. She -had appeared in many tragedies of the stage, but none more tragic than -her own last hours. - -Each act of "La Gioconda" has its separate title: Act I, "The Lion's -Mouth"; Act II, "The Rosary"; Act III, "The House of Gold"; Act IV, -"The Orfano Canal." The title of the opera can be translated as "The -Ballad Singer," but the Italian title appears invariably to be used. - -Act I. "The Lion's Mouth." Grand courtyard of the Ducal palace, -decorated for festivities. At back, the Giant's Stairway, and the -Portico della Carta, with doorway leading to the interior of the -Church of St. Mark. On the left, the writing-table of a public -letter-writer. On one side of the courtyard one of the historic Lion's -Mouths, with the following inscription cut in black letters into the -wall: - - FOR SECRET DENUNCIATIONS - TO THE INQUISITION - AGAINST ANY PERSON, - WITH IMPUNITY, SECRECY, AND - BENEFIT TO THE STATE. - -It is a splendid afternoon in spring. The stage is filled with -holiday-makers, monks, sailors, shipwrights, masquers, etc., and -amidst the busy crowd are seen some Dalmatians and Moors. - -_Barnaba_, leaning his back against a column, is watching the people. -He has a small guitar, slung around his neck. - -The populace gaily sings, "Feste e pane" (Sports and feasting). They -dash away to watch the regatta, when _Barnaba_, coming forward, -announces that it is about to begin. He watches them disdainfully. -"Above their graves they are dancing!" he exclaims. _Gioconda_ leads -in _La Cieca_, her blind mother. There is a duet of much tenderness -between them: "Figlia, che reggi il tremulo" (Daughter in thee my -faltering steps). - -_Barnaba_ is in love with the ballad singer, who has several times -repulsed him. For she is in love with _Enzo_, a nobleman, who has been -proscribed by the Venetian authorities, but is in the city in the -disguise of a sea captain. His ship lies in the Fusina Lagoon. - -_Barnaba_ again presses his love upon the girl. She escapes from his -grasp and runs away, leaving her mother seated by the church door. -_Barnaba_ is eager to get _La Cieca_ into his power in order to compel -_Gioconda_ to yield to his sinister desires. Opportunity soon offers. -For, now the regatta is over, the crowd returns bearing in triumph the -victor in the contest. With them enter _Zune_, the defeated -contestant, _Gioconda_, and _Enzo_. _Barnaba_ subtly insinuates to -_Zune_ that _La Cieca_ is a witch, who has caused his defeat by -sorcery. The report quickly spreads among the defeated boatman's -friends. The populace becomes excited. _La Cieca_ is seized and -dragged from the church steps. _Enzo_ calls upon his sailors, who are -in the crowd, to aid him in saving her. - -At the moment of greatest commotion the palace doors swing open. From -the head of the stairway where stand _Alvise_ and his wife, _Laura_, -who is masked, _Alvise_ sternly commands an end to the rioting, then -descends with _Laura_. - -_Barnaba_, with the keenness that is his as chief spy of the -Inquisition, is quick to observe that, through her mask, _Laura_ is -gazing intently at _Enzo_, and that _Enzo_, in spite of _Laura's_ -mask, appears to have recognized her and to be deeply affected by her -presence. _Gioconda_ kneels before _Alvise_ and prays for mercy for -her mother. When _Laura_ also intercedes for _La Cieca_, _Alvise_ -immediately orders her freed. In one of the most expressive airs of -the opera, "Voce di donna, o d'angelo" (Voice thine of woman, or angel -fair), _La Cieca_ thanks _Laura_ and gives to her a rosary, at the -same time extending her hands over her in blessing. - -She also asks her name. _Alvise's_ wife, still masked, and looking -significantly in the direction of _Enzo_, answers, "Laura!" - -"'Tis she!" exclaims _Enzo_. - -The episode has been observed by _Barnaba_, who, when all the others -save _Enzo_ have entered the church, goes up to him and, despite his -disguise as a sea captain, addresses him by his name and title, "Enzo -Grimaldo, Prince of Santa Fior." - -The spy knows the whole story. _Enzo_ and _Laura_ were betrothed. -Although they were separated and she obliged to wed _Alvise_, and -neither had seen the other since then, until the meeting a few moments -before, their passion still is as strong as ever. _Barnaba_, cynically -explaining that, in order to obtain _Gioconda_ for himself, he wishes -to show her how false _Enzo_ is, promises him that he will arrange for -_Laura_, on that night, to be aboard _Enzo's_ vessel, ready to escape -with him to sea. - -_Enzo_ departs. _Barnaba_ summons one of his tools, _Ispo_, the -public letter-writer, whose stand is near the Lion's Mouth. At that -moment _Gioconda_ and _La Cieca_ emerge from the church, and -_Gioconda_, seeing _Barnaba_, swiftly draws her mother behind a -column, where they are hidden from view. The girl hears the spy -dictate to _Ispo_ a letter, for whom intended she does not know, -informing someone that his wife plans to elope that evening with -_Enzo_. Having thus learned that _Enzo_ no longer loves her, she -vanishes with her mother into the church. _Barnaba_ drops the letter -into the Lion's Mouth. _Ispo_ goes. The spy, as keen in intellect as -he is cruel and unrelenting in action, addresses in soliloquy the -Doge's palace. "O monumento! Regia e bolgia dogale!" (O mighty -monument, palace and den of the Doges). - -The masquers and populace return. They are singing. They dance "La -Furlana." In the church a monk and then the chorus chant. _Gioconda_ -and her mother come out. _Gioconda_ laments that _Enzo_ should have -forsaken her. _La Cieca_ seeks to comfort her. In the church the -chanting continues. - -Act II. "The Rosary." Night. A brigantine, showing its starboard side. -In front, the deserted bank of an uninhabited island in the Fusina -Lagoon. In the farthest distance, the sky and the lagoon. A few stars -visible. On the right, a cloud, above which the moon is rising. In -front, a small altar of the Virgin, lighted by a red lamp. The name of -the brigantine--"Hecate"--painted on the prow. Lanterns on the deck. - -At the rising of the curtain sailors are discovered; some seated on -the deck, others standing in groups, each with a speaking trumpet. -Several cabin boys are seen, some clinging to the shrouds, some -seated. Remaining thus grouped, they sing a _Marinaresca_, in part a -sailors' "chanty," in part a regular melody. - -In a boat _Barnaba_ appears with _Ispo_. They are disguised as -fishermen. _Barnaba_ sings a fisherman's ballad, "Ah! Pescator, -affonda l'esca" (Fisher-boy, thy net now lower). - -[Music] - -He has set his net for _Enzo_ and _Laura_, as well as for _Gioconda_, -as his words, "Some sweet siren, while you're drifting, in your net -will coyly hide," imply. The song falls weirdly upon the night. The -scene is full of "atmosphere." - -_Enzo_ comes up on deck, gives a few orders; the crew go below. He -then sings the famous "Cielo e mar!" (O sky, and sea)--an impassioned -voicing of his love for her whom he awaits. The scene, the moon having -emerged from behind a bank of clouds, is of great beauty. - -[Music] - -A boat approaches. In it _Barnaba_ brings _Laura_ to _Enzo_. There is -a rapturous greeting. They are to sail away as soon as the setting of -the moon will enable the ship to depart undetected. There is distant -singing. _Enzo_ goes below. _Laura_ kneels before the shrine and -prays, "Stella del marinar! Vergine santa!" (Star of the mariner! -Virgin most holy). - -_Gioconda_ steals on board and confronts her rival. The duet between -the two women, who love _Enzo_, and in which each defies the other, -"L'amo come il fulgor del creato" (I adore him as the light of -creation), is the most dramatic number in the score. - -[Music] - -[Illustration: Copyright photo by Dupont - -Caruso as Enzo in "La Gioconda"] - -[Illustration: Copyright photo by Dupont - -Louise Homer as Laura in "La Gioconda"] - -_Gioconda_ is about to stab _Laura_, but stops suddenly and, seizing -her with one hand, points with the other out over the lagoon, where a -boat bearing _Alvise_ and his armed followers is seen approaching. -_Laura_ implores the Virgin for aid. In doing so she lifts up the -rosary given to her by _La Cieca_. Through it _Gioconda_ recognizes in -_Laura_ the masked lady who saved her mother from the vengeance of -the mob. Swiftly the girl summons the boat of two friendly boatmen who -have brought her thither, and bids _Laura_ make good her escape. When -_Barnaba_ enters, his prey has evaded him. _Gioconda_ has saved her. -_Barnaba_ hurries back to _Alvise's_ galley, and, pointing to the -fugitive boat in the distance, bids the galley start in pursuit. - -_Enzo_ comes on deck. Instead of _Laura_ he finds _Gioconda_. There is -a dramatic scene between them. Venetian galleys are seen approaching. -Rather than that his vessel shall be captured by them, _Enzo_ sets -fire to it. - -Act III. "The House of Gold." A room in _Alvise's_ house. _Alvise_ -sings of the vengeance he will wreak upon _Laura_ for her betrayal of -his honour. "S! morir ella de'" (Yes, to die is her doom). - -He summons _Laura_. Nocturnal serenaders are heard singing without, as -they wend their way in gondolas along the canal. _Alvise_ draws the -curtains from before a doorway and points to a funeral bier erected in -the chamber beyond. To _Laura_ he hands a vial of swift poison. She -must drain it before the last note of the serenade they now hear has -died away. He will leave her. The chorus ended, he will return to find -her dead. - -When he has gone, _Gioconda_, who, anticipating the fate that might -befall the woman who has saved her mother, has been in hiding in the -palace, hastens to _Laura_, and hands her a flask containing a -narcotic that will create the semblance of death. _Laura_ drinks it, -and disappears through the curtains into the funeral chamber. -_Gioconda_ pours the poison from the vial into her own flask, and -leaves the empty vial on the table. - -The serenade ceases. _Alvise_ re-entering, sees the empty vial on the -table. He enters the funeral apartment for a brief moment. _Laura_ is -lying as one dead upon the bier. He believes that he has been obeyed -and that _Laura_ has drained the vial of poison. - -The scene changes to a great hall in _Alvise's_ house, where he is -receiving his guests. Here occurs the "Dance of the Hours," a ballet -suite which, in costume changes, light effects and choreography -represents the hours of dawn, day, evening, and night. It is also -intended to symbolize, in its mimic action, the eternal struggle -between the powers of darkness and light. - -_Barnaba_ enters, dragging in with him _La Cieca_, whom he has found -concealed in the house. _Enzo_ also has managed to gain admittance. -_La Cieca_, questioned as to her purpose in the House of Gold, -answers, "For her, just dead, I prayed." A hush falls upon the fte. -The passing bell for the dead is heard slowly tolling. "For whom?" -asks _Enzo_ of _Barnaba_. "For Laura," is the reply. The guests -shudder. "D'un vampiro fatal l'ala fredda pass" (As if over our brows -a vampire's wing had passed), chants the chorus. "Gi ti vedo immota e -smorta" (I behold thee motionless and pallid), sings _Enzo_. -_Barnaba_, _Gioconda_, _La Cieca_, and _Alvise_ add their voices to an -ensemble of great power. _Alvise_ draws back the curtains of the -funeral chamber, which also gives upon the festival hall. He points to -_Laura_ extended upon the bier. _Enzo_, brandishing a poniard, rushes -upon _Alvise_, but is seized by guards. - -Act IV. "The Orfano Canal." The vestibule of a ruined palace on the -island of Giudecca. In the right-hand corner an opened screen, behind -which is a bed. Large porch at back, through which are seen the -lagoon, and, in the distance, the square of Saint Mark, brilliantly -illuminated. A picture of the Virgin and a crucifix hang against the -wall. Table and couch; on the table a lamp and a lighted lantern; the -flask of poison and a dagger. On a couch are various articles of mock -jewelry belonging to _Gioconda_. - -On the right of the scene a long, dimly lighted street. From the end -two men advance, carrying in their arms _Laura_, who is enveloped in a -black cloak. The two _cantori_ (street singers) knock at the door. It -is opened by _Gioconda_, who motions them to place their burden upon -the couch behind the screen. As they go, she pleads with them to -search for her mother, whom she has not been able to find since the -scene in the House of Gold. - -She is alone. Her love for _Enzo_, greater than her jealousy of -_Laura_, has prompted her to promise _Barnaba_ that she will give -herself to him, if he will aid _Enzo_ to escape from prison and guide -him to the Orfano Canal. Now, however, despair seizes her. In a -dramatic soliloquy--a "terrible song," it has been called--she invokes -suicide. "Suicidio! ... in questi fieri momenti tu sol mi resti" (Aye, -suicide, the sole resource now left me). For a moment she even thinks -of carrying out _Alvise's_ vengeance by stabbing _Laura_ and throwing -her body into the water--"for deep is yon lagoon." - -Through the night a gondolier's voice calls in the distance over the -water: "Ho! gondolier! hast thou any fresh tidings?" Another voice, -also distant: "In the Orfano Canal there are corpses." - -In despair _Gioconda_ throws herself down weeping near the table. -_Enzo_ enters. In a tense scene _Gioconda_ excites his rage by telling -him that she has had _Laura's_ body removed from the burial vault and -that he will not find it there. He seizes her. His poniard already is -poised for the thrust. Hers--so she hopes--is to be the ecstacy of -dying by his hand! - -At that moment, however, the voice of _Laura_, who is coming out of -the narcotic, calls, "Enzo!" He rushes to her, and embraces her. In -the distance is heard a chorus singing a serenade. It is the same -song, before the end of which _Alvise_ had bidden _Laura_ drain the -poison. Both _Laura_ and _Enzo_ now pour out words of gratitude to -_Gioconda_. The girl has provided everything for flight. A boat, -propelled by two of her friends, is ready to convey them to a barque, -which awaits them. What a blessing, after all, the rosary, bestowed -upon the queenly _Laura_ by an old blind woman has proved to be. "Che -vedo l! Il rosario!" (What see I there! 'Tis the rosary!) Thus sings -_Gioconda_, while _Enzo_ and _Laura_ voice their thanks: "Sulle tue -mani l'anima tutta stempriamo in pianto" (Upon thy hands thy generous -tears of sympathy are falling). The scene works up to a powerful -climax. - -Once more _Gioconda_ is alone. The thought of her compact with -_Barnaba_ comes over her. She starts to flee the spot, when the spy -himself appears in the doorway. Pretending that she wishes to adorn -herself for him, she begins putting on the mock jewelry, and, -utilizing the opportunity that brings her near the table, seizes the -dagger that is lying on it. - -"Gioconda is thine!" she cries, facing _Barnaba_, then stabs herself -to the heart. - -Bending over the prostrate form, the spy furiously shouts into her -ear, "Last night thy mother did offend me. I have strangled her!" But -no one hears him. _La Gioconda_ is dead. With a cry of rage, he rushes -down the street. - - - - -French Opera - - -Gluck, Wagner, and Verdi each closed an epoch. In Gluck there -culminated the pre-Mozartean school. In Mozart two streams of opera -found their source. "Don Giovanni" and "Le Nozze di Figaro" were -inspirations to Rossini, to whom, in due course of development, varied -by individual characteristics, there succeeded Bellini, Donizetti, and -Verdi. - -The second stream of opera which found its source in Mozart was -German. The score of "Die Zauberflte" showed how successfully the -rich vein of popular melody, or folk music, could be worked for the -lyric stage. The hint was taken by Weber, from whom, in the course of -gradual development, there derived Richard Wagner. - -Meanwhile, however, there was another development which came direct -from Gluck. His "Iphignie en Aulide," "Orphe et Eurydice," -"Alceste," and "Armide" were produced at the Acadmie Royale de -Musique, founded by Lully in 1672, and now the Grand Opra, Paris. -They contributed materially to the development of French grand opera, -which derives from Gluck, as well as from Lully (pp. 1, 4, and 6), and -Rameau (p. 1). French opera also was sensibly influenced, and its -development in the serious manner furthered, by one of the most -learned of composers, Luigi Cherubini, for six years professor of -composition and for twenty years thereafter (1821-1841) director of -the Paris Conservatoire and at one time widely known as the composer -of the operas "Les Deux Journes" (Paris, 1800; London, as "The -Water-carrier," 1801); and "Faniska," Vienna, 1806. - -To the brief statement regarding French grand opera on p. 2, I may -add, also briefly, that manner as well as matter is a characteristic -of all French art. The Frenchman is not satisfied with what he says, -unless he says it in the best possible manner or style. Thus, while -Italian composers long were contented with an instrumental -accompaniment that simply did not interfere with the voice, the French -always have sought to enrich and beautify what is sung, by the -instrumental accompaniment with which they have supported and -environed it. In its seriousness of purpose, and in the care with -which it strives to preserve the proper balance between the vocal and -orchestral portions of the score, French opera shows most clearly its -indebtedness to Gluck, and, after him, to Cherubini. It is a beautiful -form of operatic art. - -In the restricted sense of the repertoire in this country, French -grand opera means Meyerbeer, Gounod, Bizet, and Massenet. In fact it -is a question if, popularly speaking, we draw the line at all between -French and Italian grand opera, since, both being Latin, they are -sister arts, and quite distinct from the German school. - -Having traced opera in Germany from Gluck to Wagner, and in Italy from -Rossini to Verdi, I now turn to opera in France from Meyerbeer and a -few predecessors to Bizet. - - - - -Mhul to Meyerbeer - - -Certain early French operas still are in the Continental repertoire, -although they may be said to have completely disappeared here. They -are of sufficient significance to be referred to in this book. - -The pianoforte pupils abroad are few who, in the course of their first -years of instruction, fail to receive a potpourri of the three-act -opera "Joseph" (Joseph in Egypt), by tienne Nicholas Mhul -(1763-1817). The score is chaste and restrained. The principal air for -_Joseph_ (tenor), " peine au sortir de l'enfance" (Whilst yet in -tender childhood), and the prayer for male voice, "Dieu d'Israel" (Oh, -God of Israel), are the best-known portions of the score. In -constructing the libretto Alexander Duval followed the Biblical story. -When the work opens, not only has the sale of _Joseph_ by his brethren -taken place, but the young Jew has risen to high office. Rles, -besides _Joseph_, are _Jacob_ (bass), _Simon_ (baritone) -[Transcriber's Note: should be 'tenor'], _Benjamin_ (soprano), -_Utobal_, _Joseph's_ confidant (bass). "Joseph en Egypte" was produced -at the Thtre Feydeau, Paris, February 17, 1808. - -"Le Calife de Bagdad," "Jean de Paris," and "La Dame Blanche" (The -White Lady), by Franois Adrien Boieldieu (1775-1834), are still known -by their graceful overtures. In "La Dame Blanche" the composer has -used the song of "Robin Adair," the scene of the opera being laid in -Scotland, and drawn by Scribe from Scott's novels, "The Monastery" and -"Guy Mannering." _George Brown_ was a favorite rle with Wachtel. He -sang it in this country. The graceful invocation to the white lady was -especially well suited to his voice. "La Dame Blanche" was produced at -the Opra Comique, Paris, December 10, 1825. - -Boieldieu's music is light and graceful, in perfect French taste, and -full of charm. It has the spirit of comedy and no doubt helped develop -the comic vein in the lighter scores of Daniel Franois Esprit Auber -(1782-1871). But in his greatest work, "Masaniello," the French title -of which is "La Muette de Portici" (The Dumb Girl of Portici), Auber -is, musically, a descendant of Mhul. The libretto is by Scribe and -Delavigne. The work was produced in Paris, February 29, 1828. It is -one of the foundation stones of French grand opera. Eschewing vocal -ornament merely as such, and introducing it only when called for by -the portrayal of character, the emotion to be expressed, or the -situation devised by the librettist, it is largely due to its -development from this work of Auber's that French opera has occupied -for so long a time the middle ground between Italian opera with its -frank supremacy of voice on the one hand, and German opera with its -solicitude for instrumental effects on the other. - -The story of "Masaniello" is laid in 1647, in and near Naples. It -deals with an uprising of the populace led by _Masaniello_. He is -inspired thereto both by the wrongs the people have suffered and by -his sister _Fenella's_ betrayal by _Alfonso_, Spanish viceroy of -Naples. The revolution fails, its leader loses his mind and is killed, -and, during an eruption of Vesuvius, _Fenella_ casts herself into the -sea. _Fenella_ is dumb. Her rle is taken by a pantomimist, usually -the _prima ballerina_. - -Greatly admired by musicians though the score be, "Masaniello's" hold -upon the repertory long has been precarious. I doubt if it has been -given in this country upon any scale of significance since the -earliest days of opera in German at the Metropolitan, when Dr. -Leopold Damrosch revived it with Anton Schott in the title rle. Even -then it was difficult to imagine that, when "Masaniello" was played in -Brussels, in 1830, the scene of the uprising so excited the people -that they drove the Dutch out of Belgium, which had been joined to -Holland by the Congress of Vienna. The best-known musical number in -the opera is the "Air du Sommeil" (Slumber-song) sung by _Masaniello_ -to _Fenella_ in the fourth act. - -Auber composed many successful operas in the vein of comedy. His "Fra -Diavolo" long was popular. Its libretto by Scribe is amusing, the -score sparkling. _Fra Diavolo's_ death can be made a sensational piece -of acting, if the tenor knows how to take a fall down the wooden -runway among the canvas rocks, over which the dashing bandit--the -villain of the piece--is attempting to escape, when shot. - -"Fra Diavolo" was given here with considerable frequency at one time. -But in a country where opra comique (in the French sense of the term) -has ceased to exist, it has no place. We swing from one extreme to the -other--from grand opera, with brilliant accessories, to musical -comedy, with all its slap-dash. The sunlit middle road of opra -comique we have ceased to tread. - -Two other works, once of considerable popularity, also have -disappeared from our stage. The overture to "Zampa," by Louis J.F. -Hrold (1791-1833) still is played; the opera no more. It was produced -in Paris May 3, 1831. The libretto, by Mlsville, is based on the old -tale of "The Statue Bride." - -The high tenor rle of _Chappelou_ in "Le Postillon de Longjumeau," by -Adolphe Charles Adam (1802-1856), with its postillion song, "Ho! -ho!--Ho! ho!--Postillion of Longjumeau!" was made famous by Theodore -Wachtel, who himself was a postillion before his voice was discovered -by patrons of his father's stable, with whom he chanced to join in -singing quartet. It was he who introduced the rhythmic cracking of the -whip in the postillion's song. Wachtel sang the rle in this country -in the season of 1871-72, at the Stadt Theatre, and in 1875-76 at the -Academy of Music. Then, having accumulated a fortune, chiefly out of -the "Postillon," in which he sang more than 1200 times, he practically -retired, accepting no fixed engagements. - -During the Metropolitan Opera House season of 1884-85, Dr. Leopold -Damrosch revived, in German, "La Juive," a five-act opera by Jacques -Franois Fromental lie Halvy (1799-1862), the libretto by Scribe. -Materna was the Jewess, _Rachel_ (in German _Recha_). I cannot recall -any production of the work here since then, and a considerable period -had elapsed since its previous performance here. It had its _premire_ -in Paris, February 23, 1835. Meyerbeer's "Robert le Diable" had been -produced in 1831. Nevertheless "La Juive" scored a triumph. But with -the production of Meyerbeer's "Les Huguenots," that composer became -the operatic idol of the public, and Halvy's star paled, although -musicians continued for many years to consider "La Juive" one of the -finest opera scores composed in France; and there are many who would -be glad to see an occasional revival of this work, as well as of -Auber's "Masaniello." The libretto of "La Juive," originally written -for Rossini, was rejected by that composer for "William Tell" (see p. -312). - - - - -Giacomo Meyerbeer - -(1791-1864) - - -Although he was born in Berlin (September 5, 1791), studied pianoforte -and theory in Germany, and attained in that country a reputation as a -brilliant pianist, besides producing several operas there, Meyerbeer -is regarded as the founder of what generally is understood as modern -French grand opera. It has been said of him that "he joined to the -flowing melody of the Italians the solid harmony of the Germans, the -poignant declamation and varied, piquant rhythm of the French"; which -is a good description of the opera that flourishes on the stage of the -Acadmie or Grand Opra, Paris. The models for elaborate spectacular -scenes and finales furnished by Meyerbeer's operas have been followed -ever since by French composers; nor have they been ignored by -Italians. He understood how to write effectively for the voice, and he -was the first composer of opera who made a point of striving for tone -colour in the instrumental accompaniment. Sometimes the effect may be -too calculated, too cunningly contrived, too obviously sought for. But -what he accomplished had decided influence on the enrichment of the -instrumental score in operatic composition. - -Much criticism has been directed at Meyerbeer, and much of his music -has disappeared from the stage. But such also has been the fate of -much of the music of other composers earlier than, contemporary with, -and later than he. Meyerbeer had the pick of the great artists of his -day. His works were written for and produced with brilliant casts, and -had better not be sung at all than indifferently. His greatest work, -"Les Huguenots," is still capable of leaving a deep impression, when -adequately performed. - -Meyerbeer, like many other composers for the lyric stage, has suffered -much from writers who have failed to approach opera as opera, but have -written about it from the standpoint of the symphony, with which it -has nothing in common, or have looked down upon it from the lofty -heights of the music-drama, from which, save for the fact that both -are intended to be sung and acted with scenery on a stage, it differs -greatly. Opera is a highly artificial theatrical product, and those -who have employed convincingly its sophisticated processes are not -lightly to be thrust aside. - -Meyerbeer came of a Jewish family. His real name was Jacob Liebmann -Beer. He prefixed "Meyer" to his patronymic at the request of a -wealthy relative who made him his heir. He was a pupil in pianoforte -of Clementi; also studied under Abb Vogler, being a fellow pupil of -C.M. von Weber. His first operas were German. In 1815 he went to Italy -and composed a series of operas in the style of Rossini. Going to -Paris in 1826, he became "immersed in the study of French opera, from -Lully onward." The first result was "Robert le Diable" (Robert the -Devil), Grand Opra, Paris, 1831. This was followed by "Les -Huguenots," 1836; "Le Prophte," 1849; "L'toile du Nord," Opra -Comique, 1854; "Dinorah, ou le Pardon de Plormel" (Dinorah, or the -Pardon of Plormel), Opra Comique, 1859. Much of the music of -"L'toile du Nord" came from an earlier score, "Das Feldlager in -Schlesien" (The Camp in Silesia), Berlin, 1843. Meyerbeer died May 2, -1864, in Paris, where his "L'Africaine" was produced at the Grand -Opra in 1865. - - -ROBERT LE DIABLE - -ROBERT THE DEVIL - - Opera in five acts, by Meyerbeer; words by Scribe and - Delavigne. Produced, Grand Opra, Paris, November 22, 1831. - Drury Lane, London, February 20, 1832, in English, as "The - Demon, or the Mystic Branch"; Covent Garden, February 21, - 1832, in English, as "The Fiend Father, or Robert of - Normandy"; King's Theatre, June 11, 1832, in French; Her - Majesty's Theatre, May 4, 1847, in Italian. Park Theatre, - New York, April 7, 1834, in English, with Mrs. Wood as - _Isabel_ and Wood as _Robert_, the opera being followed by a - _pas seul_ by Miss Wheatley, and a farce, "My Uncle John"; - Astor Place Opera House, November 3, 1851, with Bettini - (_Robert_), Marini (_Bertram_), Bosio (_Isabella_), - Steffanone (_Alice_); Academy of Music, November 30, 1857, - with Formes as _Bertram_. - - CHARACTERS - - ALICE, foster-sister of Robert _Soprano_ - ISABELLA, Princess of Sicily _Soprano_ - THE ABBESS _Dancer_ - ROBERT, Duke of Normandy _Tenor_ - BERTRAM, the Unknown _Bass_ - RAIMBAUT, a minstrel _Tenor_ - - _Time_--13th Century. - - _Place_--Sicily. - -The production of "Robert le Diable" in Paris was such a sensational -success that it made the fortune of the Grand Opra. Nourrit was -_Robert_, Levasseur, _Bertram_ (the prototype of _Mephistopheles_); -the women of the cast were Mlle. Dorus as _Alice_, Mme. Cinti-Damoreau -as _Isabella_, and Taglioni, the famous danseuse, as the _Abbess_. -Jenny Lind made her dbut in London as _Alice_, in the Italian -production of the work. In New York Carl Formes was heard as _Bertram_ -at the Astor Place Theatre, November 30, 1857. - -Whatever criticism may now be directed against "Robert le Diable," it -was a remarkable creation for its day. Meyerbeer's score not only -saved the libretto, in which the grotesque is carried to the point of -absurdity, but actually made a brilliant success of the production as -a whole. - -The story is legendary. _Robert_ is the son of the arch-fiend by a -human woman. _Robert's_ father, known as _Bertram_, but really the -devil, ever follows him about, and seeks to lure him to destruction. -The strain of purity in the drama is supplied by _Robert's_ -foster-sister, _Alice_, who, if _Bertram_ is the prototype of -_Mephistopheles_ in "Faust," may be regarded as the original of -_Michaela_ in "Carmen." - -_Robert_, because of his evil deeds (inspired by _Bertram_), has been -banished from Normandy, and has come to Sicily. He has fallen in love -with _Isabella_, she with him. He is to attend a tournament at which -she is to award the prizes. Tempted by _Bertram_, he gambles and loses -all his possessions, including even his armour. These facts are -disclosed in the first act. This contains a song by _Raimbaut_, the -minstrel, in which he tells of Robert's misdeeds, but is saved from -the latter's fury by _Alice_, who is betrothed to _Raimbaut_, and who, -in an expressive air, pleads vainly with _Robert_ to mend his ways and -especially to avoid _Bertram_, from whom she instinctively shrinks. In -the second act _Robert_ and _Isabella_ meet in the palace. She bestows -upon him a suit of armour to wear in the tournament. But, misled by -_Bertram_, he seeks his rival elsewhere than in the lists, and, by his -failure to appear there, loses his honour as a knight. In the next -act, laid in the cavern of St. Irene, occurs an orgy of evil spirits, -to whose number _Bertram_ promises to add _Robert_. Next comes a scene -that verges upon the grotesque, but which is converted by Meyerbeer's -genius into something highly fantastic. This is in the ruined convent -of St. Rosalie. _Bertram_ summons from their graves the nuns who, in -life, were unfaithful to their vows. The fiend has promised _Robert_ -that if he will but seize a mystic cypress branch from over the grave -of St. Rosalie, and bear it away, whatever he wishes for will become -his. The ghostly nuns, led by their _Abbess_, dance about him. They -seek to inveigle him with gambling, drink, and love, until, dazed by -their enticements, he seizes the branch. Besides the ballet of the -nuns, there are two duets for _Robert_ and _Bertram_--"Du rendezvous" -(Our meeting place), and "Le bonheur est dans l'inconstance" (Our -pleasure lies in constant change). - -The first use _Robert_ makes of the branch is to effect entrance into -_Isabella's_ chamber. He threatens to seize her and bear her away, but -yields to her entreaties, breaks the branch, and destroys the spell. -In this act--the fourth--occurs the famous air for _Isabella_, -"Robert, toi que j'aime" (Robert, whom I love). - -Once more _Bertram_ seeks to make with _Robert_ a compact, the price -for which shall be paid with his soul. But _Alice_, by repeating to -him the last warning words of his mother, delays the signing of the -compact until the clock strikes twelve. The spell is broken. _Bertram_ -disappears. The cathedral doors swing open disclosing _Isabella_, who, -in her bridal robes, awaits _Robert_. The finale contains a trio for -_Alice_, _Robert_, and _Bertram_, which is considered one of -Meyerbeer's finest inspirations. - - -LES HUGUENOTS - -THE HUGUENOTS - - Opera in five acts; music by Meyerbeer, words by Scribe and - Deschamps. Produced, Grand Opra, Paris, February 29, 1836. - New York, Astor Place Opera House, June 24, 1850, with Salvi - (_Raoul_), Coletti (_de Nevers_), Setti (_St. Bris_), Marini - (_Marcel_), Signorina Bosio (_Marguerite_), Steffanone - (_Valentine_), Vietti (Urbain); Academy of Music, March 8, - 1858, with La Grange and Formes; April 30, 1872, - Parepa-Rosa, Wachtel, and Santley (_St. Bris_): Academy of - Music, 1873, with Nilsson, Cary, Del Puente, and Campanini; - Metropolitan Opera House, beginning 1901, with Melba or - Sembrich as _Marguerite de Valois_, Nordica (_Valentine_), - Jean de Reszke (_Raoul_), douard de Reszke (_Marcel_), - Planon (_St. Bris_), Maurel (_de Nevers_), and Mantelli - (_Urbain_) (performances known as "the nights of the seven - stars"); Metropolitan Opera House, 1914, with Caruso, - Destinn, Hempel, Matzenauer, Braun, and Scotti. The first - performance in America occurred April 29, 1839, in New - Orleans. - - CHARACTERS - - VALENTINE, daughter of St. Bris _Soprano_ - MARGUERITE DE VALOIS, betrothed to - Henry IV., of Navarre _Soprano_ - URBAIN, page to Marguerite _Mezzo-Soprano_ - COUNT DE ST. BRIS } Catholic noblemen { _Baritone_ - COUNT DE NEVERS } { _Baritone_ - COSSE _Tenor_ - MRU } { _Baritone_ - THORE } Catholic gentlemen { _Baritone_ - TAVANNES } { _Tenor_ - DE RETZ _Baritone_ - RAOUL DE NANGIS, a Huguenot nobleman _Tenor_ - MARCEL, a Huguenot soldier, servant to Raoul _Bass_ - - Catholic and Huguenot ladies, and gentlemen of the court; - soldiers, pages, citizens, and populace; night watch, monks, - and students. - - _Place_--Touraine and Paris. - - _Time_--August, 1572. - -It has been said that, because Meyerbeer was a Jew, he chose for two -of his operas, "Les Huguenots" and "Le Prophte," subjects dealing -with bloody uprisings due to religious differences among Christians. -"Les Huguenots" is written around the massacre of the Huguenots by the -Catholics, on the night of St. Bartholomew's, Paris, August 24, 1572; -"Le Prophte" around the seizure and occupation of Mnster, in 1555, -by the Anabaptists, led by John of Leyden. Even the ballet of the -spectral nuns, in "Robert le Diable," has been suggested as due to -Meyerbeer's racial origin and a tendency covertly to attack the -Christian religion. Far-fetched, I think. Most likely his famous -librettist was chiefly responsible for choice of subjects and -Meyerbeer accepted them because of the effective manner in which they -were worked out. Even so, he was not wholly satisfied with Scribe's -libretto of "Les Huguenots." He had the scene of the benediction of -the swords enlarged, and it was upon his insistence that Deschamps -wrote in the love duet in Act IV. As it stands, the story has been -handled with keen appreciation of its dramatic possibilities. - -Act I. Touraine. _Count de Nevers_, one of the leaders of the Catholic -party, has invited friends to a banquet at his chteau. Among these is -_Raoul de Nangis_, a Huguenot. He is accompanied by an old retainer, -the Huguenot soldier, _Marcel_. In the course of the fte it is -proposed that everyone shall toast his love in a song. _Raoul_ is the -first to be called upon. The name of the beauty whom he pledges in his -toast is unknown to him. He had come to her assistance while she was -being molested by a party of students. She thanked him most -graciously. He lives in the hope of meeting her again. - -_Marcel_ is a fanatic Huguenot. Having followed his master to the -banquet, he finds him surrounded by leaders of the party belonging to -the opposite faith. He fears for the consequences. In strange contrast -to the glamour and gaiety of the festive proceedings, he intones -Luther's hymn, "A Stronghold Sure." The noblemen of the Catholic party -instead of becoming angry are amused. _Marcel_ repays their levity by -singing a fierce Huguenot battle song. That also amuses them. - -At this point the _Count de Nevers_ is informed that a lady is in the -garden and wishes to speak with him. He leaves his guests who, through -an open window, watch the meeting. _Raoul_, to his surprise and -consternation, recognizes in the lady none other than the fair -creature whom he saved from the molestations of the students and with -whom he has fallen in love. Naturally, however, from the circumstances -of her meeting with _de Nevers_ he cannot but conclude that a liaison -exists between them. - -_De Nevers_ returns, rejoins his guests. _Urbain_, the page of _Queen -Marguerite de Valois_, enters. He is in search of _Raoul_, having come -to conduct him to a meeting with a gracious and noble lady whose name, -however, is not disclosed. _Raoul's_ eyes having been bandaged, he is -conducted to a carriage and departs with _Urbain_, wondering what his -next adventure will be. - -Act II. In the Garden of Chenoneaux, _Queen Marguerite de Valois_ -receives _Valentine_, daughter of the _Count de St. Bris_. The _Queen_ -knows of her rescue from the students by _Raoul_. Desiring to put an -end to the differences between Huguenots and Catholics, which have -already led to bloodshed, she has conceived the idea of uniting -_Valentine_, daughter of one of the great Catholic leaders, to -_Raoul_. _Valentine_, however, was already pledged to _de Nevers_. It -was at the _Queen's_ suggestion that she visited _de Nevers_ and had -him summoned from the banquet in order to ask him to release her from -her engagement to him--a request which, however reluctantly, he -granted. - -Here, in the Gardens of Chenoneaux, _Valentine_ and _Raoul_ are, -according to the Queen's plan, to meet again, but she intends first to -receive him alone. He is brought in, the bandage is removed from his -eyes, he does homage to the _Queen_, and when, in the presence of the -leaders of the Catholic party, _Marguerite de Valois_ explains her -purpose and her plan through this union of two great houses to end the -religious differences which have disturbed her reign, all consent. - -_Valentine_ is led in. _Raoul_ at once recognizes her as the woman of -his adventure but also, alas, as the woman whom _de Nevers_ met in the -garden during the banquet. Believing her to be unchaste, he refuses -her hand. General consternation. _St. Bris_, his followers, all draw -their swords. _Raoul's_ flashes from its sheath. Only the _Queen's_ -intervention prevents bloodshed. - -Act III. The scene is an open place in Paris before a chapel, where -_de Nevers_, who has renewed his engagement with _Valentine_, is to -take her in marriage. The nuptial cortge enters the building. The -populace is restless, excited. Religious differences still are the -cause of enmity. The presence of Royalist and Huguenot soldiers adds -to the restlessness of the people. _De Nevers_, _St. Bris_, and -another Catholic nobleman, _Maurevert_, come out from the chapel, -where _Valentine_ has desired to linger in prayer. The men are still -incensed over what appears to them the shameful conduct of _Raoul_ -toward _Valentine_. _Marcel_ at that moment delivers to _St. Bris_ a -challenge from _Raoul_ to fight a duel. When the old Huguenot soldier -has retired, the noblemen conspire together to lead _Raoul_ into an -ambush. During the duel, followers of _St. Bris_, who have been placed -in hiding, are suddenly to issue forth and murder the young Huguenot -nobleman. - -From a position in the vestibule of the chapel, _Valentine_ has -overheard the plot. She still loves _Raoul_ and him alone. How shall -she warn him of the certain death in store for him? She sees _Marcel_ -and counsels him that his master must not come here to fight the duel -unless he is accompanied by a strong guard. As a result, when _Raoul_ -and his antagonist meet, and _St. Bris's_ soldiers are about to attack -the Huguenot, _Marcel_ summons the latter's followers from a nearby -inn. A street fight between the two bodies of soldiers is imminent, -when the _Queen_ and her suite enter. A gaily bedecked barge comes up -the river and lays to at the bank. It bears _de Nevers_ and his -friends. He has come to convey his bride from the chapel to his home. -And now _Raoul_ learns, from the Queen, and to his great grief, that -he has refused the hand of the woman who loved him and who had gone to -_de Nevers_ in order to ask him to release her from her engagement -with him. - -Act IV. _Raoul_ seeks _Valentine_, who has become the wife of _de -Nevers_, in her home. He wishes to be assured of the truth of what he -has heard from the _Queen_. During their meeting footsteps are heard -approaching and _Valentine_ barely has time to hide _Raoul_ in an -adjoining room when _de Nevers_, _St. Bris_, and other noblemen of the -Catholic party enter, and form a plan to be carried out that very -night--the night of St. Bartholomew--to massacre the Huguenots. Only -_de Nevers_ refuses to take part in the conspiracy. Rather than do so, -he yields his sword to _St. Bris_ and is led away a prisoner. The -priests bless the swords, _St. Bris_ and his followers swear loyalty -to the bloody cause in which they are enlisted, and depart to await -the order to put it into effect, the tolling of the great bell from -St. Germain. - -_Raoul_ comes out from his place of concealment. His one thought is to -hurry away and notify his brethren of their peril. _Valentine_ seeks -to detain him, entreats him not to go, since it will be to certain -death. As the greatest and final argument to him to remain, she -proclaims that she loves him. But already the deep-voiced bell tolls -the signal. Flames, blood-red, flare through the windows. Nothing can -restrain _Raoul_ from doing his duty. _Valentine_ stands before the -closed door to block his egress. Rushing to a casement, he throws back -the window and leaps to the street. - -Act V. Covered with blood, _Raoul_ rushes into the ballroom of the -Htel de Nesle, where the Huguenot leaders, ignorant of the massacre -that has begun, are assembled, and summons them to battle. Already -Coligny, their great commander, has fallen. Their followers are being -massacred. - -[Illustration: Copyright photo by A. Dupont - -Planon as Saint Bris in "The Huguenots"] - -[Illustration: Copyright photo by Dupont - -Jean de Reszke as Raoul in "The Huguenots"] - -The scene changes to a Huguenot churchyard, where _Raoul_ and _Marcel_ -have found temporary refuge. _Valentine_ hurries in. She wishes to -save _Raoul_. She adjures him to adopt her faith. _De Nevers_ has met -a noble death and she is free--free to marry _Raoul_. But he -refuses to marry her at the sacrifice of his religion. Now she decides -that she will die with him and that they will both die as Huguenots -and united. _Marcel_ blesses them. The enemy has stormed the -churchyard and begins the massacre of those who have sought safety -there and in the edifice itself. Again the scene changes, this time to -a square in Paris. _Raoul_, who has been severely wounded, is -supported by _Marcel_ and _Valentine_. _St. Bris_ and his followers -approach. In answer to _St. Bris's_ summons, "Who goes there?" -_Raoul_, calling to his aid all the strength he has left, cries out, -"Huguenots." There is a volley. _Raoul_, _Valentine_, _Marcel_ lie -dead on the ground. Too late _St. Bris_ discovers that he has been the -murderer of his own daughter. - -Originally in five acts, the version of "Les Huguenots" usually -performed contains but three. The first two acts are drawn into one by -converting the second act into a scene and adding it to the first. The -fifth act (or in the usual version the fourth) is nearly always -omitted. This is due to the length of the opera. The audience takes it -for granted that, when _Raoul_ leaves _Valentine_, he goes to his -death. I have seen a performance of "Les Huguenots" with the last act. -So far as an understanding of the work is concerned, it is -unnecessary. It also involves as much noise and smell of gunpowder as -Massenet's opera, "La Navarraise"--and that is saying a good deal. - -The performances of "Les Huguenots," during the most brilliant -revivals of that work at the Metropolitan Opera House, New York, under -Maurice Grau, were known as "les nuits de sept toiles" (the nights of -the seven stars). The cast to which the performances owed this -designation is given in the summary above. A manager, in order to put -"Les Huguenots" satisfactorily upon the stage, should be able to give -it with seven first-rate principals, trained as nearly as possible in -the same school of opera. The work should be sung preferably in -French and by singers who know something of the traditions of the -Grand Opra, Paris. Mixed casts of Latin and Teutonic singers mar a -performance of this work. If "Les Huguenots" appears to have fallen -off in popularity since "the nights of the seven stars," I am inclined -to attribute this to inability or failure to give the opera with a -cast either as fine or as homogeneous as that which flourished at the -Metropolitan during the era of "les nuits de sept toiles," when there -not only were seven stars on the stage, but also seven dollars in the -box office for every orchestra stall that was occupied--and they all -were. - -Auber's "Masaniello," Rossini's "William Tell," Halvy's "La Juive," -and Meyerbeer's own "Robert le Diable" practically having dropped out -of the repertoire in this country, "Les Huguenots," composed in 1836, -is the earliest opera in the French grand manner that maintains itself -on the lyric stage of America--the first example of a school of music -which, through the "Faust" of Gounod, the "Carmen" of Bizet, and the -works of Massenet, has continued to claim our attention. - -After a brief overture, in which Luther's hymn is prominent, the first -act opens with a sonorous chorus for the banqueters in the salon of -_de Nevers's_ castle. _Raoul_, called upon to propose in song a toast -to a lady, pledges the unknown beauty, whom he rescued from the -insolence of a band of students. He does this in the romance, "Plus -blanche que la plus blanche hermine" (Whiter than the whitest ermine). -The accompaniment to the melodious measures, with which the romance -opens, is supplied by a viola solo, the effective employment of which -in this passage shows Meyerbeer's knowledge of the instrument and its -possibilities. This romance is a perfect example of a certain phase of -Meyerbeer's art--a suave and elegant melody for voice, accompanied in -a highly original manner, part of the time, in this instance, by a -single instrument in the orchestra, which, however, in spite of its -effectiveness, leaves an impression of simplicity not wholly -uncalculated. - -_Raoul's_ romance is followed by the entrance of _Marcel_, and the -scene for that bluff, sturdy old Huguenot campaigner and loyal servant -of _Raoul_, a splendidly drawn character, dramatically and musically. -_Marcel_ tries to drown the festive sounds by intoning the stern -phrases of Luther's hymn. This he follows with the Huguenot battle -song, with its "Piff, piff, piff," which has been rendered famous by -the great bassos who have sung it, including, in this country, Formes -and douard de Reszke. - -_De Nevers_ then is called away to his interview with the lady, whom -_Raoul_ recognizes as the unknown beauty rescued by him from the -students, and whom, from the circumstances of her visit to _de -Nevers_, he cannot but believe to be engaged in a liaison with the -latter. Almost immediately upon _de Nevers's_ rejoining his guests -there enters _Urbain_, the page of _Marguerite de Valois_. He greets -the assembly with the brilliant recitative, "Nobles Seigneurs salut!" -This is followed by a charming cavatina, "Une dame noble et sage" (A -wise and noble lady). Originally this was a soprano number, _Urbain_ -having been composed as a soprano rle, which it remained for twelve -years. Then, in 1844, when "Les Huguenots" was produced in London, -with Alboni as _Urbain_, Meyerbeer transposed it, and a contralto, or -mezzo-soprano, part it has remained ever since, its interpreters in -this country having included Annie Louise Cary, Trebelli, Scalchi, and -Homer. The theme of "Une dame noble et sage" is as follows: - -[Transcriber's Note: Music apparently missing from original.] - -The letter brought by _Urbain_ is recognized by the Catholic noblemen -as being in the handwriting of _Marguerite de Valois_. As it is -addressed to _Raoul_, they show by their obsequious demeanour toward -him the importance they attach to the invitation. In accordance with -its terms _Raoul_ allows himself to be blindfolded and led away by -_Urbain_. - -Following the original score and regarding what is now the second -scene of Act I as the second act, this opens with _Marguerite de -Valois's_ apostrophe to the fair land of Touraine ( beau pays de la -Touraine), which, with the air immediately following, " ce mot tout -s'anime et renat la nature" (At this word everything revives and -Nature renews itself), - -[Music] - -constitutes an animated and brilliant scene for coloratura soprano. - -There is a brief colloquy between _Marguerite_ and _Valentine_, then -the graceful female chorus, sung on the bank of the Seine and known as -the "bathers' chorus," this being followed by the entrance of _Urbain_ -and his engaging song--the rondeau composed for Alboni--"Non!--non, -non, non, non, non! Vous n'avez jamais, je gage" (No!--no, no, no, no, -no! You have never heard, I wager). - -_Raoul_ enters, the bandage is removed from his eyes, and there -follows a duet, "Beaut divine, enchanteresse" (Beauty brightly -divine, enchantress), between him and _Marguerite_, all graciousness -on her side and courtly admiration on his. The nobles and their -followers come upon the scene. _Marguerite de Valois's_ plan to end -the religious strife that has distracted the realm meets with their -approbation. The finale of the act begins with the swelling chorus in -which they take oath to abide by it. There is the brief episode in -which _Valentine_ is led in by _St. Bris_, presented to _Raoul_, and -indignantly spurned by him. The act closes with a turbulent ensemble. -Strife and bloodshed, then and there, are averted only by the -interposition of _Marguerite_. - -Act III opens with the famous chorus of the Huguenot soldiers in -which, while they imitate with their hands the beating of drums, they -sing their spirited "Rataplan." By contrast, the Catholic maidens, who -accompany the bridal cortge of _Valentine_ and _de Nevers_ to the -chapel, intone a litany, while Catholic citizens, students, and women -protest against the song of the Huguenot soldiers. These several -choral elements are skilfully worked out in the score. _Marcel_, -coming upon the scene, manages to have _St. Bris_ summoned from the -chapel, and presents _Raoul's_ challenge to a duel. The Catholics form -their plot to assassinate _Raoul_, of which _Valentine_ finds -opportunity to notify _Marcel_, in what is one of the striking scenes -of the opera. The duel scene is preceded by a stirring septette, a -really great passage, "En mon bon droit j'ai confiance" (On my good -cause relying). The music, when the ambuscade is uncovered and -_Marcel_ summons the Huguenots to _Raoul's_ aid, and a street combat -is threatened, reaches an effective climax in a double chorus. The -excitement subsides with the arrival of _Marguerite de Valois_, and of -the barge containing _de Nevers_ and his retinue. A brilliant chorus, -supported by the orchestra and by a military band on the stage, with -ballet to add to the spectacle forms the finale, as _de Nevers_ -conducts _Valentine_ to the barge, and is followed on board by _St. -Bris_ and the nuptial cortge. - -The fourth act, in the home of _de Nevers_, opens with a romance for -_Valentine_, "Parmi les pleurs mon rve se ranime" (Amid my tears, by -dreams once more o'ertaken), which is followed by a brief scene -between her and _Raoul_, whom the approach of the conspirators quickly -obliges her to hide in an adjoining apartment. The scene of the -consecration of the swords is one of the greatest in opera; but that -it shall have its full effect _St. Bris_ must be an artist like -Planon, who, besides being endowed with a powerful and beautifully -managed voice, was superb in appearance and as _St. Bris_ had the -bearing of the dignified, commanding yet fanatic nobleman of old -France. Musically and dramatically the scene rests on _St. Bris's_ -shoulders, and broad they must be, since his is the most conspicuous -part in song and action, from the intonation of his solo, "Pour cette -cause sainte, obisses sans crainte" (With sacred zeal and ardor let -now your soul be burning), - -[Music] - -to the end of the savage _stretta_, when, the conspirators, having -tiptoed almost to the door, in order to disperse for their mission, -suddenly turn, once more uplift sword hilts, poignards, and -crucifixes, and, after a frenzied adjuration of loyalty to a cause -that demands the massacre of an unsuspecting foe, steal forth into the -shades of fateful night. - -Powerful as this scene is, Meyerbeer has made the love duet which -follows even more gripping. For now he interprets the conflicting -emotions of love and loyalty in two hearts. It begins with _Raoul's_ -exclamation, "Le danger presse et le temps vole, laisse-moi partir" -(Danger presses and time flies. Let me depart), and reaches its climax -in a _cantilena_ of supreme beauty, "Tu l'as dit, oui tu m'aimes" -(Thou hast said it; aye, thou lov'st me), - -[Music] - -which is broken in upon by the sinister tolling of a distant bell--the -signal for the massacre to begin. An air for _Valentine_, an -impassioned _stretta_ for the lovers, _Raoul's_ leap from the window, -followed by a discharge of musketry, from which, in the curtailed -version, he is supposed to meet his death, and this act, still an -amazing achievement in opera, is at an end. - -In the fifth act, there is the fine scene of the blessing by _Marcel_ -of _Raoul_ and _Valentine_, during which strains of Luther's hymn are -heard, intoned by Huguenots, who have crowded into their church for a -last refuge. - -"Les Huguenots" has been the subject of violent attacks, beginning -with Robert Schumann's essay indited as far back as 1837, and starting -off with the assertion, "I feel today like the young warrior who draws -his sword for the first time in a holy cause." Schumann's most -particular "holy cause" was, in this instance, to praise Mendelssohn's -oratorio, "St. Paul," at the expense of Meyerbeer's opera "Les -Huguenots," notwithstanding the utter dissimilarity of purpose in the -two works. On the other hand Hanslick remarks that a person who cannot -appreciate the dramatic power of this Meyerbeer opera, must be lacking -in certain elements of the critical faculty. Even Wagner, one of -Meyerbeer's bitterest detractors, found words of the highest praise -for the passage from the love duet, which is quoted immediately above. -The composer of "The Ring of the Nibelung" had a much broader outlook -upon the world than Schumann, in whose genius there was, after all, a -good deal of the _bourgeois_. - -Pro or con, when "Les Huguenots" is sung with a fully adequate cast, -it cannot fail of making a deep impression--as witness "les nuits de -sept toiles." - -A typical night of the seven stars at the Metropolitan Opera House, -New York, was that of December 26, 1894. The _sept toiles_ were -Nordica (_Valentine_), Scalchi (_Urbain_), Melba (_Marguerite de -Valois_), Jean de Reszke (_Raoul_), Planon (_St. Bris_), Maurel (_de -Nevers_), and douard de Reszke (_Marcel_). Two Academy of Music casts -are worth referring to. April 30, 1872, Parepa-Rosa, for her last -appearance in America, sang _Valentine_. Wachtel was _Raoul_ and -Santley _St. Bris_. The other Academy cast was a "Night of six stars," -and is noteworthy as including Maurel twenty years, almost to the -night, before he appeared in the Metropolitan cast. The date was -December 24, 1874. Nilsson was _Valentine_, Cary _Urbain_, Maresi -_Marguerite de Valois_, Campanini _Raoul_, Del Puente _St. Bris_, -Maurel _de Nevers_, and Nannetti _Marcel_. With a more distinguished -_Marguerite de Valois_, this performance would have anticipated the -"nuits de sept toiles." - - -LE PROPHTE - -THE PROPHET - - Opera in five acts, by Meyerbeer; words by Scribe. Produced, - Grand Opra, Paris, April 6, 1849. London, Covent Garden, - July 24, 1849, with Mario, Viardot-Garcia, Miss Hayes, and - Tagliafico. New Orleans, April 2, 1850. New York, Niblo's - Garden, November 25, 1853, with Salvi (_John of Leyden_), - Steffanone and Mme. Maretzek. Revived in German, - Metropolitan Opera House, by Dr. Leopold Damrosch, December - 17, 1884, with Anton Schott as _John of Leyden_, Marianne - Brandt as _Fides_ and Schroeder-Hanfstaengl as _Bertha_. It - was given ten times during the season, in which it was - equalled only by "Tannhuser" and "Lohengrin." Also, - Metropolitan Opera House, 1898-99, with Jean de Reszke, - Brema (_Fides_), Lehmann (_Bertha_); January 22, 1900, - Alvarez, Schumann-Heink, Suzanne Adams, Planon and douard - de Reszke; by Gatti-Casazza, February 7, 1918, with Caruso, - Matzenauer, Muzio, Didur, and Mardones. - - CHARACTERS - - JOHN OF LEYDEN _Tenor_ - FIDES, his mother _Mezzo-Soprano_ - BERTHA, his bride _Soprano_ - JONAS } { _Tenor_ - MATTHISEN } Anabaptists { _Bass_ - ZACHARIAS } { _Bass_ - COUNT OBERTHAL _Baritone_ - - Nobles, citizens, Anabaptists, peasants, soldiers, - prisoners, children. - - _Time_--1534-35. - - _Place_--Dordrecht, Holland, and Mnster. - -Act I. At the foot of _Count Oberthal's_ castle, near Dordrecht, -Holland, peasants and mill hands are assembled. _Bertha_ and _Fides_ -draw near. The latter is bringing to _Bertha_ a betrothal ring from -her son _John_, who is to marry her on the morrow. But permission must -first be obtained from _Count Oberthal_ as lord of the domain. The -women are here to seek it. - -There arrive three sombre looking men, who strive to rouse the people -to revolt against tyranny. They are the Anabaptists, _Jonas_, -_Matthisen_, and _Zacharias_. The _Count_, however, who chances to -come out of the castle with his followers, recognizes in _Jonas_ a -steward who was discharged from his employ. He orders his soldiers to -beat the three men with the flat of their swords. _John's_ mother and -_Bertha_ make their plea to _Oberthal_. _John_ and _Bertha_ have loved -ever since he rescued her from drowning in the Meuse. Admiring -_Bertha's_ beauty, _Oberthal_ refuses to give permission for her to -marry _John_, but, instead, orders her seized and borne to the castle -for his own diversion. The people are greatly agitated and, when the -three Anabaptists reappear, throw themselves at their feet, and on -rising make threatening gestures toward the castle. - -Act II. In _John's_ inn at Leyden are the three Anabaptists and a -throng of merry-making peasants. Full of longing for _Bertha_, _John_ -is thinking of the morrow. The Anabaptists discover that he bears a -remarkable resemblance to the picture of King David in the Cathedral -of Mnster. They believe this resemblance can be made of service to -their plans. _John_ tells them of a strange dream he has had, and in -which he found himself standing under the dome of a temple with people -prostrate before him. They interpret it for him as evidence that he -will mount a throne, and urge him to follow them. But for him there is -but one throne--that of the kingdom of love with _Bertha_. - -At that moment, however, she rushes in and begs him quickly to hide -her. She has escaped from _Oberthal_, who is in pursuit. _Oberthal_ -and his soldiers enter. The _Count_ threatens that if _John_ does not -deliver over _Bertha_ to him, his mother, whom the soldiers have -captured on the way to the inn, shall die. She is brought in and -forced to her knees. A soldier with a battle-axe stands over her. -After a brief struggle _John's_ love for his mother conquers. He hands -over _Bertha_ to _Oberthal_. She is led away. _Fides_ is released. - -The three Anabaptists return. Now _John_ is ready to join them, if -only to wreak vengeance on _Oberthal_. They insist that he come at -once, without even saying farewell to his mother, who must be kept in -ignorance of their plans. John consents and hurries off with them. - -Act III. In the winter camp of the Anabaptists in a forest of -Westphalia, before Mnster. On a frozen lake people are skating. The -people have risen against their oppressors. _John_ has been proclaimed -a prophet of God. At the head of the Anabaptists he is besieging -Mnster. - -The act develops in three scenes. The first reveals the psychological -medley of fanaticism and sensuality of the Anabaptists and their -followers. In the second _John_ enters. _Oberthal_ is delivered into -his hands. From him _John_ learns that _Bertha_ again has escaped from -the castle and is in Mnster. The three Anabaptist leaders wish to put -the _Count_ to death. But _John_, saying that _Bertha_ shall be his -judge, puts off the execution, much to the disgust of the three -fanatics, who find _John_ assuming more authority than is agreeable to -them. This scene, the second of the act, takes place in _Zachariah's_ -tent. The third scene shows again the camp of the Anabaptists. The -leaders, fearing _John's_ usurpation of power, have themselves headed -an attack by their followers on Mnster and met with defeat. The -rabble they have led is furious and ready to turn even against _John_. -He, however, by sheer force of personality coupled with his assumption -of superhuman inspiration, rallies the crowd to his standard, and -leads it to victory. - -Act IV. A public place in Mnster. The city is in possession of the -Anabaptists. _John_, once a plain innkeeper of Leyden, has been swept -along on the high tide of success and decides to have himself -proclaimed Emperor. Meanwhile _Fides_ has been reduced to beggary. The -Anabaptists, in order to make her believe that _John_ is dead--so as -to reduce to a minimum the chance of her suspecting that the new -_Prophet_ and her son are one and the same--left in the inn a bundle -of _John's_ clothes stained with blood, together with a script stating -that he had been murdered by the _Prophet_ and his followers. - -The poor woman has come to Mnster to beg. There she meets _Bertha_, -who, when _Fides_ tells her that _John_ has been murdered, vows -vengeance upon the _Prophet_. - -_Fides_ follows the crowd into the cathedral, to which the scene -changes. When, during the coronation scene, _John_ speaks, and -announces that he is the elect of God, the poor beggar woman starts at -the sound of his voice. She cries out, "My son!" _John's_ cause is -thus threatened and his life at stake. He has claimed divine origin. -If the woman is his mother, the people, whom he rules with an iron -hand, will denounce and kill him. With quick wit he meets the -emergency, and even makes use of it to enhance his authority by -improvising an affirmation scene. He bids his followers draw their -swords and thrust them into his breast, if the beggar woman again -affirms that he is her son. Seeing the swords held ready to pierce -him, _Fides_, in order to save him, now declares that he is not her -son--that her eyes, dimmed by age, have deceived her. - -Act V. The three Anabaptists, _Jonas_, _Matthisen_, and _Zacharias_, -had intended to use _John_ only as an instrument to attain power for -themselves. The German Emperor, who is moving on Mnster with a large -force, has promised them pardon if they will betray the _Prophet_ and -usurper into his hands. To this they have agreed, and are ready on his -coronation day to betray him. - -At _John's_ secret command _Fides_ has been brought to the palace. -Here her son meets her. He, whom she has seen in the hour of his -triumph and who still is all-powerful, implores her pardon, but in -vain, until she, in the belief that he has been impelled to his -usurpation of power and bloody deeds only by thirst for vengeance for -_Bertha's_ wrongs, forgives him, on condition that he return to -Leyden. This he promises in full repentance. - -They are joined by _Bertha_. She has sworn to kill the _Prophet_ whom -she blames for the supposed murder of her lover. To accomplish her -purpose, she has set a slow fire to the palace. It will blaze up near -the powder magazine, when the _Prophet_ and his henchmen are at -banquet in the great hall of the palace, and blow up the edifice. - -She recognizes her lover. Her joy, however, is short-lived, for at the -moment a captain comes to _John_ with the announcement that he has -been betrayed and that the Emperor's forces are at the palace gates. -Thus _Bertha_ learns that her lover and the bloodstained _Prophet_ are -one. Horrified, she plunges a dagger into her heart. - -_John_ determines to die, a victim to the catastrophe which _Bertha_ -has planned, and which is impending. He joins the banqueters at their -orgy. At the moment when all his open and secret enemies are at the -table and pledge him in a riotous bacchanale, smoke rises from the -floor. Tongues of fire shoot up. _Fides_, in the general uproar and -confusion, calmly joins her son, to die with him, as the powder -magazine blows up, and, with a fearful crash the edifice collapses in -smoke and flame. - -_John of Leyden's_ name was Jan Beuckelszoon. He was born in 1509. In -business he was successively a tailor, a small merchant, and an -innkeeper. After he had had himself crowned in Mnster, that city -became a scene of orgy and cruelty. It was captured by the imperial -forces June 24, 1535. The following January the "prophet" was put to -death by torture. The same fate was meted out to Knipperdlling, his -henchman, who had conveniently rid him of one of his wives by cutting -off her head. - - * * * * * - -The music of the first act of "Le Prophte" contains a cheerful chorus -for peasants, a cavatina for _Bertha_, "Mon coeur s'lance" (My -heart throbs wildly), in which she voices her joy over her expected -union with _John_; the Latin chant of the three Anabaptists, gloomy -yet stirring; the music of the brief revolt of the peasantry against -_Oberthal_; the plea of _Fides_ and _Bertha_ to _Oberthal_ for his -sanction of _Bertha's_ marriage to _John_, "Un jour, dans les flots de -la Meuse" (One day in the waves of the Meuse); _Oberthal's_ refusal, -and his abduction of _Bertha_; the reappearance of the three -Anabaptists and the renewal of their efforts to impress the people -with a sense of the tyranny by which they are oppressed. - -Opening the second act, in _John's_ tavern, in the suburbs of Leyden, -are the chorus and dance of _John's_ friends, who are rejoicing over -his prospective wedding. When the three Anabaptists have recognized -his resemblance to the picture of David in the cathedral at Mnster, -_John_, observing their sombre yet impressive bearing, tells them of -his dream, and asks them to interpret it: "Sous les vastes arceaux -d'un temple magnifique" (Under the great dome of a splendid temple). -They promise him a throne. But he knows a sweeter empire than the one -they promise, that which will be created by his coming union with -_Bertha_. Her arrival in flight from _Oberthal_ and _John's_ sacrifice -of her in order to save his mother from death, lead to _Fides's_ solo, -"Ah, mon fils" (Ah, my son), one of the great airs for mezzo-soprano. - -[Music] - -Most attractive in the next act is the ballet of the skaters on the -frozen lake near the camp of the Anabaptists. The scene is brilliant -in conception, the music delightfully rhythmic and graceful. There is -a stirring battle song for _Zacharias_, in which he sings of the enemy -"as numerous as the stars," yet defeated. Another striking number is -the fantastic trio for _Jonas_, _Zacharias_, and _Oberthal_, -especially in the descriptive passage in which in rhythm with the -music, _Jonas_ strikes flint and steel, ignites a lantern and by its -light recognizes _Oberthal_. When _John_ rallies the Anabaptists, who -have been driven back from under the walls of Mnster and promises to -lead them to victory, the act reaches a superb climax in a "Hymne -Triomphal" for _John_ and chorus, "Roi du Ciel et des Anges" (Ruler of -Heaven and the Angels). At the most stirring moment of this finale, as -_John_ is being acclaimed by his followers, mists that have been -hanging over the lake are dispelled. The sun bursts forth in glory. - -[Music] - -In the next act there is a scene for _Fides_ in the streets of -Mnster, in which, reduced to penury, she begs for alms. There also is -the scene at the meeting of _Fides_ and _Bertha_. The latter -believing, like _Fides_, that _John_ has been slain by the -Anabaptists, vows vengeance upon the _Prophet_. - -The great procession in the cathedral with its march and chorus has -been, since the production of "Le Prophte" in 1849, a model of -construction for striking spectacular scenes in opera. The march is -famous. Highly dramatic is the scene in which _Fides_ first proclaims -and then denies that John is her son. The climax of the fifth act is -the drinking song, "Versez, que tout respire l'ivresse et le dlire" -(Quaff, quaff, in joyous measure; breathe, breathe delirious -pleasure), in the midst of which the building is blown up, and _John_ -perishes with those who would betray him. - - * * * * * - -During the season of opera which Dr. Leopold Damrosch conducted at the -Metropolitan Opera House, 1884-85, when this work of Meyerbeer's led -the repertoire in number of performances, the stage management -produced a fine effect in the scene at the end of Act III, when the -_Prophet_ rallies his followers. Instead of soldiers tamely marching -past, as _John_ chanted his battle hymn, he was acclaimed by a rabble, -wrought up to a high pitch of excitement, and brandishing cudgels, -scythes, pitchforks, and other implements that would serve as weapons. -The following season, another stage manager, wishing to outdo his -predecessor, brought with him an electric sun from Germany, a horrid -thing that almost blinded the audience when it was turned on. - - -L'AFRICAINE - -THE AFRICAN - - Opera in five acts, by Meyerbeer; words by Scribe. Produced - Grand Opra, Paris, April 28, 1865. London, in Italian, - Covent Garden, July 22, 1865; in English, Covent Garden, - October 21, 1865. New York, Academy of Music, December 1, - 1865, with Mazzoleni as _Vasco_, and Zucchi as _Selika_; - September 30, 1872, with Lucca as _Selika_; Metropolitan - Opera House, January 15, 1892, Nordica (_Selika_), - Pettigiani (_Inez_), Jean de Reszke (_Vasco_), douard de - Reszke (_Don Pedro_), Lasalle (_Nelusko_). - - CHARACTERS - - SELIKA, a slave _Soprano_ - INEZ, daughter of Don Diego _Soprano_ - ANNA, her attendant _Contralto_ - VASCO DA GAMA, an officer in the - Portuguese Navy _Tenor_ - NELUSKO, a slave _Baritone_ - DON PEDRO, President of the Royal Council _Bass_ - DON DIEGO } Members of the Council { _Bass_ - DON ALVAR } { _Tenor_ - GRAND INQUISITOR _Bass_ - - Priests, inquisitors, councillors, sailors, Indians, - attendants, ladies, soldiers. - - _Time_--Early sixteenth century. - - _Place_--Lisbon; on a ship at sea; and India. - -In 1838 Scribe submitted to Meyerbeer two librettos: that of "Le -Prophte" and that of "L'Africaine." For the purposes of immediate -composition he gave "Le Prophte" the preference, but worked -simultaneously on the scores of both. As a result, in 1849, soon after -the production of "Le Prophte," a score of "L'Africaine" was -finished. - -The libretto, however, never had been entirely satisfactory to the -composer. Scribe was asked to retouch it. In 1852 he delivered an -amended version to Meyerbeer who, so far as his score had gone, -adapted it to the revised book, and finished the entire work in 1860. -"Thus," says the _Dictionnaire des Opras_, "the process of creating -'L'Africaine' lasted some twenty years and its birth appears to have -cost the life of its composer, for he died, in the midst of -preparations for its production, on Monday, May 2, 1864, the day after -a copy of his score was finished in his own house in the Rue Montaigne -and under his eyes." - - * * * * * - -Act I. Lisbon. The Royal Council Chamber of Portugal. Nothing has been -heard of the ship of Bartholomew Diaz, the explorer. Among his -officers was _Vasco da Gama_, the affianced of _Inez_, daughter of the -powerful nobleman, _Don Diego_. _Vasco_ is supposed to have been lost -with the ship and her father now wishes _Inez_ to pledge her hand to -_Don Pedro_, head of the Royal Council of Portugal. - -During a session of the Council, it is announced that the King wishes -to send an expedition to search for Diaz, but one of the councillors, -_Don Alvar_, informs the meeting that an officer and two captives, the -only survivors from the wreck of Diaz's vessel have arrived. The -officer is brought in. He is _Vasco da Gama_, whom all have believed -to be dead. Nothing daunted by the perils he has been through, he has -formed a new plan to discover the new land that, he believes, lies -beyond Africa. In proof of his conviction that such a land exists, he -brings in the captives, _Selika_ and _Nelusko_, natives, apparently, -of a country still unknown to Europe. _Vasco_ then retires to give the -Council opportunity to discuss his enterprise. - -In his absence _Don Pedro_, who desires to win _Inez_ for himself, and -to head a voyage of discovery, surreptitiously gains possession of an -important chart from among _Vasco's_ papers. He then persuades the -_Grand Inquisitor_ and the Council that the young navigator's plans -are futile. Through his persuasion they are rejected. _Vasco_, who has -again come before the meeting, when informed that his proposal has -been set aside, insults the Council by charging it with ignorance and -bias. _Don Pedro_, utilizing the opportunity to get him out of the -way, has him seized and thrown into prison. - -Act II. _Vasco_ has fallen asleep in his cell. Beside him watches -_Selika_. In her native land she is a queen. Now she is a captive and -a slave, her rank, of course, unknown to her captor, since she and -_Nelusko_ carefully have kept it from the knowledge of all. _Selika_ -is deeply in love with _Vasco_ and is broken-hearted over his passion -for _Inez_, of which she has become aware. But the love of this -supposedly savage slave is greater than her jealousy. She protects the -slumbering _Vasco_ from the thrust of _Nelusko's_ dagger. For her -companion in captivity is deeply in love with her and desperately -jealous of the Portuguese navigator for whom she has conceived so -ardent a desire. Not only does she save _Vasco's_ life, but on a map -hanging on the prison wall she points out to him a route known only to -herself and _Nelusko_, by which he can reach the land of which he has -been in search. - -_Inez_, _Don Pedro_, and their suite enter the prison. _Vasco_ is -free. _Inez_ has purchased his freedom through her own sacrifice in -marrying _Don Pedro_. _Vasco_, through the information received from -_Selika_, now hopes to undertake another voyage of discovery and thus -seek to make up in glory what he has lost in love. But he learns that -_Don Pedro_ has been appointed commander of an expedition and has -chosen _Nelusko_ as pilot. _Vasco_ sees his hopes shattered. - -Act III. The scene is on _Don Pedro's_ ship at sea. _Don Alvar_, a -member of the Royal Council, who is with the expedition, has become -suspicious of _Nelusko_. Two ships of the squadron have already been -lost. _Don Alvar_ fears for the safety of the flagship. At that moment -a Portuguese vessel is seen approaching. It is in command of _Vasco da -Gama_, who has fitted it out at his own expense. Although _Don Pedro_ -is his enemy, he comes aboard the admiral's ship to warn him that the -vessel is on a wrong course and likely to meet with disaster. _Don -Pedro_, however, accuses him of desiring only to see _Inez_, who is on -the vessel, and charges that his attempted warning is nothing more -than a ruse, with that purpose in view. At his command, _Vasco_ is -seized and bound. A few moments later, however, a violent storm breaks -over the ship. It is driven upon a reef. Savages, for whom _Nelusko_ -has signalled, clamber up the sides of the vessel and massacre all -save a few whom they take captive. - -Act IV. On the left, the entrance to a Hindu temple; on the right a -palace. Tropical landscape. Among those saved from the massacre is -_Vasco_. He finds himself in the land which he has sought to -discover--a tropical paradise. He is threatened with death by the -natives, but _Selika_, in order to save him, protests to her subjects -that he is her husband. The marriage is now celebrated according to -East Indian rites. _Vasco_, deeply touched by _Selika's_ fidelity, is -almost determined to abide by his nuptial vow and remain here as -_Selika's_ spouse, when suddenly he hears the voice of _Inez_. His -passion for her revives. - -Act V. The gardens of _Selika's_ palace. Again _Selika_ makes a -sacrifice of love. How easily she could compass the death of _Vasco_ -and _Inez_! But she forgives. She persuades _Nelusko_ to provide the -lovers with a ship and bids him meet her, after the ship has sailed, -on a high promontory overlooking the sea. - -To this the scene changes. On the promontory stands a large manchineel -tree. The perfume of its blossoms is deadly to anyone who breathes it -in from under the deep shadow of its branches. From here _Selika_ -watches the ship set sail. It bears from her the man she loves. -Breathing in the poison-laden odour from the tree from under which she -has watched the ship depart, she dies. _Nelusko_ seeks her, finds her -dead, and himself seeks death beside her under the fatal branches of -the manchineel. - - * * * * * - -Meyerbeer considered "L'Africaine" his masterpiece, and believed that -through it he was bequeathing to posterity an immortal monument to his -fame. But although he had worked over the music for many years, and -produced a wonderfully well-contrived score, his labour upon it was -more careful and self-exacting than inspired; and this despite moments -of intense interest in the opera. Not "L'Africaine," but "Les -Huguenots," is considered his greatest work. - -"L'Africaine" calls for one of the most elaborate stage-settings in -opera. This is the ship scene, which gives a lengthwise section of a -vessel, so that its between-decks and cabin interiors are seen--like -the compartments of a huge but neatly partitioned box laid on its -oblong side; in fact an amazing piece of marine architecture. - -Scribe's libretto has been criticized, and not unjustly, on account of -the vacillating character which he gives _Vasco da Gama_. In the first -act this operatic hero is in love with _Inez_. In the prison scene, in -the second act, when _Selika_ points out on the map the true course to -India, he is so impressed with her as a teacher of geography, that he -clasps the supposed slave-girl to his breast and addresses her in -impassioned song. _Selika_, being enamoured of her pupil, naturally is -elated over his progress. Unfortunately _Inez_ enters the prison at -this critical moment to announce to _Vasco_ that she has secured his -freedom. To prove to _Inez_ that he still loves her _Vasco_ glibly -makes her a present of _Selika_ and _Nelusko_. _Selika_, so to speak, -no longer is on the map, so far as _Vasco_ is concerned, until, in the -fourth act, she saves his life by pretending he is her husband. -Rapturously he pledges his love to her. Then _Inez's_ voice is heard -singing a ballad to the Tagus River--and _Selika_ again finds herself -deserted. There is nothing for her to do but to die under the -manchineel tree. - -"Is the shadow of this tree so fatal?" asks a French authority. -"Monsieur Scribe says yes, the naturalists say no." With this question -and answer "L'Africaine" may be left to its future fate upon the -stage, save that it seems proper to remark that, although the opera is -called "The African," _Selika_ appears to have been an East Indian. - -Early in the first act of the opera occurs _Inez's_ ballad, "Adieu, -mon beau rivage" (Farewell, beloved shores). It is gracefully -accompanied by flute and oboe. This is the ballad to the river Tagus, -which _Vasco_ hears her sing in the fourth act. The finale of the -first act--the scene in which _Vasco_ defies the Royal Council--is a -powerful ensemble. The slumber song for _Selika_ in the second act, as -she watches over _Vasco_, "Sur mes genoux, fils du soleil" (On my -knees, offspring of the sun) is charming, and entirely original, with -many exotic and fascinating touches. _Nelusko's_ air of homage, "Fille -des rois, toi l'hommage" (Daughter of Kings, my homage thine), -expresses a sombre loyalty characteristic of the savage whose passion -for his queen amounts to fanaticism. The finale of the act is an -unaccompanied septette for _Inez_, _Selika_, _Anna_, _Vasco_, -_d'Alvar_, _Nelusko_, and _Don Pedro_. - -In the act which plays aboardship, are the graceful chorus of women, -"Le rapide et lger navire" (The swiftly gliding ship), the prayer of -the sailors, " grand Saint Dominique," and Nelusko's song, -"Adamastor, roi des vagues profondes" (Adamastor, monarch of the -trackless deep), a savage invocation of sea and storm, chanted to the -rising of a hurricane, by the most dramatic figure among the -characters in the opera. For like _Marcel_ in "Les Huguenots" and -_Fides_ in "Le Prophte," _Nelusko_ is a genuine dramatic creation. - -The Indian march and the ballet, which accompanies the ceremony of the -crowning of _Selika_, open the fourth act. The music is exotic, -piquant, and in every way effective. The scene is a masterpiece of its -kind. There follow the lovely measures of the principal tenor solo of -the opera, _Vasco's_ "Paradis sorti du sein de l'onde" (Paradise, -lulled by the lisping sea). Then comes the love duet between _Vasco_ -and _Selika_, " transport, douce extase" (Oh transport, oh sweet -ecstacy). One authority says of it that "rarely have the tender -passion, the ecstacy of love been expressed with such force." Now it -would be set down simply as a tiptop love duet of the old-fashioned -operatic kind. - -The scene of _Selika's_ death under the manchineel tree is preceded by -a famous prelude for strings in unison supported by clarinets and -bassoons, a brief instrumental recital of grief that makes a powerful -appeal. The opera ends dramatically with a soliloquy for -_Selika_--"D'ici je vois la mer immense" (From here I gaze upon the -boundless deep). - - -L'TOILE DU NORD AND DINORAH - -Two other operas by Meyerbeer remain for mention. One of them has -completely disappeared from the repertoire of the lyric stage. The -other suffers an occasional revival for the benefit of some prima -donna extraordinarily gifted in lightness and flexibility of vocal -phrasing. These operas are "L'toile du Nord" (The Star of the North), -and "Dinorah, ou Le Pardon de Plormel" (Dinorah, or The Pardon of -Plormel). - -Each of these contains a famous air. "L'toile du Nord" has the high -soprano solo with _obbligato_ for two flutes, which was one of Jenny -Lind's greatest show-pieces, but has not sufficed to keep the opera -alive. In "Dinorah" there is the "Shadow Song," in which _Dinorah_ -dances and sings to her own shadow in the moonlight--a number which, -at long intervals of time, galvanizes the rest of the score into some -semblance of life. - -The score of "L'toile du Nord," produced at the Opra Comique, Paris, -February 16, 1854, was assembled from an earlier work, "Das Feldlager -in Schlesien" (The Camp in Silesia), produced for the opening of the -Berlin Opera House, February 17, 1847; but the plots differ. The story -of "L'toile du Nord" relates to the love of _Peter the Great_ for -_Catherine_, a cantinire. Their union finally takes place, but not -until _Catherine_ has disguised herself as a soldier and served in the -Russian camp. After surreptitiously watching _Peter_ and a companion -drink and roister in the former's tent with a couple of girls, she -loses her reason. When it is happily restored by Peter playing -familiar airs to her on his flute, she voices her joy in the -show-piece, "La, la, la, air chri" (La, la, la, beloved song), to -which reference already has been made. In the first act _Catherine_ -has a "Ronde bohmienne" (Gypsy rondo), the theme of which Meyerbeer -took from his opera "Emma de Rohsburg." - -"L'toile du Nord" is in three acts. There is much military music in -the second act--a cavalry chorus, "Beau cavalier au coeur d'acier" -(Brave cavalier with heart of steel); a grenadier song with chorus, -"Grenadiers, fiers Moscovites" (grenadiers, proud Muscovites), in -which the chorus articulates the beat of the drums ("tr-r-r-um"); the -"Dessauer" march, a cavalry fanfare "Ah! voyez nos Tartares du Don" -(Ah, behold our Cossacks of the Don); and a grenadiers' march: -stirring numbers, all of them. - -The libretto is by Scribe. The first act scene is laid in Wyborg, on -the Gulf of Finland; the second in a Russian camp; the third in -Peter's palace in Petrograd. Time, about 1700. - - * * * * * - -Barbier and Carr wrote the words of "Dinorah," founding their -libretto on a Breton tale. Under the title, "Le Pardon de Plormel" -(the scene of the opera being laid near the Breton village of -Plormel) the work was produced at the Opra Comique, Paris, April 4, -1859. It has three principal characters--a peasant girl, _Dinorah_, -_soprano_; _Hol_, a goat-herd, _baritone_; _Corentino_, a bagpiper, -_tenor_. The famous baritone, Faure, was the _Hol_ of the Paris -production. Cordier (_Dinorah_), Amodio (_Hol_), Brignoli -(_Corentino_) were heard in the first American production, Academy of -Music, New York, November 24, 1864. As _Dinorah_ there also have been -heard here Ilma di Murska (Booth's Theatre, 1867), Marimon (with -Campanini as _Corentino_), December 12, 1879; Adelina Patti (1882); -Tetrazzini (Manhattan Opera House, 1907); and Galli-Curci (Lexington -Theatre, January 28, 1918), with the Chicago Opera Company. - -_Dinorah_ is betrothed to _Hol_. Her cottage has been destroyed in a -storm. _Hol_, in order to rebuild it, goes into a region haunted by -evil spirits, in search of hidden treasure. _Dinorah_, believing -herself deserted, loses her reason and, with her goat, whose tinkling -bell is heard, wanders through the mountains in search of _Hol_. - -The opera is in three acts. It is preceded by an overture during which -there is sung by the villagers behind the curtain the hymn to Our Lady -of the Pardon. The scene of the first act is a rough mountain passage -near _Corentino's_ hut. _Dinorah_ finds her goat asleep and sings to -it a graceful lullaby, "Dors, petite, dors tranquille" (Little one, -sleep; calmly rest). _Corentino_, in his cottage, sings of the fear -that comes over him in this lonely region. To dispel it, he plays on -his cornemuse. _Dinorah_ enters the hut, and makes him dance with her, -while she sings. - -When someone is heard approaching, she jumps out of the window. It is -_Hol_. Both he and _Corentino_ think she is a sprite. _Hol_ sings of -the gold he expects to find, and offers _Corentino_ a share in the -treasure if he will aid him lift it. According to the legend, however, -the first one to touch the treasure must die, and _Hol's_ seeming -generosity is a ruse to make _Corentino_ the victim of the discovery. -The tinkle of the goat's bell is heard. _Hol_ advises that they -follow the sound as it may lead to the treasure. The act closes with a -trio, "Ce tintement que l'on entend" (The tinkling tones that greet -the ear). _Dinorah_ stands among the high rocks, while _Hol_ and -_Corentino_, the latter reluctantly, make ready to follow the tinkle -of the bell. - -A wood of birches by moonlight is the opening scene of the second act. -It is here _Dinorah_ sings of "Le vieux sorcier de la montagne" (The -ancient wizard of the mountain), following it with the "Shadow Song," -"Ombre lgre qui suis mes pas" (Fleet shadow that pursues my -steps)--"Ombra leggiera" in the more familiar Italian version. - -[Music] - -This is a passage so graceful and, when sung and acted by an Adelina -Patti, was so appealing, that I am frank to confess it suggested to me -the chapter entitled "Shadows of the Stage," in my novel of opera -behind the scenes, _All-of-a-Sudden Carmen_. - -The scene changes to a wild landscape. A ravine bridged by an uprooted -tree. A pond, with a sluiceway which, when opened, gives on the -ravine. The moon has set. A storm is rising. - -_Hol_ and _Corentino_ enter; later _Dinorah_. Through the night, that -is growing wilder, she sings the legend of the treasure, "Sombre -destine, me condamne" (O'ershadowing fate, soul lost for aye). - -Her words recall the tragic story of the treasure to _Corentino_, who -now sees through _Hol's_ ruse, and seeks to persuade the girl to go -after the treasure. She sings gaily, in strange contrast to the -gathering storm. Lightning flashes show her her goat crossing the -ravine by the fallen tree. She runs after her pet. As she is crossing -the tree, a thunderbolt crashes. The sluice bursts, the tree is -carried away by the flood, which seizes _Dinorah_ in its swirl. _Hol_ -plunges into the wild waters to save her. - -Not enough of the actual story remains to make a third act. But as -there has to be one, the opening of the act is filled in with a song -for a _Hunter_ (_bass_), another for a _Reaper_ (_tenor_), and a duet -for _Goat-herds_ (_soprano and contralto_). _Hol_ enters bearing -_Dinorah_, who is in a swoon. _Hol_ here has his principal air, "Ah! -mon remords te venge" (Ah, my remorse avenges you). _Dinorah_ comes -to. Her reason is restored when she finds herself in her lover's -arms. The villagers chant the "Hymn of the Pardon." A procession forms -for the wedding, which is to make happy _Dinorah_ and _Hol_, every -one, in fact, including the goat. - -Except for the scene of the "Shadow Dance," the libretto is incredibly -inane--far more so than the demented heroine. But Meyerbeer evidently -wanted to write a pastoral opera. He did so; with the result that now, -instead of pastoral, it sounds pasteurized. - - - - -Hector Berlioz - -(1803-1869) - - -This composer, born Cte-Saint-Andr, near Grenoble, December 11, -1803; died Paris, March 9, 1869, has had comparatively little -influence upon opera considered simply as such. But, as a musician -whose skill in instrumentation, and knowledge of the individual tone -quality of every instrument in the orchestra amounted to positive -genius, his influence on music in general was great. In his -symphonies--"Episode de la Vie d'un Artiste" (characterized by him as -a _symphonie phantastique_), its sequel, "Lelio, ou la Retour la -Vie," "Harold en Italie," in which Harold is impersonated by the -viola, and the _symphonie dramatique_, "Romo et Juliette," he proved -the feasibility of producing, by means of orchestral music, the effect -of narrative, personal characterization and the visualization of -dramatic action, as well as of scenery and material objects. He thus -became the founder of "program music." - -Of Berlioz's operas not one is known on the stage of English-speaking -countries. For "La Damnation de Faust," in its original form, is not -an opera but a dramatic cantata. First performed in 1846, it was not -made over into an opera until 1893, twenty-four years after the -composer's death. - - -BENVENUTO CELLINI - - Opera in three acts, by Berlioz. Words by du Wailly and - Barbier. Produced, and failed completely, Grand Opra, - Paris, September 3, 1838, and London a fortnight later. - Revived London, Covent Garden, 1853, under Berlioz's own - direction; by Liszt, at Weimar, 1855; by von Blow, Hanover, - 1879. - - CHARACTERS - - CARDINAL SALVIATI _Bass_ - BALDUCCI, Papal Treasurer _Bass_ - TERESA, his daughter _Soprano_ - BENVENUTO CELLINI, a goldsmith _Tenor_ - ASCANIO, his apprentice _Mezzo-Soprano_ - FRANCESCO } Artisans in { _Tenor_ - BERNARDINO } Cellini's workshop { _Bass_ - FIERAMOSCA, sculptor to the Pope _Baritone_ - POMPEO, a bravo _Baritone_ - - _Time_--1532. - - _Place_--Rome. - -Act I. The carnival of 1532. We are in the house of the Papal -treasurer, _Balducci_, who has scolded his daughter _Teresa_ for -having looked out of the window. The old man is quite vexed, because -the Pope has summoned the goldsmith _Cellini_ to Rome. - -_Balducci's_ daughter _Teresa_, however, thinks quite otherwise and is -happy. For she has found a note from _Cellini_ in a bouquet that was -thrown in to her from the street by a mask--_Cellini_, of course. A -few moments later he appears at her side and proposes a plan of -elopement. In the morning, during the carnival mask, he will wear a -white monk's hood. His apprentice _Ascanio_ will wear a brown one. -They will join her and they will flee together. But a listener has -sneaked in--_Fieramosca_, the Pope's sculptor, and no less _Cellini's_ -rival in love than in art. He overhears the plot. Unexpectedly, too, -_Teresa's_ father, _Balducci_, comes back. His daughter still up? In -her anxiety to find an excuse, she says she heard a man sneak in. -During the search _Cellini_ disappears, and _Fieramosca_ is -apprehended. Before he can explain his presence, women neighbours, who -have hurried in, drag him off to the public bath house and treat him -to a ducking. - -Act II. In the courtyard of a tavern _Cellini_ is seated, with his -assistants. He is happy in his love, for he places it even higher than -fame, which alone heretofore he has courted. He must pledge his love -in wine. Unfortunately the host will no longer give him credit. Just -then _Ascanio_ brings some money from the Papal treasurer, but in -return _Cellini_ must promise to complete his "Perseus" by morning. He -promises, although the avaricious _Balducci_ has profited by his -necessity and has sent too little money. _Ascanio_ is informed by -_Cellini_ of the disguises they are to wear at the carnival, and of -his plan that _Teresa_ shall flee with him. - -Again _Fieramosca_ has been spying, and overhears the plot. -Accordingly he hires the bravo _Pompeo_ to assist him in carrying off -_Teresa_. - -A change of scene shows the crowd of maskers on the Piazza di Colonna. -_Balducci_ comes along with _Teresa_. Both from the right and left -through the crowd come two monks in the disguise she and her lover -agreed upon. Which is the right couple? Soon, however, the two couples -fall upon each other. A scream, and one of the brown-hooded monks -(_Pompeo_) falls mortally wounded to the ground. A white-hooded monk -(_Cellini_) has stabbed him. The crowd hurls itself upon _Cellini_. -But at that moment the boom of a cannon gives notice that the carnival -celebration is over. It is Ash Wednesday. In the first shock of -surprise _Cellini_ escapes, and in his place the other white-hooded -monk, _Fieramosca_, is seized. - -Act III. Before _Cellini's_ house, in the background of which, through -a curtain, is seen the bronze foundry, the anxious _Teresa_ is assured -by _Ascanio_ that her lover is safe. Soon he comes along himself, with -a band of monks, to whom he describes his escape. Then _Balducci_ and -_Fieramosca_ rush in. _Balducci_ wants to force his daughter to become -_Fieramosca's_ bride. The scene is interrupted by the arrival of -_Cardinal Salviati_ to see the completed "Perseus." Poor _Cellini_! -Accused of murder and the attempted kidnapping of a girl, the -"Perseus" unfinished, the money received for it spent! Heavy -punishment awaits him, and another shall receive the commission to -finish the "Perseus." - -The artist flies into a passion. Another finish his masterpiece! -Never! The casting shall be done on the spot! Not metal enough? He -seizes his completed works and throws them into the molten mass. The -casting begins. The master shatters the mould. The "Perseus," a noble -work of art, appears before the eyes of the astonished onlookers--a -potent plea for the inspired master. Once more have Art and her -faithful servant triumphed over all rivals. - -The statue of Perseus, by Benvenuto Cellini, one of the most famous -creations of medival Italy, is one of the art treasures of Florence. - - -BEATRICE AND BENEDICT - - Opera in two acts, by Berlioz. Words by the composer, after - Shakespeare's comedy, "Much Ado about Nothing." Produced at - Baden Baden, 1862. - - CHARACTERS - - DON PEDRO, a general _Bass_ - LEONATO, governor of Messina _Bass_ - HERO, his daughter _Soprano_ - BEATRICE, his niece _Soprano_ - CLAUDIO, an officer _Baritone_ - BENEDICT, an officer _Tenor_ - URSULA, Hero's companion _Contralto_ - SOMARONE, orchestral conductor _Bass_ - -The story is an adaptation of the short version of Shakespeare's play, -which preserves the spirit of the comedy, but omits the saturnine -intrigue of _Don John_ against _Claudio_ and _Hero_. The gist of the -comedy is the gradual reaction of the brilliant but captious -_Beatrice_ from pique and partially feigned indifference toward the -witty and gallant _Benedict_, to love. Both have tempers. In fact they -reach an agreement to marry as a result of a spirited quarrel. - - -LES TROYENS - -THE TROJANS - -PART I. "LA PRISE DE TROIE" - -THE CAPTURE OF TROY - - Opera in three acts, by Berlioz. Words by the composer, - based upon a scenario furnished by Liszt's friend, the - Princess Caroline Sayn-Wittgenstein. Produced, November 6, - 1890, in Karlsruhe, under the direction of Felix Mottl. - - CHARACTERS - - PRIAM _Bass_ - HECUBA _Contralto_ - CASSANDRA _Mezzo-Soprano_ - POLYXENA _Soprano_ - HECTOR'S ghost _Bass_ - ANDROMACHE } _Mutes_ - ASTYONAX } - NEAS _Tenor_ - ASCANIUS _Soprano_ - PANTHEUS _Bass_ - CHOROEBUS _Baritone_ - - _Time_--1183 B.C. - - _Place_--The Trojan Plain. - -Act I. The Greek camp before Troy. It has been deserted by the Greeks. -The people of Troy, rejoicing at what they believe to be the raising -of the siege, are bustling about the camp. Many of them, however, are -standing amazed about a gigantic wooden horse. There is only one -person who does not rejoice, _Cassandra_, _Priam's_ daughter, whose -clairvoyant spirit foresees misfortune. But no one believes her dire -prophecies, not even her betrothed, _Choroebus_, whom she implores -in vain to flee. - -Act II. In a grove near the walls of the city the Trojan people, with -their princes at their head, are celebrating the return of peace. -_Andromache_, however, sees no happiness for herself, since _Hector_ -has fallen. Suddenly _neas_ hurries in with the news that the priest -_Laocoon_, who had persisted in seeing in the wooden horse only a -stratagem of the Greeks, has been strangled by a serpent. Athena must -be propitiated; the horse must be taken into the city, to the sacred -Palladium, and there set up for veneration. Of no avail is -_Cassandra's_ wailing, when the goddess has so plainly indicated her -displeasure. - -Act III. _neas_ is sleeping in his tent. A distant sound of strife -awakens him. _Hector's Ghost_ appears to him. Troy is lost; far away, -to Italy, must _neas_ go, there to found a new kingdom. The _Ghost_ -disappears. The priest, _Pantheus_, rushes in, bleeding from wounds. -He announces that Greeks have come out of the belly of the horse and -have opened the gates of the city to the Greek army. Troy is in -flames. _neas_ goes forth to place himself at the head of his men. - -The scene changes to the vestal sanctuary in _Priam's_ palace. To the -women gathered in prayer _Cassandra_ announces that _neas_ has -succeeded in saving the treasure and covering a retreat to Mount Ida. -But her _Choroebus_ has fallen and she desires to live no longer. -Shall she become the slave of a Greek? She paints the fate of the -captive woman in such lurid colours that they decide to go to death -with her. Just as the Greeks rush in, the women stab themselves, and -grief overcomes even the hardened warriors. - - -PART II. "LES TROYENS CARTHAGE" - -THE TROJANS IN CARTHAGE - - Opera in five acts. Music by Berlioz. Words by the composer. - Produced, Paris, November 4, 1863, when it failed - completely. Revived, 1890, in Karlsruhe, under the direction - of Felix Mottl. Mottl's performances in Karlsruhe, in 1890, - of "La Prise de Troie" and "Les Troyens Carthage" - constituted the first complete production of "Les Troyens." - - CHARACTERS - - DIDO _Soprano_ - ANNA _Contralto_ - NEAS _Tenor_ - ASCANIUS _Soprano_ - PANTHEUS _Bass_ - NARBAL _Bass_ - JOPAS _Tenor_ - HYLAS _Tenor_ - - _Time_--1183 B.C. - - _Place_--Carthage. - -Act I. In the summer-house of her palace _Dido_ tells her retainers -that the savage Numidian King, Jarbas, has asked for her hand, but she -has decided to live only for the memory of her dead husband. Today, -however, shall be devoted to festive games. The lyric poet _Jopas_ -enters and announces the approach of strangers, who have escaped from -the dangers of the sea. They arrive and _Ascanius_, son of _neas_, -begs entertainment for a few days for himself and his companions. This -_Dido_ gladly grants them. Her Minister, _Narbal_, rushes in. The -Numidian king has invaded the country. Who will march against him? -_neas_, who had concealed himself in disguise among his sailors, -steps forth and offers to defend the country against the enemy. - -Act II. A splendid festival is in progress in Dido's garden in honour -of the victor, _neas_. _Dido_ loves _neas_, who tells her of -Andromache, and how, in spite of her grief over _Hector_, she has laid -aside her mourning and given her hand to another. Why should _Dido_ -not do likewise? Night closes in, and under its cover both pledge -their love and faith. - -Has _neas_ forgotten his task? To remind him, Mercury appears and -strikes resoundingly on the weapons that have been laid aside, while -invisible voices call out to _neas_: "Italie!" - -Act III. Public festivities follow the betrothal of _Dido_ and -_neas_. But _Dido's_ faithful Minister knows that, although _neas_ -is a kingly lover, it is the will of the gods that the Trojan proceed -to Italy; and that to defy the gods is fatal. - -Meanwhile the destiny of the lovers is fulfilled. During a hunt they -seek shelter from a thunderstorm in a cave. There they seal their love -compact. (This scene is in pantomime.) - -Act IV. The Trojans are incensed that _neas_ places love ahead of -duty. They have determined to seek the land of their destiny without -him. Finally _neas_ awakes from his infatuation and, when the voices -of his illustrious dead remind him of his duty, he resolves, in spite -of _Dido's_ supplications, to depart at once. - -Act V. Early morning brings to _Dido_ in her palace the knowledge that -she has lost _neas_ forever. She decides not to survive her loss. On -the sea beach she orders a huge pyre erected. All the love tokens of -the faithless one are fed to the flames. She herself ascends the pyre. -Her vision takes in the great future of Carthage and the greater one -of Rome. Then she throws herself on her lover's sword. - - -LA DAMNATION DE FAUST - -THE DAMNATION OF FAUST - - In its original form a "dramatic legend" in four parts for - the concert stage. Music by Hector Berlioz. Words, after - Gerald de Nerval's version of Goethe's play, by Berlioz, - Grard, and Gandonnire. Produced in its original form as a - concert piece at the Opra Comique, Paris, December 6, 1846; - London, two parts of the work, under Berlioz's direction, - Drury Lane, February 7, 1848; first complete performance in - England, Free Trade Hall, Manchester, February 5, 1880. New - York, February 12, 1880, by Dr. Leopold Damrosch. Adapted - for the operatic stage by Raoul Gunsberg, and produced by - him at Monte Carlo, February 18, 1893, with Jean de Reszke - as _Faust_; revived there March, 1902, with Melba, Jean de - Reszke, and Maurice Renaud. Given in Paris with Calv, - Alvarez, and Renaud, to celebrate the centennial of - Berlioz's birth, December 11, 1903. New York, Metropolitan - Opera House, December 7, 1906; Manhattan Opera House, - November 6, 1907, with Dalmors as _Faust_ and Renaud as - _Mphistophls_. - - CHARACTERS - - MARGUERITE _Soprano_ - FAUST _Tenor_ - MPHISTOPHLS _Bass_ - BRANDER _Bass_ - - Students, soldiers, citizens, men and women, fairies, etc. - - _Time_--Eighteenth Century. - - _Place_--A town in Germany. - -In the first part of Berlioz's dramatic legend _Faust_ is supposed to -be on the Plains of Hungary. Introspectively he sings of nature and -solitude. There are a chorus and dance of peasants and a recitative. -Soldiers march past to the stirring measures of the "Rkczy March," -the national air of Hungary. - -This march Berlioz orchestrated in Vienna, during his tour of 1845, -and conducted it at a concert in Pesth, when it created the greatest -enthusiasm. It was in order to justify the interpolation of this march -that he laid the first scene of his dramatic legend on the plains of -Hungary. Liszt claimed that his pianoforte transcription of the march -had freely been made use of by Berlioz, "especially in the harmony." - -In the operatic version Gunsbourg shows _Faust_ in a medival chamber, -with a view, through a window, of the sally-port of a castle, out of -which the soldiers march. At one point in the march, which Berlioz has -treated contrapuntally, and where it would be difficult for marchers -to keep step, the soldiers halt and have their standards solemnly -blessed. - -The next part of the dramatic legend only required a stage setting to -make it operatic. _Faust_ is in his study. He is about to quaff -poison, when the walls part and disclose a church interior. The -congregation, kneeling, sings the Easter canticle, "Christ is Risen." -Change of scene to Auerbach's cellar, Leipsic. Revel of students and -soldiers. _Brander_ sings the "Song of the Rat," whose death is -mockingly grieved over by a "Requiescat in pace" and a fugue on the -word "Amen," sung by the roistering crowd. _Mphistophls_ then -"obliges" with the song of the flea, in which the skipping about of -the elusive insect is depicted in the accompaniment. - -In the next scene in the dramatic legend, _Faust_ is supposed to be -asleep on the banks of the Elbe. Here is the most exquisite effect of -the score, the "Dance of the Sylphs," a masterpiece of delicate and -airy illustration. Violoncellos, _con sordini_, hold a single note as -a pedal point, over which is woven a gossamer fabric of melody and -harmony, ending with the faintest possible pianissimo from drum and -harps. Gunsbourg employed here, with admirable results, the arial -ballet, and has given a rich and beautiful setting to the scene, -including a vision of _Marguerite_. The ballet is followed by a chorus -of soldiers and a students' song in Latin. - -The scenic directions of Gounod's "Faust" call _Marguerite's_ -house--so much of it as is projected into the garden scene--a -pavilion. Gunsbourg makes it more like an arbour, into which the -audience can see through the elimination of a supposedly existing -wall, the same as in _Sparafucile's_ house, in the last act of -"Rigoletto." Soldiers and students are strolling and singing in the -street. _Marguerite_ sings the ballad of the King of Thule. Berlioz's -setting of the song is primitive. He aptly characterizes the number as -a "Chanson Gothique." The "Invocation" of _Mphistophls_ is followed -by the "Dance of Will-o'-the-Wisps." Then comes _Mphistophls's_ -barocque serenade. _Faust_ enters _Marguerite's_ pavilion. There is a -love duet, which becomes a trio when _Mphistophls_ joins the -lovers and urges _Faust's_ departure. - -_Marguerite_ is alone. Berlioz, instead of using Goethe's song, "Meine -Ruh ist hin" (My peace is gone), the setting of which by Schubert is -famous, substitutes a poem of his own. The unhappy _Marguerite_ sings, -"D'Amour, l'ardente flamme" (Love, devouring fire). - -The singing of the students and the soldiers grows fainter. The -"retreat"--the call to which the flag is lowered at sunset--is sounded -by the drums and trumpets. _Marguerite_, overcome by remorse, swoons -at the window. - -A mountain gorge. _Faust's_ soliloquy, "Nature, immense, impntrable -et fire" (Nature, vast, unfathomable and proud). The "Ride to Hell"; -moving panorama; pandemonium; redemption of _Marguerite_, whom angels -are seen welcoming in the softly illumined heavens far above the town, -in which the action is supposed to have transpired. - -The production by Dr. Leopold Damrosch of "La Damnation de Faust" in -its original concert form in New York, was one of the sensational -events of the concert history of America. As an opera, however, the -work has failed so far to make the impression that might have been -expected from its effect on concert audiences; "... the experiment, -though tried in various theatres," says Grove's _Dictionary of Music -and Musicians_, "has happily not been permanently successful." Why -"happily"? It would be an advantage to operatic art if a work by so -distinguished a composer as Berlioz could find a permanent place in -the repertoire. - -Gounod's "Faust," Boto's "Mefistofele," and Berlioz's "La Damnation -de Faust" are the only settings of the Faust legend, or, more properly -speaking, of Goethe's "Faust," with which a book on opera need concern -itself. Gounod's "Faust," with its melodious score, and full of a -sentiment that more than occasionally verges on sentimentality, has -genuine popular appeal, and is likely long to maintain itself in the -repertoire. "Mefistofele," nevertheless, is the profounder work. -Boto, in his setting, sounds Goethe's drama to greater depths than -Gounod. It always will be preferred by those who do not have to be -written down to. "La Damnation de Faust," notwithstanding its -brilliant and still modern orchestration, is the most truly medival -of the three scores. Berlioz himself characterizes the ballad of the -King of Thule as "Gothic." The same spirit of the Middle Ages runs -through much of the work. In several important details the operatic -adaptation has been clumsily made. Were it improved in these details, -this "Faust" of Berlioz would have a chance of more than one revival. - - - - -F. von Flotow - - -MARTHA - - Opera in four acts, by Friedrich von Flotow; words by - Wilhelm Friedrich Riese, the plot based on a French ballet - pantomime by Jules H. Vernoy and Marquis St. Georges (see p. - 559). Produced at the Imperial Opera House, Vienna, November - 25, 1847. Covent Garden, London, July 1, 1858, in Italian; - in English at Drury Lane, October 11, 1858. Paris, Thtre - Lyrique, December 16, 1865, when was interpolated the famous - air "M'appar," from Flotow's two-act opera, "L'me en - Peine," produced at the Grand Opra, Paris, June, 1846. New - York, Niblo's Garden, November 1, 1852, with Mme. Anna - Bishop; in French, at New Orleans, January 27, 1860. An - opera of world-wide popularity, in which, in this country, - the title rle has been sung by Nilsson, Patti, Gerster, - Kellogg, Parepa-Rosa, and Sembrich, and _Lionel_ by - Campanini and Caruso. - - CHARACTERS - - LADY HARRIET DURHAM, Maid of Honor to - Queen Anne _Soprano_ - LORD TRISTAN DE MIKLEFORD, her cousin _Bass_ - PLUNKETT, a young farmer _Bass_ - LIONEL, his foster-brother. Afterwards - Earl of Derby _Tenor_ - NANCY, waiting-maid to Lady Harriet _Contralto_ - SHERIFF _Bass_ - THREE MAN SERVANTS _Tenor_ and two _Basses_ - THREE MAID SERVANTS _Soprano_ and two _Mezzo-Sopranos_ - - Courtiers, pages, ladies, hunters and huntresses, farmers, - servants, etc. - - _Time_--About 1710. - - _Place_--In and near Richmond. - -The first act opens in _Lady Harriet's_ boudoir. The second scene of -this act is the fair at Richmond. The scene of the second act is laid -in _Plunkett's_ farmhouse; that of the third in a forest near -Richmond. The fourth act opens in the farmhouse and changes to _Lady -Harriet's_ park. - -Act I. Scene 1. The _Lady Harriet_ yawned. It was dull even at the -court of Queen Anne. - -"Your Ladyship," said _Nancy_, her sprightly maid, "here are flowers -from _Sir Tristan_." - -"Their odour sickens me," was her ladyship's weary comment. - -"And these diamonds!" urged _Nancy_, holding up a necklace for her -mistress to view. - -"They hurt my eyes," said her ladyship petulantly. - -The simple fact is the _Lady Harriet_, like many others whose -pleasures come so easily that they lack zest, was bored. Even the -resourceful _Nancy_, a prize among maids, was at last driven to -exclaim: - -"If your ladyship only would fall in love!" - -But herein, too, _Lady Harriet_ had the surfeit that creates -indifference. She had bewitched every man at court only to remain -unmoved by their protestations of passion. Even as _Nancy_ spoke, a -footman announced the most persistent of her ladyship's suitors, _Sir -Tristan of Mikleford_, an elderly cousin who presumed upon his -relationship to ignore the rebuffs with which she met his suit. _Sir -Tristan_ was a creature of court etiquette. His walk, his gesture, -almost his speech itself were reduced to rule and method. The -stiffness that came with age made his exaggerated manner the more -ridiculous. In fact he was the incarnation of everything that the -_Lady Harriet_ was beginning to find intolerably tedious. - -"Most respected cousin, Lady in Waiting to Her Most Gracious Majesty," -he began sententiously, and would have added all her titles had she -not cut him short with an impatient gesture, "will your ladyship seek -diversion by viewing the donkey races with me today?" - -"I wonder," _Nancy_ whispered so that none but her mistress could -hear, "if he is going to run in the races himself?" which evoked from -the _Lady Harriet_ the first smile that had played around her lips -that day. Seeing this and attributing it to her pleasure at his -invitation _Sir Tristan_ sighed like a wheezy bellows and cast -sentimental glances at her with his watery eyes. To stop this -ridiculous exhibition of vanity her ladyship straightway sent him -trotting about the room on various petty pretexts. "Fetch my fan, -Sir!--Now my smelling salts--I feel a draught. Would you close the -window, cousin? Ah, I stifle for want of air! Open it again!" - -To these commands _Sir Tristan_ responded with as much alacrity as his -stiff joints would permit, until _Nancy_ again whispered to her -mistress, "See! He is running for the prize!" - -Likely enough _Sir Tristan's_ fair cousin soon would have sent him on -some errand that would have taken him out of her presence. But when he -opened the window again, in came the strains of a merry chorus sung by -fresh, happy voices of young women who, evidently, were walking along -the highway. The _Lady Harriet's_ curiosity was piqued. Who were these -women over whose lives ennui never seemed to have hung like a pall? -_Nancy_ knew all about them. They were servants on the way to the -Richmond fair to hire themselves out to the farmers, according to -time-honoured custom. - -[Illustration: Photo by White - -Ober and De Luca; Caruso and Hempel in "Martha"] - -The Richmond fair! To her ladyship's jaded senses it conveyed a -suggestion of something new and frolicsome. "Nancy," she cried, -carried away with the novelty of the idea, "let us go to the fair -dressed as peasant girls and mingle with the crowd! Who knows, someone -might want to hire us! I will call myself Martha, you can be Julia, -and you, cousin, can drop your title for the nonce and go along with -us as plain Bob!" And when _Sir Tristan_, shocked at the thought that -a titled lady should be willing so to lower herself, to say nothing of -the part he himself was asked to play, protested, she appealed to him -with a feigned tenderness that soon won his consent to join them in -their lark. Then to give him a foretaste of what was expected of him, -they took him, each by an arm, and danced him about the room, shouting -with mock admiration as he half slid, half stumbled, "Bravo! What -grace! What agility!" - -The _Lady Harriet_ actually was enjoying herself. - -Scene 2. Meanwhile the Richmond fair was at its height. From a large -parchment the pompous _Sheriff_ had read the law by which all -contracts for service made at the fair were binding for at least one -year as soon as money had passed. Among those who had come to bid were -a sturdy young farmer, _Plunkett_, and his foster-brother _Lionel_. -The latter evidently was of a gentler birth, but his parentage was -shrouded in mystery. As a child he had been left with _Plunkett's_ -mother by a fugitive, an aged man who, dying from exposure and -exhaustion, had confided the boy to her care, first, however, handing -her a ring with the injunction that if misfortune ever threatened the -boy, to show the ring to the queen. - -One after another the girls proclaimed their deftness at cooking, -sewing, gardening, poultry tending, and other domestic and rural -accomplishments, the _Sheriff_ crying out, "Four guineas! Who'll have -her?--Five guineas! Who'll try her?" Many of them cast eyes at the -two handsome young farmers, hoping to be engaged by them. But they -seemed more critical than the rest. - -Just then they heard a young woman's voice behind them call out, "No, -I won't go with you!" and, turning, they saw two sprightly young women -arguing with a testy looking old man who seemed to have a ridiculous -idea of his own importance. _Lionel_ and _Plunkett_ nudged each other. -Never had they seen such attractive looking girls. And when they heard -one of them call out again to the old man, "No, we won't go with -you!"--for _Sir Tristan_ was urging the _Lady Harriet_ and _Nancy_ to -leave the fair--the young men hurried over to the group. - -"Can't you hear her say she won't go with you?" asked _Lionel_, while -_Plunkett_ called out to the girls near the _Sheriff's_ stand, "Here, -girls, is a bidder with lots of money!" A moment later the absurd old -man was the centre of a rioting, shouting crowd of girls, who followed -him when he tried to retreat, so that finally "Martha" and "Julia" -were left quite alone with the two men. The young women were in high -spirits. They had sallied forth in quest of adventure and here it was. -_Lionel_ and _Plunkett_, on the other hand, suddenly had become very -shy. There was in the demeanour of these girls something quite -different from what they had been accustomed to in other serving -maids. Somehow they had an "air," and it made the young men bashful. -_Plunkett_ tried to push _Lionel_ forward, but the latter hung back. - -"Watch me then," said _Plunkett_. He advanced as if to speak to the -young women, but came to a halt and stood there covered with -confusion. It chanced that _Lady Harriet_ and _Nancy_ had been -watching these men with quite as much interest as they had been -watched by them. _Lionel_, who bore himself with innate grace and -refinement under his peasant garb, had immediately attracted "Martha," -while the sturdier _Plunkett_ had caught "Julia's" eye, and they were -glad when, after a few slyly reassuring glances from them, _Plunkett_ -overcame his hesitancy and spoke up: - -"You're our choice, girls! We'll pay fifty crowns a year for wages, -with half a pint of ale on Sundays and plum pudding on New Year's -thrown in for extras." - -"Done!" cried the girls, who thought it all a great lark, and a moment -later the _Lady Harriet_ had placed her hand in _Lionel's_ and _Nancy_ -hers in _Plunkett's_ and money had passed to bind the bargain. - -And now, thinking the adventure had gone far enough and that it was -time for them to be returning to court, they cast about them for _Sir -Tristan_. He, seeing them talking on apparently intimate terms with -two farmers, was scandalized and, having succeeded in standing off the -crowd by scattering money about him, he called out brusquely, "Come -away!" - -"Come away?" repeated _Plunkett_ after him. "_Come away?_ Didn't these -girls let you know plainly enough a short time ago that they wouldn't -hire out to you?" - -"But I rather think," interposed "Martha," who was becoming slightly -alarmed, "that it is time for 'Julia' and myself to go." - -"What's that!" exclaimed _Plunkett_. "_Go?_ No, indeed," he added with -emphasis. "You may repent of your bargain, though I don't see why. But -it is binding for a year." - -"If only you knew who," began _Sir Tristan_, and he was about to tell -who the young women were. But "Martha" quickly whispered to him not to -disclose their identity, as the escapade, if it became known, would -make them the sport of the court. Moreover _Plunkett_ and _Lionel_ -were growing impatient at the delay and, when the crowd again gathered -about _Sir Tristan_, they hurried off the girls,--who did not seem to -protest as much as might have been expected,--lifted them into a farm -wagon, and drove off, while the crowd blocked the blustering knight -and jeered as he vainly tried to break away in pursuit. - -Act II. The adventure of the _Lady Harriet_ and her maid _Nancy_, so -lightly entered upon, was carrying them further than they had -expected. To find themselves set down in a humble farmhouse, as they -did soon after they left the fair, and to be told to go into the -kitchen and prepare supper, was more than they had bargained for. - -"Kitchen work!" exclaimed the _Lady Harriet_ contemptuously. - -"Kitchen work!" echoed _Nancy_ in the same tone of voice. - -_Plunkett_ was for having his orders carried out. But _Lionel_ -interceded. A certain innate gallantry that already had appealed to -her ladyship, made him feel that although these young women were -servants, they were, somehow, to be treated differently. He suggested -as a substitute for the kitchen that they be allowed to try their -hands at the spinning wheels. But they were so awkward at these that -the men sat down to show them how to spin, until _Nancy_ brought the -lesson to an abrupt close by saucily overturning _Plunkett's_ wheel -and dashing away with the young farmer in pursuit, leaving _Lionel_ -and "Martha" alone. - -It was an awkward moment for her ladyship, since she could hardly fail -to be aware that _Lionel_ was regarding her with undisguised -admiration. To relieve the situation she began to hum and, finally, to -sing, choosing her favorite air, "The Last Rose of Summer." But it had -the very opposite effect of what she had planned. For she sang the -charming melody so sweetly and with such tender expression that -Lionel, completely carried away, exclaimed: "Ah, Martha, if you were -to marry me, you no longer would be a servant, for I would raise you -to my own station!" - -As _Lionel_ stood there she could not help noting that he was handsome -and graceful. Yet that a farmer should suggest to her, the spoiled -darling of the court, that he would raise her to _his_ station, struck -her as so ridiculous that she burst out laughing. Just then, -fortunately, _Plunkett_ dragged in _Nancy_, whom he had pursued into -the kitchen, where she had upset things generally before he had been -able to seize her; and a distant tower clock striking midnight, the -young farmers allowed their servants, whose accomplishments as such, -if they had any, so far remained undiscovered, to retire to their -room, while they sought theirs, but not before _Lionel_ had whispered: - -"Perchance by the morrow, Martha, you will think differently of what I -have said and not treat it so lightly." - -Act III. But when morning came the birds had flown the cage. There was -neither a Martha nor a Julia in the little farmhouse, while at the -court of Queen Anne a certain _Lady Harriet_ and her maid _Nancy_ were -congratulating themselves that, after all, an old fop named _Sir -Tristan of Mikleford_ had had sense enough to be in waiting with a -carriage near the farmhouse at midnight and helped them escape through -the window. It even is not unlikely that within a week the _Lady -Harriet_, who was so anxious not to have her escapade become known, -might have been relating it at court as a merry adventure and that -_Nancy_ might have been doing the same in the servants' hall. But -unbeknown to the others, there had been a fifth person in the little -farmhouse, none other than Dan Cupid, who had hidden himself, perhaps -behind the clock, and from this vantage place of concealment had -discharged arrows, not at random, but straight at the hearts of two -young women and two young men. And they had not recovered from their -wounds. The _Lady Harriet_ no longer was bored; she was sad; and even -_Nancy_ had lost her sprightliness. The two men, one of them so -courteous despite his peasant garb, the other sturdy and commanding, -with whom their adventure had begun at the Richmond fair and ended -after midnight at the farmhouse, had brought some zest into their -lives; they were so different from the smooth, insincere courtiers by -whom the _Lady Harriet_ had been surrounded and from the men servants -who aped their masters and with whom _Nancy_ had been thrown when she -was not with her ladyship. The simple fact is that the _Lady Harriet_ -and _Nancy_, without being certain of it themselves, were in love, her -ladyship with _Lionel_ and _Nancy_ with _Plunkett_. Of course, there -was the difference in station between _Lady Harriet_ and _Lionel_. But -he had the touch of innate breeding that made her at times forget that -he was a peasant while she was a lady of title. As for _Nancy_ and -_Plunkett_, that lively young woman felt that she needed just such a -strong hand as his to keep her out of mischief. And so it happened -that the diversions of the court again palled upon them and that, when -a great hunt was organized in which the court ladies were asked to -join, the _Lady Harriet_, although she looked most dapper in her -hunting costume, found the sport without zest and soon wandered off -into the forest solitudes. - -Here, too, it chanced that _Lionel_, in much the same state of mind -and heart as her ladyship, was wandering, when, suddenly looking up, -he saw a young huntress in whom, in spite of her different costume, he -recognized the "Martha" over whose disappearance he had been grieving. -But she was torn by conflicting feelings. However her heart might go -out toward _Lionel_, her pride of birth still rebelled against -permitting a peasant to address words of love to her. "You are -mistaken. I do not know you!" she exclaimed. And when he first -appealed to her in passionate accents and then in anger began to -upbraid her for denying her identity to him who was by law her master, -she cried out for help, bringing not only _Sir Tristan_ but the entire -hunting train to her side. Noting the deference with which she was -treated and hearing her called "My Lady," _Lionel_ now perceived the -trick that had been played upon himself and _Plunkett_ at the fair. -Infuriated at the heartless deceit of which he was a victim, he -protested: "But if she accepted earnest money from me, if she bound -herself to serve me for a year----" - -He was interrupted by a shout of laughter from the bystanders, and the -_Lady Harriet_, quickly profiting by the incredulity with which his -words were received, exclaimed: - -"I never have laid eyes on him before. He is a madman and should be -apprehended!" - -Immediately _Lionel_ was surrounded and might have been roughly -handled, had not my lady herself, moved partly by pity, partly by a -deeper feeling that kept asserting itself in spite of all, begged that -he be kindly treated. - -Act IV. Before very long, however, there was a material change in the -situation. In his extremity, _Lionel_ remembered about his ring and he -asked _Plunkett_ to show it to the queen and plead his cause. The ring -proved to have been the property of the Earl of Derby. It was that -nobleman who, after the failure of a plot to recall James II. from -France and restore him to the throne, had died a fugitive and confided -his son to the care of _Plunkett's_ mother, and that son was none -other than _Lionel_, now discovered to be the rightful heir to the -title and estates. Naturally he was received with high favor at the -court of Anne, the daughter of the king to whom the old earl had -rendered such faithful service. - -Despite his new honours, however, _Lionel_ was miserably unhappy. He -was deeply in love with the _Lady Harriet_. Yet he hardly could bring -himself to speak to her, let alone appear so much as even to notice -the advances which she, in her contrition, so plainly made toward him. -So, while she too suffered, he went about lonely and desolate, eating -out his heart with love and the feeling of injured pride that -prevented him from acknowledging it. - -This sad state of affairs might have continued indefinitely had not -_Nancy's_ nimble wit come to the rescue. She and _Plunkett_, after -meeting again, had been quick in coming to an understanding, and now -the first thing they did was to plan how to bring together _Lionel_ -and the _Lady Harriet_, who were so plainly in love with each other. -One afternoon _Plunkett_ joined _Lionel_ in his lonely walk and, -unknown to him, gradually guided him into her ladyship's garden. A -sudden turn in the path brought them in view of a bustling scene. -There were booths as at the Richmond fair, a crowd of servants and -farmers and a sheriff calling out the accomplishments of the girls. As -the crowd saw the two men, there was a hush. Then above it _Lionel_ -heard a sweet, familiar voice singing: - - 'Tis the last rose of summer, - Left blooming alone; - All her lovely companions - Are faded and gone; - No flower of her kindred, - No rosebud is nigh - To reflect back her blushes, - Or give sigh for sigh. - - I'll not leave thee, thou lone one, - To pine on the stem; - Since the lonely are sleeping, - Go sleep thou with them, - Thus kindly I scatter - Thy leaves o'er the bed-- - Where thy mates of the garden - Lie scentless and dead. - -The others quickly vanished. "Martha!" cried _Lionel_. "Martha! Is it -really you?" She stood before him in her servant's garb, no longer, -however, smiling and coquettish as at Richmond, but with eyes cast -down and sad. - -And then as if answering to a would-be master's question of "What can -you do?" she said: "I can forget all my dreams of wealth and gold. I -can despise all the dross in which artifice and ignoble ambition mask -themselves. I can put all these aside and remember only those accents -of love and tenderness that I would have fall upon my hearing once -more." She raised her eyes pleadingly to _Lionel_. All that had -intervened was swept away. _Lionel_ saw only the girl he loved. And, a -moment later, he held his "Martha" in his arms. - - * * * * * - -"Martha" teems with melody. The best-known airs are "The Last Rose of -Summer" and _Lionel's_ "M'appar" (Like a dream). The best ensemble -piece, a quintet with chorus, occurs near the close of Act III.--"Ah! -che a voi perdoni Iddio" (Ah! May Heaven to you grant pardon). The -spinning-wheel quartet in Act II is most sprightly. But, as indicated, -there is a steady flow of light and graceful melody in this opera. -Almost at the very opening of Act I, _Lady Harriet_ and _Nancy_ have a -duet, "Questo duol che si v'affana" (Of the knights so brave and -charming). Bright, clever music abounds in the Richmond fair scene, -and _Lionel_ and _Plunkett_ express their devotion to each other in -"Solo, profugo, reietto" (Lost, proscribed, a friendless wanderer), -and "Ne giammai saper potemmo" (Never have we learned his station). -Then there is the gay quartet when the two girls leave the fair with -their masters, while the crowd surrounds _Sir Tristan_ and prevents -him from breaking through and interfering. It was in this scene that -the bass singer Castelmary, the _Sir Tristan_ of a performance of -"Martha" at the Metropolitan Opera House, February 10, 1897, was -stricken with heart failure and dropped dead upon the stage. - -A capital quartet opens Act II, in the farmhouse, and leads to the -spinning-wheel quartet, "Di vederlo" (What a charming occupation). -There is a duet between _Lady Harriet_ and _Lionel_, in which their -growing attraction for each other finds expression, "Il suo sguardo -dolce tanto" (To his eye, mine gently meeting). Then follows "Qui -sola, vergin rosa" ('Tis the last rose of summer), the words a poem by -Tom Moore, the music an old Irish air, "The Groves of Blarney," to -which Moore adapted "The Last Rose of Summer." A new and effective -touch is given to the old song by Flotow in having the tenor join with -the soprano at the close. Moreover, the words and music fit so -perfectly into the situation on the stage that for Flotow to have -"lifted" and interpolated them into his opera was a master-stroke. To -it "Martha" owes much of its popularity. - -[Music: 'Tis the last rose of summer, left blooming alone,] - -There is a duet for _Lady Harriet_ and _Lionel_, "Ah! ride del mio -pianto" (She is laughing at my sorrow). The scene ends with another -quartet, one of the most beautiful numbers of the score, and known as -the "Good Night Quartet," "Dormi pur, ma il mio riposo" (Cruel one, -may dreams transport thee). - -Act III, played in a hunting park in Richmond forest, on the left a -small inn, opens with a song in praise of porter, the "Canzone del -Porter" by _Plunkett_, "Chi mi dir?" (Will you tell me). The pices -de rsistance of this act are the "M'appar"; a solo for _Nancy_, "Il -tuo stral nel lanciar" - -[Music] - -(Huntress fair, hastens where); _Martha's_ song, "Qui tranquilla almen -poss'io" (Here in deepest forest shadows); and the stirring quintet -with chorus. - -[Music] - -In Act IV there are a solo for _Plunkett_, "Il mio Lionel perir" -(Soon my Lionel will perish), and a repetition of some of the -sprightly music of the fair scene. - - * * * * * - -It is not without considerable hesitation that I have classed "Martha" -as a French opera. For Flotow was born in Teutendorf, April 27, 1812, -and died in Darmstadt January 24, 1883. Moreover, "Martha," was -produced in Vienna, and his next best-known work, "Alessandro -Stradella," in Hamburg (1844). - -The music of "Martha," however, has an elegance that not only is quite -unlike any music that has come out of Germany, but is typically -French. Flotow, in fact, was French in his musical training, and both -the plot and score of "Martha" were French in origin. The composer -studied composition in Paris under Reicha, 1827-30, leaving Paris -solely on account of the July revolution, and returning in 1835, to -remain until the revolution in March, 1848, once more drove him away. -After living in Paris again, 1863-8, he settled near Vienna, making, -however, frequent visits to that city, the French capital, and Italy. - -During his second stay in Paris he composed for the Grand Opra the -first act of a ballet, "Harriette, ou la Servante de Greenwiche." This -ballet, the text by Vernoy and St. George, was for Adle Dumiltre. -The reason Flotow was entrusted with only one of the three acts was -the short time in which it was necessary to complete the score. The -other acts were assigned, one each, to Robert Bergmller and douard -Deldevez. Of this ballet, written and composed for a French dancer and -a French audience, "Martha" is an adaptation. This accounts for its -being so typically French and not in the slightest degree German. -Flotow's opera "Alessandro Stradella" also is French in origin. It is -adapted from a one-act _pice lyrique_, brought out by him in Paris, -in 1837. Few works produced so long ago as "Martha" have its -freshness, vivacity, and charm. Pre-eminently graceful, it yet carries -in a large auditorium like the Metropolitan, where so many operas of -the lighter variety have been lost in space. - - - - -Charles Franois Gounod - -(1818-1893) - - -The composer of "Faust" was born in Paris, June 17, 1818. His father -had, in 1783, won the second prix de Rome for painting at the cole -des Beaux Arts. In 1837, the son won the second prix de Rome for -music, and two years later captured the grand prix de Rome, by -twenty-five votes out of twenty-seven, at the Paris Conservatoire. His -instructors there had been Reicha in harmony, Halvy in counterpoint -and fugue, and Leseur in composition. - -Gounod's first works, in Rome and after his return from there, were -religious. At one time he even thought of becoming an abb, and on the -title-page of one of his published works he is called Abb Charles -Gounod. A performance of his "Messe Solenelle" in London evoked so -much praise from both English and French critics that the Grand Opra -commissioned him to write an opera. The result was "Sapho," performed -April 16, 1851, without success. It was his "Faust" which gave him -European fame. "Faust" and his "Romo et Juliette" (both of which see) -suffice for the purposes of this book, none of his other operas having -made a decided success. - -"La Rdemption," and "Mors et Vita," Birmingham, England, 1882 and -1885, are his best-known religious compositions. They are "sacred -trilogies." Gounod died, Paris, October 17, 1893. - -In Dr. Theodore Baker's _Biographical Dictionary of Musicians_ -Gounod's merits as a composer are summed up as follows: "Gounod's -compositions are of highly poetic order, more spiritualistic than -realistic; in his finest lyrico-dramatic moments he is akin to Weber, -and his modulation even reminds of Wagner; his instrumentation and -orchestration are frequently original and masterly." These words are -as true today as when they were written, seventeen years ago. - - -FAUST - - Opera, in five acts, by Gounod; words by Barbier and Carr. - Produced, Thtre Lyrique, Paris, March 19, 1859, with - Miolan-Carvalho as _Marguerite_; Grand Opra, Paris, March - 3, 1869, with Christine Nilsson as _Marguerite_, Colin as - _Faust_, and Faure as _Mphistophls_. London, Her - Majesty's Theatre, June 11, 1863; Royal Italian Opera, - Covent Garden, July 2, 1863, in Italian, as "Faust e - Margherita"; Her Majesty's Theatre, January 23, 1864, in an - English version by Chorley, for which, Santley being the - _Valentine_, Gounod composed what was destined to become one - of the most popular numbers of the opera, "Even bravest - heart may swell" ("_Dio possente_"). New York, Academy of - Music, November 26, 1863, in Italian, with Clara Louise - Kellogg (_Margherita_), Henrietta Sulzer (_Siebel_), Fanny - Stockton (_Martha_), Francesco Mazzoleni (_Faust_), Hannibal - Biachi (_Mphistophls_), G. Yppolito (_Valentine_), D. - Coletti (_Wagner_). Metropolitan Opera House, opening night, - October 22, 1883, with Nilsson, Scalchi, Lablache, - Campanini, Novara, Del Puente. - - CHARACTERS - - FAUST, a learned doctor _Tenor_ - MPHISTOPHLS, Satan _Bass_ - MARGUERITE _Soprano_ - VALENTINE, a soldier, brother - to Marguerite _Baritone_ - SIEBEL, a village youth, in love - with Marguerite _Mezzo-Soprano_ - WAGNER, a student _Baritone_ - MARTHA SCHWERLEIN, neighbour - to Marguerite _Mezzo-Soprano_ - - Students, soldiers, villagers, angels, demons, Cleopatra, - Las, Helen of Troy, and others. - - _Time_--16th Century. - - _Place_--Germany. - -[Illustration: Copyright photo by Dupont - -Planon as Mphistophls in "Faust"] - -Popular in this country from the night of its American production, -Gounod's "Faust" nevertheless did not fully come into its own here -until during the Maurice Grau rgime at the Metropolitan Opera House. -Sung in French by great artists, every one of whom was familiar with -the traditions of the Grand Opra, Paris, the work was given so often -that William J. Henderson cleverly suggested "Faustspielhaus" as an -appropriate substitute for the name of New York's yellow brick temple -of opera; a _mot_ which led Krehbiel, in a delightful vein of banter, -to exclaim, "Henderson, your German jokes are better than your serious -German!" - -Several distinguished singers have been heard in this country in the -rle of _Faust_. It is doubtful if that beautiful lyric number, -_Faust's_ romance, "Salut! demeure chaste et pure" (Hail to the -dwelling chaste and pure), ever has been delivered here with more -exquisite vocal phrasing than by Campanini, who sang the Italian -version, in which the romance becomes "Salve! dimora casta e pura." -That was in the old Academy of Music days, with Christine Nilsson as -_Marguerite_, which she had sung at the revival of the work by the -Paris Grand Opra. The more impassioned outbursts of the _Faust_ rle -also were sung with fervid expression by Campanini, so great an -artist, in the best Italian manner, that he had no Italian successor -until Caruso appeared upon the scene. - -Yet, in spite of the _Faust_ of these two Italian artists, Jean de -Reszke remains the ideal _Faust_ of memory. With a personal appearance -distinguished beyond that of any other operatic artist who has been -heard here, an inborn chivalry of deportment that made him a lover -after the heart of every woman, and a refinement of musical expression -that clarified every rle he undertook, his _Faust_ was the most -finished portrayal of that character in opera that has been heard -here. Jean de Reszke's great distinction was that everything he did -was in perfect taste. Haven't you seen _Faust_ after _Faust_ keep his -hat on while making love to _Marguerite_? Jean de Reszke, a gentleman, -removed his before ever he breathed of romance. Muratore is an -admirable _Faust_, with all the refinements of phrasing and acting -that characterize the best traditions of the Grand Opra, Paris. - -Great tenors do not, as a rule, arrive in quick succession. In this -country we have had two distinct tenor eras and now are in a third. We -had the era of Italo Campanini, from 1873 until his voice became -impaired, about 1880. Not until eleven years later, 1891, did opera in -America become so closely associated with another tenor, that there -may be said to have begun the era of Jean de Reszke. It lasted until -that artist's voluntary retirement. We are now in the era of Enrico -Caruso, whose repertoire includes _Faust_ in French. - -Christine Nilsson, Adelina Patti, Melba, Eames, Calv, have been among -the famous _Marguerites_ heard here. Nilsson and Eames may have seemed -possessed of too much natural reserve for the rle; but Gounod's -librettists made _Marguerite_ more refined than Goethe's _Gretchen_. -Patti acted the part with great simplicity and sang it flawlessly. In -fact her singing of the ballad "Il tait un roi de Thul" (There once -was a king of Thule) was a perfect example of the artistically artless -in song. It seemed to come from her lips merely because it chanced to -be running through her head. Melba's type of beauty was somewhat -mature for the impersonation of the character, but her voice lent -itself beautifully to it. Calv's _Marguerite_ is recalled as a -logically developed character from first note to last, and as one of -the most original and interesting of _Marguerites_. But Americans -insisted on Calv's doing nothing but _Carmen_. When she sang in -"Faust" she appeared to them a _Carmen_ masquerading as _Marguerite_. -So back to _Carmen_ she had to go. Sembrich and Farrar are other -_Marguerites_ identified with the Metropolitan Opera House. - -Planon unquestionably was the finest _Mphistophls_ in the history -of the opera in America up to the present time--vivid, sonorous, and -satanically polished or fantastical, as the rle demanded. - -Gounod's librettists, Michel Carr and Jules Barbier, with a true -Gallic gift for practicable stage effect, did not seek to utilize the -whole of Goethe's "Faust" for their book, but contented themselves -with the love story of _Faust_ and _Marguerite_, which also happens to -have been entirely original with the author of the play, since it does -not occur in the legends. But because the opera does not deal with the -whole of "Faust," Germany, where Gounod's work enjoys great -popularity, refuses to accept it under the same title as the play, and -calls it "Margarethe" after the heroine. - -As reconstructed for the Grand Opra, where it was brought out ten -years after its production at the Thtre Lyrique, "Faust" develops as -follows: - -There is a brief prelude. A _ff_ on a single note, then mysterious, -chromatic chords, and then the melody which Gounod composed for -Santley. - -Act I. _Faust's_ study. The philosopher is discovered alone, seated at -a table on which an open tome lies before him. His lamp flickers in -its socket. Night is about turning to dawn. - -_Faust_ despairs of solving the riddle of the universe. Aged, his -pursuit of science vain, he seizes a flask of poison, pours it into a -crystal goblet, and is about to drain it, when, day having dawned, the -cheerful song of young women on their way to work arrests him. The -song dies away. Again he raises the goblet, only to pause once more, -as he hears a chorus of labourers, with whose voices those of the -women unite. _Faust_, beside himself at these sounds of joy and youth, -curses life and advancing age, and calls upon Satan to aid him. - -There is a flash of red light and out of it, up through the floor, -rises _Mphistophls_, garbed as a cavalier, and in vivid red. -Alternately suave, satirical, and demoniacal in bearing, he offers to -_Faust_ wealth and power. The philosopher, however, wants neither, -unless with the gift also is granted youth. "Je veux la jeunesse" -(What I long for is youth). That is easy for his tempter, if the aged -philosopher, with pen dipped in his blood, will but sign away his -soul. _Faust_ hesitates. At a gesture from _Mphistophls_ the scene -at the back opens and discloses _Marguerite_ seated at her -spinning-wheel, her long blond braid falling down her back. " -Merveille!" (A miracle!) exclaims _Faust_, at once signs the -parchment, and drains to the vision of _Marguerite_ a goblet proffered -him by _Mphistophls_. The scene fades away, the philosopher's garb -drops off _Faust_. The grey beard and all other marks of old age -vanish. He stands revealed a youthful gallant, eager for adventure, -instead of the disappointed scholar weary of life. There is an -impetuous duet for _Faust_ and _Mphistophls_: " moi les plaisirs" -('Tis pleasure I covet). They dash out of the cell-like study in which -_Faust_ vainly has devoted himself to science. - -Act II. Outside of one of the city gates. To the left is an inn, -bearing as a sign a carved image of Bacchus astride a keg. It is -kermis time. There are students, among them _Wagner_, burghers old and -young, soldiers, maidens, and matrons. - -The act opens with a chorus. "Faust" has been given so often that this -chorus probably is accepted by most people as a commonplace. In point -of fact it is an admirable piece of characterization. The groups of -people are effectively differentiated in the score. The toothless -chatter of the old men (in high falsetto) is an especially amusing -detail. In the end the choral groups are deftly united. - -_Valentine_ and _Siebel_ join the kermis throng. The former is -examining a medallion which his sister, _Marguerite_, has given him as -a charm against harm in battle. He sings a cavatina. It is this number -which Gounod composed for Santley. As most if not all the performances -of "Faust" in America, up to the time Grau introduced the custom of -giving opera in the language of the original score, were in Italian, -this cavatina is familiarly known as the "Dio possente" (To thee, O -Father!). In French it is " toi, Seigneur et Roi des Cieux" (To Thee, -O God, and King of Heaven). Both in the Italian and French, -_Valentine_ prays to Heaven to protect his sister during his absence. -In English, "Even bravest heart may swell," the number relates chiefly -to _Valentine's_ ambitions as a soldier. - -_Wagner_ mounts a table and starts the "Song of the Rat." After a few -lines he is interrupted by the sudden appearance of _Mphistophls_, -who, after a brief parley, sings "Le veau d'or" (The golden calf), a -cynical dissertation on man's worship of mammon. He reads the hands of -those about him. To _Siebel_ he prophesies that every flower he -touches shall wither. Rejecting the wine proffered him by _Wagner_, he -strikes with his sword the sign of the inn, the keg, astride of which -sits Bacchus. Like a stream of wine fire flows from the keg into the -goblet held under the spout by _Mphistophls_, who raising the -vessel, pledges the health of _Marguerite_. - -This angers _Valentine_ and leads to the "Scne des pes" (The scene -of the swords). _Valentine_ unsheathes his blade. _Mphistophls_, -with his sword describes a circle about himself. _Valentine_ makes a -pass at his foe. As the thrust carries his sword into the magic -circle, the blade breaks. He stands in impotent rage, while -_Mphistophls_ mocks him. At last, realizing who his opponent is, -_Valentine_ grasps his sword by its broken end, and extends the -cruciform hilt toward the red cavalier. The other soldiers follow -their leader's example. _Mphistophls_, no longer mocking, cowers -before the cross-shaped sword hilts held toward him, and slinks away. -A sonorous chorus, "Puisque tu brises le fer" (Since you have broken -the blade) for _Valentine_ and his followers distinguishes this scene. - -The crowd gathers for the kermis dance--"the waltz from Faust," -familiar the world round, and undulating through the score to the end -of the gay scene, which also concludes the act. While the crowd is -dancing and singing, _Mphistophls_ enters with _Faust_. -_Marguerite_ approaches. She is on her way from church, prayerbook in -hand. _Siebel_ seeks to join her. But every time the youth steps -toward her he confronts the grinning yet sinister visage of -_Mphistophls_, who dexterously manages to get in his way. Meanwhile -_Faust_ has joined her. There is a brief colloquy. He offers his arm -and conduct through the crowd. She modestly declines. The episode, -though short, is charmingly melodious. The phrases for _Marguerite_ -can be made to express coyness, yet also show that she is not wholly -displeased with the attention paid her by the handsome stranger. She -goes her way. The dance continues. "Valsons toujours" (Waltz alway!). - -Act III. _Marguerite's_ garden. At the back a wall with a wicket door. -To the left a bower. On the right _Marguerite's_ house, with a bow -window facing the audience. Trees, shrubs, flower beds, etc. - -_Siebel_ enters by the wicket. Stopping at one of the flower beds and -about to pluck a nosegay, he sings the graceful "Faites-lui mes aveux" -(Bear my avowal to her). But when he culls a flower, it shrivels in -his hand, as _Mphistophls_ had predicted. The boy is much -perturbed. Seeing, however, a little font with holy water suspended by -the wall of the house, he dips his fingers in it. Now the flowers no -longer shrivel as he culls them. He arranges them in a bouquet, which -he lays on the house step, where he hopes _Marguerite_ will see it. He -then leaves. - -_Faust_ enters with _Mphistophls_, but bids the latter withdraw, as -if he sensed the incongruity of his presence near the home of a maiden -so pure as _Marguerite_. The tempter having gone, _Faust_ proceeds to -apostrophize _Marguerite's_ dwelling in the exquisite romance, "Salut! -demeure chaste et pure." - -[Music] - -_Mphistophls_ returns. With him he brings a casket of jewels and a -handsome bouquet. With these he replaces _Siebel's_ flowers. The two -men then withdraw into a shadowy recess of the garden to await -_Marguerite's_ return. - -She enters by the wicket. Her thoughts are with the handsome -stranger--above her in station, therefore the more flattering and -fascinating in her eyes--who addressed her at the kermis. Pensively -she seats herself at her spinning-wheel and, while turning it, without -much concentration of mind on her work, sings "Le Roi de Thul," the -ballad of the King of Thule, her thoughts, however, returning to -_Faust_ before she resumes and finishes the number, which is set in -the simple fashion of a folk-song. - -Approaching the house, and about to enter, she sees the flowers, stops -to admire them, and to bestow a thought of compassion upon _Siebel_ -for his unrequited devotion, then sees and hesitatingly opens the -casket of jewels. Their appeal to her feminine vanity is too great to -permit her to return them at once to the casket. Decking herself out -in them, she regards herself and the sparkling gems in the handglass -that came with them, then bursts into the brilliant "Air des Bijoux" -(Jewel Song): - -[Music] - - Ah! je ris de me voir - Si belle en ce miroir!... - Est-ce toi, Marguerite? - - (Ah! I laugh just to view-- - Marguerite! Is it you?-- - Such a belle in the glass!...) - -one of the most brilliant airs for coloratura soprano, affording the -greatest contrast to the folklike ballad which preceded it, and making -with it one of the most effective scenes in opera for a soprano who -can rise to its demands: the chaste simplicity required for the -ballad, the joyous abandon and faultless execution of elaborate -embellishments involved in the "Air des Bijoux." When well done, the -scene is brilliantly successful; for, added to its own conspicuous -merit, is the fact that, save for the very brief episode in Act II, -this is the first time in two and a half acts that the limpid and -grateful tones of a solo high soprano have fallen upon the ear. - -_Martha_, the neighbour and companion of _Marguerite_, joins her. In -the manner of the average duenna, whose chief duty in opera is to -encourage love affairs, however fraught with peril to her charge, she -is not at all disturbed by the gift of the jewels or by the entrance -upon the scene of _Faust_ and _Mphistophls_. Nor, when the latter -tells her that her husband has been killed in the wars, does she -hesitate, after a few exclamations of rather forced grief, to seek -consolation on the arm of the flatterer in red, who leads her off into -the garden, leaving _Faust_ with _Marguerite_. During the scene -immediately ensuing the two couples are sometimes in view, sometimes -lost to sight in the garden. The music is a quartet, beginning with -_Faust's_ "Prenez mon bras un moment" (Pray lean upon mine arm). It is -artistically individualized. The couples and each member thereof are -deftly characterized in Gounod's score. - -For a moment _Mphistophls_ holds the stage alone. Standing by a bed -of flowers in an attitude of benediction, he invokes their subtle -perfume to lull _Marguerite_ into a false sense of security. "Il tait -temps!" (It was the hour), begins the soliloquy. For a moment, as it -ends, the flowers glow. _Mphistophls_ withdraws into the shadows. -_Faust_ and _Marguerite_ appear. _Marguerite_ plucks the petals of a -flower: "He loves me--he loves me not--he loves!" There are two -ravishing duets for the lovers, "Laisse-moi contempler ton visage" -(Let me gaze upon thy beauty), and " nuit d'amour ... ciel radieux!" - -[Music] - -(Oh, night of love! oh, starlit sky!). The music fairly enmeshes the -listener in its enchanting measures. - -[Music] - -_Faust_ and _Marguerite_ part, agreeing to meet on the morrow--"Oui, -demain! des l'aurore!" (Yes, tomorrow! at dawn!). She enters the -house. _Faust_ turns to leave the garden. He is confronted by -_Mphistophls_, who points to the window. The casement is opened by -_Marguerite_, who believes she is alone. Kneeling in the window, she -gazes out upon the night flooded with moonlight. "Il m'aime; ... Ah! -presse ton retour, cher bien-aim! Viens!" (He loves me; ah! haste -your return, dearly beloved! Come!). - -With a cry, _Faust_ rushes to the open casement, sinks upon his -knees. _Marguerite_, with an ecstatic exclamation, leans out of the -embrasure and allows him to take her into his arms. Her head rests -upon his shoulder. - -At the wicket is _Mphistophls_, shaking with laughter. - -Act IV. The first scene in this act takes place in _Marguerite's_ -room. No wonder _Mphistophls_ laughed when he saw her in _Faust's_ -arms. She has been betrayed and deserted. The faithful _Siebel_, -however, still offers her his love--"Si la bonheur sourire t'invite" -(When all was young and pleasant, May was blooming)--but _Marguerite_ -still loves the man who betrayed her, and hopes against hope that he -will return. - -This episode is followed by the cathedral scene. _Marguerite_ has -entered the edifice and knelt to pray. But, invisible to her, -_Mphistophls_ stands beside her and reminds her of her guilt. A -chorus of invisible demons calls to her accusingly. _Mphistophls_ -foretells her doom. The "Dies ir," accompanied on the organ, is -heard. _Marguerite's_ voice joins with those of the worshippers. But -_Mphistophls_, when the chant is ended, calls out that for her, a -lost one, there yawns the abyss. She flees in terror. This is one of -the most significant episodes of the work. - -Now comes a scene in the street, in front of _Marguerite's_ house. The -soldiers return from war and sing their familiar chorus, "Gloire -immortelle" (Glory immortal). _Valentine_, forewarned by _Siebel's_ -troubled mien that all is not well with _Marguerite_, goes into the -house. _Faust_ and _Mphistophls_ come upon the scene. Facing the -house, and accompanying himself on his guitar, the red gallant sings -an offensive serenade. _Valentine_, aroused by the insult, which he -correctly interprets as aimed at his sister, rushes out. There is a -spirited trio, "Redouble, Dieu puissant" (Give double strength, -great God on high). _Valentine_ smashes the guitar with his sword, -then attacks _Faust_, whose sword-thrust, guided by _Mphistophls_, -mortally wounds _Marguerite's_ brother. _Marguerite_ comes into the -street, throws herself over _Valentine's_ body. With his dying breath -her brother curses her. - -Sometimes the order of the scenes in this act is changed. It may open -with the street scene, where the girls at the fountain hold themselves -aloof from _Marguerite_. Here the brief meeting between the girl and -_Siebel_ takes place. _Marguerite_ then goes into the house; the -soldiers return, etc. The act then ends with the cathedral scene. - -Act V. When Gounod revised "Faust" for the Grand Opra, Paris, the -traditions of that house demanded a more elaborate ballet than the -dance in the kermis scene afforded. Consequently the authors reached -beyond the love story of _Faust_ and _Marguerite_ into the second part -of Goethe's drama and utilized the legendary revels of Walpurgis Night -(eve of May 1st) on the Brocken, the highest point of the Hartz -mountains. Here _Faust_ meets the courtesans of antiquity--Las, -Cleopatra, Helen of Troy, Phryne. "Les Nubiennes," "Clopatra et la -Coupe d'Or" (Cleopatra and the Goblet of Gold), "Les Troyennes" (The -Troyan Women), "Variation," and "Dance de Phryne" are the dances in -this ballet. More frequently than not the scene is omitted. To connect -it with the main story, there comes to _Faust_, in the midst of the -revels, a vision of _Marguerite_. Around her neck he beholds a red -line, "like the cut of an axe." He commands _Mphistophls_ to take -him to her. - -They find her in prison, condemned to death for killing her child. -There is an impassioned duet for _Faust_ and _Marguerite_. He begs her -to make her escape with him. But her mind is wandering. In snatches of -melody from preceding scenes, she recalls the episode at the kermis, -the night in the garden. She sees _Mphistophls_, senses his -identity with the arch-fiend. There is a superb trio, in which -_Marguerite_ ecstatically calls upon angels to intervene and save -her--"Anges purs! Anges radieux!" (Angels pure, radiant, bright). - -[Music] - -The voices mount higher and higher, _Marguerite's_ soaring to a -splendid climax. She dies. - -"Condemned!" cries _Mphistophls_. - -"Saved," chant ethereal voices. - -The rear wall of the prison opens. Angels are seen bearing -_Marguerite_ heavenward. _Faust_ falls on his knees in prayer. -_Mphistophls_ turns away, "barred by the shining sword of an -archangel." - -During the ten years that elapsed between the productions at the -Thtre Lyrique and the Grand Opra, "Faust" had only thirty-seven -performances. Within eight years (1887) after it was introduced to the -Grand Opra, it had 1000 performances there. From 1901-1910 it was -given nearly 3000 times in Germany. After the score had been declined -by several publishers, it was brought out by Choudens, who paid Gounod -10,000 francs ($2000) for it, and made a fortune out of the venture. -For the English rights the composer is said to have received only 40 -($200) and then only upon the insistence of Chorley, the author of the -English version. - - -ROMO ET JULIETTE - -ROMEO AND JULIET - - Opera in five acts, by Gounod; words by Barbier and Carr, - after the tragedy by Shakespeare. Produced Paris, Thtre - Lyrique, April 27, 1867; January, 1873, taken over by the - Opra Comique; Grand Opra, November 28, 1888. London, - Covent Garden, in Italian, July 11, 1867. New York, Academy - of Music, November 15, 1867, with Minnie Hauck as _Juliet_; - Metropolitan Opera House, December 14, 1891, with Eames - (_Juliet_), Jean de Reszke (_Romeo_), douard de Reszke - (_Friar Lawrence_). Chicago, December 15, 1916, with - Muratore as _Romeo_ and Galli-Curci as _Juliet_. - - CHARACTERS - - THE DUKE OF VERONA _Bass_ - COUNT PARIS _Baritone_ - COUNT CAPULET _Bass_ - JULIET, his daughter _Soprano_ - GERTRUDE, her nurse _Mezzo-Soprano_ - TYBALT, Capulet's nephew _Tenor_ - ROMEO, a Montague _Tenor_ - MERCUTIO _Baritone_ - BENVOLIO, Romeo's page _Soprano_ - GREGORY, a Capulet retainer _Baritone_ - FRIAR LAWRENCE _Bass_ - - Nobles and ladies of Verona, citizens, soldiers, monks, and - pages. - - _Time_--14th Century. - - _Place_--Verona. - -Having gone to Goethe for "Faust," Gounod's librettists, Barbier and -Carr, went to Shakespeare for "Romo et Juliette," which, like -"Faust," reached the Paris Grand Opra by way of the Thtre Lyrique. -Mme. Miolan-Carvalho, the original _Marguerite_, also created -_Juliette_. - -"Romo et Juliette" has been esteemed more highly in France than -elsewhere. In America, save for performances in New Orleans, it was -only during the Grau rgime at the Metropolitan Opera House, when it -was given in French with casts familiar with the traditions of the -Grand Opra, that it can be said regularly to have held a place in the -repertoire. Eames is remembered as a singularly beautiful _Juliette_, -vocally and personally; Capoul, Jean de Reszke, and Salza, as -_Romos_; douard de Reszke as _Frre Laurent_. - -Nicolini, who became Adelina Patti's second husband, sang _Romo_ at -the Grand Opra to her _Juliette_. She was then the Marquise de Caux, -her marriage to the Marquis having been brought about by the Empress -Eugnie. But that this marriage was not to last long, and that the -_Romeo_ and _Juliet_ were as much in love with each other in actual -life as on the stage, was revealed one night to a Grand Opra -audience, when, during the balcony scene, prima donna and tenor--so -the record says--imprinted twenty-nine real kisses on each other's -lips. - -The libretto is in five acts and follows closely, often even to the -text, Shakespeare's tragedy. There is a prologue in which the -characters and chorus briefly rehearse the story that is to unfold -itself. - -Act I. The grand hall in the palace of the Capulets. A fte is in -progress. The chorus sings gay measures. _Tybalt_ speaks to _Paris_ of -_Juliet_, who at that moment appears with her father. _Capulet_ bids -the guests welcome and to be of good cheer--"Soyez les bienvenus, -amis" (Be ye welcome, friends), and "Allons! jeunes gens! Allons! -belles dames!" (Bestir ye, young nobles! And ye, too, fair ladies!). - -_Romeo_, _Mercutio_, _Benvolio_, and half-a-dozen followers come -masked. Despite the deadly feud between the two houses, they, -Montagues, have ventured to come as maskers to the fte of the -Capulets. _Mercutio_ sings of Queen Mab, a number as gossamerlike in -the opera as the monologue is in the play; hardly ever sung as it -should be, because the rle of _Mercutio_ rarely is assigned to a -baritone capable of doing justice to the airy measures of "Mab, la -reine des mensonges" (Mab, Queen Mab, the fairies' midwife). - -The Montagues withdraw to another part of the palace. _Juliet_ returns -with _Gertrude_, her nurse. Full of high spirits, she sings the -graceful and animated waltz, "Dans ce rve, qui m'enivre" -[Transcriber's Note: correct title is 'Je veux vivre dans le rve'] -(Fair is the tender dream of youth). - -[Music] - -The nurse is called away. _Romeo_, wandering in, meets _Juliet_. -Their love, as in the play, is instantaneous. _Romeo_ addresses her in -passionate accents, "Ange adorable" (Angel! adored one). His -addresses, _Juliet's_ replies, make a charming duo. - -Upon the re-entry of _Tybalt_, _Romeo_, who had removed his mask, -again adjusts it. But _Tybalt_ suspects who he is, and from the -utterance of his suspicions, _Juliet_ learns that the handsome youth, -to whom her heart has gone out, is none other than _Romeo_, scion of -the Montagues, the sworn enemies of her house. The fiery _Tybalt_ is -for attacking _Romeo_ and his followers then and there. But old -_Capulet_, respecting the laws of hospitality, orders that the fte -proceed. - -Act II. The garden of the Capulets. The window of _Juliet's_ -apartment, and the balcony, upon which it gives. _Romeo's_ page, -_Stephano_, a character introduced by the librettists, holds a ladder -by which _Romeo_ ascends to the balcony. _Stephano_ leaves, bearing -the ladder with him. - -_Romeo_ sings, "Ah! lve-toi, soleil" (Ah! fairest dawn arise). The -window opens, _Juliet_ comes out upon the balcony. _Romeo_ conceals -himself. From her soliloquy he learns that, although he is a Montague, -she loves him. He discloses his presence. The interchange of pledges -is exquisite. Lest the sweetness of so much love music become too -cloying, the librettists interrupt it with an episode. The Capulet -retainer, _Gregory_, and servants of the house, suspecting that an -intruder is in the garden, for they have seen _Stephano_ speeding -away, search unsuccessfully and depart. - -The nurse calls. _Juliet_ re-enters her apartment. _Romeo_ sings, " -nuit divine" (Oh, night divine). _Juliet_ again steals out upon the -balcony. "Ah! je te l'ai dit, je t'adore!" (Ah, I have told you that I -adore you), sings _Romeo_. There is a beautiful duet, "Ah! ne fuis -pas encore!" (Ah, do not flee again). A brief farewell. The curtain -falls upon the "balcony scene." - -Act III, Part I. _Friar Lawrence's_ cell. Here takes place the wedding -of _Romeo_ and _Juliet_, the good friar hoping that their union may -lead to peace between the two great Veronese houses of Montague and -Capulet. There are in this part of the act _Friar Lawrence's_ prayer, -"Dieu, qui fis l'homme ton image" (God, who made man in Thine -image); a trio, in which the friar chants the rubric, and the pair -respond; and an effective final quartet for _Juliet_, _Gertrude_, -_Romeo_, and _Friar Lawrence_. - -Part II. A street near _Capulet's_ house. _Stephano_, having vainly -sought _Romeo_, and thinking he still may be in concealment in -_Capulet's_ garden, sings a ditty likely to rouse the temper of the -Capulet household, and bring its retainers into the street, thus -affording _Romeo_ a chance to get away. The ditty is "Que fais-tu, -blanche tourterelle" (Gentle dove, why art thou clinging?). _Gregory_ -and _Stephano_ draw and fight. The scene develops, as in the play. -Friends of the two rival houses appear. _Mercutio_ fights _Tybalt_ and -is slain, and is avenged by _Romeo_, who kills _Tybalt_, _Juliet's_ -kinsman, and, in consequence, is banished from Verona by the _Duke_. - -[Illustration: Photo copyright, 1916, by Victor Georg - -Galli-Curci as Juliette in "Romo et Juliette"] - -Act IV. It is the room of _Juliet_, to which _Romeo_ has found access, -in order to bid her farewell, before he goes into exile. The lingering -_adieux_, the impassioned accents in which the despair of parting is -expressed--these find eloquent utterance in the music. There is the -duet, "Nuit d'hymne, douce nuit d'amour" (Night hymeneal, sweetest -night of love). _Romeo_ hears the lark, sure sign of approaching day, -but _Juliet_ protests. "Non, non, ce n'est pas le jour" (No, no! 'Tis -not yet the day). Yet the parting time cannot be put off longer. -_Romeo:_ "Ah! reste! reste encore dans mes bras enlacs" (Ah! rest! -rest once more within mine entwining arms); then both, "Il faut -partir, hlas" (Now we must part, alas). - -Hardly has _Romeo_ gone when _Gertrude_ runs in to warn _Juliet_ that -her father is approaching with _Friar Lawrence_. _Tybalt's_ dying -wish, whispered into old _Capulet's_ ear, was that the marriage -between _Juliet_ and the noble whom _Capulet_ has chosen for her -husband, _Count Paris_, be speeded. _Juliet's_ father comes to bid her -prepare for the marriage. Neither she, the friar, nor the nurse dare -tell _Capulet_ of her secret nuptials with _Romeo_. This gives -significance to the quartet, "Ne crains rien" (I fear no more). -_Capulet_ withdraws, leaving, as he supposes, _Friar Lawrence_ to -explain to _Juliet_ the details of the ceremony. It is then the friar, -in the dramatic, "Buvez donc ce breuvage" (Drink then of this -philtre), gives her the potion, upon drinking which she shall appear -as dead. - -The scene changes to the grand hall of the palace. Guests arrive for -the nuptials. There is occasion for the ballet, so essential for a -production at the Grand Opra. _Juliet_ drains the vial, falls as if -dead. - -Act V. The tomb of the Capulets. _Romeo_, having heard in his exile -that his beloved is no more, breaks into the tomb. She, recovering -from the effects of the philtre, finds him dying, plunges a dagger -into her breast, and expires with him. - -In the music there is an effective prelude. _Romeo_, on entering the -tomb, sings, " ma femme! ma bien aime" (O wife, dearly beloved). -_Juliet_, not yet aware that _Romeo_ has taken poison, and _Romeo_ -forgetting for the moment that death's cold hand already is reaching -out for him, they sing, "Viens fuyons au bout du monde" (Come, let us -fly to the ends of the earth). Then _Romeo_ begins to feel the effect -of the poison, and tells _Juliet_ what he has done. "Console-toi, -pauvre me" (Console thyself, sad heart). But _Juliet_ will not live -without him, and while he, in his wandering mind, hears the lark, as -at their last parting, she stabs herself. - - * * * * * - -As "Romo et Juliette" contains much beautiful music, people may -wonder why it lags so far behind "Faust" in popularity. One reason is -that, in the layout of the libretto the authors deliberately sought to -furnish Gounod with another "Faust," and so challenged comparison. -Even _Stephano_, a character of their creation, was intended to give -the same balance to the cast that _Siebel_ does to that of "Faust." In -a performance of Shakespeare's play it is possible to act the scene of -parting without making it too much the duplication of the balcony -scene, which it appears to be in the opera. The "balcony scene" is an -obvious attempt to create another "garden scene." But in "Faust," what -would be the too long-drawn-out sweetness of too much love music is -overcome, in the most natural manner, by the brilliant "Jewel Song," -and by _Mphistophls's_ sinister invocation of the flowers. In -"Romo et Juliette," on the other hand, the interruption afforded by -_Gregory_ and the chorus is too artificial not to be merely -disturbing. - -It should be said again, however, that French audiences regard the -work with far more favour than we do. "In France," says Storck, in his -_Opernbuch_, "the work, perhaps not unjustly, is regarded as Gounod's -best achievement, and has correspondingly numerous performances." - - - - -Ambroise Thomas - - -MIGNON - - Opera in three acts by Ambroise Thomas, words, based on - Goethe's "Wilhelm Meister," by Barbier and Carr. Produced, - Opra Comique, Paris, November 17, 1866. London, Drury Lane, - July 5, 1870. New York, Academy of Music, November 22, 1871, - with Nilsson, Duval (_Filina_), Mlle. Ronconi (_Frederick_) - and Capoul; Metropolitan Opera House, October 21, 1883, with - Nilsson, Capoul, and Scalchi (_Frederick_). - - CHARACTERS - - MIGNON, stolen in childhood from - an Italian castle _Mezzo-Soprano_ - PHILINE, an actress _Soprano_ - FRDRIC, a young nobleman _Buffo Tenor or Contralto_ - WILHELM, a student on his travels _Tenor_ - LAERTES, an actor _Tenor_ - LOTHARIO _Bass_ - GIARNO, a gypsy _Bass_ - ANTONIO, a servant _Bass_ - - Townspeople, gypsies, actors and actresses, servants, etc. - - _Time_--Late 18th Century. - - _Place_--Acts I and II, Germany. Act III, Italy. - -Notwithstanding the popularity of two airs in "Mignon"--"Connais-tu le -pays?" and the "Polonaise"--the opera is given here but infrequently. -It is a work of delicate texture; of charm rather than passion; with a -story that is, perhaps, too ingenuous to appeal to the sophisticated -audience of the modern opera house. Moreover the "Connais-tu le pays" -was at one time done to death here, both by concert singers and -amateurs. Italian composers are fortunate in having written music so -difficult technically that none but the most accomplished singers can -risk it. - -The early performances of "Mignon" in this country were in Italian, -and were more successful than the later revivals in French, by which -time the opera had become somewhat pass. From these early impressions -we are accustomed to call _Philine_ by her Italian equivalent of -_Filina_. _Frdric_, since Trebelli appeared in the rle in London, -has become a contralto instead of a buffo tenor part. The "Rondo -Gavotte" in Act II, composed for her by Thomas, has since then been a -fixture in the score. She appeared in the rle at the Metropolitan -Opera House, December 5, 1883, with Nilsson and Capoul. - -Act I. Courtyard of a German inn. Chorus of townspeople and -travellers. _Lothario_, a wandering minstrel, sings, accompanying -himself on his harp, "Fugitif et tremblant" (A lonely wanderer). -_Filina_ and _Laertes_, on the way with their troupe to give a -theatrical performance in a neighbouring castle, appear on a balcony. -_Mignon_ is sleeping on straw in the back of a gypsy cart. _Giarno_, -chief of the gypsy band, rouses her. She refuses to dance. He -threatens her with a stick. _Lothario_ and _Wilhelm_ protect her. -_Mignon_ divides a bouquet of wild flowers between them. - -_Laertes_, who has come down from the balcony, engages _Wilhelm_ in -conversation. _Filina_ joins them. _Wilhelm_ is greatly impressed with -her blonde beauty. He does not protest when _Laertes_ takes from him -the wild flowers he has received from _Mignon_ and hands them to -_Filina_. - -When _Filina_ and _Laertes_ have gone, there is a scene between -_Wilhelm_ and _Mignon_. The girl tells him of dim memories of her -childhood--the land from which she was abducted. It is at this point -she sings "Connais-tu le pays" (Knowest thou the land). _Wilhelm_ -decides to purchase her freedom, and enters the inn with _Giarno_ to -conclude the negotiations. _Lothario_, who is about to wander on, has -been attracted to her, and, before leaving, bids her farewell. They -have the charming duet, "Lgres hirondelles" (O swallows, lightly -gliding). There is a scene for _Filina_ and _Frdric_, a booby, who -is in love with her. _Filina_ is after better game. She is setting her -cap for _Wilhelm_. _Lothario_ wishes to take _Mignon_ with him. But -_Wilhelm_ fears for her safety with the old man, whose mind sometimes -appears to wander. Moreover _Mignon_ ardently desires to remain in the -service of _Wilhelm_ who has freed her from bondage to the gypsies, -and, when _Wilhelm_ declines to let her go with _Lothario_, is -enraptured, until she sees her wild flowers in _Filina's_ hand. For -already she is passionately in love with _Wilhelm_, and jealous when -_Filina_ invites him to attend the theatricals at the castle. -_Wilhelm_ waves adieu to _Filina_, as she drives away. _Lothario_, -pensive, remains seated. _Mignon's_ gaze is directed toward _Wilhelm_. - -Act II. _Filina's_ boudoir at the castle. The actress sings of her -pleasure in these elegant surroundings and of _Wilhelm_. _Laertes_ is -heard without, singing a madrigal to _Filina_, "Belle, ayez piti de -nous" (Fair one, pity take on us). - -He ushers in _Wilhelm_ and _Mignon_, then withdraws. _Mignon_, -pretending to fall asleep, watches _Wilhelm_ and _Filina_. While -_Wilhelm_ hands to the actress various toilet accessories, they sing a -graceful duet, "Je crois entendre les doux compliments" (Pray, let me -hear now the sweetest of phrases). Meanwhile _Mignon's_ heart is -tormented with jealousy. When _Wilhelm_ and _Filina_ leave the boudoir -the girl dons one of _Filina's_ costumes, seats herself at the mirror -and puts on rouge and other cosmetics, as she has seen _Filina_ do. In -a spirit of abandon she sings a "Styrienne," "Je connais un pauvre -enfant" (A gypsy lad I well do know). She then withdraws into an -adjoining room. _Frdric_ enters the boudoir in search of _Filina_. -He sings the gavotte, "Me voici dans son boudoir" (Here am I in her -boudoir). _Wilhelm_ comes in, in search of _Mignon_. The men meet. -There is an exchange of jealous accusations. They are about to fight, -when _Mignon_ rushes between them. _Frdric_ recognizes _Filina's_ -costume on her, and goes off laughing. _Wilhelm_, realizing the -awkward situation that may arise from the girl's following him about, -tells her they must part. "Adieu, Mignon, courage" (Farewell, Mignon, -have courage). She bids him a sad farewell. _Filina_ re-enters. Her -sarcastic references to _Mignon's_ attire wound the girl to the quick. -When _Wilhelm_ leads out the actress on his arm, _Mignon_ exclaims: -"That woman! I loathe her!" - -The second scene of this act is laid in the castle park. _Mignon_, -driven to distraction, is about to throw herself into the lake, when -she hears the strains of a harp. _Lothario_, who has wandered into the -park, is playing. There is an exchange of affection, almost paternal -on his part, almost filial on hers, in their duet, "As-tu souffert? -As-tu pleure?" (Hast thou known sorrow? Hast thou wept?). _Mignon_ -hears applause and acclaim from the conservatory for _Filina's_ -acting. In jealous rage she cries out that she wishes the building -might be struck by lightning and destroyed by fire; then runs off and -disappears among the trees. _Lothario_ vaguely repeats her words. -"'Fire,' she said! Ah, 'fire! fire!'" Through the trees he wanders off -in the direction of the conservatory, just as its doors are thrown -open and the guests and actors issue forth. - -They have been playing "A Midsummer Night's Dream," and _Filina_, -flushed with success, sings the brilliant "Polonaise," "Je suis -Titania" (Behold Titania, fair and gay). _Mignon_ appears. _Wilhelm_, -who has sadly missed her, greets her with so much joy that _Filina_ -sends her into the conservatory in search of the wild flowers given to -_Wilhelm_ the day before. Soon after _Mignon_ has entered the -conservatory it is seen to be in flames. _Lothario_, obedient to her -jealous wish, has set it on fire. At the risk of his life _Wilhelm_ -rushes into the burning building and reappears with _Mignon's_ -fainting form in his arms. He places her on a grassy bank. Her hand -still holds a bunch of withered flowers. - -Act III. Gallery in an Italian castle, to which _Wilhelm_ has brought -_Mignon_ and _Lothario_. _Mignon_ has been dangerously ill. A boating -chorus is heard from the direction of a lake below. _Lothario_, -standing by the door of _Mignon's_ sick-room, sings a lullaby, "De son -coeur j'ai calm la fivre" (I've soothed the throbbing of her -aching heart). _Wilhelm_ tells _Lothario_ that they are in the -Cipriani castle, which he intends to buy for _Mignon_. At the name of -the castle _Lothario_ is strangely agitated. - -_Wilhelm_ has heard _Mignon_ utter his own name in her aberrations -during her illness. He sings, "Elle ne croyait pas" (She does not -know). When she enters the gallery from her sick-room and looks out on -the landscape, she is haunted by memories. There is a duet for -_Mignon_ and _Wilhelm_, "Je suis heureuse, l'air m'enivre" (Now I -rejoice, life reawakens). _Filina's_ voice is heard outside. The girl -is violently agitated. But _Wilhelm_ reassures her. - -In the scenes that follow, _Lothario_, his reason restored by being -again in familiar surroundings, recognizes in the place his own castle -and in _Mignon_ his daughter, whose loss had unsettled his mind and -sent him, in minstrel's disguise, wandering in search of her. The -opera closes with a trio for _Mignon_, _Wilhelm_, and _Lothario_. In -it is heard the refrain of "Connais-tu le pays." - - * * * * * - -"Hamlet," the words by Barbier and Carr, based on Shakespeare's -tragedy, is another opera by Ambroise Thomas. It ranks high in France, -where it was produced at the Grand Opra, March 9, 1868, with Nilsson -as _Ophelia_ and Faure in the title rle; but outside of France it -never secured any approach to the popularity that "Mignon" at one time -enjoyed. It was produced in London, in Italian, as "Amleto," Covent -Garden, June 19, 1869, with Nilsson and Santley. In America, where it -was produced in the Academy of Music, March 22, 1872, with Nilsson, -Cary, Brignoli, Barr, and Jamet, it has met the fate of practically -all operas in which the principal character is a baritone--esteem from -musicians, but indifference on the part of the public. It was revived -in 1892 for Lasalle, and by the Chicago Opera Company for Ruffo. - -The opera contains in Act I, a love duet for _Hamlet_ and _Ophelia_, -and the scene between _Hamlet_ and his father's _Ghost_; in Act II, -the scene with the players, with a drinking song for _Hamlet_; in Act -III, the soliloquy, "To be or not to be," and the scene between -_Hamlet_ and the _Queen_; in Act IV, _Ophelia's_ mad scene and suicide -by drowning; in Act V, the scene in the graveyard, with a totally -different ending to the opera from that to the play. _Hamlet_ voices a -touching song to _Ophelia's_ memory; then, stung by the _Ghost's_ -reproachful look, stabs the _King_, as whose successor he is -proclaimed by the people. - -Following is the distribution of voices: _Hamlet_, baritone; -_Claudius_, King of Denmark, bass; _Laertes_, Polonius's son, tenor; -_Ghost_ of the dead King, bass; _Polonius_, bass; _Gertrude_, Queen of -Denmark, Hamlet's mother, mezzo-soprano; and _Ophelia_, Polonius's -daughter, soprano. - - * * * * * - -Ambroise Thomas was born at Metz, August 5, 1811; died at Paris, -February 12, 1896. He studied at the Paris Conservatory, where, in -1832, he won the grand prix de Rome. In 1871 he became director of the -Conservatory, being considered Auber's immediate successor, although -the post was held for a few days by the communist Salvador Daniel, who -was killed in battle, May 23d. - - - - -Georges Bizet - - -CARMEN - - Opera in four acts by Georges Bizet; words by Henri Meilhac - and Ludovic Halvy, founded on the novel by Prosper Mrime. - Produced, Opra Comique, Paris, March 3, 1875, the title - rle being created by Galli-Mari. Her Majesty's Theatre, - London, in Italian, June 22, 1878; same theatre, February 5, - 1879, in English; same theatre, November 8, 1886, in French, - with Galli-Mari. Minnie Hauck, who created _Carmen_, in - London, also created the rle in America, October 23, 1879, - at the Academy of Music, New York, with Campanini (_Don - Jos_), Del Puente (_Escamillo_), and Mme. Sinico - (_Micaela_). The first New Orleans _Carmen_, January 14, - 1881, was Mme. Ambr. Calv made her New York dbut as - _Carmen_ at the Metropolitan Opera House, December 20, 1893, - with Jean de Reszke (_Don Jos_), and Eames (_Micaela_). - Bressler-Gianoli, and afterwards Calv, sang the rle at the - Manhattan Opera House. Farrar made her first appearance as - _Carmen_ at the Metropolitan Opera House, November 19, - 1914. Campanini, Jean de Reszke, and Caruso are the most - famous _Don Joss_ who have appeared in this country; but - the rle also has been admirably interpreted by Salza and - Dalmors. No singer has approached Emma Eames as _Micaela_; - nor has any interpreter of _Escamillo_ equalled Del Puente, - who had the range and quality of voice and buoyancy of - action which the rle requires. Galassi, Campanari, Planon, - and Amato should be mentioned as other interpreters of the - rle. - - February 13, 1912, Mary Garden appeared as _Carmen_ at the - Metropolitan Opera House, with the Chicago Opera Company. - - "Carmen" is an opera of world-wide popularity, and as highly - esteemed by musicians as by the public. - - CHARACTERS - - DON JOS, a corporal of dragoons _Tenor_ - ESCAMILLO, a toreador _Baritone_ - EL DANCAIRO } smugglers { _Baritone_ - EL REMENDADO } { _Tenor_ - ZUNIGA, a captain _Bass_ - MORALES, an officer _Bass_ - MICAELA, a peasant girl _Soprano_ - FRASQUITA } gypsies, { _Mezzo-Soprano_ - MERCEDES } friends of Carmen { _Mezzo-Soprano_ - CARMEN, a cigarette girl and gypsy _Soprano_ - - Innkeeper, guide, officers, dragoons, boys, cigarette girls, - gypsies, smugglers, etc. - - _Time_--About 1820. - - _Place_--Seville, Spain. - -[Illustration: Photo by White - -Calv as Carmen with Sparkes as Frasquita and Braslau as Mercedes] - -Act I. A square in Seville. On the right the gate of a cigarette -factory. At the back, facing the audience, is a practicable bridge -from one side of the stage to the other, and reached from the stage by -a winding staircase on the right beyond the factory gate. The bridge -also is practicable underneath. People from a higher level of the city -can cross it and descend by the stairway to the square. Others can -pass under it. In front, on the left, is a guard-house. Above it three -steps lead to a covered passage. In a rack, close to the door, are the -lances of the dragoons of Almanza, with their little red and yellow -flags. - -_Morales_ and soldiers are near the guard-house. People are coming and -going. There is a brisk chorus, "Sur la place" (O'er this square). -_Micaela_ comes forward, as if looking for someone. - -"And for whom are you looking?" _Morales_ asks of the pretty girl, who -shyly has approached the soldiers lounging outside the guard-house. - -"I am looking for a corporal," she answers. - -"I am one," _Morales_ says, gallantly. - -"But not _the_ one. His name is Jos." - -The soldiers, scenting amusement in trying to flirt with a pretty -creature, whose innocence is as apparent as her charm, urge her to -remain until _Don Jos_ comes at change of guard. But, saying she will -return then, she runs away like a frightened deer, past the cigarette -factory, across the square, and down one of the side streets. - -A fascinating little march for fifes and trumpets is heard, at first -in the distance, then gradually nearer. - -The change of guard arrives, preceded by a band of street lads, -imitating the step of the dragoons. After the lads come _Captain -Zuniga_ and _Corporal Jos_; then dragoons, armed with lances. The -ceremony of changing guard is gone through with, to the accompaniment -of a chorus of gamins and grown-up spectators. It is a lively scene. - -"It must have been Micaela," says _Don Jos_, when they tell him of -the girl with tresses of fair hair and dress of blue, who was looking -for him. "Nor do I mind saying," he adds, "that I love her." And -indeed, although there are some sprightly girls in the crowd that have -gathered in the square to see the guard changed, he has no eyes for -them, but, straddling a chair out in the open, busies himself trying -to join the links of a small chain that has come apart. - -The bell of the cigarette factory strikes the work hour, and the -cigarette girls push their way through the crowd, stopping to make -eyes at the soldiers and young men, or lingering to laugh and chat, -before passing through the factory gates. - -A shout goes up: - -"Carmen!" - -A girl, dark as a gypsy and lithe as a panther, darts across the -bridge and down the steps into the square, the crowd parting and -making way for her. - -"Love you?" she cries insolently to the men who press around her and -ply her with their attentions. "Perhaps tomorrow. Anyhow not today." -Then, a dangerous fire kindling in her eyes, she sways slowly to and -fro to the rhythm of a "Habanera," singing the while, "L'amour est un -oiseau rebelle," etc. - - "Love is a gypsy boy, 'tis true, - He ever was and ever will be free; - Love you not me, then I love you, - Yet, if I love you, beware of me!" - -[Music] - -Often she glances toward _Jos_, often dances so close to him that she -almost touches him, and by subtle inflections in her voice seeks to -attract his attention. But he seems unaware of her presence. Indeed -if, thinking of _Micaela_, he has steeled himself against the gypsy, -in whose every glance, step, and song lurks peril, the handsome -dragoon could not be busying himself more obstinately with the broken -chain in his hand. - -"Yet, if I love you, beware of me!" - -Tearing from her bodice a blood-red cassia flower, she flings it at -him point blank. He springs to his feet, as if he would rush at her. -But he meets her look, and stops where he stands. Then, with a toss of -the head and a mocking laugh, she runs into the factory, followed by -the other girls, while the crowd, having had its sport, disperses. - -The librettists have constructed an admirable scene. The composer has -taken full advantage of it. The "Habanera" establishes _Carmen_ in the -minds of the audience--the gypsy girl, passionate yet fickle, quick to -love and quick to tire. Hers the dash of fatalism that flirts with -death. - -At _Jos's_ feet lies the cassia flower thrown by _Carmen_, the glance -of whose dark eyes had checked him. Hesitatingly, yet as if in spite -of himself, he stoops and picks it up, presses it to his nostrils and -draws in its subtle perfume in a long breath. Then, still as if -involuntarily, or as if a magic spell lies in its odour, he thrusts -the flower under his blouse and over his heart. - -He no more than has concealed it there, when _Micaela_ again enters -the square and hurries to him with joyful exclamations. She brings him -tidings from home, and some money from his mother's savings, with -which to eke out his small pay. They have a charming duet, "Ma mre, -je la vois, je revois mon village" (My home in yonder valley, my -mother, lov'd, again I'll see). - -It is evident that _Micaela's_ coming gives him a welcome change of -thought, and that, although she cannot remain long, her sweet, pure -presence has for the time being lifted the spell the gypsy has cast -over him. For, when _Micaela_ has gone, _Jos_ grasps the flower under -his blouse, evidently intending to draw it out and cast it away. - -[Illustration: Copyright photo by A. Dupont - -Caruso as Don Jos in "Carmen"] - -[Illustration: Copyright photo by Mishkin - -Caruso as Don Jos in "Carmen"] - -Just then, however, there are cries of terror from the cigarette -factory and, in a moment, the square is filled with screaming girls, -soldiers, and others. From the excited utterances of the cigarette -girls it is learned that there has been a quarrel between _Carmen_ and -another girl, and that _Carmen_ has wounded the latter with a -knife. _Zuniga_ promptly orders _Jos_ to take two dragoons with him -into the factory and arrest her. None abashed, and smirking, she comes -out with them. When the captain begins questioning her, she answers -with a gay "Tra la la, tra la la," pitching her voice on a higher note -after each question with an indescribable effect of mockery, that -makes her dark beauty the more fascinating. - -Losing patience, the officer orders her hands tied behind her back, -while he makes out the warrant for her imprisonment. The soldiers -having driven away the crowd, _Don Jos_ is left to guard _Carmen_. - -Pacing up and down the square, he appears to be avoiding her. But she, -as if speaking to herself, or thinking aloud, and casting furtive -glances at him, tells of a handsome young dragoon with whom she has -fallen in love. - -"He is not a captain, nor even a lieutenant--only a corporal. But he -will do what I ask--because he is in love with me!" - -"I?--I love you?" _Jos_ pauses beside her. - -With a coquettish toss of the head and a significant glance she asks, -"Where is the flower I threw at you? What have you done with it?" -Then, softly, she sings another, alluring melody in typical Spanish -dance measure, a "Seguidilla," "Prs des remparts de Sville." - - "Near by the ramparts of Seville, - Is the inn of my friend, Lillas Pastia, - There I'll dance the gay Seguidilla-- - And the dance with my lover I'll share." - -[Music] - -"Carmen!" cries _Jos_, "you have bewitched me...." - -"Near by the ramparts of Seville.... And the dance with my lover I'll -share!" she murmurs insinuatingly, and at the same time she holds back -her bound wrists toward him. Quickly he undoes the knot, but leaves -the rope about her wrists so that she still appears to be a captive, -when the captain comes from the guard-house with the warrant. He is -followed by the soldiers, and the crowd, drawn by curiosity to see -_Carmen_ led off to prison, again fills the square. - -_Jos_ places her between two dragoons, and the party starts for the -bridge. When they reach the steps, _Carmen_ quickly draws her hands -free of the rope, shoves the soldiers aside, and, before they know -what has happened, dashes up to the bridge and across it, tossing the -rope down into the square as she disappears from sight, while the -crowd, hindering pursuit by blocking the steps, jeers at the -discomfited soldiers. - -Act II. The tavern of Lillas Pastia. Benches right and left. Towards -the end of a dinner. The table is in confusion. - -_Frasquita_, _Mercedes_, and _Morales_ are with _Carmen_; also other -officers, gypsies, etc. The officers are smoking. Two gypsies in a -corner play the guitar and two others dance. _Carmen_ looks at them. -_Morales_ speaks to her; she does not listen to him, but suddenly -rises and sings, "Les tringles des sistres tintaient" (Ah, when of gay -guitars the sound). - -_Frasquita_ and _Mercedes_ join in the "Tra la la la" of the refrain. -While Carmen clicks the castanets, the dance, in which she and others -have joined the two gypsies, becomes more rapid and violent. With the -last notes _Carmen_ drops on a seat. - -The refrain, "Tra la la la," with its rising inflection, is a most -characteristic and effective bit. - -[Music] - -There are shouts outside, "Long live the torero! Long live Escamillo!" -The famous bullfighter, the victor of the bull ring at Granada, is -approaching. He sings the famous "Couplets du Torador," a rousing -song with refrain and chorus. "Votre toast je peux vous le rendre" (To -your toast I drink with pleasure) begins the number. The refrain, with -chorus, is "Torador, en garde" (Toreador, e'er watchful be). - -[Music] - -_Escamillo's_ debonair manner, his glittering uniform, his reputation -for prowess, make him a brilliant and striking figure. He is much -struck with _Carmen_. She is impressed by him. But her fancy still is -for the handsome dragoon, who has been under arrest since he allowed -her to escape, and only that day has been freed. The _Toreador_, -followed by the crowd, which includes _Morales_, departs. - -It is late. The tavern keeper closes the shutters and leaves the room. -_Carmen_, _Frasquita_, and _Mercedes_ are quickly joined by the -smugglers, _El Dancairo_ and _El Remendado_. The men need the aid of -the three girls in wheedling the coast-guard, and possibly others, -into neglect of duty. Their sentiments, "En matire de tromperie," -etc. [Transcriber's Note: Correct lyrics are 'Quand il s'agit de -tromperie'] (When it comes to a matter of cheating ... let women in on -the deal), are expressed in a quintet that is full of spontaneous -merriment--in fact, nowhere in "Carmen," not even in the most dramatic -passages, is the music forced. - -The men want the girls to depart with them at once. _Carmen_ wishes to -await _Jos_. The men suggest that she win him over to become one of -their band. Not a bad idea, she thinks. They leave it to her to carry -out the plan. - -Even now _Jos_ is heard singing, as he approaches the tavern, "Halte -l! Qui va l? Dragon d'Alcala!" (Halt there! Who goes there? Dragoon -of Alcala!). He comes in. Soon she has made him jealous by telling him -that she was obliged to dance for _Morales_ and the officers. But now -she will dance for him. - -She begins to dance. His eyes are fastened on her. From the distant -barracks a bugle call is heard. It is the "retreat," the summons to -quarters. The dance, the bugle call, which comes nearer, passes by and -into the distance, the lithe, swaying figure, the wholly obsessed look -of _Jos_--these are details of a remarkably effective scene. _Jos_ -starts to obey the summons to quarters. _Carmen_ taunts him with -placing duty above his love for her. He draws from his breast the -flower she gave him, and, showing it to her in proof of his passion, -sings the pathetic air, "La fleur que tu m'avais jete" (The flower -that once to me you gave). - -[Music] - -Despite her lure, he hesitates to become a deserter and follow her to -the mountains. But at that moment _Morales_, thinking to find _Carmen_ -alone, bursts open the tavern door. There is an angry scene between -_Morales_ and _Jos_. They draw their sabres. The whole band of -smugglers comes in at _Carmen's_ call. _El Dancairo_ and _El -Remandado_ cover _Morales_ with their pistols, and lead him off. - -"And you? Will you now come with us?" asks _Carmen_ of _Don Jos_. - -[Illustration: Copyright photo by Dupont - -Calv as Carmen] - -[Illustration: Copyright photo by Mishkin - -Amato as Escamillo in "Carmen"] - -He, a corporal who has drawn his sabre against an officer, an act of -insubordination for which severe punishment awaits him, is ready now -to follow his temptress to the mountains. - -Act III. A rocky and picturesque spot among rocks on a mountain. At -the rising of the curtain there is complete solitude. After a few -moments a smuggler appears on the summit of a rock, then two, then the -whole band, descending and scrambling down the mass of rocks. Among -them are _Carmen_, _Don Jos_, _El Dancairo_, _El Remendado_, -_Frasquita_, and _Mercedes_. - -The opening chorus has a peculiarly attractive lilt. - -_Don Jos_ is unhappy. _Carmen's_ absorbing passion for him has been -of brief duration. A creature of impulse, she is fickle and wayward. -_Don Jos_, a soldier bred, but now a deserter, is ill at ease among -the smugglers, and finds cause to reproach himself for sacrificing -everything to a fierce and capricious beauty, in whose veins courses -the blood of a lawless race. Yet he still loves her to distraction, -and is insanely jealous of her. She gives him ample cause for -jealousy. It is quite apparent that the impression made upon her by -_Escamillo_, the dashing toreador and victor in many bullfights, is -deepening. _Escamillo_ has been caught in the lure of her dangerous -beauty, but he doesn't annoy her by sulking in her presence, like _Don -Jos_, but goes on adding to his laurels by winning fresh victories in -the bull ring. - -Now that _Don Jos_ is more than usually morose, she says, with a -sarcastic inflection in her voice: - -"If you don't like our mode of life here, why don't you leave?" - -"And go far from you! Carmen! If you say that again, it will be your -death!" He half draws his knife from his belt. - -With a shrug of her shoulders _Carmen_ replies: "What matter--I shall -die as fate wills." And, indeed, she plays with fate as with men's -hearts. For whatever else this gypsy may be, she is fearless. - -While _Don Jos_ wanders moodily about the camp, she joins _Frasquita_ -and _Mercedes_, who are telling their fortunes by cards. The -superstitious creatures are merry because the cards favour them. -_Carmen_ takes the pack and draws. - -"Spades!--A grave!" she mutters darkly, and for a moment it seems as -if she is drawing back from a shadow that has crossed her path. But -the bravado of the fatalist does not long desert her. - -"What matters it?" she calls to the two girls. "If you are to die, try -the cards a hundred times, they will fall the same--spades, a grave!" -Then, glancing in the direction where _Don Jos_ stood, she adds, in a -low voice, "First I, then he!" - -The "Card Trio," "Mlons! Coupons!" (Shuffle! Throw!) is a brilliant -passage of the score, broken in upon by _Carmen's_ fatalistic -soliloquy. - -A moment later, when the leader of the smugglers announces that it is -an opportune time to attempt to convey their contraband through the -mountain pass, she is all on the alert and aids in making ready for -the departure. _Don Jos_ is posted behind a screen of rocks above the -camp, to guard against a surprise from the rear, while the smugglers -make their way through the pass. - -Unseen by him, a guide comes out on the rocks, and, making a gesture -in the direction of the camp, hastily withdraws. Into this wild -passage of nature, where desperate characters but a few moments before -were encamped, and where _Carmen_ had darkly hinted at fate, as -foretold by the stars, there descends _Micaela_, the emblem of -sweetness and purity in this tragedy of the passions. She is seeking -_Don Jos_, in hopes of reclaiming him. Her romance, "Je dis que rien -ne m'pouvante" (I try not to own that I tremble), is characterized -by Mr. Upton as "the most effective and beautiful number in the whole -work." The introduction for horns is an exquisite passage, and the -expectations it awakens are fully met by the melodious measures of the -romance. - -[Music] - -Having looked about her, and failing to find _Don Jos_, she -withdraws. Meanwhile _Don Jos_, from the place where he stands guard, -has caught sight of a man approaching the camp. A shot rings out. It -is _Don Jos_ who has fired at the man coming up the defile. He is -about to fire again, but the nonchalant manner in which the stranger -comes on, and, waving his hat, calls out, "An inch lower and it would -have been all over with me!" causes him to lower his gun and advance -to meet him. - -"I am Escamillo and I am here to see Carmen," he says gaily. "She had -a lover here, a dragoon, who deserted from his troop for her. She -adored him, but that, I understand, is all over with now. The loves of -Carmen never last long." - -"Slowly, my friend," replies _Don Jos_. "Before any one can take our -gypsy girls away, he must pay the price." - -"So, so. And what is it?" - -"It is paid with the knife," grimly answers _Jos_, as he draws his -blade. - -"Ah," laughs the _Toreador_, "then you are the dragoon of whom Carmen -has wearied. I am in luck to have met you so soon." - -He, too, draws. The knives clash, as the men, the one a soldier, the -other a bullfighter, skilfully thrust and parry. But _Don Jos's_ is -the better weapon, for, as he catches one of _Escamillo's_ thrusts on -his blade, the _Toreador's_ knife snaps short. It would be a fatal -mishap for _Escamillo_, did not at that moment the gypsies and -smugglers, recalled by the shot, hurry in and separate the combatants. -Unruffled by his misadventure, especially as his ardent glances meet -an answering gleam in _Carmen's_ eyes, the _Toreador_ invites the -entire band to the coming bullfight in Seville, in which he is to -figure. With a glad shout they assent. - -"Don't be angry, dragoon," he adds tauntingly. "We may meet again." - -For answer _Don Jos_ seeks to rush at him, but some of the smugglers -hold him back, while the _Toreador_ leisurely goes his way. - -The smugglers make ready to depart again. One of them, however, spies -_Micaela_. She is led down. _Don Jos_ is reluctant to comply with her -pleas to go away with her. The fact that _Carmen_ urges him to do what -the girl says only arouses his jealousy. But when at last _Micaela_ -tells him that his mother is dying of a broken heart for him, he makes -ready to go. - -In the distance _Escamillo_ is heard singing: - - "Toreador, on guard e'er be! - Thou shalt read, in her dark eyes, - Hopes of victory. - Her love is the prize!" - -_Carmen_ listens, as if enraptured, and starts to run after him. _Don -Jos_ with bared knife bars the way; then leaves with _Micaela_. - -Act IV. A square in Seville. At the back the entrance to the arena. It -is the day of the bullfight. The square is animated. Watersellers, -others with oranges, fans, and other articles. Chorus. Ballet. - -Gay the crowd that fills the square outside the arena where the -bullfights are held. It cheers the first strains of music heard as -the festival procession approaches, and it shouts and applauds as the -various divisions go by and pass into the arena: "The Aguacil on -horseback!"--"The chulos with their pretty little flags!"--"Look! The -bandilleros, all clad in green and spangles, and waving the crimson -cloths!"--"The picadors with the pointed lances!"--"The cuadrilla of -toreros!"--"Now! Vivo, vivo! Escamillo!" And a great shout goes up, as -the _Toreador_ enters, with _Carmen_ on his arm. - -There is a brief but beautiful duet for _Escamillo_ and _Carmen_, "Si -tu m'aimes, Carmen" (If you love me, Carmen), before he goes into the -building to make ready for the bullfight, while she waits to be joined -by some of the smugglers and gypsies, whom _Escamillo_ has invited to -be witnesses, with her, of his prowess. - -As the Alcalde crosses the square and enters the arena, and the crowd -pours in after him, one of the gypsy girls from the smugglers' band -whispers to _Carmen_: - -"If you value your life, Carmen, don't stay here. He is lurking in the -crowd and watching you." - -"He?--Jos?--I am no coward.--I fear no one.--If he is here, we will -have it over with now," she answers, defiantly, motioning to the girl -to pass on into the arena into which the square is rapidly emptying -itself. _Carmen_ lingers until she is the only one left, then, with a -shrug of contempt, turns to enter--but finds herself facing _Don -Jos_, who has slunk out from one of the side streets to intercept -her. - -"I was told you were here. I was even warned to leave here, because my -life was in danger. If the hour has come, well, so be it. But, live or -die, yours I shall never be again." - -Her speech is abrupt, rapid, but there is no tremor of fear in her -voice. - -_Don Jos_ is pale and haggard. His eyes are hollow, but they glow -with a dangerous light. His plight has passed from the pitiable to the -desperate stage. - -"Carmen," he says hoarsely, "leave with me. Begin life over again with -me under another sky. I will adore you so, it will make you love me." - -"You never can make me love you again. No one can _make_ me do -anything. Free I was born, free I die." - -The band in the arena strikes up a fanfare. There are loud vivos for -_Escamillo_. _Carmen_ starts to rush for the entrance. Driven to the -fury of despair, his knife drawn, as it had been when he barred her -way in the smugglers' camp, _Don Jos_ confronts her. He laughs -grimly. - -"The man for whom they are shouting--he is the one for whom you have -deserted me!" - -"Let me pass!" is her defiant answer. - -"That you may tell him how you have spurned me, and laugh with him -over my misery!" - -Again the crowd in the arena shouts: "Victory! Victory! Vivo, vivo, -Escamillo, the toreador of Granada!" - -A cry of triumph escapes _Carmen_. - -"You love him!" hisses _Don Jos_. - -"Yes, I love him! If I must die for it, I love him! Victory for -Escamillo, victory! I go to the victor of the arena!" - -She makes a dash for the entrance. Somehow she manages to get past the -desperate man who has stood between her and the gates. She reaches the -steps, her foot already touches the landing above them, when he -overtakes her, and madly plunges his knife into her back. With a -shriek heard above the shouts of the crowd within, she staggers, -falls, and rolls lifeless down the steps into the square. - -The doors of the arena swing open. Acclaiming the prowess of -_Escamillo_, out pours the crowd, suddenly to halt, hushed and -horror-stricken, at the body of a woman dead at the foot of the -steps. - -"I am your prisoner," says _Don Jos_ to an officer. "I killed her." -Then, throwing himself over the body, he cries: - -"Carmen!--Carmen! I love you!--Speak to me!--I adore you!" - - * * * * * - -At its production at the Opra Comique, "Carmen" was a failure. In -view of the world-wide popularity the work was to achieve, that -failure has become historic. It had, however, one lamentable result. -Bizet, utterly depressed and discouraged, died exactly three months -after the production, and before he could have had so much as an -inkling of the success "Carmen" was to obtain. It was not until four -months after his death that the opera, produced in Vienna, celebrated -its first triumph. Then came Brussels, London, New York. At last, in -1883, "Carmen" was brought back to Paris for what Pierre Berton calls -"the brilliant reparation." But Bizet, mortally wounded in his pride -as an artist, had died disconsolate. The "reparation" was to the -public, not to him. - -Whoever will take the trouble to read extracts from the reviews in the -Paris press of the first performance of "Carmen" will find that the -score of this opera, so full of well-rounded, individual, and -distinctive melodies--ensemble, concerted, and solo--was considered -too Wagnerian. More than one trace of this curious attitude toward an -opera, in which the melodies, or tunes, if you choose so to call them, -crowd upon each other almost as closely as in "Il Trovatore," and -certainly are as numerous as in "Ada," still can be found in the -article on "Carmen" in the _Dictionnaire des Opras_, one of the most -unsatisfactory essays in that work. Nor, speaking with the authority -of Berton, who saw the second performance, was the failure due to -defects in the cast. He speaks of Galli-Mari (_Carmen_), Chapuis -(_Micaela_), Lherie (_Don Jos_), and Bouhy (_Escamillo_), as "equal -to their tasks ... an admirable quartet." - -America has had its _Carmen_ periods. Minnie Hauck established an -individuality in the rle, which remained potent until the appearance -in this country of Calv. When Grau wanted to fill the house, all he -had to do was to announce Calv as _Carmen_. She so dominated the -character with her beauty, charm, _diablerie_, and vocal art that, -after she left the Metropolitan Opera House, it became impossible to -revive the opera there with success, until Farrar made her appearance -in it, November 19, 1914, with Alda as _Micaela_, Caruso as _Don -Jos_, and Amato as _Escamillo_. - -A season or two before Oscar Hammerstein gave "Carmen" at the -Manhattan Opera House, a French company, which was on its last legs -when it struck New York, appeared in a performance of "Carmen" at the -Casino, and the next day went into bankruptcy. The _Carmen_ was -Bressler-Gianoli. Her interpretation brought out the coarse fibre in -the character, and was so much the opposite of Calv's, that it was -interesting by contrast. It seemed that had the company been able to -survive, "Carmen" could have been featured in its repertoire, by -reason of Bressler-Gianoli's grasp of the character as Mrime had -drawn it in his novel, where _Carmen_ is of a much coarser personality -than in the opera. The day after the performance I went to see -Heinrich Conried, then director of the Metropolitan Opera House, and -told him of the impression she had made, but he did not engage her. -The _Carmen_ of Bressler-Gianoli (with Dalmors, Trentini, Ancona, and -Gilibert) was one of the principal successes of the Manhattan Opera -House. It was first given December 14, 1906, and scored the record for -the season with nineteen performances, "Ada" coming next with twelve, -and "Rigoletto" with eleven. - -Mary Garden's _Carmen_ is distinctive and highly individualized on the -acting side. It lacks however the lusciousness of voice, the vocal -lure, that a singer must lavish upon the rle to make it a complete -success. - -One of the curiosities of opera in America was the appearance at the -Metropolitan Opera House, November 25, 1885, of Lilli Lehmann as -_Carmen_. - -A word is due Bizet's authors for the admirable libretto they have -made from Mrime's novel. The character of _Carmen_ is, of course, -the creation of the novelist. But in his book the _Toreador_ is not -introduced until almost the very end, and is but one of a succession -of lovers whom _Carmen_ has had since she ensnared _Don Jos_. In the -opera the _Toreador_ is made a principal character, and figures -prominently from the second act on. _Micaela_, so essential for -contrast in the opera, both as regards plot and music, is a creation -of the librettists. But their master-stroke is the placing of the -scene of the murder just outside the arena where the bullfight is in -progress, and in having _Carmen_ killed by _Don Jos_ at the moment -_Escamillo_ is acclaimed victor by the crowd within. In the book he -slays her on a lonely road outside the city of Cordova the day after -the bullfight. - - -LES PCHEURS DE PERLES - -THE PEARL FISHERS - -Besides "Carmen," Bizet was the composer of "Les Pcheurs de Perles" -(The Pearl Fishers) and "Djamileh." - -"Les Pcheurs de Perles," the words by Carr and Cormon, is in three -acts. It was produced at the Thtre Lyrique, Paris, September 29, -1863. London saw it under the title of "Leila," April 22, 1887, at -Covent Garden; as "Pescatori di Perle," May 18, 1899. The New York -production was at the Metropolitan Opera House, January 11, 1896, -with Calv; and November 13, 1916, with Caruso. The scene is Ceylon, -the period barbaric. - -The first act shows a company of pearl fishers on the coast. They -choose _Zurga_ as chief. He and his friend _Nadir_, in the duet, "Au -fond du temple saint" (In the depths of the temple), recall their -former rivalry for the hand of the beautiful priestess, _Leila_, and -how they swore never to see her again. - -Now approaches a veiled priestess who comes annually to pray for the -success of the pearl fishers. She prays to Brahma. _Nadir_ recognizes -_Leila_. His love for her at once revives. She goes into the temple. -He sings "Je crois entendre encore" (I hear as in a dream). When she -returns and again invokes the aid of Brahma, she manages to convey to -_Nadir_ the knowledge that she has recognized and still loves him. - -In the second act, in a ruined temple, the high priest, _Nourabad_, -warns her, on pain of death, to be faithful to her religious vows. -_Leila_ tells him he need have no fear. She never breaks a promise. -The necklace she wears was given her by a fugitive, whose hiding place -she refused to reveal, although the daggers of his pursuers were -pointed at her heart. She had promised not to betray him. Her solo, -"Comme autrefois," etc. (A fugitive one day), is followed by the -retirement of the priest, and the entrance of _Nadir_. There is an -impassioned love duet, the effect of which is heightened by a raging -storm without: "Ton coeur n'a pas compris" (You have not -understood). _Nourabad_, returning unexpectedly, overhears the lovers, -and summons the people. _Zurga_, as chief and judge, desires to be -merciful for the sake of his friend. But _Nourabad_ tears the veil -from _Leila_. It is the woman _Nadir_ has sworn never to see--the -woman _Zurga_ also loves. Enraged, he passes sentence of death upon -them. - -In the third act, the camp of _Zurga_, _Leila_ expresses her -willingness to die, but pleads for _Nadir_, "Pour moi je ne crains -rien" (I have no fear). _Zurga_ is implacable, until he recognizes the -necklace she wears as one he had given many years before to the girl -who refused when he was a fugitive to deliver him up to his enemies. -The scene changes to the place of execution, where has been erected a -funeral pyre. Just as the guilty lovers are to be led to their death, -a distant glow is seen. _Zurga_ cries out that the camp is on fire. -The people rush away to fight the flames. _Zurga_ tells _Leila_ and -_Nadir_ that he set fire to the camp. He then unfastens their chains -and bids them flee. Terzet: " lumire sainte" (O sacred light). - -From a hiding place _Nourabad_ has witnessed the scene. When the -people return, he denounces _Zurga's_ act in setting fire to the camp -and permitting _Leila_ and _Nadir_ to escape. _Zurga_ is compelled to -mount the pyre. A deep glow indicates that the forest is ablaze. The -people prostrate themselves to Brahma, whose wrath they fear. - -_Leila_ is for soprano, _Nadir_ tenor, _Zurga_ baritone, _Nourabad_ -bass. - -In the performance with Calv only two acts were given. The rest of -the program consisted of "La Navarraise," by Massenet. - - -DJAMILEH - -"Djamileh," produced at the Opra Comique, is in one act, words by -Louis Gallet, based on Alfred de Musset's poem, "Namouna." The scene -is Cairo, the time medival. - -_Djamileh_, a beautiful slave, is in love with her master, _Prince -Haroun_, a Turkish nobleman, who is tired of her and is about to sell -her. She persuades his secretary, _Splendiano_, who is in love with -her, to aid her in regaining her master's affections. She will marry -_Splendiano_ if she fails. - -Accordingly, with the secretary's aid, when the slave dealer arrives, -she is, in disguise, among the slaves offered to _Haroun_. She dances. -_Haroun_ is entranced, and immediately buys her. When she discloses -her identity, and pleads that her ruse was prompted by her love for -him, he receives her back into his affections. - -_Djamileh_ is for mezzo-soprano, the men's rles for tenor. Besides -the dance, there are a duet for the men, "Que l'esclave soit brune ou -blonde" (Let the slave be dark or fair); a trio, "Je voyais au loin la -mer s'tendre" (The distant sea have I beheld extending); and the -chorus, "Quelle est cette belle" (Who is the charmer). - - - - -Italian Opera Since Verdi - - -Chief among Italian opera composers of the present day are Puccini, -Mascagni, and Leoncavallo. Others are Giordano, Wolf-Ferrari, -Zandonai, Montemezzi, and Leoni. - -Modern Italian opera differs from Italian opera, old style, largely -through the devotion of the moderns to effects of realism--the Italian -_verismo_, of which we hear so much. These effects of realism are -produced largely by an orchestral accompaniment that constantly adapts -itself descriptively to what is said and done on the stage. At not -infrequent intervals, however, when a strongly emotional situation -demands sustained expression, the restless play of orchestral -depiction and the brief exchange of vocal phrases merge into eloquent -melody for voice with significant instrumental accompaniment. Thus -beautiful vocal melody, fluently sung, remains, in spite of all -tendency toward the much vaunted effect of _verismo_, the heart and -soul, as ever, of Italian opera. - -Much difference, however, exists between the character of the melody -in the modern and the old Italian opera. Speaking, of course, in -general terms, the old style Italian operatic melody is sharply -defined in outline and rhythm, whereas the melody of modern Italian -opera, resting upon a more complicated accompaniment, is subject in a -much greater degree to rhythmic and harmonic changes. Since, however, -that is little more than saying that the later style of Italian opera -is more modern than the older, I will add, what seems to me the most -characteristic difference in their idioms. Italian melody, old style, -derives much of its character from the dotted note, with the -necessarily marked acceleration of the next note, as, for example, in -"Ah! non giunge" ("La Sonnambula"), an air which is typical of the -melodious measures of Italian opera of the first sixty or seventy -years of the last century; and that, too, whether the emotion to be -expressed is ecstasy, as in "Ah! non giunge," above; grief, as in -_Edgardo's_ last aria in "Lucia di Lammermoor,"--"Tu che a Dio -spiegasti l'ali" (Thou has [Transcriber's Note: should be 'hast'] -spread thy wings to Heaven), the spirit of festive greeting as in the -chorus from the previous act of the same opera, or passionate love as -in _Elvira's_ and _Ernani's_ duet; "Ah morir potessi adesso." - -It does not occur as frequently in Rossini as in Bellini and -Donizetti, while Verdi, as he approaches his ripest period, discards -it with growing frequency. I am also aware that the dotted note is -found in abundance in the music of all civilized countries. -Nevertheless it is from its prominence in the melodic phrase, the -impetus imparted by it, and the sharp reiterated rhythmic beat which -it usually calls for, that Italian melody of the last century, up to -about 1870, derives much of its energy, swing, and passion. It is, in -fact, idiomatic. - -Wholly different is the idiom of modern Italian music. It consists of -the sudden stressing of the melody at a vital point by means of the -triolet--the triplet, as we call it. An excellent example is the love -motif for _Nedda_ in "I Pagliacci," by Leoncavallo. - -[Music] - -If the dotted note is peculiarly adapted to the careless rapture with -which the earlier Italian composers lavished melody after melody upon -their scores, the triolet suits the more laboured efforts of the -modern Italian muse. - -Another effect typical of modern Italian opera is the use of the -foreign note--that is, the sudden employment of a note strange to the -key of the composition. This probably is done for the sake of giving -piquancy to a melody that otherwise might be considered commonplace. -_Turiddu's_ drinking song in "Cavalleria Rusticana" is a good example. - -[Music] - -In orderly harmonic progression the first tone in the bass of the -second bar would be F-sharp, instead of F-natural, which is a note -foreign to the key. This example is quoted in Ferdinand Pfohl's -_Modern Opera_, in which he says of the triolet and its use in the -opera of modern Italy, that its peculiarly energetic sweep, powerful -suspense, and quickening, fiery heart-beat lend themselves amazingly -to the art of _verismo_. - - - - -Pietro Mascagni - -(1863- ) - - -Pietro Mascagni was born in Leghorn, Italy, December 7, 1863. His -father was a baker. The elder Mascagni, ambitious for his boy, wanted -him to study law. The son himself preferred music, and studied -surreptitiously. An uncle, who sympathized with his aims, helped him -financially. After the uncle's death a nobleman, Count Florestan, sent -him to the Milan Conservatory. There he came under the instruction and -influence of Ponchielli. - -After two years' study at the conservatory he began a wandering life, -officiating for the next five years as conductor of opera companies, -most of which disbanded unexpectedly and impecuniously. He eked out a -meagre income, being compelled at one time to subsist on a plate of -macaroni a day. His finances were not greatly improved when he settled -in Cerignola, where he directed a school for orchestra players and -taught pianoforte and theory. - -He was married and in most straitened circumstances when he composed -"Cavalleria Rusticana" and sent it off to the publisher Sonzogno, who -had offered a prize for a one-act opera. It received the award. - -May 17, 1890, at the Constanzi Theatre, Rome, it had its first -performance. Before the representation had progressed very far, the -half-filled house was in a state of excitement and enthusiasm -bordering on hysteria. The production of "Cavalleria Rusticana" -remains one of the sensational events in the history of opera. It made -Mascagni famous in a night. Everywhere it was given--and it was given -everywhere--it made the same sensational success. Its vogue was so -great, it "took" so rapidly, that it was said to have infected the -public with "Mascagnitis." - -In "'Cavalleria Rusticana' music and text work in wonderful harmony in -the swift and gloomy tragedy." Nothing Mascagni has composed since has -come within hailing distance of it. The list of his operas is a fairly -long one. Most of them have been complete failures. In America, "Iris" -has, since its production, been the subject of occasional revival. -"Lodoletta," brought out by Gatti-Casazza at the Metropolitan Opera -House in 1918, had the advantage of a cast that included Caruso and -Farrar. "Isabeau" had its first performance in the United States of -America, in Chicago by the Chicago Opera Company under the direction -of Cleofante Campanini in 1917, and was given by the same organization -in New York in 1918. (See p. 625.) - -With Mascagni's opera, "Le Maschere" (The Maskers), which was produced -in 1901, the curious experiment was made of having the first night -occur simultaneously in six Italian cities. It was a failure in all, -save Rome, where it survived for a short time. - -Of the unfortunate results of Mascagni's American visit in 1902 not -much need be said. A "scratch" company was gotten together for him. -With this he gave poor performances at the Metropolitan Opera House, -of "Cavalleria Rusticana," "Zanetto," and "Iris." The tour ended in -lawsuits and failure. "Zanetto," which is orchestrated only for string -band and a harp, was brought out with "Cavalleria Rusticana" in a -double bill, October 8, 1902; "Iris," October 16th. - - -CAVALLERIA RUSTICANA - -RUSTIC CHIVALRY - - Opera, in one act, by Mascagni; words by Giovanni - Targioni-Toggetti and G. Menasci, the libretto being founded - on a story by Giovanni Verga. Produced, Constanzi Theatre, - Rome, May 17, 1890. London, Shaftesbury Theatre, October 19, - 1891. Covent Garden, May 16, 1892. America: Philadelphia, - Grand Opera House, September 9, 1891, under the direction of - Gustav Hinrichs, with Selma Kronold (_Santuzza_), Miss - Campbell (_Lola_), Jeannie Teal (_Lucia_), Guille - (_Turiddu_), Del Puente (_Alfio_). Chicago, September 30, - 1891, with Minnie Hauck as _Santuzza_. New York, October 1, - 1891, at an afternoon "dress rehearsal" at the Casino, under - the direction of Rudolph Aronson, with Laura Bellini - (_Santuzza_), Grace Golden (_Lola_), Helen von Doenhof - (_Lucia_), Charles Bassett (_Turiddu_), William Pruette - (_Alfio_), Gustav Kerker, conductor, Heinrich Conried, stage - manager. Evening of same day, at the Lenox Lyceum, under the - direction of Oscar Hammerstein, with Mme. Janouschoffsky - (_Santuzza_), Mrs. Pemberton Hincks (_Lola_), Mrs. Jennie - Bohner (_Lucia_), Payne Clarke (_Turiddu_), Herman Gerold - (_Alfio_), Adolph Neuendorff, conductor. Metropolitan Opera - House, December 30, 1891, with Eames as _Santuzza_; November - 29, 1893, with Calv (dbut) as _Santuzza_. - - CHARACTERS - - TURIDDU, a young soldier _Tenor_ - ALFIO, the village teamster _Baritone_ - LOLA, his wife _Mezzo-Soprano_ - MAMMA LUCIA, Turiddu's mother _Contralto_ - SANTUZZA, a village girl _Soprano_ - - Villagers, peasants, boys. - - _Time_--The present, on Easter day. - - _Place_--A village in Sicily. - -"Cavalleria Rusticana" in its original form is a short story, compact -and tense, by Giovanni Verga. From it was made the stage tragedy, in -which Eleonora Duse displayed her great powers as an actress. It is a -drama of swift action and intense emotion; of passion, betrayal, and -retribution. Much has been made of the rle played by the "book" in -contributing to the success of the opera. It is a first-rate -libretto--one of the best ever put forth. It inspired the composer to -what so far has remained his only significant achievement. But only in -that respect is it responsible for the success of "Cavalleria -Rusticana" as an opera. The hot blood of the story courses through the -music of Mascagni, who in his score also has quieter passages, that -make the cries of passion the more poignant. Like practically every -enduring success, that of "Cavalleria Rusticana" rests upon merit. -From beginning to end it is an inspiration. In it, in 1890, Mascagni, -at the age of twenty-one, "found himself," and ever since has been -trying, unsuccessfully, to find himself again. - -The prelude contains three passages of significance in the development -of the story. The first of these is the phrase of the despairing -_Santuzza_, in which she cries out to _Turiddu_ that, despite his -betrayal and desertion of her, she still loves and pardons him. The -second is the melody of the duet between _Santuzza_ and _Turiddu_, in -which she implores him to remain with her and not to follow _Lola_ -into the church. The third is the air in Sicilian style, the -"Siciliana," which, as part of the prelude, _Turiddu_ sings behind the -curtain, in the manner of a serenade to _Lola_, "O Lola, bianca come -fior di spino" (O Lola, fair as a smiling flower). - -With the end of the "Siciliana" the curtain rises. It discloses a -public square in a Sicilian village. On one side, in the background, -is a church, on the other _Mamma Lucia's_ wineshop and dwelling. It is -Easter morning. Peasants, men, women, and children cross or move about -the stage. The church bells ring, the church doors swing open, people -enter. A chorus, in which, mingled with gladness over the mild beauty -of the day, there also is the lilt of religious ecstasy, follows. Like -a refrain the women voice and repeat "Gli aranci olezzano sui verdi -margini" (Sweet is the air with the blossoms of oranges). They intone -"La Vergine serena allietasi del Salvator" (The Holy Mother mild, in -ecstasy fondles the child), and sing of "Tempo si mormori," etc. -(Murmurs of tender song tell of a joyful world). The men, meanwhile, -pay a tribute to the industry and charm of woman. Those who have not -entered the church, go off singing. Their voices die away in the -distance. - -_Santuzza_, sad of mien, approaches _Mamma Lucia's_ house, just as her -false lover's mother comes out. There is a brief colloquy between the -two women. _Santuzza_ asks for _Turiddu_. His mother answers that he -has gone to Francofonte to fetch some wine. _Santuzza_ tells her that -he was seen during the night in the village. The girl's evident -distress touches _Mamma Lucia_. She bids her enter the house. - -"I may not step across your threshold," exclaims _Santuzza_. "I cannot -pass it, I, most unhappy outcast! Excommunicated!" - -_Mamma Lucia_ may have her suspicions of _Santuzza's_ plight. "What of -my son?" she asks. "What have you to tell me?" - -But at that moment the cracking of a whip and the jingling of bells -are heard from off stage. _Alfio_, the teamster, comes upon the scene. -He is accompanied by the villagers. Cheerfully he sings the praises of -a teamster's life, also of _Lola's_, his wife's, beauty. The villagers -join him in chorus, "Il cavallo scalpita" (Gayly moves the tramping -horse). - -_Alfio_ asks _Mamma Lucia_ if she still has on hand some of her fine -old wine. She tells him it has given out. _Turiddu_ has gone away to -buy a fresh supply of it. - -"No," says _Alfio_. "He is here. I saw him this morning standing not -far from my cottage." - -_Mamma Lucia_ is about to express great surprise. _Santuzza_ is quick -to check her. - -[Illustration: Gadski as Santuzza in "Cavalleria Rusticana"] - -_Alfio_ goes his way. A choir in the church intones the "Regina -Coeli." The people in the square join in the "Allelujas." Then they -kneel and, led by _Santuzza's_ voice, sing the Resurrection hymn, -"Inneggiamo, il Signor non morto" (Let us sing of the Lord now -victorious). The "Allelujas" resound in the church, which all, save -_Mamma Lucia_ and _Santuzza_, enter. - -_Mamma Lucia_ asks the girl why she signalled her to remain silent -when _Alfio_ spoke of _Turiddu's_ presence in the village. "Voi lo -sapete" (Now you shall know), exclaims _Santuzza_, and in one of the -most impassioned numbers of the score, pours into the ears of her -lover's mother the story of her betrayal. Before _Turiddu_ left to -serve his time in the army, he and _Lola_ were in love with each -other. But, tiring of awaiting his return, the fickle _Lola_ married -_Alfio_. _Turiddu_, after he had come back, made love to _Santuzza_ -and betrayed her; now, lured by _Lola_, he has taken advantage of -_Alfio's_ frequent absences, and has gone back to his first love. -_Mamma Lucia_ pities the girl, who begs that she go into church and -pray for her. - -_Turiddu_ comes, a handsome fellow. _Santuzza_ upbraids him for -pretending to have gone away, when instead he has surreptitiously been -visiting _Lola_. It is a scene of vehemence. But when _Turiddu_ -intimates that his life would be in danger were _Alfio_ to know of his -visits to _Lola_, the girl is terrified. "Battimi, insultami, t'amo e -perdono" (Beat me, insult me, I still love and forgive you). - -Such is her mood--despairing, yet relenting. But _Lola's_ voice is -heard off stage. Her song is carefree, a key to her character, which -is fickle and selfish, with a touch of the cruel. "Fior di giaggiolo" -(Bright flower, so glowing) runs her song. Heard off stage, it yet -conveys in its melody, its pauses, and inflections, a quick sketch in -music of the heartless coquette, who, to gratify a whim, has stolen -_Turiddu_ from _Santuzza_. She mocks the girl, then enters the -church. Only a few minutes has she been on the stage, but Mascagni has -let us know all about her. - -A highly dramatic scene, one of the most impassioned outbursts of the -score, occurs at this point. _Turiddu_ turns to follow _Lola_ into the -church. _Santuzza_ begs him to stay. "No, no, Turiddu, rimani, rimani, -ancora--Abbandonarmi dunque tu vuoi?" (No, no, Turiddu! Remain with me -now and forever! Love me again! How can you forsake me?). - -[Music] - -A highly dramatic phrase, already heard in the prelude, occurs at "La -tua Santuzza piange e t'implora" (Lo! here thy Santuzza, weeping, -implores thee). - -_Turiddu_ repulses her. She clings to him. He loosens her hold and -casts her from him to the ground. When she rises, he has followed -_Lola_ into the church. - -But the avenger is nigh. Before _Santuzza_ has time to think, _Alfio_ -comes upon the scene. He is looking for _Lola_. To him in the fewest -possible words, and in the white voice of suppressed passion, -_Santuzza_ tells him that his wife has been unfaithful with _Turiddu_. -In the brevity of its recitatives, the tense summing up in melody of -each dramatic situation as it develops in the inexorably swift -unfolding of the tragic story, lies the strength of "Cavalleria -Rusticana." - -_Santuzza_ and _Alfio_ leave. The square is empty. But the action goes -on in the orchestra. For the intermezzo--the famous intermezzo--which -follows, recapitulates, in its forty-eight bars, what has gone before, -and foreshadows the tragedy that is impending. There is no restating -here of leading motives. The effect is accomplished by means of terse, -vibrant melodic progression. It is melody and yet it is drama. Therein -lies its merit. For no piece of serious music can achieve the -world-wide popularity of this intermezzo and not possess merit. - -[Music] - -Mr. Krehbiel, in _A Second Book of Operas_, gives an instance of its -unexampled appeal to the multitude. A burlesque on this opera was -staged in Vienna. The author of the burlesque thought it would be a -great joke to have the intermezzo played on a hand-organ. Up to that -point the audience had been hilarious. But with the first wheezy tone -of the grinder the people settled down to silent attention, and, when -the end came, burst into applause. Even the hand-organ could not rob -the intermezzo of its charm for the public! - -What is to follow in the opera is quickly accomplished. The people -come out of church. _Turiddu_, in high spirits, because he is with -_Lola_ and because _Santuzza_ no longer is hanging around to reproach -him, invites his friends over to his mother's wineshop. Their glasses -are filled. _Turiddu_ dashes off a drinking song, "Viva, il vino -spumeggiante" (Hail! the ruby wine now flowing). - -The theme of this song will be found quoted on p. 609. - -_Alfio_ joins them. _Turiddu_ offers him wine. He refuses it. The -women leave, taking _Lola_ with them. In a brief exchange of words -_Alfio_ gives the challenge. In Sicilian fashion the two men embrace, -and _Turiddu_, in token of acceptance, bites _Alfio's_ ear. _Alfio_ -goes off in the direction of the place where they are to test their -skill with the stiletto. - -_Turiddu_ calls for _Mamma Lucia_. He is going away, he tells her. At -home the wine cup passes too freely. He must leave. If he should not -come back she must be like a kindly mother to _Santuzza_--"_Santa_, -whom I have promised to lead to the altar." - -"Un bacio, mamma! Un altro bacio!--Addio!" (One kiss, one kiss, my -mother. And yet another. Farewell!) - -He goes. _Mamma Lucia_ wanders aimlessly to the back of the stage. She -is weeping. _Santuzza_ comes on, throws her arms around the poor -woman's neck. People crowd upon the scene. All is suppressed -excitement. There is a murmur of distant voices. A woman is heard -calling from afar: "They have murdered neighbour Turiddu!" - -Several women enter hastily. One of them, the one whose voice was -heard in the distance, repeats, but now in a shriek, "Hanno ammazzato -compare Turiddu!"--(They have murdered neighbour Turiddu!) - -_Santuzza_ falls in a swoon. The fainting form of _Mamma Lucia_ is -supported by some of the women. - -"Cala rapidamente la tela" (The curtain falls rapidly). - -A tragedy of Sicily, hot in the blood, is over. - -When "Cavalleria Rusticana" was produced, no Italian opera had -achieved such a triumph since "Ada"--a period of nearly twenty years. -It was hoped that Mascagni would prove to be Verdi's successor, a hope -which, needless to say, has not been fulfilled. - -To "Cavalleria Rusticana," however, we owe the succession of short -operas, usually founded on debased and sordid material, in which other -composers have paid Mascagni the doubtful compliment of imitation in -hopes of achieving similar success. Of all these, "Pagliacci," by -Leoncavallo, is the only one that has shared the vogue of the Mascagni -opera. The two make a remarkably effective double bill. - - -L'AMICO FRITZ - -FRIEND FRITZ - - Opera in three acts, by Pietro Mascagni; text by Suaratoni - [Transcriber's Note: later editions have P. Suardon (N. - Daspuro)], from the story by Erckmann-Chatrian. Produced, - Rome, 1891. Philadelphia, by Gustav Hinrichs, June 8, 1892. - New York, Metropolitan Opera House, with Calv as _Suzel_, - January 10, 1894. - - CHARACTERS - - FRITZ KOBUS, a rich bachelor _Tenor_ - DAVID, a Rabbi _Baritone_ - FREDERICO } friends of Fritz { _Tenor_ - HANEGO } { _Tenor_ - SUZEL, a farmer's daughter _Soprano_ - BEPPE, a gypsy _Soprano_ - CATERINA, a housekeeper _Contralto_ - - _Time_--The present. - - _Place_--Alsace. - -Act I. _Fritz Kobus_, a well-to-do landowner and confirmed bachelor, -receives felicitations on his fortieth birthday. He invites his -friends to dine with him. Among the guests is _Suzel_, his tenant's -daughter, who presents him with a nosegay, and sits beside him. Never -before has he realized her charm. _Rabbi David_, a confirmed -matchmaker, wagers with the protesting _Fritz_ that he will soon be -married. - -Act II. _Friend Fritz_ is visiting _Suzel's_ father. The charming girl -mounts a ladder in the garden, picks cherries, and throws them down to -_Fritz_, who is charmed. When _Rabbi David_ appears and tells him that -he has found a suitable husband for _Suzel_, _Fritz_ cannot help -revealing his own feelings. - -Act III. At home again _Fritz_ finds no peace. _David_ tells him -_Suzel's_ marriage has been decided on. _Fritz_ loses his temper; says -he will forbid the bans. _Suzel_, pale and sad, comes in with a basket -of fruit. When her wedding is mentioned she bursts into tears. That -gives _Fritz_ his chance which he improves. _David_ wins his wager, -one of _Fritz's_ vineyards, which he promptly bestows upon _Suzel_ as -a dowry. - -The duet of the cherries in the second act is the principal musical -number in the opera. - - -IRIS - - Opera in three acts, by Mascagni. Words by Luigi Illica. - Produced, Constanzi Theatre, Rome, November 22, 1898; - revised version, La Scala, Milan, 1899. Philadelphia, - October 14, 1902, and Metropolitan Opera House, New York, - October 16, 1902, under the composer's direction (Marie - Farneti, as _Iris_); Metropolitan Opera House, 1908, with - Eames (_Iris_), Caruso (_Osaka_), Scotti, and Journet; April - 3, 1915, Bori, Botta, and Scotti. - - CHARACTERS - - IL CIECO, the blind man _Bass_ - IRIS, his daughter _Soprano_ - OSAKA _Tenor_ - KYOTO, a _takiomati_ _Baritone_ - - Ragpickers, shopkeepers, geishas, _mousms_ (laundry girls), - _samurai_, citizens, strolling players, three women - representing Beauty, Death, and the Vampire; a young girl. - - _Time_--Nineteenth century. - - _Place_--Japan. - -[Illustration: Copyright photo by White - -Bori as Iris] - -Act I. The home of _Iris_ near the city. The hour is before dawn. The -music depicts the passage from night into day. It rises to a crashing -climax--the instrumentation including tamtams, cymbals, drums, and -bells--while voices reiterate, "Calore! Luce! Amor!" (Warmth! Light! -Love!). In warmth and light there are love and life. A naturalistic -philosophy, to which this opening gives the key, runs through "Iris." - -Fujiyama glows in the early morning light, as _Iris_, who loves only -her blind father, comes to the door of her cottage. She has dreamed -that monsters sought to injure her doll, asleep under a rosebush. With -the coming of the sun the monsters have fled. _Mousms_ come to the -bank of the stream and sing prettily over their work. - -_Iris_ is young and beautiful. She is desired by _Osaka_, a wealthy -rake. _Kyoto_, keeper of a questionable resort, plots to obtain her -for him. He comes to her cottage with a marionette show. While _Iris_ -is intent upon the performance, three geisha girls, representing -Beauty, Death, and the Vampire, dance about her. They conceal her from -view by spreading their skirts. She is seized and carried off. -_Osaka_, by leaving money for the blind old father, makes the -abduction legal. When _Il Cieco_ returns, he is led to believe that -his daughter has gone voluntarily to the Yoshiwara. In a rage he -starts out to find her. - -Act II. Interior of the "Green House" in the Yoshiwara. _Iris_ -awakens. At first she thinks it is an awakening after death. But death -brings paradise, while she is unhappy. _Osaka_, who has placed jewels -beside her, comes to woo, but vainly seeks to arouse her passions. In -her purity she remains unconscious of the significance of his words -and caresses. His brilliant attire leads her to mistake him for Tor, -the sun god, but he tells her he is Pleasure. That frightens her. For, -as she narrates to him, one day, in the temple, a priest told her that -pleasure and death were one. - -_Osaka_ wearies of her innocence and leaves her. But _Kyoto_, wishing -to lure him back, attires her in transparent garments and places her -upon a balcony. The crowd in the street cries out in amazement over -her beauty. Again _Osaka_ wishes to buy her. She hears her father's -voice. Joyously she makes her presence known to him. He, ignorant of -her abduction and believing her a voluntary inmate of the "Green -House," takes a handful of mud from the street, flings it at her, and -curses her. In terror, she leaps from a window into the sewer below. - -Act III. Ragpickers and scavengers are dragging the sewer before -daylight. In song they mock the moon. A flash of light from the mystic -mountain awakens what is like an answering gleam in the muck. They -discover and drag out the body of _Iris_. They begin to strip her of -her jewels. She shows signs of life. The sordid men and women flee. -The rosy light from Fujiyama spreads over the sky. Warmth and light -come once more. _Iris_ regains consciousness. Spirit voices whisper of -earthly existence and its selfish aspirations typified by the knavery -of _Kyoto_, the lust of _Osaka_, the desire of _Iris's_ father, _Il -Cieco_, for the comforts of life through her ministrations. - -Enough strength comes back to her for her to acclaim the sanctity of -the sun. In its warmth and light--the expression of Nature's love--she -sinks, as if to be absorbed by Nature, into the blossoming field that -spreads about her. Again, as in the beginning, there is the choired -tribute to warmth, light, love--the sun! - -Partly sordid, partly ethereal in its exposition, the significance of -this story has escaped Mascagni, save in the climax of the opening -allegory of the work. Elsewhere he employs instruments associated by -us with Oriental music, but the spirit of the Orient is lacking. In a -score requiring subtlety of invention, skill in instrumentation, and, -in general, the gift for poetic expression in music, these qualities -are not. The scene of the _mousms_ in the first act with _Iris's_ -song to the flowers of her garden, "In pure stille" ([Transcriber's -Note: translation left blank in original; should probably be 'In pure -droplets']); the vague, yet unmistakable hum of Japanese melody in the -opening of Act II; and her narrative in the scene with _Osaka_ in the -same act, "Un d al tempio" (One day at the temple)--these, with the -hymn to the sun, are about the only passages that require mention. - - -LODOLETTA - - Opera in three acts, by Mascagni. Words by Gioacchino - Forzano, after Ouida's novel, _Two Little Wooden Shoes_. - Produced, Rome, April 30, 1917. Metropolitan Opera House, - New York, January 12, 1918, with Farrar (later in the - season, Florence Easton) as _Lodoletta_, Caruso (_Flammen_), - Amato (_Giannotto_), and Didur (_Antonio_). - - CHARACTERS - - LODOLETTA _Soprano_ - FLAMMEN _Tenor_ - FRANZ _Bass_ - GIANNOTTO _Baritone_ - ANTONIO _Bass_ - A MAD WOMAN _Mezzo-Soprano_ - VANNARD _Mezzo-Soprano_ - MAUD _Soprano_ - A VOICE _Tenor_ - - A letter carrier, an old violinist. - - _Time_--Second empire. - - _Place_--A Dutch village. - -_Lodoletta_, a young girl, who lives in a little Dutch village, is a -foundling, who has been brought up by old _Antonio_. He discovered her -as an infant in a basket of flowers at the lakeside. When she has -grown up to be sixteen, she is eager for a pair of red wooden shoes, -but _Antonio_ cannot afford to buy them. _Flammen_, a painter from -Paris, offers him a gold piece for a roadside Madonna he owns. -_Antonio_ takes it, and with it buys the shoes for _Lodoletta_. Soon -afterwards the old man is killed by a fall from a tree. _Lodoletta_ is -left alone in the world. - -_Flammen_, who has conceived a deep affection for her, persuades her -to be his model. This makes the villagers regard her with suspicion. -She begs him to go. He returns to Paris, only to find that absence -makes him fonder of the girl than ever. He returns to the village. -_Lodoletta_ has disappeared. His efforts to find her fail. On New -Year's his friends gather at his villa to celebrate, and make him -forget his love affair in gayety. The celebration is at its height, -when _Lodoletta_, who, in her turn, has been searching for _Flammen_, -reaches the garden. She has wandered far and is almost exhausted, but -has found _Flammen's_ house at last. She thinks he is expecting her, -because the villa is so brilliantly illuminated. But, when she looks -through the window upon the gay scene, she falls, cold, exhausted, and -disillusioned, in the snow just as midnight sounds. _Flammen's_ party -of friends depart, singing merrily. As he turns back toward the house -he discovers a pair of little red wooden shoes. They are sadly worn. -But he recognizes them. He looks for _Lodoletta_, only to find her -frozen to death in the snow. - -It may be that "Lodoletta's" success at its production in Rome was -genuine. Whatever acclaim it has received at the Metropolitan Opera -House is due to the fine cast with which it has been presented. There -is little spontaneity in the score. A spirit of youthfulness is -supposed to pervade the first act, but the composer's efforts are so -apparent that the result is childish rather than youthful. Moreover, -as Henry T. Finck writes in the N.Y. _Evening Post_, "Lodoletta" seems -to have revived some of the dramatic inconsistencies of the -old-fashioned kind of Italian opera. For instance, in the last act, -the scene is laid outside _Flammen's_ villa in Paris on New Year's -eve--it is zero weather to all appearances, although there is an -intermittent snowstorm--but _Flammen_ and _Franz_, and later all his -guests, come out without wraps, and stay for quite awhile. Later -_Lodoletta_, well wrapped (though in rags), appears, and is quickly -frozen to death. - -The scene of the first act is laid in the village in April. -_Lodoletta's_ cottage is seen and the shrine with the picture of the -Madonna. It is in order to copy or obtain this that _Flammen_ comes -from Paris. In the background is the tree which _Antonio_ climbs and -from which, while he is plucking blossom-laden branches for the spring -festival, he falls and is killed--a great relief, the character is so -dull. There is much running in and out, and singing by boys and girls -in this act. The music allotted to them is pretty without being -extraordinarily fetching. An interchange of phrases between _Flammen_ -and _Lodoletta_ offers opportunity for high notes to the tenor, but -there is small dramatic significance in the music. - -In the second act the stage setting is the same, except that the -season is autumn. There is a song for _Lodoletta_, and, as in Act I, -episodes for her and the children, who exclaim delightedly when they -see the picture _Flammen_ has been painting, " Lodoletta viva, com' -bella" (See! Lodoletta, and so pretty!). But there is little progress -made in this act. Much of it has the effect of repetition. - -In the third act one sees the exterior of _Flammen's_ villa, and -through the open gates of the courtyard Paris in the midst of New -Year's gayety. The merriment within the villa is suggested by music -and silhouetted figures against the windows. Some of the guests dash -out, throw confetti, and indulge in other pranks, which, intended to -be bright and lively, only seem silly. As in the previous acts, the -sustained measures for _Lodoletta_ and for _Flammen_, while intended -to be dramatic, lack that quality--one which cannot be dispensed with -in opera. "The spectacle of _Flammen_, in full evening dress and -without a hat, singing on his doorstep in a snowstorm, would tickle -the funny bone of any but an operatic audience," writes Grenville -Vernon in the N.Y. _Tribune_. - - -ISABEAU - -With Rosa Raisa in the title rle, the Chicago Opera Company produced -Mascagni's "Isabeau" at the Auditorium, Chicago, November 12, 1918. -The company repeated it at the Lexington Theatre, New York, February -13, 1918, also with Rosa Raisa as _Isabeau_. The opera had its first -performances on any stage at Buenos Aires, June 2, 1911. The libretto, -based upon the story of Lady Godiva, is in three acts, and is the work -of Luigi Illica. The opera has made so little impression that I -restrict myself to giving the story. - -In Illica's version of the Godiva story, the heroine, _Isabeau_, is as -renowned for her aversion to marriage as for her beauty. Her father, -_King Raimondo_, eager to find for her a husband, arranges a -tournament of love, at which she is to award her hand as prize to the -knight who wins her favour. She rejects them all. For this obstinacy -and because she intercedes in a quarrel, _Raimondo_ dooms her to ride -unclad through the town at high noon of the same day. At the urging of -the populace he modifies his sentence, but only so far as to announce -that, while she rides, no one shall remain in the streets or look out -of the windows. The order is disobeyed only by a simpleton, a country -lout named _Folco_. Dazed by _Isabeau's_ beauty, he strews flowers for -her as she comes riding along. For this the people demand that he -suffer the full penalty for violation of the order, which is the loss -of eyesight and life. _Isabeau_, horrified by _Folco's_ act, visits -him in prison. Her revulsion turns to love. She decides to inform her -father that she is ready to marry. But the _Chancellor_ incites the -populace to carry out the death sentence. _Isabeau_ commits suicide. - -When "Isabeau" had its American production in Chicago, more than -twenty-seven years had elapsed since the first performance of -"Cavalleria Rusticana." A long list of operas by Mascagni lies -between. But he still remains a one-opera man, that opera, however, a -masterpiece. - - - - -Ruggiero Leoncavallo - -(1858- ) - - -Leoncavallo, born March 8, 1858, at Naples, is a dramatic composer, a -pianist, and a man of letters. He is the composer of the successful -opera "Pagliacci," has made concert tours as a pianoforte virtuoso, is -his own librettist, and has received the degree of Doctor of Letters -from the University of Bologna. - -He studied at the Naples Conservatory. His first opera, "Tommaso -Chatterton," was a failure, but was successfully revived in 1896, in -Rome. An admirer of Wagner and personally encouraged by him, he wrote -and set to music a trilogy, "Crepusculum" (Twilight): I. "I Medici"; -II. "Gerolamo Savonarola"; III. "Cesare Borgia." The performing rights -to Part I were acquired by the Ricordi publishing house, but, no -preparations being made for its production, he set off again on his -travels as a pianist; officiating also as a rptiteur for opera -singers, among them Maurel, in Paris, where he remained several years. -His friendship with that singer bore unexpected fruit. Despairing of -ever seeing "I Medici" performed, and inspired by the success of -"Cavalleria Rusticana," Leoncavallo wrote and composed "Pagliacci," -and sent it to Ricordi's rival, the music publisher Sonzogno. The -latter accepted "Pagliacci" immediately after reading the libretto. -Maurel then not only threw his influence in favour of the work, but -even offered to create the rle of _Tonio_; and in that character he -was in the original cast (1892). "I Medici" was now produced (La -Scala, Milan, 1893), but failed of success. Later operas by -Leoncavallo, "La Bohme" (La Fenice Theatre, Venice, 1897) and "Zaza" -(Milan, 1900), fared somewhat better, and the latter is played both in -Italy and Germany. But "Roland of Berlin," commissioned by the German -Emperor and performed December 13, 1904, was a complete failure. In -fact Leoncavallo's name is so identified with "Pagliacci" that, like -Mascagni, he may be called a one-opera composer. - - -PAGLIACCI - -CLOWNS - - Opera in two acts, words and music by Ruggiero Leoncavallo. - Produced, Teatro dal Verme, Milan, May 17, 1892. Grand Opera - House, New York, June 15, 1893, under the direction of - Gustav Hinrichs, with Selma Kronold (_Nedda_), Montegriffo - (_Canio_), and Campanari (_Tonio_). Metropolitan Opera - House, December 11, 1893, with Melba as _Nedda_, De Lucia as - _Canio_, and Ancona as _Tonio_. - - CHARACTERS - - CANIO (in the play _Pagliaccio_), head of a - troupe of strolling players _Tenor_ - NEDDA (in the play _Columbine_), - wife of _Canio_ _Soprano_ - TONIO (in the play _Taddeo_, a clown) _Baritone_ - BEPPE (in the play _Harlequin_) _Tenor_ - SILVIO, a villager _Baritone_ - - Villagers. - - _Time_--The Feast of the Assumption, about 1865-70. - - _Place_--Montalto, in Calabria. - -"Pagliacci" opens with a prologue. There is an instrumental -introduction. Then _Tonio_ pokes his head through the curtains,--"Si -pu? Signore, Signori" (By your leave, Ladies and Gentlemen),--comes -out, and sings. The prologue rehearses, or at least hints at, the -story of the opera, and does so in musical phrases, which we shall -hear again as the work progresses--the bustle of the players as they -make ready for the performance; _Canio's_ lament that he must be merry -before his audiences, though his heart be breaking; part of the -love-making music between _Nedda_ and _Silvio_; and the theme of the -intermezzo, to the broad measures of which _Tonio_ sings, "E voi, -piuttosto che le nostre povere gabbane" (Ah, think then, sweet people, -when you behold us clad in our motley). - -[Music] - -The prologue, in spite of ancient prototypes, was a bold stroke on the -part of Leoncavallo, and, as the result proved, a successful one. -Besides its effectiveness in the opera, it has made a good concert -number. Moreover, it is quite unlikely that without it Maurel would -have offered to play _Tonio_ at the production of the work in Milan. - -Act I. The edge of the village of Montalto, Calabria. People are -celebrating the Feast of the Assumption. In the background is the tent -of the strolling players. These players, _Canio_, _Nedda_, _Tonio_, -and _Beppe_, in the costume of their characters in the play they are -to enact, are parading through the village. - -The opening chorus, "Son qua" (They're here), proclaims the innocent -joy with which the village hails the arrival of the players. The -beating of a drum, the blare of a trumpet are heard. The players, -having finished their parade through the village, are returning to -their tent. _Beppe_, in his _Harlequin_ costume, enters leading a -donkey drawing a gaudily painted cart, in which _Nedda_ is reclining. -Behind her, in his _Pagliaccio_ costume, is _Canio_, beating the big -drum and blowing the trumpet. _Tonio_, dressed as _Taddeo_, the clown, -brings up the rear. The scene is full of life and gayety. - -Men, women, and boys, singing sometimes in separate groups, sometimes -together, form the chorus. The rising inflection in their oft-repeated -greeting to _Canio_ as "il principe sei dei Pagliacci" (the prince of -Pagliaccios), adds materially to the lilt of joy in their greeting to -the players whose coming performance they evidently regard as the -climax to the festival. - -_Canio_ addresses the crowd. At seven o'clock the play will begin. -They will witness the troubles of poor _Pagliaccio_, and the vengeance -he wreaked on the _Clown_, a treacherous fellow. 'Twill be a strange -combination of love and of hate. - -Again the crowd acclaims its joy at the prospect of seeing the players -on the stage behind the flaps of the tent. - -_Tonio_ comes forward to help _Nedda_ out of the cart. _Canio_ boxes -his ears, and lifts _Nedda_ down himself. _Tonio_, jeered at by the -women and boys, angrily shakes his fists at the youngsters, and goes -off muttering that _Canio_ will have to pay high for what he has done. -_Beppe_ leads off the donkey with the cart, comes back, and throws -down his whip in front of the tent. A villager asks _Canio_ to drink -at the tavern. _Beppe_ joins them. _Canio_ calls to _Tonio_. Is he -coming with them? _Tonio_ replies that he must stay behind to groom -the donkey. A villager suggests that _Tonio_ is remaining in order to -make love to _Nedda_. _Canio_ takes the intended humour of this sally -rather grimly. He says that in the play, when he interferes with -_Tonio's_ love-making, he lays himself open to a beating. But in real -life--let any one, who would try to rob him of _Nedda's_ love, beware. -The emphasis with which he speaks causes comment. - -"What can he mean?" asks _Nedda_ in an aside. - -"Surely you don't suspect her?" question the villagers of _Canio_. - -Of course not, protests _Canio_, and kisses _Nedda_ on the forehead. - -[Illustration: Copyright photo by Dupont - -Caruso as Canio in "I Pagliacci"] - -[Illustration: Copyright photo by Dupont - -Farrar as Nedda in "I Pagliacci"] - -Just then the bagpipers from a neighbouring village are heard -approaching. The musicians, followed by the people of their village, -arrive to join in the festival. All are made welcome, and the -villagers, save a few who are waiting for _Canio_ and _Beppe_, go off -down the road toward the village. The church bells ring. The villagers -sing the pretty chorus, "Din, don--suona vespero" (Ding, dong--the -vespers bell). _Canio_ nods good-bye to _Nedda_. He and _Beppe_ go -toward the village. - -_Nedda_ is alone. _Canio's_ words and manner worry her. "How fierce he -looked and watched me!--Heavens, if he should suspect me!" But the -birds are singing, the birds, whose voices her mother understood. Her -thoughts go back to her childhood. She sings, "Oh! che volo d'augelli" -(Ah, ye beautiful song-birds), which leads up to her vivacious -_ballatella_, "Stridono lass, liberamente" (Forever flying through -the boundless sky). - -_Tonio_ comes on from behind the theatre. He makes violent love to -_Nedda_. The more passionately the clown pleads, the more she mocks -him, and the more angry he grows. He seeks forcibly to grasp and kiss -her. She backs away from him. Spying the whip where _Beppe_ threw it -down, she seizes it, and with it strikes _Tonio_ across the face. -Infuriated, he threatens, as he leaves her, that he will yet be -avenged on her. - -A man leans over the wall. He calls in a low voice, "Nedda!" - -"Silvio!" she cries. "At this hour ... what madness!" - -He assures her that it is safe for them to meet. He has just left -_Canio_ drinking at the tavern. She cautions him that, if he had been -a few moments earlier, his presence would have been discovered by -_Tonio_. He laughs at the suggestion of danger from a clown. - -_Silvio_ has come to secure the promise of the woman he loves, and who -has pledged her love to him, that she will run away with him from her -husband after the performance that night. She does not consent at -once, not because of any moral scruples, but because she is afraid. -After a little persuasion, however, she yields. The scene reaches its -climax in an impassioned love duet, "E allor perch, di', tu m'hai -stregato" (Why hast thou taught me Love's magic story). The lovers -prepare to separate, but agree not to do so until after the play, when -they are to meet and elope. - -The jealous and vengeful _Tonio_ has overheard them, and has run to -the tavern to bring back _Canio_. He comes just in time to hear -_Nedda_ call after _Silvio_, who has climbed the wall, "Tonight, love, -and forever I am thine." - -_Canio_, with drawn dagger, makes a rush to overtake and slay the man, -who was with his wife. _Nedda_ places herself between him and the -wall, but he thrusts her violently aside, leaps the wall, and starts -in pursuit. "May Heaven protect him now," prays _Nedda_ for her lover, -while _Tonio_ chuckles. - -The fugitive has been too swift for _Canio_. The latter returns. - -"His name!" he demands of _Nedda_, for he does not know who her lover -is. _Nedda_ refuses to give it. _Silvio_ is safe! What matter what -happens to her. _Canio_ rushes at her to kill her. _Tonio_ and _Beppe_ -restrain him. _Tonio_ whispers to him to wait. _Nedda's_ lover surely -will be at the play. A look, or gesture from her will betray him. Then -_Canio_ can wreak vengeance. _Canio_ thinks well of _Tonio's_ ruse. -_Nedda_ escapes into the theatre. - -It is time to prepare for the performance. _Beppe_ and _Tonio_ retire -to do so. - -_Canio's_ grief over his betrayal by _Nedda_ finds expression in one -of the most famous numbers in modern Italian opera, "Vesti la giubba" -(Now don the motley), with its tragic "Ridi, Pagliaccio" (Laugh thou, -Pagliaccio), as _Canio_ goes toward the tent, and enters it. It is -the old and ever effective story of the buffoon who must laugh, and -make others laugh, while his heart is breaking. - -[Music] - -Act II. The scene is the same as that of the preceding act. _Tonio_ -with the big drum takes his position at the left angle of the theatre. -_Beppe_ places benches for the spectators, who begin to assemble, -while _Tonio_ beats the drum. _Silvio_ arrives and nods to friends. -_Nedda_, dressed as _Columbine_, goes about with a plate and collects -money. As she approaches _Silvio_, she pauses to speak a few words of -warning to him, then goes on, and re-enters the theatre with _Beppe_. -The brisk chorus becomes more insistent that the play begin. Most of -the women are seated. Others stand with the men on slightly rising -ground. - -A bell rings loudly. The curtain of the tent theatre on the stage -rises. The mimic scene represents a small room with two side doors and -a practicable window at the back. _Nedda_, as _Columbine_, is walking -about expectantly and anxiously. Her husband, _Pagliaccio_, has gone -away till morning. _Taddeo_ is at the market. She awaits her lover, -_Arlecchino_ (_Harlequin_). A dainty minuet forms the musical -background. - -A guitar is heard outside. _Columbine_ runs to the window with signs -of love and impatience. _Harlequin_, outside, sings his pretty -serenade to his _Columbine_, "O Colombina, il tenero" (O Columbine, -unbar to me thy lattice high). - -The ditty over, she returns to the front of the mimic stage, seats -herself, back to the door, through which _Tonio_, as _Taddeo_, a -basket on his arm, now enters. He makes exaggerated love to -_Columbine_, who, disgusted with his advances, goes to the window, -opens it, and signals. _Beppe_, as _Harlequin_, enters by the window. -He makes light of _Taddeo_, whom he takes by the ear and turns out of -the room, to the accompaniment of a few kicks. All the while the -minuet has tripped its pretty measure and the mimic audience has found -plenty to amuse it. - -_Harlequin_ has brought a bottle of wine, also a phial with a -sleeping-potion, which she is to give her husband, when opportunity -offers, so that, while he sleeps, she and _Harlequin_ may fly -together. Love appears to prosper, till, suddenly, _Taddeo_ bursts in. -_Columbine's_ husband, _Pagliaccio_, is approaching. He suspects her, -and is stamping with anger. "Pour the philtre in his wine, love!" -admonishes _Harlequin_, and hurriedly gets out through the window. - -_Columbine_ calls after him, just as _Canio_, in the character of -_Pagliaccio_, appears in the door, "Tonight, love, and forever, I am -thine!"--the same words _Canio_ heard his wife call after her lover a -few hours before. - -_Columbine_ parries _Pagliaccio's_ questions. He has returned too -early. He has been drinking. No one was with her, save the harmless -_Taddeo_, who has become alarmed and has sought safety in the closet. -From within, _Taddeo_ expostulates with _Pagliaccio_. His wife is -true, her pious lips would ne'er deceive her husband. The audience -laughs. - -But now it no longer is _Pagliaccio_, it is _Canio_, who calls out -threateningly, not to _Columbine_, but to _Nedda_, "His name!" - -"Pagliaccio! Pagliaccio!" protests _Nedda_, still trying to keep in -the play. "No!" cries out her husband--in a passage dramatically -almost as effective as "Ridi, Pagliaccio!"--"I am _Pagliaccio_ no -more! I am a man again, with anguish deep and human!" The audience -thinks his intensity is wonderful acting--all save _Silvio_, who shows -signs of anxiety. - -"Thou had'st my love," concludes _Canio_, "but now thou hast my hate -and scorn." - -"If you doubt me," argues _Nedda_, "why not let me leave you?" - -"And go to your lover!--His name! Declare it!" - -Still desperately striving to keep in the play, and avert the -inevitable, _Nedda_, as if she were _Columbine_, sings a chic gavotte, -"Suvvia, cos terribile" (I never knew, my dear, that you were such a -tragic fellow). - -[Music] - -She ends with a laugh, but stops short, at the fury in _Canio's_ look, -as he takes a knife from the table. - -"His name!" - -"No!"--Save her lover she will, at whatever cost to herself. - -The audience is beginning to suspect that this is no longer acting. -The women draw back frightened, overturning the benches. _Silvio_ is -trying to push his way through to the stage. - -_Nedda_ makes a dash to escape into the audience. _Canio_ pursues and -catches up with her. - -"Take that--and--that!" (He stabs her in the back.) "Di morte negli -spasimi lo dirai" (In the last death agony, thou'lt call his name). - -"Soccorso ... Silvio!" (Help! Help!--Silvio!) - -A voice from the audience cries, "Nedda!" A man has nearly reached the -spot where she lies dead. _Canio_ turns savagely, leaps at him. A -steel blade flashes. _Silvio_ falls dead beside _Nedda_. - -"Gesummaria!" shriek the women; "Ridi _Pagliaccio_!" sob the -instruments of the orchestra. _Canio_ stands stupefied. The knife -falls from his hand: - -"La commedia finita" (The comedy is ended). - -There are plays and stories in which, as in "Pagliacci," the drama on -a mimic stage suddenly becomes real life, so that the tragedy of the -play changes to the life-tragedy of one or more of the characters. -"Yorick's Love," in which I saw Lawrence Barrett act, and of which I -wrote a review for _Harper's Weekly_, was adapted by William D. -Howells from "Drama Nuevo" by Estbanez, which is at least fifty years -older than "Pagliacci." In it the actor _Yorick_ really murders the -actor, whom in character, he is supposed to kill in the play. In the -plot, as in real life, this actor had won away the love of _Yorick's_ -wife, before whose eyes he is slain by the wronged husband. About -1883, I should say, I wrote a story, "A Performance of Othello," for a -periodical published by students of Columbia University, in which the -player of _Othello_, impelled by jealousy, actually kills his wife, -who is the _Desdemona_, and then, as in the play, slays himself. Yet, -although the _motif_ is an old one, this did not prevent Catulle -Mends, who himself had been charged with plagiarizing, in "La Femme -de Tabarin," Paul Ferrier's earlier play, "Tabarin," from accusing -Leoncavallo of plagiarizing "Pagliacci" from "La Femme de Tabarin," -and from instituting legal proceedings to enjoin the performance of -the opera in Brussels. Thereupon Leoncavallo, in a letter to his -publisher, stated that during his childhood at Montalto a jealous -player killed his wife after a performance, that his father was the -judge at the criminal's trial--circumstances which so impressed the -occurrence on his mind that he was led to adapt the episode for his -opera. Catulle Mends accepted the explanation and withdrew his suit. - -There has been some discussion regarding the correct translation of -"Pagliacci." It is best rendered as "Clowns," although it only is -necessary to read in Italian cyclopedias the definition of -_Pagliaccio_ to appreciate Philip Hale's caution that the character is -not a clown in the restricted circus sense. Originally the word, -which is the same as the French _paillasse_, signified a bed of straw, -then was extended to include an upholstered under-mattress, and -finally was applied to the buffoon in the old Italian comedy, whose -costume generally was striped like the ticking or stuff, of which the -covering of a mattress is made. - -The play on the mimic stage in "Pagliacci" is, in fact, one of the -_Harlequin_ comedies that has been acted for centuries by strolling -players in Italy. But for the tragedy that intervenes in the opera, -_Pagliaccio's_ ruse in returning before he was expected, in order to -surprise his wife, _Columbina_, with _Arlecchino_, would have been -punished by his being buffetted about the room and ejected. For "the -reward of _Pagliaccio's_ most adroit stratagems is to be boxed on the -ears and kicked." - -Hence the poignancy of "Ridi, Pagliaccio!" - - - - -Giacomo Puccini - -(1858- ) - - -This composer, born in Lucca, Italy, June 22, 1858, first studied -music in his native place as a private pupil of Angeloni. Later, at -the Royal Conservatory, Milan, he came under the instruction of -Ponchielli, composer of "La Gioconda," whose influence upon modern -Italian opera, both as a preceptor and a composer, is regarded as -greater than that of any other musician. - -Puccini himself is considered the most important figure in the -operatic world of Italy today, the successor of Verdi, if there is -any. For while Mascagni and Leoncavallo each has one sensationally -successful short opera to his credit, neither has shown himself -capable of the sustained effort required to create a score vital -enough to maintain the interest of an audience throughout three or -four acts, a criticism I consider applicable even to Mascagni's -"Lodoletta," notwithstanding its production and repetitions at the -Metropolitan Opera House, New York, which I believe largely due to -unusual conditions produced by the European war. Puccini, on the other -hand, is represented in the repertoire of the modern opera house by -four large works: "Manon Lescaut" (1870), "La Bohme" (1896), "Tosca" -(1900), and "Madama Butterfly" (1904). His early two-act opera, "Le -Villi" (The Willis, Dal Verme Theatre, Milan, 1884), and his three-act -opera, "La Fanciulla del West" (The Girl of the Golden West), 1910, -have been much less successful; his "Edgar" (La Scala, Milan, 1889), -is not heard outside of Italy. And his opera, "La Rondine," has not at -this writing been produced here, and probably will not be until after -the war, the full score being the property of a publishing house in -Vienna, which, because of the war, has not been able to send copies of -it to the people in several countries to whom the performing rights -had been sold. - - -LE VILLI - -"Le Villi" (The Willis), signifying the ghosts of maidens deserted by -their lovers, is the title of a two-act opera by Puccini, words by -Ferdinando Fortuna, produced May 31, 1884, Dal Verme Theatre, Milan, -after it had been rejected in a prize competition at the Milan -Conservatory, but revised by the composer with the aid of Boto. It is -Puccini's first work for the lyric stage. When produced at the Dal -Verme Theatre, it was in one act, the composer later extending it to -two, in which form it was brought out at the Reggio Theatre, Turin, -December 26, 1884; Metropolitan Opera House, N.Y., December 17, 1908, -with Alda (_Anna_), Bonci (_Robert_), Amato (_Wulf_). - -Of the principal characters _Wulf_ is a mountaineer of the Black -Forest; _Anna_, his daughter; _Robert_, her lover. After the betrothal -feast, _Robert_, obliged to depart upon a journey, swears to _Anna_ -that he will be faithful to her. In the second act, however, we find -him indulging in wild orgies in Mayence and squandering money on an -evil woman. In the second part of this act he returns to the Black -Forest a broken-down man. The Willis dance about him. From _Wulf's_ -hut he hears funeral music. _Anna's_ ghost now is one of the wild -dancers. While he appeals to her, they whirl about him. He falls dead. -The chorus sings "Hosanna" in derision of his belated plea for -forgiveness. - -Most expressive in the score is the wild dance of the Willis, who -"have a character of their own, entirely distinct from that of other -operatic spectres" (Streatfield). The prelude to the second act, -"L'Abbandono," also is effective. Attractive in the first act are the -betrothal scene, a prayer, and a waltz. "Le Villi," however, has not -been a success outside of Italy. - -"Manon Lescaut," on the other hand, has met with success elsewhere. -Between it and "Le Villi" Puccini produced another opera, "Edgar," -Milan, La Scala, 1889, but unknown outside of the composer's native -country. - - -MANON LESCAUT - - Opera in four acts, by Puccini. Produced at Turin, February - 1, 1893. Covent Garden, London, May 14, 1894. Grand Opera - House, Philadelphia, in English, August 29, 1894; Wallack's - Theatre, New York, May 27, 1898, by the Milan Royal Italian - Opera Company of La Scala; Metropolitan Opera House, New - York, January 18, 1907, with Caruso, Cavalieri, and Scotti. - The libretto, founded on Abb Prvost's novel, is by - Puccini, assisted by a committee of friends. The composer - himself directed the production at the Metropolitan Opera - House. - - CHARACTERS - - MANON LESCAUT _Soprano_ - LESCAUT, sergeant of the King's Guards _Baritone_ - CHEVALIER DES GRIEUX _Tenor_ - GERONTE DE RAVOIR, Treasurer-General _Bass_ - EDMUND, a student _Tenor_ - - _Time_--Second half of eighteenth century. - - _Place_--Amiens, Paris, Havre, Louisiana. - -Act I plays in front of an inn at Amiens. _Edmund_ has a solo with -chorus for students and girls. _Lescaut_, _Geronte_, and _Manon_ -arrive in a diligence. _Lescaut_ is taking his sister to a convent to -complete her education, but finding her to be greatly admired by the -wealthy _Geronte_, is quite willing to play a negative part and let -the old satyr plot with the landlord to abduct _Manon_. _Des Grieux_, -however, has seen her. "Donna non vidi mai simile a questa" (Never did -I behold so fair a maiden), he sings in praise of her beauty. - -[Music] - -With her too it is love at first sight. When she rejoins him, as she -had promised to, they have a love duet. "Vedete! Io son fedele alla -parola mia" (Behold me! I have been faithful to my promise), she -sings. _Edmund_, who has overheard _Geronte's_ plot to abduct _Manon_, -informs _Des Grieux_, who has little trouble in inducing the girl to -elope with him. They drive off in the carriage _Geronte_ had ordered. -_Lescaut_, who has been carousing with the students, hints that, as -_Des Grieux_ is not wealthy and _Manon_ loves luxury, he will soon be -able to persuade her to desert her lover for the rich Treasurer-General. - -Such, indeed, is the case, and in Act II, she is found ensconced in -luxurious apartments in _Geronte's_ house in Paris. But to _Lescaut_, -who prides himself on having brought the business with her wealthy -admirer to a successful conclusion, she complains that "in quelle -trine morbide"--in those silken curtains--there's a chill that freezes -her. "O mia dimora umile, tu mi ritorni innanzi" (My little humble -dwelling, I see you there before me). She left _Des Grieux_ for wealth -and the luxuries it can bring--"Tell me, does not this gown suit me to -perfection?" she asks _Lescaut_--and yet she longs for her handsome -young lover. - -_Geronte_ sends singers to entertain her. They sing a madrigal, "Sulla -vetta tu del monte erri, O Clori" (Speed o'er the summit of the -mountain, gentle Chloe). - -[Music] - -Then a dancing master enters. _Manon_, _Lescaut_, _Geronte_, and old -beaus and abbs, who have come in with _Geronte_, form for the dance, -and a lesson in the minuet begins. - -[Music] - -_Lescaut_ hurries off to inform _Des Grieux_, who has made money in -gambling, where he can find _Manon_. When the lesson is over and all -have gone, her lover appears at the door. At first he reproaches her, -but soon is won by her beauty. There is an impassioned love duet, -"Vieni! Colle tue braccia stringi Manon che t'ama" (Oh, come love! In -your arms enfold Manon, who loves you). - -_Geronte_ surprises them, pretends to approve of their affection, but -really sends for the police. _Lescaut_ urges them to make a -precipitate escape. _Manon_, however, now loath to leave the luxuries -_Geronte_ has lavished on her, insists on gathering up her jewels in -order to take them with her. The delay is fatal. The police arrive. -She is arrested on the charge made by _Geronte_ that she is an -abandoned woman. - -Her sentence is banishment, with other women of loose character, to -the then French possession of Louisiana. The journey to Havre for -embarkation is represented by an intermezzo in the score, and an -extract from Abb Prvost's story in the libretto. The theme of the -"Intermezzo," a striking composition, is as follows: - -[Music] - -Act III. The scene is laid in a square near the harbour at Havre. _Des -Grieux_ and _Lescaut_ attempt to free _Manon_ from imprisonment, but -are foiled. There is much hubbub. Then the roll is called of the -women, who are to be transported. As they step forward, the crowd -comments upon their looks. This, together with _Des Grieux's_ plea to -the captain of the ship to be taken along with _Manon_, no matter how -lowly the capacity in which he may be required to serve on board, make -a dramatic scene. - -Act IV. "A vast plain on the borders of the territory of New Orleans. -The country is bare and undulating, the horizon is far distant, the -sky is overcast. Night falls." Thus the libretto. The score is a long, -sad duet between _Des Grieux_ and _Manon_. _Manon_ dies of exhaustion. -_Des Grieux_ falls senseless upon her body. - - -LA BOHME - -THE BOHEMIANS - - Opera in four acts by Puccini; words by Giuseppe Giacosa and - Luigi Illica, founded on Henri Murger's book, _La Vie de - Bohme_. Produced, Teatro Reggio, Turin, February 1, 1896. - Manchester, England, in English, as "The Bohemians," April - 22, 1897. Covent Garden, London, in English, October 2, - 1897; in Italian, July 1, 1899. San Francisco, March, 1898, - and Wallack's Theatre, New York, May 16, 1898, by a - second-rate travelling organization, which called itself The - Milan Royal Italian Opera Company of La Scala; American - Theatre, New York, in English, by Henry W. Savage's Castle - Square Opera Company, November 20, 1898; Metropolitan Opera - House, New York, in Italian, December 18, 1901. - - CHARACTERS - - RUDOLPH, a poet _Tenor_ - MARCEL, a painter _Baritone_ - COLLINE, a philosopher _Bass_ - SCHAUNARD, a musician _Baritone_ - BENOIT, a landlord _Bass_ - ALCINDORO, a state councillor and - follower of _Musetta_ _Bass_ - PARPIGNOL, an itinerant toy vender _Tenor_ - CUSTOM-HOUSE SERGEANT _Bass_ - MUSETTA, a grisette _Soprano_ - MIMI, a maker of embroidery _Soprano_ - - Students, work girls, citizens, shopkeepers, street venders, - soldiers, waiters, boys, girls, etc. - - _Time_--About 1830. - - _Place_--Latin Quarter, Paris. - -"La Bohme" is considered by many Puccini's finest score. There is -little to choose, however, between it, "Tosca," and "Madama -Butterfly." Each deals successfully with its subject. It chances that, -as "La Bohme" is laid in the Quartier Latin, the students' quarter of -Paris, where gayety and pathos touch elbows, it laughs as well as -weeps. Authors and composers who can tear passion to tatters are more -numerous than those who have the light touch of high comedy. The -latter, a distinguished gift, confers distinction upon many passages -in the score of "La Bohme," which anon sparkles with merriment, anon -is eloquent of love, anon is stressed by despair. - -Act I. The garret in the Latin Quarter, where live the inseparable -quartet--_Rudolph_, poet; _Marcel_, painter; _Colline_, philosopher; -_Schaunard_, musician, who defy hunger with cheerfulness and play -pranks upon the landlord of their meagre lodging, when he importunes -them for his rent. - -When the act opens, _Rudolph_ is at a table writing, and _Marcel_ is -at work on a painting, "The Passage of the Red Sea." He remarks that, -owing to lack of fuel for the garret stove, the Red Sea is rather -cold. - -"Questo mar rosso" (This Red Sea), runs the duet, in the course of -which _Rudolph_ says that he will sacrifice the manuscript of his -tragedy to the needs of the stove. They tear up the first act, throw -it into the stove, and light it. _Colline_ comes in with a bundle of -books he has vainly been attempting to pawn. Another act of the -tragedy goes into the fire, by which they warm themselves, still -hungry. - -[Illustration: Copyright photo by Dupont - -Farrar as Mimi in "La Bohme"] - -[Illustration: Photo by Hall - -Caf Momus Scene, "La Bohme," Act II - -Mimi (Rennyson), Musette (Joel), Rudolph (Sheehan)] - -But relief is nigh. Two boys enter. They bring provisions and fuel. -After them comes _Schaunard_. He tosses money on the table. The -boys leave. In vain _Schaunard_ tries to tell his friends the -ludicrous details of his three-days' musical engagement to an -eccentric Englishman. It is enough for them that it has yielded fuel -and food, and that some money is left over for the immediate future. -Between their noise in stoking the stove and unpacking the provisions, -_Schaunard_ cannot make himself heard. - -_Rudolph_ locks the door. Then all go to the table and pour out wine. -It is Christmas eve. _Schaunard_ suggests that, when they have emptied -their glasses, they repair to their favourite resort, the Caf Momus, -and dine. Agreed. Just then there is a knock. It is _Benoit_, their -landlord, for the rent. They let him in and invite him to drink with -them. The sight of the money on the table reassures him. He joins -them. The wine loosens his tongue. He boasts of his conquests of women -at shady resorts. The four friends feign indignation. What! He, a -married man, engaged in such disreputable proceedings! They seize him, -lift him to his feet, and eject him, locking the door after him. - -The money on the table was earned by _Schaunard_, but, according to -their custom, they divide it. Now, off for the Caf Momus--that is, -all but _Rudolph_, who will join them soon--when he has finished an -article he has to write for a new journal, the _Beaver_. He stands on -the landing with a lighted candle to aid the others in making their -way down the rickety stairs. - -With little that can be designated as set melody, there nevertheless -has not been a dull moment in the music of these scenes. It has been -brisk, merry and sparkling, in keeping with the careless gayety of the -four dwellers in the garret. - -Re-entering the room, and closing the door after him, _Rudolph_ clears -a space on the table for pens and paper, then sits down to write. -Ideas are slow in coming. Moreover, at that moment, there is a timid -knock at the door. - -"Who's there?" he calls. - -It is a woman's voice that says, hesitatingly, "Excuse me, my candle -has gone out." - -_Rudolph_ runs to the door, and opens it. On the threshold stands a -frail, appealingly attractive young woman. She has in one hand an -extinguished candle, in the other a key. _Rudolph_ bids her come in. -She crosses the threshold. A woman of haunting sweetness in aspect and -manner has entered Bohemia. - -She lights her candle by his, but, as she is about to leave, the -draught again extinguishes it. _Rudolph's_ candle also is blown out, -as he hastens to relight hers. The room is dark, save for the -moonlight that, over the snow-clad roofs of Paris, steals in through -the garret window. _Mimi_ exclaims that she has dropped the key to the -door of her room. They search for it. He finds it but slips it into -his pocket. Guided by _Mimi's_ voice and movements, he approaches. As -she stoops, his hand meets hers. He clasps it. - -"Che gelida manina" (How cold your hand), he exclaims with tender -solicitude. "Let me warm it into life." He then tells her who he is, -in what has become known as the "Racconto di Rodolfo" (Rudolph's -Narrative), which, from the gentle and solicitous phrase, "Che gelida -manina," followed by the proud exclamation, "Sono un poeta" (I am a -poet), leads up to an eloquent avowal of his dreams and fancies. Then -comes the girl's charming "Mi chiamano Mimi" (They call me Mimi), in -which she tells of her work and how the flowers she embroiders for a -living transport her from her narrow room out into the broad fields -and meadows. "Mi chiamano Mimi" is as follows:-- - -[Music] - -Her frailty, which one can see is caused by consumption in its early -stages, makes her beauty the more appealing to _Rudolph_. - -His friends call him from the street below. Their voices draw _Mimi_ -to the window. In the moonlight she appears even lovelier to -_Rudolph_. "O soave fanciulla" (Thou beauteous maiden), he exclaims, -as he takes her to his arms. This is the beginning of the love duet, -which, though it be sung in a garret, is as impassioned as any that, -in opera, has echoed through the corridors of palaces, or the moonlit -colonnades of forests by historic rivers. The theme is quoted here in -the key, in which it occurs, like a premonition, a little earlier in -the act. - -[Music] - -The theme of the love duet is used by the composer several times in -the course of the opera, and always in association with _Mimi_. -Especially in the last act does it recur with poignant effect. - -Act II. A meeting of streets, where they form a square, with shops of -all sorts, and the Caf Momus. The square is filled with a happy -Christmas eve crowd. Somewhat aloof from this are _Rudolph_ and -_Mimi_. _Colline_ stands near the shop of a clothes dealer. -_Schaunard_ is haggling with a tinsmith over the price of a horn. -_Marcel_ is chaffing the girls who jostle against him in the crowd. - -There are street venders crying their wares; citizens, students, and -work girls, passing to and fro and calling to each other; people at -the caf giving orders--a merry whirl, depicted in the music by -snatches of chorus, bits of recitative, and an instrumental -accompaniment that runs through the scene like a many-coloured thread, -and holds the pattern together. - -_Rudolph_ and _Mimi_ enter a bonnet shop. The animation outside -continues. When the two lovers come out of the shop, _Mimi_ is wearing -a new bonnet trimmed with roses. She looks about. - -"What is it?" _Rudolph_ asks suspiciously. - -"Are you jealous?" asks _Mimi_. - -"The man in love is always jealous." - -_Rudolph's_ friends are at a table outside the caf. _Rudolph_ joins -them with _Mimi_. He introduces her to them as one who will make their -party complete, for he "will play the poet, while she's the muse -incarnate." - -_Parpignol_, the toy vender, crosses the square and goes off, followed -by children, whose mothers try to restrain them. The toy vender is -heard crying his wares in the distance. The quartet of Bohemians, now -a quintet through the accession of _Mimi_, order eatables and wine. - -Shopwomen, who are going away, look down one of the streets, and -exclaim over someone whom they see approaching. - -"'Tis Musetta! My, she is gorgeous!--Some stammering old dotard is -with her." - -_Musetta_ and _Marcel_ have loved, quarrelled, and parted. She has -recently put up with the aged but wealthy _Alcindoro de Mittoneaux_, -who, when she comes upon the square, is out of breath trying to keep -up with her. - -Despite _Musetta's_ and _Marcel's_ attempt to appear indifferent to -each other's presence, it is plain that they are not so. _Musetta_ has -a chic waltz song, "Quando me'n vo soletta per la via" (As through the -streets I wander onward merrily), one of the best-known numbers of the -score, which she deliberately sings at _Marcel_, to make him aware, -without arousing her aged gallant's suspicions, that she still loves -him. - -[Music] - -Feigning that a shoe hurts her, she makes the ridiculous _Alcindoro_ -unlatch and remove it, and trot off with it to the cobbler's. She and -_Marcel_ then embrace, and she joins the five friends at their table, -and the expensive supper ordered by _Alcindoro_ is served to them with -their own. - -The military tattoo is heard approaching from the distance. There is -great confusion in the square. A waiter brings the bill for the -Bohemians' order. _Schaunard_ looks in vain for his purse. _Musetta_ -comes to the rescue. "Make one bill of the two orders. The gentleman -who was with me will pay it." - -The patrol enters, headed by a drum major. _Musetta_, being without -her shoe, cannot walk, so _Marcel_ and _Colline_ lift her between them -to their shoulders, and carry her through the crowd, which, sensing -the humour of the situation, gives her an ovation, then swirls around -_Alcindoro_, whose foolish, senile figure, appearing from the -direction of the cobbler's shop with a pair of shoes for _Musetta_, it -greets with jeers. For his gay ladybird has fled with her friends from -the _Quartier_, and left him to pay all the bills. - -Act III. A gate to the city of Paris on the Orleans road. A toll house -at the gate. To the left a tavern, from which, as a signboard hangs -_Marcel's_ picture of the Red Sea. Several plane trees. It is -February. Snow is on the ground. The hour is that of dawn. Scavengers, -milk women, truckmen, peasants with produce, are waiting to be -admitted to the city. Custom-house officers are seated, asleep, around -a brazier. Sounds of revelry are heard from the tavern. These, -together with characteristic phrases, when the gate is opened and -people enter, enliven the first scene. - -Into the small square comes _Mimi_ from the Rue d'Enfer, which leads -from the Latin Quarter. She looks pale, distressed, and frailer than -ever. A cough racks her. Now and then she leans against one of the -bare, gaunt plane trees for support. - -A message from her brings _Marcel_ out of the tavern. He tells her he -finds it more lucrative to paint signboards than pictures. _Musetta_ -gives music lessons. _Rudolph_ is with them. Will not _Mimi_ join -them? She weeps, and tells him that _Rudolph_ is so jealous of her she -fears they must part. When _Rudolph_, having missed _Marcel_, comes -out to look for him, _Mimi_ hides behind a plane tree, from where she -hears her lover tell his friend that he wishes to give her up because -of their frequent quarrels. "Mimi una civetta" (Mimi is a heartless -creature) is the burden of his song. Her violent coughing reveals her -presence. They decide to part--not angrily, but regretfully: "Addio, -senza rancor" (Farewell, then, I wish you well), sings _Mimi_. - -[Music] - -Meanwhile _Marcel_, who has re-entered the tavern, has caught -_Musetta_ flirting with a stranger. This starts a quarrel, which -brings them out into the street. Thus the music becomes a quartet: -"Addio, dolce svegliare" (Farewell, sweet love), sing _Rudolph_ and -_Mimi_, while _Marcel_ and _Musetta_ upbraid each other. The -temperamental difference between the two women, _Mimi_ gentle and -melancholy, _Musetta_ aggressive and disputatious, and the difference -in the effect upon the two men, are admirably brought out by the -composer. "Viper!" "Toad!" _Marcel_ and _Musetta_ call out to each -other, as they separate; while the frail _Mimi_ sighs, "Ah! that our -winter night might last forever," and she and _Rudolph_ sing, "Our -time for parting's when the roses blow." - -Act IV. The scene is again the attic of the four Bohemians. _Rudolph_ -is longing for _Mimi_, of whom he has heard nothing, _Marcel_ for -_Musetta_, who, having left him, is indulging in one of her gay -intermezzos with one of her wealthy patrons. "Ah, Mimi, tu pi" (Ah, -Mimi, fickle-hearted), sings _Rudolph_, as he gazes at the little pink -bonnet he bought her at the milliner's shop Christmas eve. _Schaunard_ -thrusts the water bottle into _Colline's_ hat as if the latter were a -champagne cooler. The four friends seek to forget sorrow and poverty -in assuming mock dignities and then indulging in a frolic about the -attic. When the fun is at its height, the door opens and _Musetta_ -enters. She announces that _Mimi_ is dying and, as a last request, has -asked to be brought back to the attic, where she had been so happy -with _Rudolph_. He rushes out to get her, and supports her feeble and -faltering footsteps to the cot, on which he gently lowers her. - -She coughs; her hands are very cold. _Rudolph_ takes them in his to -warm them. _Musetta_ hands her earrings to _Marcel_, and bids him go -out and sell them quickly, then buy a tonic for the dying girl. There -is no coffee, no wine. _Colline_ takes off his overcoat, and, having -apostrophized it in the "Song of the Coat," goes out to sell it, so as -to be able to replenish the larder. _Musetta_ runs off to get her muff -for _Mimi_, her hands are still so cold. - -_Rudolph_ and the dying girl are now alone. This tragic moment, when -their love revives too late, finds expression, at once passionate and -exquisite, in the music. The phrases "How cold your hand," "They call -me Mimi," from the love scene in the first act, recur like mournful -memories. - -_Mimi_ whispers of incidents from early in their love. "Te lo -rammenti" (Ah! do you remember). - -[Music] - -_Musetta_ and the others return. There are tender touches in the good -offices they would render the dying girl. They are aware before -_Rudolph_ that she is beyond aid. In their faces he reads what has -happened. With a cry, "Mimi! Mimi!" he falls sobbing upon her lifeless -form. _Musetta_ kneels weeping at the foot of the bed. _Schaunard_, -overcome, sinks back into a chair. _Colline_ stands dazed at the -suddenness of the catastrophe. _Marcel_ turns away to hide his -emotion. - -Mi chiamano Mimi! - - -TOSCA - - Opera in three acts by Puccini; words by L. Illica and G. - Giacosa after the drama, "La Tosca," by Sardou. Produced, - Constanzi Theatre, Rome, January 14, 1900; London, Covent - Garden, July 12, 1900. Buenos Aires, June 16, 1900. - Metropolitan Opera House, New York, February 4, 1901, with - Ternina, Cremonini, Scotti, Gilibert (_Sacristan_), and - Dufriche (_Angelotti_). - - CHARACTERS - - FLORIA TOSCA, a celebrated singer _Soprano_ - MARIO CAVARADOSSI, a painter _Tenor_ - BARON SCARPIA, Chief of Police _Baritone_ - CESARE ANGELOTTI _Bass_ - A SACRISTAN _Baritone_ - SPOLETTA, police agent _Tenor_ - SCIARRONE, a gendarme _Bass_ - A GAOLER _Bass_ - A SHEPHERD BOY _Contralto_ - - Roberti, executioner; a cardinal, judge, scribe, officer, - and sergeant, soldiers, police agents, ladies, nobles, - citizens, artisans, etc. - - _Time_--June, 1800. - - _Place_--Rome. - -Three sharp, vigorous chords, denoting the imperious yet sinister and -vindictive character of _Scarpia_--such is the introduction to -"Tosca." - - * * * * * - -Act I. The church of Sant'Andrea della Valle. To the right the -Attavanti chapel; left a scaffolding, dais, and easel. On the easel a -large picture covered by a cloth. Painting accessories. A basket. - -Enter _Angelotti_. He has escaped from prison and is seeking a hiding -place. Looking about, he recognizes a pillar shrine containing an -image of the Virgin, and surmounting a receptacle for holy water. -Beneath the feet of the image he searches for and discovers a key, -unlocks the Attavanti chapel and disappears within it. The _Sacristan_ -comes in. He has a bunch of brushes that he has been cleaning, and -evidently is surprised not to find _Cavaradossi_ at his easel. He -looks into the basket, finds the luncheon in it untouched, and now is -sure he was mistaken in thinking he had seen the painter enter. - -The Angelus is rung. The _Sacristan_ kneels. _Cavaradossi_ enters. He -uncovers the painting--a Mary Magdalen with large blue eyes and masses -of golden hair. The _Sacristan_ recognizes in it the portrait of a -lady who lately has come frequently to the church to worship. The good -man is scandalized at what he considers a sacrilege. _Cavaradossi_, -however, has other things to think of. He compares the face in the -portrait with the features of the woman he loves, the dark-eyed -_Floria Tosca_, famous as a singer. "Recondita armonia di bellezze -diverse" (Strange harmony of contrasts deliciously blending), he -sings. - -Meanwhile the _Sacristan_, engaged in cleaning the brushes in a jug of -water, continues to growl over the sacrilege of putting frivolous -women into religious paintings. Finally, his task with the brushes -over, he points to the basket and asks, "Are you fasting?" "Nothing -for me," says the painter. The _Sacristan_ casts a greedy look at the -basket, as he thinks of the benefit he will derive from the artist's -abstemiousness. The painter goes on with his work. The _Sacristan_ -leaves. - -_Angelotti_, believing no one to be in the church, comes out of his -hiding place. He and _Cavaradossi_ recognize each other. _Angelotti_ -has just escaped from the prison in the castle of Sant'Angelo. The -painter at once offers to help him. Just then, however, _Tosca's_ -voice is heard outside. The painter presses the basket with wine and -viands upon the exhausted fugitive, and urges him back into the -chapel, while from without _Tosca_ calls more insistently, "Mario!" - -Feigning calm, for the meeting with _Angelotti_, who had been -concerned in the abortive uprising to make Rome a republic, has -excited him, _Cavaradossi_ admits _Tosca_. Jealously she insists that -he was whispering with someone, and that she heard footsteps and the -swish of skirts. Her lover reassures her, tries to embrace her. Gently -she reproves him. She cannot let him kiss her before the Madonna until -she has prayed to her image and made an offering. She adorns the -Virgin's figure with flowers she has brought with her, kneels in -prayer, crosses herself and rises. She tells _Cavaradossi_ to await -her at the stage door that night, and they will steal away together to -his villa. He is still distrait. When he replies, absent-mindedly, he -surely will be there, her comment is, "Thou say'st it badly." Then, -beginning the love duet, "Non la sospiri la nostra casetta" (Dost -thou not long for our dovecote secluded), she conjures up for him a -vision of that "sweet, sweet nest in which we love-birds hide." - -For the moment _Cavaradossi_ forgets _Angelotti_; then, however, urges -_Tosca_ to leave him, so that he may continue with his work. She is -vexed and, when she recognizes in the picture of Mary Magdalen the -fair features of the Marchioness Attavanti, she becomes jealous to the -point of rage. But her lover soon soothes her. The episode is -charming. In fact the libretto, following the Sardou play, unfolds, -scene by scene, an always effective drama. - -_Tosca_ having departed, _Cavaradossi_ lets _Angelotti_ out of the -chapel. He is a brother of the Attavanti, of whom _Tosca_ is so -needlessly jealous, and who has concealed a suit of woman's clothing -for him under the altar. They mention _Scarpia_--"A bigoted satyr and -hypocrite, secretly steeped in vice, yet most demonstratively -pious"--the first hint we have in the opera of the relentless -character, whose desire to possess _Tosca_ is the mainspring of the -drama. - -A cannon shot startles them. It is from the direction of the castle -and announces the escape of a prisoner--_Angelotti_. _Cavaradossi_ -suggests the grounds of his villa as a place of concealment from -_Scarpia_ and his police agents, especially the old dried-up well, -from which a secret passage leads to a dark vault. It can be reached -by a rough path just outside the Attavanti chapel. The painter even -offers to guide the fugitive. They leave hastily. - -The _Sacristan_ enters excitedly. He has great news. Word has been -received that Bonaparte has been defeated. The old man now notices, -however, greatly to his surprise, that the painter has gone. Acolytes, -penitents, choristers, and pupils of the chapel crowd in from all -directions. There is to be a "Te Deum" in honour of the victory, and -at evening, in the Farnese palace, a cantata with _Floria Tosca_ as -soloist. It means extra pay for the choristers. They are jubilant. - -_Scarpia_ enters unexpectedly. He stands in a doorway. A sudden hush -falls upon all. For a while they are motionless, as if spellbound. -While preparations are making for the "Te Deum," _Scarpia_ orders -search made in the Attavanti chapel. He finds a fan which, from the -coat-of-arms on it, he recognizes as having been left there by -_Angelotti's_ sister. A police agent also finds a basket. As he comes -out with it, the _Sacristan_ unwittingly exclaims that it is -_Cavaradossi's_, and empty, although the painter had said that he -would eat nothing. It is plain to _Scarpia_, who has also discovered -in the Mary Magdalen of the picture the likeness to the Marchioness -Attavanti, that _Cavaradossi_ had given the basket of provisions to -_Angelotti_, and has been an accomplice in his escape. - -_Tosca_ comes in and quickly approaches the dais. She is greatly -surprised not to find _Cavaradossi_ at work on the picture. _Scarpia_ -dips his fingers in holy water and deferentially extends them to -_Tosca_. Reluctantly she touches them, then crosses herself. _Scarpia_ -insinuatingly compliments her on her religious zeal. She comes to -church to pray, not, like certain frivolous wantons--he points to the -picture--to meet their lovers. He now produces the fan. "Is this a -painter's brush or a mahlstick?" he asks, and adds that he found it on -the easel. Quickly, jealously, _Tosca_ examines it, sees the arms of -the Attavanti. She had come to tell her lover that, because she is -obliged to sing in the cantata she will be unable to meet him that -night. Her reward is this evidence, offered by _Scarpia_, that he has -been carrying on a love affair with another woman, with whom he -probably has gone to the villa. She gives way to an outburst of -jealous rage; then, weeping, leaves the chapel, to the gates of which -_Scarpia_ gallantly escorts her. He beckons to his agent _Spoletta_, -and orders him to trail her and report to him at evening at the -Farnese palace. - -[Illustration: Copyright photo by Dupont - -Cavalieri as Tosca] - -[Illustration: Photo by Mishkin - -Scotti as Scarpia] - -Church bells are tolling. Intermittently from the castle of -Sant'Angelo comes the boom of the cannon. A Cardinal has entered and -is advancing to the high altar. The "Te Deum" has begun. _Scarpia_ -soliloquizes vindictively: "Va, Tosca! Nel tuo cuor s'annida Scarpia" -(Go, Tosca! There is room in your heart for Scarpia). - -He pauses to bow reverently as the Cardinal passes by. Still -soliloquizing, he exults in his power to send _Cavaradossi_ to -execution, while _Tosca_ he will bring to his own arms. For her, he -exclaims, he would renounce his hopes of heaven; then kneels and -fervently joins in the "Te Deum." - -This finale, with its elaborate apparatus, its complex emotions and -the sinister and dominating figure of _Scarpia_ set against a -brilliant and constantly shifting background, is a stirring and -effective climax to the act. - -Act II. The Farnese Palace. _Scarpia's_ apartments on an upper floor. -A large window overlooks the palace courtyard. _Scarpia_ is seated at -table supping. At intervals he breaks off to reflect. His manner is -anxious. An orchestra is heard from a lower story of the palace, where -Queen Caroline is giving an entertainment in honour of the reported -victory over Bonaparte. They are dancing, while waiting for _Tosca_, -who is to sing in the cantata. _Scarpia_ summons _Sciarrone_ and gives -him a letter, which is to be handed to the singer upon her arrival. - -_Spoletta_ returns from his mission. _Tosca_ was followed to a villa -almost hidden by foliage. She remained but a short time. When she left -it, _Spoletta_ and his men searched the house, but could not find -_Angelotti_. _Scarpia_ is furious, but is appeased when _Spoletta_ -tells him that they discovered _Cavaradossi_, put him in irons, and -have brought him with them. - -Through the open window there is now heard the beginning of the -cantata, showing that _Tosca_ has arrived and is on the floor below, -where are the Queen's reception rooms. Upon _Scarpia's_ order there -are brought in _Cavaradossi_, _Roberti_, the executioner, and a judge -with his clerk. _Cavaradossi's_ manner is indignant, defiant, -_Scarpia's_ at first suave. Now and then _Tosca's_ voice is heard -singing below. Finally _Scarpia_ closes the window, thus shutting out -the music. His questions addressed to _Cavaradossi_ are now put in a -voice more severe. He has just asked, "Once more and for the last -time," where is _Angelotti_, when _Tosca_, evidently alarmed by the -contents of the note received from _Scarpia_, hurries in and, seeing -_Cavaradossi_, fervently embraces him. Under his breath he manages to -warn her against disclosing anything she saw at the villa. - -_Scarpia_ orders that _Cavaradossi_ be removed to an adjoining room -and his deposition there taken. _Tosca_ is not aware that it is the -torture chamber the door to which has closed upon her lover. With -_Tosca_ _Scarpia_ begins his interview quietly, deferentially. He has -deduced from _Spoletta's_ report of her having remained but a short -time at the villa that, instead of discovering the Attavanti with her -lover, as she jealously had suspected, she had found him making plans -to conceal _Angelotti_. In this he has just been confirmed by her -frankly affectionate manner toward _Cavaradossi_. - -At first she answers _Scarpia's_ questions as to the presence of -someone else at the villa lightly; then, when he becomes more -insistent, her replies show irritation, until, turning on her with -"ferocious sternness," he tells her that his agents are attempting to -wring a confession from _Cavaradossi_ by torture. Even at that moment -a groan is heard. _Tosca_ implores mercy for her lover. Yes, if she -will disclose the hiding place of _Angelotti_. Groan after groan -escapes from the torture chamber. _Tosca_, overcome, bursts into -convulsive sobs and sinks back upon a sofa. _Spoletta_ kneels and -mutters a Latin prayer. _Scarpia_ remains cruelly impassive, silent, -until, seeing his opportunity in _Tosca's_ collapse, he steps to the -door and signals to the executioner, _Roberti_, to apply still greater -torture. The air is rent with a prolonged cry of pain. Unable longer -to bear her lover's anguish and, in spite of warnings to say nothing, -which he has called out to her between his spasms, she says hurriedly -and in a stifled voice to _Scarpia_, "The well ... in the garden." - -_Cavaradossi_ is borne in from the torture chamber and deposited on -the sofa. Kneeling beside him _Tosca_ lavishes tears and kisses upon -him. _Sciarrone_, the judge, _Roberti_ and the _Clerk_ go. In -obedience to a sign from _Scarpia_, _Spoletta_ and the agents remain -behind. Still loyal to his friend, _Cavaradossi_, although racked with -pain, asks _Tosca_ if unwittingly in his anguish he has disclosed -aught. She reassures him. - -In a loud and commanding voice _Scarpia_ says to _Spoletta_: "In the -well in the garden--Go _Spoletta_!" - -From _Scarpia's_ words _Cavaradossi_ knows that _Tosca_ has betrayed -_Angelotti's_ hiding place. He tries to repulse her. - -_Sciarrone_ rushes in much perturbed. He brings bad news. The victory -they have been celebrating has turned into defeat. Bonaparte has -triumphed at Marengo. _Cavaradossi_ is roused to enthusiasm by the -tidings. "Tremble, Scarpia, thou butcherly hypocrite," he cries. - -It is his death warrant. At _Scarpia's_ command _Sciarrone_ and the -agents seize him and drag him away to be hanged. - -Quietly seating himself at table, _Scarpia_ invites _Tosca_ to a -chair. Perhaps they can discover a plan by which _Cavaradossi_ may be -saved. He carefully polishes a wineglass with a napkin, fills it with -wine, and pushes it toward her. - -"Your price?" she asks, contemptuously. - -Imperturbably he fills his glass. She is the price that must be paid -for _Cavaradossi's_ life. The horror with which she shrinks from the -proposal, her unfeigned detestation of the man putting it forward, -make her seem the more fascinating to him. There is a sound of distant -drums. It is the escort that will conduct _Cavaradossi_ to the -scaffold. _Scarpia_ has almost finished supper. Imperturbably he peels -an apple and cuts it in quarters, occasionally looking up and scanning -his chosen victim's features. - -Distracted, not knowing whither or to whom to turn, _Tosca_ now utters -the famous "Vissi d'arte, vissi d'amore, non feci mai male ad anima -viva": - - (Music and love--these have I lived for, - Nor ever have I harmed a living being.... - - In this, my hour of grief and bitter tribulation, - O, Heavenly Father, why hast Thou forsaken me), - -The "Vissi d'arte" justly is considered the most beautiful air in the -repertoire of modern Italian opera. It is to passages of surpassing -eloquence like this that Puccini owes his fame, and his operas are -indebted for their lasting power of appeal. - -Beginning quietly, "Vissi d'arte, vissi d'amore," - -[Music] - -it works up to the impassioned, heart-rending outburst of grief with -which it comes to an end. - -[Music] - -[Illustration: Copyright photo by Dupont - -Emma Eames as Tosca] - -[Illustration: Copyright photo by Dupont - -Caruso as Mario in "Tosca"] - -A knock at the door. _Spoletta_ comes to announce that _Angelotti_, on -finding himself discovered, swallowed poison. "The other," he adds, -meaning _Cavaradossi_, "awaits your decision." The life of _Tosca's_ -lover is in the hands of the man who has told her how she may save -him. Softly _Scarpia_ asks her, "What say you?" She nods consent; -then, weeping for the shame of it, buries her head in the sofa -cushions. - -_Scarpia_ says it is necessary for a mock execution to be gone through -with, before _Tosca_ and _Cavaradossi_ can flee Rome. He directs -_Spoletta_ that the execution is to be simulated--"as we did in the -case of Palmieri.--You understand." - -"Just like Palmieri," _Spoletta_ repeats with emphasis, and goes. - -_Scarpia_ turns to _Tosca_. "I have kept my promise." She, however, -demands safe conduct for _Cavaradossi_ and herself. _Scarpia_ goes to -his desk to write the paper. With trembling hand _Tosca_, standing at -the table, raises to her lips the wineglass filled for her by -_Scarpia_. As she does so she sees the sharp, pointed knife with which -he peeled and quartered the apple. A rapid glance at the desk assures -her that he still is writing. With infinite caution she reaches out, -secures possession of the knife, conceals it on her person. _Scarpia_ -has finished writing. He folds up the paper, advances toward _Tosca_ -with open arms to embrace her. - -"_Tosca_, at last thou art mine!" - -With a swift stroke of the knife, she stabs him full in the breast. - -"It is thus that _Tosca_ kisses!" - -He staggers, falls. Ineffectually he strives to rise; makes a final -effort; falls backward; dies. - -Glancing back from time to time at _Scarpia's_ corpse, _Tosca_ goes to -the table, where she dips a napkin in water and washes her fingers. -She arranges her hair before a looking-glass, then looks on the desk -for the safe-conduct. Not finding it there, she searches elsewhere for -it, finally discovers it clutched in _Scarpia's_ dead fingers, lifts -his arm, draws out the paper from between the fingers, and lets the -arm fall back stiff and stark, as she hides the paper in her bosom. -For a brief moment she surveys the body, then extinguishes the lights -on the supper table. - -About to leave, she sees one of the candles on the desk still burning. -With a grace of solemnity, she lights with it the other candle, places -one candle to the right, the other to the left of _Scarpia's_ head, -takes down a crucifix from the wall, and, kneeling, places it on the -dead man's breast. There is a roll of distant drums. She rises; steals -out of the room. - -In the opera, as in the play, which was one of Sarah Bernhardt's -triumphs, it is a wonderful scene--one of the greatest in all drama. -Anyone who has seen it adequately acted, knows what it has signified -in the success of the opera, even after giving Puccini credit for -"Vissi d'arte" and an expressive accompaniment to all that transpires -on the stage. - -Act III. A platform of the Castle Sant'Angelo. Left, a casement with a -table, a bench, and a stool. On the table are a lantern, a huge -register book, and writing materials. Suspended on one of the walls -are a crucifix and a votive lamp. Right, a trap door opening on a -flight of steps that lead to the platform from below. The Vatican and -St. Paul's are seen in the distance. The clear sky is studded with -stars. It is just before dawn. The jangle of sheep bells is heard, at -first distant, then nearer. Without, a shepherd sings his lay. A dim, -grey light heralds the approach of dawn. - -The firing party conducting _Cavaradossi_ ascends the steps through -the trap door and is received by a jailer. From a paper handed him by -the sergeant in charge of the picket, the jailer makes entries in the -register, to which the sergeant signs his name, then descends the -steps followed by the picket. A bell strikes. "You have an hour," the -jailer tells _Cavaradossi_. The latter craves the favour of being -permitted to write a letter. It being granted, he begins to write, but -soon loses himself in memories of _Tosca_. "E lucevan le stelle ed -olezzava la terra" (When the stars were brightly shining, and faint -perfumes the air pervaded)--a tenor air of great beauty. - -[Music] - -He buries his face in his hands. _Spoletta_ and the sergeant conduct -_Tosca_ up the steps to the platform, and point out to her where she -will find _Cavaradossi_. A dim light still envelopes the scene as with -mystery. _Tosca_, seeing her lover, rushes up to him and, unable to -speak for sheer emotion, lifts his hands and shows him--herself and -the safe-conduct. - -"At what price?" he asks. - -Swiftly she tells him what _Scarpia_ demanded of her, and how, having -consented, she thwarted him by slaying him with her own hand. Lovingly -he takes her hands in his. "O dolci mani mansuete e pure" (Oh! gentle -hands, so pitiful and tender). Her voice mingles with his in love and -gratitude for deliverance. - -"Amaro sol per te m'era il morire" (The sting of death, I only felt -for thee, love). - -[Music] - -She informs him of the necessity of going through a mock execution. He -must fall naturally and lie perfectly still, as if dead, until she -calls to him. They laugh over the ruse. It will be amusing. The firing -party arrives. The sergeant offers to bandage _Cavaradossi's_ eyes. -The latter declines. He stands with his back to the wall. The soldiers -take aim. _Tosca_ stops her ears with her hands so that she may not -hear the explosion. The officer lowers his sword. The soldiers fire. -_Cavaradossi_ falls. - -"How well he acts it!" exclaims _Tosca_. - -A cloth is thrown over _Cavaradossi_. The firing party marches off. -_Tosca_ cautions her lover not to move yet. The footsteps of the -firing party die away--"Now get up." He does not move. Can he not -hear? She goes nearer to him. "Mario! Up quickly! Away!--Up! up! -Mario!" - -She raises the cloth. To the last _Scarpia_ has tricked her. He had -ordered a real, not a mock execution. Her lover lies at her feet--a -corpse. - -There are cries from below the platform. _Scarpia's_ murder has been -discovered. His myrmidons are hastening to apprehend her. She springs -upon the parapet and throws herself into space. - -[Illustration: Farrar as Tosca] - - -MADAMA BUTTERFLY - -MADAM BUTTERFLY - - Opera in two acts, by Giacomo Puccini, words after the story - of John Luther Long and the drama of David Belasco by L. - Illica and G. Giacosa. English version by Mrs. R.H. Elkin. - Produced unsuccessfully, La Scala, Milan, February 17, - 1904, with Storchio, Zenatello, and De Luca, conductor - Cleofante Campanini. Slightly revised, but with Act II - divided into two distinct parts, at Brescia, May 28, 1904, - with Krusceniski, Zenatello, and Bellati, when it scored a - success. Covent Garden, London, July 10, 1905, with Destinn, - Caruso, and Scotti, conductor Campanini. Washington, D.C., - October, 1906, in English, by the Savage Opera Company, and - by the same company, Garden Theatre, New York, November 12, - 1906, with Elsa Szamozy, Harriet Behne, Joseph F. Sheehan, - and Winifred Goff; Metropolitan Opera House, New York, - February 11, 1907, with Farrar (_Butterfly_), Homer - (_Suzuki_), Caruso (_Pinkerton_), Scotti (_Sharpless_), and - Reiss (_Goro_). - - CHARACTERS - - MADAM BUTTERFLY (Cio-Cio-San) _Soprano_ - SUZUKI (her servant) _Mezzo-Soprano_ - KATE PINKERTON _Mezzo-Soprano_ - B.F. PINKERTON, Lieutenant, U.S.N. _Tenor_ - SHARPLESS (U.S. Consul at Nagasaki) _Baritone_ - GORO (a marriage broker) _Tenor_ - PRINCE YAMADORI _Baritone_ - THE BONZE (_Cio-Cio-San's uncle_) _Bass_ - YAKUSIDE _Baritone_ - THE IMPERIAL COMMISSIONER _Bass_ - THE OFFICIAL REGISTRAR } _Baritone_ - CIO-CIO-SAN'S MOTHER } Members of _Mezzo-Soprano_ - THE AUNT } the Chorus _Mezzo-Soprano_ - THE COUSIN } _Soprano_ - TROUBLE (_Cio-Cio-San's Child_) - - _Cio-Cio-San's_ relations and friends. Servants. - - _Time_--Present day. - - _Place_--Nagasaki. - -[Illustration: Photo by Hall - -"Madame Butterfly," Act I - -(Francis Maclennan, Rene Vivienne, and Thomas Richards)] - -Although "Madama Butterfly" is in two acts, the division of the second -act into two parts by the fall of the curtain, there also being an -instrumental introduction to part second, practically gives the opera -three acts. - -Act I. There is a prelude, based on a Japanese theme. This theme runs -through the greater part of the act. It is employed as a background -and as a connecting link, with the result that it imparts much exotic -tone colour to the scenes. The prelude passes over into the first act -without a break. - -_Lieutenant B.F. Pinkerton_, U.S.N., is on the point of contracting a -"Japanese marriage" with _Cio-Cio-San_, whom her friends call -_Butterfly_. At the rise of the curtain _Pinkerton_ is looking over a -little house on a hill facing the harbour. This house he has leased -and is about to occupy with his Japanese wife. _Goro_, the nakodo or -marriage broker, who has arranged the match, also has found the house -for him and is showing him over it, enjoying the American's surprise -at the clever contrivances found in Japanese house construction. Three -Japanese servants are in the house, one of whom is _Suzuki_, -_Butterfly's_ faithful maid. - -_Sharpless_, the American Consul at Nagasaki, arrives. In the chat -which follows between the two men it becomes apparent that _Sharpless_ -looks upon the step _Pinkerton_ is about to take with disfavour. He -argues that what may be a mere matter of pastime to the American Naval -lieutenant, may have been taken seriously by the Japanese girl and, if -so, may prove a matter of life or death with her. _Pinkerton_ on the -other hand laughs off his friend's fears and, having poured out drinks -for both, recklessly pledges his real American wife of the future. -Further discussion is interrupted by the arrival of the bride with her -relatives and friends. - -After greetings have been exchanged, the Consul on conversing with -_Butterfly_ becomes thoroughly convinced that he was correct in -cautioning _Pinkerton_. For he discovers that she is not contemplating -the usual Japanese marriage of arrangement, but, actually being in -love with _Pinkerton_, is taking it with complete seriousness. She has -even gone to the extent, as she confides to _Pinkerton_, of secretly -renouncing her religious faith, the faith of her forefathers, and -embracing his, before entering on her new life with him. This step, -when discovered by her relatives, means that she has cut herself loose -from all her old associations and belongings, and entrusts herself and -her future entirely to her husband. - -Minor officials whose duty it is to see that the marriage contract, -even though it be a "Japanese marriage," is signed with proper -ceremony, arrive. In the midst of drinking and merry-making on the -part of all who have come to the wedding, they are startled by fierce -imprecations from a distance and gradually drawing nearer. A weird -figure, shouting and cursing wildly, appears upon the scene. It is -_Butterfly's_ uncle, the _Bonze_ (Japanese priest). He has discovered -her renunciation of faith, now calls down curses upon her head for it, -and insists that all her relatives, even her immediate family, -renounce her. _Pinkerton_ enraged at the disturbance turns them out of -the house. The air shakes with their imprecations as they depart. -_Butterfly_ is weeping bitterly, but _Pinkerton_ soon is enabled to -comfort her. The act closes with a passionate love scene. - -The Japanese theme, which I have spoken of as forming the introduction -to the act, besides, the background to the greater part of it, in fact -up to the scene with the _Bonze_, never becomes monotonous because it -is interrupted by several other musical episodes. Such are the short -theme to which _Pinkerton_ sings "Tutto pronto" (All is ready), and -the skippy little theme when _Goro_ tells _Pinkerton_ about those who -will be present at the ceremony. When _Pinkerton_ sings, "The whole -world over, on business or pleasure the Yankee travels," a motif based -on the "Star-Spangled Banner," is heard for the first time. - -In the duet between _Pinkerton_ and _Sharpless_, which _Pinkerton_ -begins with the words, "Amore o grillo" (Love or fancy), _Sharpless's_ -serious argument and its suggestion of the possibility of -_Butterfly's_ genuine love for _Pinkerton_ are well brought out in the -music. When _Butterfly_ and her party arrive, her voice soars above -those of the others to the strains of the same theme which occurs as a -climax to the love duet at the end of the act and which, in the course -of the opera, is heard on other occasions so intimately associated -with herself and her emotions that it may be regarded as a motif, -expressing the love she has conceived for _Pinkerton_. - -Full of feeling is the music of her confession to _Pinkerton_ that she -has renounced the faith of her forefathers, in order to be a fit wife -for the man she loves:--"Ieri son salita" (Hear what I would tell -you). An episode, brief but of great charm, is the chorus "Kami! O -Kami! Let's drink to the newly married couple." Then comes the -interruption of the cheerful scene by the appearance of the _Bonze_, -which forms a dramatic contrast. - -It is customary with Puccini to create "atmosphere" of time and place -through the medium of the early scenes of his operas. It is only -necessary to recall the opening episodes in the first acts of "La -Bohme" and "Tosca." He has done the same thing in "Madam Butterfly," -by the employment of the Japanese theme already referred to, and by -the crowded episodes attending the arrival of _Butterfly_ and the -performance of the ceremony. These episodes are full of action and -colour, and distinctly Japanese in the impression they make. Moreover, -they afford the only opportunity throughout the entire opera to employ -the chorus upon the open stage. It is heard again in the second act, -but only behind the scenes and humming in order to give the effect of -distance. - -[Illustration: Photo by White - -Farrar as Cio-Cio-San in "Madama Butterfly"] - -The love scene between _Pinkerton_ and _Butterfly_ is extended. From -its beginning, "Viene la sera" (Evening is falling), - -[Music] - -to the end, its interest never flags. It is full of beautiful melody -charged with sentiment and passion, yet varied with lighter passages, -like _Butterfly's_ "I am like the moon's little goddess"; "I used to -think if anyone should want me"; and the exquisite, "Vogliatemi bene" -(Ah, love me a little). There is a beautiful melody for _Pinkerton_, -"Love, what fear holds you trembling." The climax of the love duet is -reached in two impassioned phrases:--"Dolce notte! Quante stelle" -(Night of rapture, stars unnumbered), - -[Music] - -and "Oh! Quanti occhi fisi, attenti" (Oh, kindly heavens). - -[Music] - -Act II. Part I. Three years have elapsed. It is a long time since -_Pinkerton_ has left _Butterfly_ with the promise to return to her -"when the robins nest." When the curtain rises, after an introduction, -in which another Japanese theme is employed, _Suzuki_, although -convinced that _Pinkerton_ has deserted her mistress, is praying for -his return. _Butterfly_ is full of faith and trust. In chiding her -devoted maid for doubting that _Pinkerton_ will return, she draws in -language and song a vivid picture of his home-coming and of their -mutual joy therein:--"Un bel d vedremo" (Some day he'll come). - -[Music] - -In point of fact, _Pinkerton_ really is returning to Nagasaki, but -with no idea of resuming relations with his Japanese wife. Indeed, -before leaving America he has written to _Sharpless_ asking him to let -_Butterfly_ know that he is married to an American wife, who will -join him in Nagasaki. _Sharpless_ calls upon _Butterfly_, and attempts -to deliver his message, but is unable to do so because of the emotions -aroused in _Butterfly_ by the very sight of a letter from _Pinkerton_. -It throws her into a transport of joy because, unable immediately to -grasp its contents, she believes that in writing he has remembered -her, and must be returning to her. _Sharpless_ endeavours to make the -true situation clear to her, but is interrupted by a visit from -_Yamadori_, a wealthy Japanese suitor, whom _Goro_ urges _Butterfly_ -to marry. For the money left by Pinkerton with his little Japanese -wife has dwindled almost to nothing, and poverty stares her in the -face. But she will not hear of an alliance with _Yamadori_. She -protests that she is already married to _Pinkerton_, and will await -his return. - -When _Yamadori_ has gone, _Sharpless_ makes one more effort to open -her eyes to the truth. They have a duet, "Ora a noi" (Now at last), in -which he again produces the letter, and attempts to persuade her that -Pinkerton has been faithless to her and has forgotten her. Her only -reply is to fetch in her baby boy, born since _Pinkerton's_ departure. -Her argument is, that when the boy's father hears what a fine son is -waiting for him in Japan, he will hasten back. She sings to _Trouble_, -as the little boy is called:--"Sai cos'ebbe cuore" (Do you hear, my -sweet one, what that bad man is saying). _Sharpless_ makes a final -effort to disillusion her, but in vain. If _Pinkerton_ does not come -back, there are two things, she says, she can do--return to her old -life and sing for people, or die. She sings a touching little lullaby -to her baby boy, _Suzuki_ twice interrupting her with the pathetically -voiced exclamation, "Poor Madam Butterfly!" - -A salute of cannon from the harbour announces the arrival of a -man-of-war. Looking through the telescope, _Butterfly_ and _Suzuki_ -discover that it is _Pinkerton's_ ship, the "Abraham Lincoln." Now -_Butterfly_ is convinced that _Sharpless_ is wrong. Her faith is -about to be rewarded. The man she loves is returning to her. The home -must be decorated and made cheerful and attractive to greet him. She -and _Suzuki_ distribute cherry blossoms wherever their effect will be -most charming. The music accompanying this is the enchanting duet of -the flowers, "Scuoti quella fronda di ciliegio" (Shake that cherry -tree till every flower). Most effective is the phrase, "Gettiamo a -mani piene mammole e tuberose" (In handfuls let us scatter violets and -white roses.) - -[Music] - -_Butterfly_ adorns herself and the baby boy. Then with her fingers she -pierces three holes in the paper wall of the dwelling. She, _Suzuki_, -and the baby peer through these, watching for _Pinkerton's_ arrival. -Night falls. _Suzuki_ and the boy drop off to sleep. _Butterfly_ -rigid, motionless, waits and watches, her faith still unshaken, for -the return of the man who has forsaken her. The pathos of the scene is -profound; the music, with the hum of voices, borne upon the night from -the distant harbour, exquisite. - -Act II. Part II. When the curtain rises, night has passed, dawn is -breaking. _Suzuki_ and the baby are fast asleep, but _Butterfly_ still -is watching. Again Puccini employs a Japanese melody (the "vigil" -theme). - -[Music] - -When _Suzuki_ awakes, she persuades the poor little "wife" to go -upstairs to rest, which _Butterfly_ does only upon _Suzuki's_ promise -to awaken her as soon as _Pinkerton_ arrives. _Pinkerton_ and -_Sharpless_ appear. _Suzuki_ at first is full of joyful surprise, -which, however, soon gives way to consternation, when she learns the -truth. _Pinkerton_ himself, seeing about him the proofs of -_Butterfly's_ complete loyalty to him, realizes the heartlessness of -his own conduct. There is a dramatic trio for _Pinkerton_, -_Sharpless_, and _Suzuki_. _Pinkerton_, who cannot bear to face the -situation, rushes away, leaving it to _Sharpless_ to settle matters as -best he can. - -_Butterfly_ has become aware that people are below. _Suzuki_ tries to -prevent her coming down, but she appears radiantly happy, for she -expects to find her husband. The pathos of the scene in which she -learns the truth is difficult to describe. But she does not burst into -lamentations. With a gentleness which has been characteristic of her -throughout, she bears the blow. She even expresses the wish to _Kate_, -_Pinkerton's_ real wife, that she may experience all happiness, and -sends word to _Pinkerton_ that, if he will come for his son in half an -hour, he can have him. - -_Sharpless_ and _Mrs. Pinkerton_ withdraw. In a scene of tragic power, -_Butterfly_ mortally wounds herself with her father's sword, the blade -of which bears the inscription, "To die with honour when one can no -longer live with honour," drags herself across the floor to where the -boy is playing with his toys and waving a little American flag, and -expires just as _Pinkerton_ enters to take away the son whom thus she -gives up to him. - -From examples that already have been given of modern Italian opera, it -is clear that "atmosphere," local colour, and character delineation -are typical features of the art of Italy's lyric stage as it -flourishes today. In "Madama Butterfly" we have exotic tone colour to -a degree that has been approached but not equalled by Verdi in "Ada." -Certain brief scenes in Verdi's opera are Egyptian in tone colour. In -"Madama Butterfly" Japanese themes are used _in extenso_, and although -the thrilling climaxes in the work are distinctively Italian, the -Japanese under-current, dramatic and musical, always is felt. In that -respect compare "Madama Butterfly" with a typical old Italian opera -like "Lucia di Lammermoor" the scene of which is laid in Scotland, but -in which there is nothing Scotch save the costumes--no "atmosphere," -no local colour. These things are taken seriously by modern Italian -composers, who do not ignore melody, yet also appreciate the value of -an eloquent instrumental support to the voice score; whereas the older -Italian opera composers were content to distribute melody with a -lavish hand and took little else into account. - -In character delineation in the opera _Butterfly_ dominates. She is a -sweet, trusting, pathetic little creature--traits expressed in the -music as clearly as in the drama. The sturdy devotion of _Suzuki_ is, -if possible, brought out in an even stronger light in the opera than -in the drama, and _Sharpless_ is admirably drawn. _Pinkerton_, of -course, cannot be made sympathetic. All that can be expected of him is -that he be a tenor, and sing the beautiful music allotted to him in -the first act with tender and passionate expression. - -The use of the "Star-Spangled Banner" motif as a personal theme for -_Pinkerton_, always has had a disagreeable effect upon me, and from -now on should be objected to by all Americans. Some one in authority, -a manager like Gatti-Casazza, or Ricordi & Co.'s American -representatives, should call Puccini's attention to the fact that his -employment of the National Anthem of the United States of America in -"Madama Butterfly" is highly objectionable and might, in time, become -offensive; although no offence was meant by him. - -I "did" the first night of David Belasco's play "Madam Butterfly" for -the New York _Herald_. The production occurred at the Herald Square -Theatre, Broadway and Thirty-fifth Street, New York, March 5, 1900, -with Blanche Bates as _Butterfly_. It was given with "Naughty -Anthony," a farce-comedy also by Belasco, which had been a failure. -The tragedy had been constructed with great rapidity from John Luther -Long's story, but its success was even swifter. At the Duke of York's -Theatre, London, it was seen by Francis Nielsen, stage manager of -Covent Garden, who immediately sent word to Puccini urging him to come -from Milan to London to see a play which, in his hands, might well -become a successful opera. Puccini came at once, with the result that -he created a work which has done its full share toward making the -modern Italian lyric stage as flourishing as all unprejudiced critics -concede it to be. - -The Milan production of "Madama Butterfly" was an utter failure. The -audience hooted, the prima donna was in tears. The only person behind -the scenes not disconcerted was the composer, whose faith in his work -was so soon to be justified. - - -LA FANCIULLA DEL WEST - -(THE GIRL OF THE GOLDEN WEST) - - Opera in three acts by Puccini; words by C. Zangarini and G. - Civini, after the play by David Belasco. Produced, - Metropolitan Opera House, New York, December 10, 1910, with - Destinn, Mattfeld, Caruso, Amato, Reiss, Didur, Dinh-Gilly, - Pini-Corsi, and De Segurola. - - CHARACTERS - - MINNIE _Soprano_ - JACK RANCE, sheriff _Baritone_ - DICK JOHNSON (Ramerrez) _Tenor_ - NICK, bartender at the "Polka" _Tenor_ - ASHBY, Wells-Fargo agent _Bass_ - SONORA } _Baritone_ - TRIM } _Tenor_ - SID } _Baritone_ - HANDSOME } Miners _Baritone_ - HARRY } _Tenor_ - JOE } _Tenor_ - HAPPY } _Baritone_ - LARKENS } _Bass_ - BILLY JACKRABBIT, an Indian redskin _Bass_ - WOWKLE, Billy's squaw _Mezzo-Soprano_ - JAKE WALLACE, a travelling camp - minstrel _Baritone_ - JOS CASTRO, a greaser from - Ramerrez's gang _Bass_ - A POSTILLION _Tenor_ - MEN OF THE CAMP - - _Time_--1849-1850, the days of the gold fever. - - _Place_--A mining-camp at the foot of the Cloudy Mountains, - California. - -[Illustration: Photo by White - -Destinn as Minnie, Caruso as Johnson, and Amato as Jack Rance in "The -Girl of the Golden West"] - -Successful in producing "atmosphere" in "La Bohme," "Tosca," and -"Madama Butterfly," Puccini has utterly failed in his effort to do so -in his "Girl of the Golden West." Based upon an American play, the -scene laid in America and given in America for the first time on any -stage, the opera has not been, the more's the pity, a success. - -In the first act, laid in the "Polka" bar-room, after a scene of -considerable length for the miners (intended, no doubt, to create -"atmosphere") there is an episode between _Rance_ and _Minnie_, in -which it develops that _Rance_ wants to marry her, but that she does -not care for him. _Johnson_ comes in. He and _Minnie_ have met but -once before, but have been strongly attracted to each other. She asks -him to visit her in her cabin, where they will be undisturbed by the -crowd, which has gone off to hunt for Ramerrez, head of a band of -outlaws, reported to be in the vicinity but which soon may be back. - -The scene of the second act is _Minnie's_ cabin, which consists of a -room and loft. After a brief scene for _Billy_ and _Wowkle_, _Minnie_ -comes in. Through night and a blizzard _Johnson_ makes his way up the -mountainside. There is a love scene--then noises outside. People are -approaching. Not wishing to be found with _Johnson_, _Minnie_ forces -him to hide. _Rance_ and others, who are on the trail of _Ramerrez_ -and hope to catch or kill him any moment, come in to warn her that -_Johnson_ is Ramerrez. When they have gone, and _Johnson_ acknowledges -that he is the outlaw, _Minnie_ denounces him and sends him out into -the blizzard. There is a shot. _Johnson_, sorely wounded, staggers -into the cabin. A knock at the door. _Rance's_ voice. With _Minnie's_ -aid the wounded man reaches the loft where he collapses. - -_Rance_ enters, expecting to find _Johnson_. He is almost persuaded by -_Minnie_ that the fugitive is not there, when, through the loose -timbers of the loft, a drop of blood falls on his hand. _Minnie_ -proposes that they play cards--_Johnson_ to live, or she to marry the -sheriff. They play. She cheats, and wins. - -The third act is laid in the forest. _Johnson_, who has recovered and -left _Minnie's_ cabin, is caught, and is to be hung. But at the -critical moment _Minnie_ arrives, and her pleading moves the men to -spare him, in spite of _Rance's_ protests. They leave to begin a new -life elsewhere. - -In the score there is much recitative. It is not interesting in -itself, nor is it made so by the insufficiently varied instrumental -accompaniment. For the action of the play is too vigorous to find -expression by means of the Debussyan manner that predominates in the -orchestra. The most genuinely inspired musical number is _Johnson's_ -solo in the last act, when it seems certain that he is about to be -executed.--"Ch'ella mi creda libero e lontano" (Let her believe that I -have gained my freedom). - - -LA RONDINE - -THE SWALLOW - -The opera begins in Paris during the Second Empire. _Magda_, the -heroine, is a _demi-mondaine_ living under the protection of the rich -banker _Rambaldo_. Satisfied with the luxuries he lavishes upon her, -she longs for true affection, and is unable to stifle the remembrance -of her first love, a poor young student. She meets _Ruggero_, who like -her earlier love, is young and poor, and a student. At Bouilliers, the -rendezvous of the gay life of Paris, _Ruggero_ declares his love for -_Magda_. They leave Paris for Nice, where they hope to lead an idyllic -existence. - -_Ruggero_ looks forward to a life of perfect happiness. He writes to -his parents asking their consent to his marriage with _Magda_. The -reply is that if she is virtuous and honourable, she will be received -with open arms. _Magda_ now considers herself (like _Violetta_ in "La -Traviata") unworthy of _Ruggero's_ love and lest she shall bring -dishonour upon the man she loves, she parts with him. Other principal -rles are _Lisetta_ and _Prunia_, and there are numerous second parts -requiring first-rate artists. - -In the second act of "La Rondine" is a quartet which, it is said, -Puccini believes will rival that at the end of the third act in "La -Bohme." "I have let my pen run," he is reported to have said, "and no -other method suffices to obtain good results, in my opinion. No matter -what marvellous technical effects may be worked up by lengthy -meditation, I believe in heart in preference to head." - -The opera was produced in March, 1917, in Monte Carlo, and during the -summer of the same year, in Buenos Aires. Puccini intended to compose -it with dialogue as a genuine opra comique, but finally substituted -recitative. The work is said to approach opra comique in style. -Reports regarding its success vary. - -After the first Italian performance, San Carlo Theatre, Naples, -February 26, 1918, Puccini, according to report, decided to revise "La -Rondine." Revision, as in the case of "Madama Butterfly," may make a -great success of it. - - -ONE-ACT OPERAS - -Three one-act operas by Puccini have been composed for performance at -one sitting. They are "Suor Angelica" (Sister Angelica), "Il Tabarro" -(The Cloak), and "Gianni Schicchi." The motifs of these operas are -sentiment, tragedy, and humour. - -The scene of "Suor Angelica" is laid within the walls of a mountain -convent, whither she has retired to expiate an unfortunate past. Her -first contact with the outer world is through a visit from an aunt, -who needs her signature to a document. Timidly she asks about the tiny -mite, whom she was constrained to abandon before she entered the -convent. Harshly the aunt replies that the child is dead. _Sister -Angelica_ decides to make an end to her life amid the flowers she -loves. Dying, she appeals for pardon for her act of self-destruction. -The doors of the convent church open, and a dazzling light pours forth -revealing the Virgin Mary on the threshold surrounded by angels, who, -intoning a sweet chorus, bear the poor, penitent, and weary soul to -eternal peace. This little work is entirely for female voices. - -The libretto of "Il Tabarro" is tragic. The great scene is between a -husband and his wife. The husband has killed her lover, whose body he -shows to his unfaithful wife, lifting from the ground the cloak (il -tabarro) under which it is hidden. - -The scene of "Il Tabarro" is laid on the deck of a Seine barge at -sunset, when the day's work is over, and after dark. The husband is -_Michele_, the wife _Giorgetta_, the lover, _Luigi_, and there are two -other bargemen. These latter go off after the day's work. _Luigi_ -lingers in the cabin. He persuades _Giorgetta_ that, when all is quiet -on the barge, and it will be safe for him to return to her, she shall -strike a match as a signal. He then goes. - -_Michele_ has suspected his wife. He reminds her of their early love, -when he sheltered her under his cloak. _Giorgetta_, however, receives -these reminiscences coldly, feigns weariness, and retires to the -cabin. - -It has grown dark. _Michele_ lights his pipe. _Luigi_, thinking it is -_Giorgetta's_ signal, clambers up the side of the barge, where he is -seized and choked to death by _Michele_, who takes his cloak and -covers the corpse with it. - -_Giorgetta_ has heard sounds of a struggle. She comes on deck in -alarm, but is somewhat reassured, when she sees _Michele_ sitting -alone and quietly smoking. Still somewhat nervous, however, she -endeavours to atone for her frigidity toward him, but a short time -before, by "making up" to him, telling him, among other things, that -she well recalls their early love and wishes she could again find -shelter in the folds of his big cloak. For reply, he raises the cloak, -and lets her see _Luigi's_ corpse. - -I have read another synopsis of this plot, in which _Michele_ forces -his wife's face close to that of her dead lover. At the same moment, -one of the other bargemen, whose wife also had betrayed him, returns -brandishing the bloody knife, with which he has slain her. The simpler -version surely is more dramatic than the one of cumulative horrors. - - * * * * * - -When the action of "Gianni Schicchi" opens one _Donati_ has been dead -for two hours. His relations are thinking of the will. A young man of -the house hands it to his mother [Transcriber's Note: should be -'aunt'] but exacts the promise that he shall marry the daughter of -neighbour _Schicchi_. When the will is read, it is found that _Donati_ -has left his all to charity. _Schicchi_ is called in, and consulted. -He plans a ruse. So far only those in the room know of _Donati's_ -demise. The corpse is hidden. _Schicchi_ gets into bed, and, when the -_Doctor_ calls, imitates the dead man's voice and pretends he wants to -sleep. The lawyer is sent for. _Schicchi_ dictates a new will--in -favour of himself, and becomes the heir, in spite of the anger of the -others. - - - - -Riccardo Zandonai - - -FRANCESCA DA RIMINI - -FRANCESCA OF RIMINI - - Opera in four acts, by Riccardo Zandonai; words by Tito - Ricordi, after the drama of the same title by Gabriele - d'Annunzio. English version from Arthur Symons's translation - of the drama. Produced, Reggio Theatre, Turin, February 1, - 1914. Covent Garden Theatre, London, July 16, 1914. - Metropolitan Opera House, New York, December 22, 1916, with - Alda (_Francesca_), Martinelli (_Paolo_), and Amato - (_Giovanni_). - - CHARACTERS - - GIOVANNI, the lame } sons of { _Baritone_ - PAOLO, the beautiful } Malatesta da { _Tenor_ - MALATESTINO, the one-eyed } Verrucchio { _Tenor_ - OSTASIO, son of Guido Minore da Polenta _Baritone_ - SER TOLDO BERARDENGO, a notary _Tenor_ - A JESTER _Bass_ - A BOWMAN _Tenor_ - TOWER WARDEN _Baritone_ - FRANCESCA, daughter of Guido and sister - of Ostasio _Soprano_ - SAMARITANA, sister of Francesca - and Ostasio _Soprano_ - BIANCOFIORE } { _Soprano_ - GARSENDA } women of Francesca { _Soprano_ - ALTICHIARA } { _Mezzo-Soprano_ - DONELLA _Mezzo-Soprano_ - SMARADI, a slave _Contralto_ - - Bowmen, archers, and musicians. - - _Time_--Thirteenth century. - - _Place_--First act, Ravenna, then Rimini. - -A pretentious but not wholly successful score based upon a somewhat -diffuse drama--such is the net impression made by Zandonai's opera -"Francesca da Rimini." The story of Francesca and Paolo is one of the -world's immortal tales of passion, and an opera set to it should be -inspired beyond almost any other. But as W.J. Henderson wrote in the -New York _Sun_ the day after the production of Zandonai's work in New -York, "In all human probability the full measure of 'love insatiable' -was never taken in music but once, and we cannot expect a second -'Tristan und Isolde' so soon." - -Act I. The scene is a court in the house of the Polentani, in Ravenna, -adjacent to a garden, whose bright colours are seen through a pierced -marble screen. A colloquy between _Francesca's_ brother _Ostasio_ and -the notary _Ser Toldo Berardengo_ informs us that for reasons of -state, _Francesca_ is to be married to that one of the three sons of -Malatesta da Verrucchio, who although named _Giovanni_, is known as -_Gianciotto, the Lamester_, because of his deformity and ugliness. As -_Francesca_ surely would refuse to marry _Gianciotto_, a plot has been -formed by which she is introduced to his handsome younger brother -_Paolo_, with whom, under the impression that he is her destined -bridegroom, she falls deeply in love at first sight, a passion that is -fully reciprocated by him, although they have only beheld each other, -and not yet exchanged a word. - -Such is the procedure of the first act. When _Francesca_ and _Paolo_ -behold each other through the marble screen, which divides the court -from the garden, in which _Paolo_ stands amid brightly coloured -flowers, the orchestra intones a phrase which may properly be called -the love motif. - -[Music] - -The act is largely lyric in its musical effect. Much charm is given to -it by the quartette of women who attend upon _Francesca_. Almost at -the outset the composer creates what might be called the necessary -love mood, by a playful scene between _Francesca's_ women and a -strolling jester, who chants for them the story of "Tristan und -Isolde." The setting of the scene is most picturesque. In fact -everything in this act tends to create "atmosphere," and were the rest -of the opera as successful, it would be one of the finest works of its -kind to have come out of modern Italy. - -Act II. The scene is the interior of a round tower in the fortified -castle of the Malatestas. The summit of the tower is crowned with -engines of war and arms. There are heavy cross-bows, ballistas, a -catapult, and other medival machinery of battle. The castle is a -stronghold of the Guelfs. In the distance, beyond the city of Rimini, -are seen the battlements of the highest Ghibelline Tower. A narrow -fortified window looks out on the Adriatic. - -Soon after the act opens, an attack takes place. The battle rages. -Amid all this distracting, and therefore futile tumult, occurs the -first meeting between _Francesca_ and _Paolo_, since the marriage into -which she was tricked. Their love is obvious enough. _Paolo_ -despairingly seeks death, to which _Francesca_ also exposes herself by -remaining on the platform of the tower during the combat. The relation -between these two principal characters of the opera is clearly enough -set forth, and the impression made by it would be forcible, were not -attention distracted by the fiercely raging medival combat. - -The Malatestas are victorious. The attacking foes are driven off. -_Gianciotto_ comes upon the platform and brings news to _Paolo_ of his -election as Captain of the people and Commune of Florence, for which -city _Paolo_ departs. - -[Illustration: Photo by White - -Alda as Francesca and Martinelli as Paolo in "Francesca da Rimini"] - -Act III. The scene is the beautiful apartment of _Francesca_, where, -from an old tome, she is reading to her women the story of _Lancelot -and Guenevere_. This episode has somewhat of the same charm as that -which pervaded portions of the first act. Especially is this true, -when to the accompaniment of archaic instruments, the women sing their -measures in praise of spring, "Marzo giunto, e Febbraio gito se n' -col ghiado" (March comes, and February goes with the wind today). - -[Music] - -The women dance and sing, until on a whispered word from her slave, -_Francesca_ dismisses them. _Paolo_ has returned. The greeting from -her to him is simple enough: "Benvenuto, signore mio cognato" (Welcome -my lord and kinsman), but the music is charged with deeper -significance. - -[Music] - -Even more pronounced is the meaning in the musical phrase at -Francesca's words, "Paolo, datemi pace" (Paolo, give me peace). - -[Music] - -Together they read the story which _Francesca_ had begun reading to -her women. Their heads come close together over the book. Their white -faces bend over it until their cheeks almost touch; and when in the -ancient love tale, the queen and her lover kiss, _Francesca's_ and -_Paolo's_ lips meet and linger in an ecstasy of passion. - -Act IV. This act is divided into two parts. The scene of the first -part is an octagonal hall of gray stone. A grated door leads to a -subterranean prison. Cries of a prisoner from there have disturbed -Francesca. When she complains of this to the youngest brother of -_Gianciotto_, _Malatestino_, he goes down into the prison and kills -the captive. The introduction to this act is, appropriately enough, -based on an abrupt phrase. - -[Music] - -_Malatestino_ is desperately in love with Francesca, urges his suit -upon her, and even hints that he would go to the length of poisoning -_Gianciotto_. _Francesca_ repulses him. Out of revenge he excites the -jealousy of _Gianciotto_ by arousing his suspicions of _Paolo_ and -_Francesca_, pointing out especially that _Paolo_ has returned from -Florence much sooner than his duties there would justify him in doing. - -The scene of part two is laid in _Francesca's_ chamber. It is night. -Four waxen torches burn in iron candlesticks. _Francesca_ is lying on -the bed. From her sleep she is roused by a wild dream that harm has -come to _Paolo_. Her women try to comfort her. After an exchange of -gentle and affectionate phrases, she dismisses them. - -A light knocking at the door, and _Paolo's_ voice calling, -"Francesca!" She flings open the door and throws herself into the arms -of her lover. There is an interchange of impassioned phrases. Then a -violent shock is heard at the door, followed by the voice of -_Gianciotto_, demanding admission. _Paolo_ spies a trap door in the -floor of the apartment, pulls the bolt, and bids _Francesca_ open the -door of the room for her husband, while he escapes. - -_Gianciotto_ rushes into the room. _Paolo's_ cloak has caught in the -bolt of the trap door. He is still standing head and shoulders above -the level of the floor. Seizing him by the hair, the _Lamester_ forces -him to come up. _Paolo_ unsheathes his dagger. _Gianciotto_ draws his -sword, thrusts at _Paolo_. _Francesca_ throws herself between the two -men, receives the thrust of her husband's sword full in the breast, -and falls into _Paolo's_ arms. Mad with rage, her deformed husband -with another deadly thrust pierces his brother's side. _Paolo_ and -_Francesca_ fall at full length to the floor. With a painful effort, -_Gianciotto_ breaks his bloodstained sword over his knee. - -Where the drama is lyric in character, and where it concentrates upon -the hot-blooded love story, a tradition in the Malatesta family, and -narrated by a Malatesta to Dante, who, as is well known, used it in -his "Inferno," the music is eloquent. Where, however, the action -becomes diffuse, and attention is drawn to subsidiary incidents, as is -far too often the case, interest in the music flags. With great -benefit to the score at least a third of the libretto could be -sacrificed. - - * * * * * - -Riccardo Zandonai was born at Sacco. He studied with Gianferrai and at -the Rossini Conservatory. "Conchita," another opera by him, Milan, -1912, was produced in this country in Chicago and New York in 1913. - - - - -Franco Leoni - - -L'ORACOLO - -THE SAGE - - Opera in one act by Franco Leoni, words by Camillo Zanoni, - adapted from the play, "The Cat and the Cherub," by Chester - Bailey Fernald. Produced, Covent Garden Theatre, London, - June 28, 1905. Metropolitan Opera House, New York, February - 4, 1915, with Scotti, as _Chim-Fen_; Didur, as _Win-She_; - Botta, as _Win-San-Lui_; and Bori, as _Ah-Joe_. - - CHARACTERS - - WIN-SHE, a wise man, called the Sage _Baritone_ - CHIM-FEN, an opium den proprietor _Baritone_ - WIN-SAN-LUI, son of Win-She _Tenor_ - HU-TSIN, a rich merchant _Bass_ - HU-CHI, a child, son of Hu-Tsin - AH-JOE, niece of Hu-Tsin _Soprano_ - HUA-QUI, nurse of Hu-Chi _Contralto_ - - Four opium fiends, a policeman, an opium maniac, a - soothsayer, distant voices, four vendors, Chinese men, - women, and children. - - _Time_--The present. - - _Place_--Chinatown, San Francisco. - -_Chim-Fen_ is about to close up his opium den. A man half crazed by -the drug comes up its steps and slinks away. - -Out of the house of the merchant _Hu-Tsin_ comes _Hua-Qui_, the nurse -of _Hu-Tsin's_ son, _Hu-Chi_. _Chim-Fen_ wants to marry the merchant's -daughter _Ah-Joe_. The nurse is in league with him. She brings him a -fan, upon which _Ah-Joe's_ lover, _San-Lui_, son of the sage, -_Win-She_, has written an avowal of love. _Hua-Qui_ is jealous, -because _Chim-Fen_ is in love with _Ah-Joe_. Her jealousy annoys him. -He threatens her and drives her away. - -Four gamblers, drunk with opium, emerge from the den. _Chim-Fen_ looks -after them with contempt. It is now very early in the morning of New -Year's Day. _Win-She_ comes along. _Chim-Fen_ greets him obsequiously -and is admonished by the sage to mend his vile ways. - -_San-Lui_ sings a serenade to _Ah-Joe_, who comes out on her balcony -to hear him. People pass by, street venders cry their wares. _Ah-Joe_ -withdraws into the house, _San-Lui_ goes his way. When _Hu-Tsin_, the -rich merchant, comes out, he is accosted by _Chim-Fen_, who asks for -the promise of _Ah-Joe's_ hand. _Hu-Tsin_ spurns the proposal. - -A fortune-teller comes upon the scene. _Chim-Fen_ has his fortune -told. "A vile past, a future possessed of the devil. Wash you of your -slime." When _Chim-Fen_ threatens the fortune-teller, the crowd, which -has gathered, hoots him and repeats the words of the fortune-teller -amid howls and jeers. - -_Hu-Tsin_, with _Ah-Joe_, _Hua-Qui_, and the baby boy come into the -street, where _Win-She_, gathering a group of worshippers about him, -bids _San-Lui_ prevent the crowd from creating a disturbance, then, -with all the people kneeling, intones a prayer, from which he finally -passes into a trance. When he comes out of it, he says that he has -seen two souls, one aspiring toward Nirvana, the other engulfed in the -inferno. He also has witnessed the grief of a father at the killing of -a hope. At this _Hu-Tsin_ shows alarm for the safety of _Hu-Chi_, and -the people join in lamentations, but _Win-She_ prophesies, "_Hu-Chi_ -is safe." - -Along comes the procession of the dragon. In watching this _Hua-Qui_ -neglects her charge. Utilizing this opportunity _Chim-Fen_ seizes the -child and carries him off into his cellar. When _Hu-Tsin_ discovers -the loss and has berated the nurse, he offers to give the hand of -_Ah-Joe_ in marriage to the finder of his son. This is just what -_Chim-Fen_ expected. _San-Lui_, however, immediately takes up the -search, in spite of _Ah-Joe's_ protests, for the girl fears that some -harm will come to him. - -_San-Lui_ starts towards _Chim-Fen's_ den. _Hua-Qui_ tries to warn -him, by telling him how the opium dealer deceived her and is seeking -the hand of _Ah-Joe_, in order to obtain _Hu-Tsin's_ money. _San-Lui_, -however, compels _Chim-Fen_ to descend with him to the cellar, where -he finds and is about to rescue _Hu-Chi_, when _Chim-Fen_ kills him -with a hatchet. _San-Lui_ staggers up the steps to the street, calls -_Ah-Joe's_ name, and falls dead. She wails over his body, a crowd -gathers, and _Hu-Tsin_ is horror-stricken to find that the man who has -been slain at his door is _San-Lui_. - -_Win-She_, the father of _San-Lui_, tells the merchant to wait; the -death of _San-Lui_ will be avenged. Immediately _Win-She_ goes over to -the opium den, hears the child's cry in the cellar, finds _Hu-Chi_ and -restores him to his father. He then goes to the door of the opium den, -calls _Chim-Fen_, who comes out, apparently filled with indignation -against the murderer of _Win-She's_ son, whom he says he would like to -throttle with his own hands. From the merchant's house there is heard -every now and then the voice of _Ah-Joe_, who has lost her reason -through grief, and is calling her lover's name. - -The two men seat themselves on a bench near the opium den. _Win-She_ -speaks calmly, quietly, and unperceived by _Chim-Fen_, draws a knife, -and plunges it into the villain's back. _Chim-Fen_ not dying at once, -_Win-She_ quietly winds the man's own pigtail around his neck and -proceeds slowly and gradually to strangle him, meanwhile disclosing -his knowledge of the murder, but without raising his voice, propping -up _Chim-Fen_ against some cases, and speaking so quietly, that a -policeman, who saunters by, thinks two Chinamen are in conversation, -and turns the corner without realizing that anything is wrong. -_Win-She_ now goes his way. _Chim-Fen's_ body falls to the ground. - -It will have been observed that many incidents are crowded into this -one act, but that the main features of the drama, the villainy of -_Chim-Fen_, and the calm clairvoyance of _Win-She_ are never lost -sight of. - -The music consists mainly of descriptive and dramatic phrases, with -but little attempt to give the score definite Chinese colouring. -_Ah-Joe's_ song on her balcony to the silvery dawn is the most tuneful -passage in the opera. Scotti, whose _Chim-Fen_ is a performance of -sinister power, Didur (_Win-She_), and Bori (_Ah-Joe_) were in the -Metropolitan production. - - * * * * * - -Franco Leoni was born at Milan, October 24, 1864. He studied under -Ponchielli at the Conservatory in his native city. Other works by him -are "Rip Van Winkle," "Raggio di Luna," and "Ib and Little -Christina." - - - - -Italo Montemezzi - - -L'AMORE DEI TRE RE - -THE LOVE OF THREE KINGS - - Opera in three acts, by Italo Montemezzi; words by Sem - Benelli, from his tragedy ("tragic poem") of the same title, - English version, by Mrs. R.H. Elkin. Produced, La Scala, - Milan, April 10, 1913; Metropolitan Opera House, New York, - January 2, 1914, with Didur (_Archibaldo_), Amato - (_Manfredo_), Ferrari-Fontana (_Avito_), Bori (_Fiora_). - Covent Garden Theatre, London, May 27, 1914. Thtre des - Champs Elyses, Paris, April 25, 1914. In the Milan - production Luisa Villani was _Fiora_, and Ferrari-Fontana - _Avito_. - - CHARACTERS - - ARCHIBALDO, King of Altura _Bass_ - MANFREDO, son of Archibaldo _Baritone_ - AVITO, a former prince of Altura _Tenor_ - FLAMINIO, a castle guard _Tenor_ - FIORA, wife of Manfredo _Soprano_ - - A youth, a boy child (voice behind the scenes), a voice - behind the scenes, a handmaiden, a young girl, an old woman, - other people of Altura. - - _Time_--The tenth century. - - _Place_--A remote castle of Italy, forty years after a - Barbarian invasion, led by _Archibaldo_. - -[Illustration: Photo by Mishkin - -Bori and Ferrari-Fontana in "The Love of Three Kings"] - -This opera is justly considered one of the finest products of modern -Italian genius. Based upon a powerful tragedy, by Sem Benelli, one of -the foremost of living playwrights in Italy, it is a combination of -terse, swiftly moving drama with a score which vividly depicts events -progressing fatefully toward an inevitable human cataclysm. While -there is little or no set melody in Montemezzi's score, nevertheless -it is melodious--a succession of musical phrases that clothe the -words, the thought behind them, their significance, their most subtle -suggestion, in the weft and woof of expressive music. It is a medival -tapestry, the colours of which have not faded, but still glow with -their original depth and opulence. Of the many scores that have come -out of Italy since the death of Verdi, "L'Amore dei Tre Re" is one of -the most eloquent. - -Act I. The scene is a spacious hall open to a terrace. A lantern -employed as a signal sheds its reddish light dimly through the gloom -before dawn. - -From the left enters _Archibaldo_. He is old with flowing white hair -and beard, and he is blind. He is led in by his guide _Flaminio_, who -is in the dress of the castle guard. As if he saw, the old blind king -points to the door of a chamber across the hall and bids _Flaminio_ -look and tell him if it is quite shut. It is slightly open. -_Archibaldo_ in a low voice orders him to shut it, but make no noise, -then, hastily changing his mind, to leave it as it is. - -In the setting of the scene, in the gloom penetrated only by the glow -of the red lantern, in the costumes of the men, in the actions of the -old king, who cannot see but whose sense of hearing is weirdly acute, -and in the subtle suggestion of suspicion that all is not well, -indicated in his restlessness, the very opening of this opera -immediately casts a spell of the uncanny over the hearer. This is -enhanced by the groping character of the theme which accompanies the -entrance of _Archibaldo_ with his guide, depicting the searching -footsteps of the blind old man. - -[Music] - -There is mention of _Fiora_, the wife of _Archibaldo's_ son, -_Manfredo_, who is in the north, laying siege to an enemy stronghold. -There also is mention of _Avito_, a prince of Altura, to whom _Fiora_ -was betrothed before _Archibaldo_ humbled Italy, but whose marriage to -_Manfredo_, notwithstanding her previous betrothal, was one of the -conditions of peace. Presumably--as is to be gathered from the brief -colloquy--_Archibaldo_ has come into the hall to watch with _Flaminio_ -for the possible return of _Manfredo_, but the restlessness of the old -king, his commands regarding the door opposite, and even certain -inferences to be drawn from what he says, lead to the conclusion that -he suspects his son's wife and _Avito_. It is also clear--subtly -conveyed, without being stated in so many words--that _Flaminio_, -though in the service of _Archibaldo_, is faithful to _Avito_, like -himself a native of the country, which _Archibaldo_ has conquered. - -When _Flaminio_ reminds _Archibaldo_ that _Avito_ was to have wedded -_Fiora_, the blind king bids his guide look out into the valley for -any sign of _Manfredo's_ approach. "Nessuno, mio signore! Tutto -pace!" is Flaminio's reply. (No one, my lord! All is quiet!) - -[Music] - -_Archibaldo_, recalling his younger years, tells eloquently of his -conquest of Italy, apostrophizing the ravishing beauty of the country, -when it first met his gaze, before he descended the mountains from -which he beheld it. He then bids _Flaminio_ put out the lantern, since -_Manfredo_ comes not. _Flaminio_ obeys then, as there is heard in the -distance the sound of a rustic flute, he urges upon _Archibaldo_ that -they go. It is nearly dawn, the flute appears to have been a signal -which _Flaminio_ understands. He is obviously uneasy, as he leads -_Archibaldo_ out of the hall. - -_Avito_ and _Fiora_ come out of her room. The woman's hair hangs in -disorder around her face, her slender figure is draped in a very fine -ivory-white garment. The very quiet that prevails fills _Avito_ with -apprehension. It is the woman, confident through love, that seeks to -reassure him. "Dammi le labbra, e tanta ti dar di questa pace!" (Give -me thy lips, and I will give thee of this peace). - -[Music] - -For the moment _Avito_ is reassured. There is a brief but passionate -love scene. Then _Avito_ perceives that the lantern has been -extinguished. He is sure someone has been there, and they are spied -upon. Once more _Fiora_ tries to give him confidence. Then she herself -hears someone approaching. _Avito_ escapes from the terrace into the -dim daylight. The door on the left opens and _Archibaldo_ appears -alone. He calls "Fiora! Fiora! Fiora!" - -Concealing every movement from the old man's ears, she endeavours to -glide back to her chamber. But he hears her. - -"I hear thee breathing! Thou'rt breathless and excited! O Fiora, say, -with whom hast thou been speaking?" - -Deliberately she lies to him. She has been speaking to no one. His -keen sense tells him that she lies. For when she sought to escape from -him, he heard her "gliding thro' the shadows like a snowy wing." - -_Flaminio_ comes hurrying in. The gleam of armoured men has been seen -in the distance. _Manfredo_ is returning. His trumpet is sounded. Even -now he is upon the battlement and embraced by his father. Longing for -his wife, _Fiora_, has led him for a time to forsake the siege. -_Fiora_ greets him, but with no more than a semblance of kindness. -With cunning, she taunts _Archibaldo_ by telling _Manfredo_ that she -had come out upon the terrace at dawn to watch for him, the truth of -which assertion _Archibaldo_ can affirm, for he found her there. As -they go to their chamber, the old man, troubled, suspecting, fearing, -thanks God that he is blind. - -Act II. The scene is a circular terrace on the high castle walls. A -single staircase leads up to the battlements. It is afternoon. The sky -is covered with changing, fleeting clouds. Trumpet blasts are heard -from the valley. From the left comes _Manfredo_ with his arms around -_Fiora_. He pleads with her for her love. As a last boon before he -departs he asks her that she will mount the stairway and, as he -departs down the valley, wave to him with her scarf. Sincerely moved -to pity by his plea, a request so simple and yet seemingly meaning so -much to him, she promises that this shall be done. He bids her -farewell, kisses her, and rushes off to lead his men back to the -siege. - -_Fiora_ tries to shake off the sensation of her husband's embrace. She -ascends to the battlemented wall. A handmaid brings her an inlaid -casket, from which she draws forth a long white scarf. The orchestra -graphically depicts the departure of _Manfredo_ at the head of his -cavalcade. - -[Music] - -_Fiora_ sees the horsemen disappear in the valley. As she waves the -veil, her hand drops wearily each time. _Avito_ comes. He tells her it -is to say farewell. At first, still touched by the pity which she has -felt for her husband, _Fiora_ restrains her passionate longing for -her lover, once or twice waves the scarf, tries to do so again, lets -her arms drop, her head droop, then, coming down the steps, falls into -his arms open to receive her, and they kiss each other as if dying of -love. "Come tremi, diletto" (How thou art trembling, beloved!) -whispers Fiora. - -[Music] - -"Guarda in s! Siamo in cielo!" (Look up! We are in heaven!) responds -_Avito_. - -[Music] - -But the avenger is nigh. He is old, he is blind, but he knows. _Avito_ -is about to throw himself upon him with his drawn dagger, but is -stopped by a gesture from _Flaminio_, who has followed the king. -_Avito_ goes. But _Archibaldo_ has heard his footsteps. The king -orders _Flaminio_ to leave him with _Fiora_. _Flaminio_ bids him -listen to the sound of horses' hoofs in the valley. _Manfredo_ is -returning. _Fiora_ senses that her husband has suddenly missed the -waving of the scarf. _Archibaldo_ orders _Flaminio_ to go meet the -prince. - -The old king bluntly accuses _Fiora_ of having been with her lover. -Cowering on a stone bench that runs around the wall, she denies it. -_Archibaldo_ seizes her. Rearing like a serpent, _Fiora_, losing all -fear, in the almost certainty of death at the hands of the powerful -old man, who holds her, boldly vaunts her lover to him. _Archibaldo_ -demands his name, that he and his son may be avenged upon him. She -refuses to divulge it. He seizes her by the throat, again demands the -name, and when she again refuses to betray her lover, throttles her to -death. _Manfredo_ arrives. Briefly the old man tells him of _Fiora's_ -guilt. Yet _Manfredo_ cannot hate her. He is moved to pity by the -great love of which her heart was capable, though it was not for him. -He goes out slowly, while _Archibaldo_ hoists the slender body of the -dead woman across his chest, and follows him. - -Act III. The crypt of the castle, where _Fiora_ lies upon her bier -with white flowers all about her, and tapers at her head and feet. -Around her, people of her country, young and old, make their moan, -while from within the chapel voices of a choir are heard. - -Out of the darkness comes _Avito_. The others depart in order that he -may be alone with his beloved dead, for he too is of their country, -and they know. "Fiora! Fiora!-- silenzio!" (Fiora! Fiora!--Silence -surrounds us) are his first words, as he gazes upon her. - -[Music: Fiora, Fiora! silenzio.] - -Then, desperately, he throws himself beside her and presses his lips -on hers. A sudden chill, as of approaching death, passes through him. -He rises, takes a few tottering steps toward the exit. - -Like a shadow, _Manfredo_ approaches. He has come to seize his wife's -lover, whose name his father could not wring from her, but whom at -last they have caught. He recognizes _Avito_. Then it was he whom she -adored. - -"What do you want?" asks _Avito_. "Can you not see that I can scarcely -speak?" - -Scarcely speak? He might as well be dead. Upon _Fiora's_ lips -_Archibaldo_ has spread a virulent poison, knowing well that her lover -would come into the crypt to kiss her, and in that very act would -drain the poison from her lips and die. Thus would they track him. - -With his last breath, _Avito_ tells that she loved him as the life -that they took from her, aye, even more. Despite the avowal, -_Manfredo_ cannot hate him; but rather is he moved to wonder at the -vast love _Fiora_ was capable of bestowing, yet not upon himself. - -_Avito_ is dead. _Manfredo_, too, throws himself upon _Fiora's_ -corpse, and from her lips draws in what remains of the poison, -quivers, while death slowly creeps through his veins, then enters -eternal darkness, as _Archibaldo_ gropes his way into the crypt. - -The blind king approaches the bier, feels a body lying by it, believes -he has caught _Fiora's_ lover, only to find that the corpse is that of -his son. - -Such is the love of three kings;--of _Archibaldo_ for his son, of -_Avito_ for the woman who loved him, of _Manfredo_ for the woman who -loved him not. - -Or, if deeper meaning is looked for in Sem Benelli's powerful tragedy, -the three kings are in love with Italy, represented by _Fiora_, who -hates and scorns the conqueror of her country, _Archibaldo_; coldly -turns aside from _Manfredo_, his son and heir apparent with whose hand -he sought to bribe her; hotly loves, and dies for a prince of her own -people, _Avito_. Tragic is the outcome of the conqueror's effort to -win and rule over an unwilling people. Truly, he is blind. - - * * * * * - -Italo Montemezzi was born in 1875, in Verona. A choral work by him, -"Cantico dei Cantici," was produced at the Milan Conservatory, 1900. -Besides "L'Amore dei Tre Re," he has composed the operas "Giovanni -Gallurese," Turin, 1905, and "Hllra," Turin, 1909. - - - - -Ermanno Wolf-Ferrari - - -Ermanno Wolf-Ferrari was born in Venice, January 12, 1876, the son of -August Wolf, a German painter, and an Italian mother. At first -self-taught in music, he studied later with Rheinberger in Munich. -From 1902-09 he was director of the conservatory Licio Benedetto -Marcello. He composed, to words by Dante, the oratorio "La Vita -Nuova." His operas, "Le Donne Curiose," "Il Segreto di Susanna," and -"L'Amore Medico," are works of the utmost delicacy. They had not, -however, been able to hold their own on the operatic stage of -English-speaking countries. This may explain the composer's plunge -into so exaggerated, and "manufactured" a blood and thunder work as -"The Jewels of the Madonna." In American opera this has held its own -in the repertoire of the Chicago Opera Company. It has at least some -substance, some approach to passion, even if this appears worked up -when compared with such spontaneous productions as "Cavalleria -Rusticana" and "I Pagliacci," which it obviously seeks to outdo in -sordidness and brutality. - -The failure of Wolf-Ferrari's other operas to hold the stage in -English-speaking countries disappointed many, who regarded him as next -to Puccini, the most promising contemporary Italian composer of opera. -The trouble is that the plots of his librettos are mere sketches, and -his scores delicate to the point of tenuity, so that even with good -casts, they are futile attempts to re-invoke the Spirit of Mozart -behind the mask of a half-suppressed modern orchestra. - - -I GIOJELLI DELLA MADONNA - -(THE JEWELS OF THE MADONNA) - - Opera in three acts by Wolf-Ferrari; plot by the composer, - versification by C. Zangarini and E. Golisciani. Produced in - German (Der Schmuck der Madonna), at the Kurfuersten Oper, - Berlin, December 23, 1911. Covent Garden Theatre, London, - March 30, 1912. Auditorium Theatre, Chicago, January 16, - 1912; Metropolitan Opera House, New York, March 5, 1912, - both the Chicago and New York productions by the Chicago - Opera Company, conducted by Cleofonte Campanini, with - Carolina White, Louis Brat, Bassi, and Sammares. - - CHARACTERS - - GENNARO, in love with _Maliella_ _Tenor_ - MALIELLA, in love with _Rafaele_ _Soprano_ - RAFAELE, leader of the Camorrists _Baritone_ - CARMELA, _Gennaro's_ mother _Mezzo-Soprano_ - BIASO _Tenor_ - CICCILLO _Tenor_ - STELLA _Soprano_ - CONCETTA _Soprano_ - SERENA _Soprano_ - ROCCO _Bass_ - - Grazia, a dancer; Totonno, vendors, monks, populace. - - _Time_--The present. - - _Place_--Naples. - -Act I. A small square in Naples, near the sea. _Carmela's_ house, -_Gennaro's_ smithy, an inn, and the little hut of _Biaso_, the scribe, -among many other details. "It is the gorgeous afternoon of the -festival of the Madonna, and the square swarms with a noisy crowd, -rejoicing and celebrating the event with that strange mixture of -carnival and superstition so characteristic of Southern Italy." This -describes most aptly the gay, crowded scene, and the character of the -music with which the opera opens. It is quite kaleidoscopic in its -constant shifting of interest. At last many in the crowd follow a -band, which has crossed the square. - -_Gennaro_ in his blacksmith's shop is seen giving the finishing -touches to a candelabra on which he has been working. He places it on -the anvil, as on an altar, kneels before it, and sings a prayer to the -Madonna--"Madonna, con sospiri" (Madonna, tears and sighing). - -_Maliella_ rushes out of the house pursued by _Carmela_. She is a -restless, wilful girl, possessed of the desire to get away from the -restraint of the household and throw herself into the life of the -city, however evil--a potential _Carmen_, from whom opportunity has as -yet been withheld. Striking an attitude of bravado, and in spite of -_Gennaro's_ protests, she voices her rebellious thoughts in the -"Canzone di Cannetella,"--"Diceva Cannetella vedendosi inserata" (Thus -sang poor Cannetella, who yearned and sighed for her freedom). - -A crowd gathers to hear her. From the direction of the sea comes the -chorus of the approaching Camorrists. _Maliella_ and the crowd dance -wildly. When _Carmela_ reappears with a pitcher of water on her head, -the wayward girl is dashing along the quay screaming and laughing. - -_Carmela_ tells her son the brief story of _Maliella_. _Gennaro_ -languished, when an infant. _Carmela_ vowed to the Madonna to seek an -infant girl of sin begotten, and adopt her. "In the open street I -found her, and you recovered." There is a touching duet for mother and -son, in which _Carmela_ bids him go and pray to the Madonna, and -_Gennaro_ asks for her blessing, before he leaves to do so. _Carmela_ -then goes into the house. - -_Maliella_ runs in. The Camorrists, _Rafaele_ in the van, are in -pursuit of her. _Rafaele_, the leader of the band, is a handsome, -flashy blackguard. When he advances to seize and kiss her, she draws a -dagger-like hat pin. Laughing, he throws off his coat, like a -duellist, grasps and holds her tightly. She stabs his hand, making it -bleed, then throws away the skewer. Angry at first, he laughs -disdainfully, then passionately kisses the wound. While the other -Camorrists buy flowers from a passing flower girl and make a carpet of -them, _Rafaele_ picks up the hat pin, kneels before _Maliella_, and -hands it to her. _Maliella_ slowly replaces it in her hair, and then -_Rafaele_, her arms being uplifted, sticks a flower she had previously -refused, on her breast, where she permits it to remain. A few moments -later she plucks it out and throws it away. _Rafaele_ picks it up, and -carefully replaces it in his buttonhole. A little later he goes to the -inn, looks in her direction, and raises his filled glass to her, just -at the moment, when, although her back is toward him, a subtle -influence compels her to turn and look at him. - -Tolling of bells, discharge of mortars, cheers of populace, announce -the approach of the procession of Madonna. While hymns to the Virgin -are chanted, _Rafaele_ pours words of passion into _Maliella's_ ears. -The image of the Virgin, bedecked with sparkling jewels--the jewels of -the Madonna--is borne past. _Rafaele_ asseverates that for the love of -_Maliella_ he would even rob the sacred image of the jewels and bedeck -her with them. The superstitious girl is terrified. - -_Gennaro_, who returns at that moment, warns her against _Rafaele_ as -"the most notorious blackguard in this quarter," at the same time he -orders her into the house. _Rafaele's_ mocking laugh infuriates him. -The men seem about to fight. Just then the procession returns, and -they are obliged to kneel. _Rafaele's_ looks, however, follow -_Maliella_, who is very deliberately moving toward the house, her eyes -constantly turning in the Camorrist's direction. He tosses her the -flower she has previously despised. She picks it up, puts it between -her lips, and flies indoors. - -Act II. The garden of _Carmela's_ house. On the left wall a wooden -staircase. Under this is a gap in the back wall shut in by a railing. -It is late evening. - -_Carmela_, having cleared the table, goes into the house. _Gennaro_ -starts in to warn _Maliella_. She says she will have freedom, rushes -up the staircase to her room, where she is seen putting her things -together, while she hums, "E ndringhete, ndranghete" (I long for mirth -and folly). - -She descends with her bundle and is ready to leave. _Gennaro_ pleads -with her. As if lost in a reverie, with eyes half-closed, she recalls -how _Rafaele_ offered to steal the jewels of the Madonna for her. -_Gennaro_, at first shocked at the sacrilege in the mere suggestion, -appears to yield gradually to a desperate intention. He bars the way -to _Maliella_, locks the gate, and stands facing her. Laughing -derisively, she reascends the stairs. - -Her laugh still ringing in his ears, no longer master of himself, he -goes to a cupboard under the stairs, takes out a box, opens it by the -light of the lamp at the table, selects from its contents several -skeleton keys and files, wraps them in a piece of leather, which he -hides under his coat, takes a look at _Maliella's_ window, crosses -himself, and sneaks out. - -From the direction of the sea a chorus of men's voices is heard. -_Rafaele_ appears at the gate with his Camorrist friends. To the -accompaniment of their mandolins and guitars he sings to _Maliella_ a -lively waltzlike serenade. The girl, in a white wrapper, a light -scarlet shawl over her shoulders descends to the garden. There is a -love duet--"in a torrent of passion," according to the libretto, but -not so torrential in the score:--"T'amo, s, t'amo" (I love you, I -love you), for _Maliella_; "Stringimi forte" (Cling fast to me) for -_Rafaele_; "Oh! strette ardenti" (Rapture enthralling) for both. She -promises that on the morrow she will join him. Then _Rafaele's_ -comrades signal that someone approaches. - -Left to herself, she sees in the moonlight _Gennaro's_ open tool box. -As if in answer to her presentiment of what it signifies, he appears -with a bundle wrapped in red damask. He is too distracted by his -purpose to question her presence in the garden at so late an hour and -so lightly clad. Throwing back the folds of the damask, he spreads out -on the table, for _Maliella_, the jewels of the Madonna. - -_Maliella_, in an ecstacy, half mystic, half sensual, and seemingly -visioning in _Gennaro_ the image of the man who promised her the -jewels, _Rafaele_, who has set every chord of evil passion in her -nature vibrating--no longer repulses _Gennaro_, but, when, at the foot -of a blossoming orange tree, he seizes her, yields herself to his -embrace;--a scene described in the Italian libretto with a realism -that leaves no doubt as to its meaning. - -Act III. A haunt of the Camorrists on the outskirts of Naples. On the -left wall is a rough fresco of the Madonna, whose image was borne in -procession the previous day. In front of it is a sort of altar. - -The Camorrists gather. They are men and women, all the latter of -doubtful character. There is singing with dancing--the "Apache," the -"Tarantella." _Stella_, _Concetta_, _Serena_, and _Grazia_, the -dancer, are the principal women. They do not anticipate _Maliella's_ -expected arrival with much pleasure. When _Rafaele_ comes in, they ask -him what he admires in her. In his answer, "Non sapete ... di -Maliella" (know you not of Maliella), he tells them her chief charm is -that he will be the first man to whom she has yielded herself. - -In the midst of an uproar of shouting and dancing, while _Rafaele_, -standing on a table, cracks a whip, _Maliella_ rushes in. In an agony -she cries out that, in a trance, she gave herself up to _Gennaro_. The -women laugh derisively at _Rafaele_, who has just sung of her as being -inviolable to all but himself. There is not a touch of mysticism about -_Rafaele_. That she should have confused _Gennaro_ with him, and so -have yielded herself to the young blacksmith, does not appeal to him -at all. For him she is a plucked rose to be left to wither. Furiously -he rejects her, flings her to the ground. The jewels of the Madonna -fall from her cloak. They are readily recognized; for they are -depicted in the rough fresco on the wall. - -_Gennaro_, who has followed her to the haunt of the Camorrists, -enters. He is half mad. _Maliella_, laughing hysterically, flings the -jewels at his feet, shrieking that he stole them for her. The crowd, -as superstitious as it is criminal, recoils from both intruders. The -women fall to their knees. _Rafaele_ curses the girl. At his command, -the band disperses. _Maliella_ goes out to drown herself in the sea. -"Madonna dei dolor! Miserere!" (Madonna of our pain, have pity), prays -_Gennaro_. His thoughts revert to his mother. "Deh non piangere, O -Mamma mia" (Ah! Weep not, beloved mother mine). Among the dbris he -finds a knife and plunges it into his heart. - - * * * * * - -"Le Donne Curiose" (Inquisitive Women), words by Luigi Sagana, after a -comedy by Goldoni, was produced at the Hofoper, Munich, November 27, -1903, in German. It was given for the first time in Italian at the -Metropolitan Opera House, New York, January 3, 1912. - -Several Venetian gentlemen, including _Ottavio_, the father of -_Rosaura_, who is betrothed to _Florindo_, have formed a club, to -which women are not admitted. The latter immediately have visions of -forbidden pleasures being indulged in by the men at the club. By -various intrigues the women manage to obtain a set of keys, and enter -the club, only to find the men enjoying themselves harmlessly at -dinner. All ends in laughter and dancing. - -The principal characters are _Ottavio_, a rich Italian (_Bass_); -_Beatrice_, his wife (_Mezzo-Soprano_); _Rosaura_, his daughter -(_Soprano_); _Florindo_, betrothed to _Rosaura_ (_Tenor_); -_Pantalone_, a Venetian merchant (_Buffo-Baritone_); his friends, -_Lelio_ (_Baritone_), and _Leandro_ (_Tenor_); _Colombina_, -_Rosaura's_ maid (_Soprano_); _Eleanora_, wife to _Lelio_ (_Soprano_); -_Arlecchino_; servant to _Pantalone_ (_Buffo-Bass_). There are -servants, gondoliers, and men and women of the populace. The action is -laid in Venice in the middle of the eighteenth century. There are -three acts: - -Act I, in the Friendship Club, and later in Ottavio's home; Act II, in -_Lelio's_ home; Act III, a street in Venice near the Grand Canal, and -later in the club. - -In the music the club's motto, "Bandie xe le Done" (No Women Admitted) -is repeated often enough to pass for a motif. The most melodious vocal -passage is the duet for _Rosaura_ and _Florindo_ in Act II, "Il cor -nel contento" (My heart, how it leaps in rejoicing). In the first -scene of Act III a beautiful effect is produced by the composer's use -of the Venetian barcarolle, "La Biondina in Gondoletta," which often, -in the earlier days of Rossini's Opera, "Il Barbiere di Siviglia," was -introduced by prima donnas in the lesson scene. - -In the Metropolitan production Farrar was _Rosaura_, Jadlowker -_Florindo_, and Scotti _Lelio_. Toscanini conducted. The rles of -_Colombina_ and _Arlecchino_ (Harlequin) are survivals of old Italian -comedy, which Goldoni still retained in some of his plays. - - * * * * * - -"Il Segreto di Susanna" (The Secret of Suzanne), the scene a -drawing-room in Piedmont, time 1840, is in one act. _Countess Suzanne_ -(_Soprano_) smokes cigarettes. The aroma left by the smoke leads -_Count Gil_ (_Baritone_) to suspect his wife of entertaining a lover. -He discovers her secret--and all is well. The third character, a -servant, _Sante_, is an acting part.--A musical trifle, at the -Hofoper, Munich, November 4, 1909; Metropolitan Opera House, New York, -by the Chicago Opera Company, March 14, 1911, with Carolina White and -Sammarco; Constanzi Theatre, Rome, November 27, 1911. The "book" is by -Enrico Golisciani, from the French. - - * * * * * - -"L'Amore Medico," Metropolitan Opera House, March 25, 1914, is another -typical bit of Wolf-Ferrari musical bric-a-brac--slight, charming, and -quite unable to hold its own in the hurly-burly of modern _verismo_. A -girl is lovesick. Her father, who does not want her ever to leave him, -thinks her ailment physical, and vainly summons four noted physicians. -Then the clever maid brings in the girl's lover disguised as a doctor. -He diagnoses the case as love-hallucination, and suggests as a remedy -a mock marriage, with himself as bridegroom. The father consents, and -an actual marriage takes place. - -The scene of "L'Amore Medico" (Doctor Cupid), words by Golisciani -after Molire's "L'Amour Mdecin," is a villa near Paris, about 1665 -(Louis XIV). The characters are _Arnolfo_, a rich, elderly landowner -(_Bass_); _Lucinda_, his daughter (_Soprano_); _Clitandro_, a young -cavalier, (_Tenor_); _Drs. Tomes_ (_Bass_); _Desfonandres_ (_Bass_); -_Macroton_ (_Baritone_); _Bahis_ (_Tenor_); _Lisetta_, _Lucinda's_ -maid (_Soprano_); _Notary_ (_Bass_). There also are servants, peasants -and peasant girls, musicians, dancing girls, etc. The work is in two -acts, the scene of the first the villa garden; of the second a -handsome interior of the villa. The original production, in German, -was at the Dresden Royal Opera House, December 4, 1913. - - - - -Umberto Giordano - - -Umberto Giordano was born at Foggia, August 26, 1867. Paolo Serro was -his teacher in music at the Naples Conservatory. With a one-act opera, -"Marina," he competed for the Sonzogno prize, which Mascagni won with -"Cavalleria Rusticana." "Marina," however, secured for him a -commission for the three-act opera, "Mala Vita," Rome, 1892. Then -followed the operas which have been noticed above. - - -MADAME SANS-GNE - - Opera in four acts by Umberto Giordano, words by Renato - Simoni after the play by Victorien Sardou and E. Moreau. - Produced, for the first time on any stage, Metropolitan - Opera House, New York January 25, 1915, with Farrar as - _Catherine_, and Amato as _Napoleon_. - - CHARACTERS - - NAPOLEON BONAPARTE _Baritone_ - LEFEBVRE, sergeant of the National Guards, - later a Marshal of France and Duke - of Danzig _Tenor_ - FOUCH, officer of the National Guards, - later Minister of Police _Baritone_ - COUNT DE NEIPPERG _Tenor_ - VINAIGRE, drummer boy _Tenor_ - DESPRAUX, dancing master _Tenor_ - GELSOMINO, page _Baritone_ - LEROY, tailor _Baritone_ - DE BRIGODE, chamberlain _Baritone_ - ROUSTAN, head of the Mamelukes _Baritone_ - CATHERINE HUEBSCHER, "Madame Sans-Gne," - laundress; later Duchess of Danzig _Soprano_ - TOINETTE } { _Soprano_ - JULIA } laundresses { _Soprano_ - LA ROSSA } { _Soprano_ - QUEEN CAROLINE } sisters of { _Soprano_ - PRINCESS ELISA } NAPOLEON { _Soprano_ - LADY DE BLOW, matron of honour to - the Empress _Soprano_ - - _Maturino_, _Constant_ (valet to _Napoleon_), the voice of - the Empress, citizens, shopkeepers, villagers, soldiers, - ladies of the court, officials, diplomats, academicians, - hunters, pages, and two Mamelukes. - - _Time_--August 10, 1792; and September, 1811. - - _Place_--Paris. - -"Madame Sans-Gne" is an opera that maintains itself in the repertoire -largely because of the play that underlies it. The title rle is -delightful. It has been among the successes of several clever -actresses, including Ellen Terry, to whose _Catherine_ Henry Irving -was the _Napoleon_. Its creator in the opera was Geraldine Farrar, to -whose vivacity in interesting the character, far more than to the -musical merit of the work itself, is due the fact that the opera has -not dropped out of the repertoire. In point of fact the same -composer's "Andr Chnier" is of greater musical interest, but the -leading character does not offer the same scope for acting, which -accounts for its having dropped almost entirely out of the repertoire -in America. - -In "Madame Sans-Gne," _Catherine_ (in the Italian libretto -_Caterina_) is a laundress. The first act opens in her laundry in -Paris during the French Revolution. The nickname of Madame Sans-Gne, -usually translated Madame Free-and-Easy, is given her because of her -vivacity, originality, straightforwardness in speech, and charm. - -Discharge of cannon and other sounds indicate that fighting is going -on in the streets. Three women employed by _Catherine_ are at work in -the laundry. _Catherine_ comes in from the street. She tells of her -adventures with a lot of rough soldiers. She does this amazingly, but -her experience has cured her of her curiosity to see what is going on -outside. There is a scene between _Catherine_ and _Fouch_, a -time-server, waiting to observe how matters go, before he decides -whether to cast his fortunes with the Royalists or the people. They -gossip about a Corsican officer, who owes _Catherine_ for laundry, but -is so poor he has been obliged to pawn his watch for bread. -Nevertheless, the good-hearted, lively _Madame Sans-Gne_ continues to -do his laundry work for him, and trusts to the future for the bill. - -_Catherine_ is left alone. Rifle shots are heard. _Count Neipperg_, a -wounded Austrian officer of the Queen's suite, comes in and asks to be -hidden. Although she is of the people, _Catherine_ hides him in her -own room. His pursuers enter. It chances they are led by _Catherine's_ -betrothed, _Sergeant Lefebvre_. For a while _Catherine_ diverts the -squad from its purpose by offering wine. _Lefebvre_ uncorks the -bottle, meanwhile giving a lively description of the sacking of the -Tuilleries. There is a scene of affection between him and _Catherine_. -He notices that his hands are black with powder and, intending to wash -them in _Catherine's_ room, becomes violently suspicious on finding -the door locked. He wrenches the key from her, unlocks the door, -enters the room. _Catherine_, expecting every moment to hear him -despatching the wounded man stops up her ears. _Lefebvre_ comes out -quietly. He tells her the man in her room is dead. As she is not at -all excited, but merely surprised, he knows that he has no cause to -suspect that the wounded man is her lover. He will help her to save -him. _Catherine_ throws herself into his arms. There are sounds of -drums and of marching and shouting in the street. _Lefebvre_ leads out -his squad. - -Like most modern composers who do not possess the gift for sustained -melody, Giordano would make up for it by great skill in the handling -of his orchestra and constant depiction of the varying phases of the -action. There is considerable opportunity for a display of this talent -in the first act of "Madame Sans-Gne," and the composer has furnished -a musical background, in which the colours are laid on in short, -quick, and crisp strokes. "The Marseillaise" is introduced as soldiers -and mob surge past _Catherine's_ laundry. - -Act II. The drawing-room of the Chteau de Compigne. The Empire has -been established. _Lefebvre_ is a Marshal and has been created Duke of -Danzig. _Catherine_ is his duchess. She scandalizes the court with her -frequent breaches of etiquette. - -[Illustration: Photo by White - -Farrar as Catherine in "Mme. Sans-Gne"] - -When the act opens _Despraux_, the dancing master, _Gelsomino_, the -valet, and _Leroy_, the ladies' tailor, are engaged in passing -criticisms upon her. She enters, is as unconventional as ever, and -amusingly awkward, when she tries on the court train, or is being -taught by _Despraux_ how to deport herself, when she receives the -Emperor's sisters, whom she is expecting. _Lefebvre_ comes in like a -thunder cloud. _Napoleon_, he tells her, has heard how she has -scandalized the court by her conduct and has intimated that he wishes -him to divorce her. There is a charming scene--perhaps the most -melodious in the opera--between the couple who love each other -sincerely. _Neipperg_, who now is Austrian Ambassador, comes upon the -scene to bid his old friends good-bye. _Napoleon_ suspects that there -is an intrigue between him and the Empress, and has had him recalled. -_Fouch_, Minister of Police, announces _Napoleon's_ sisters--_Queen -Carolina_ and _Princess Elisa_. _Catherine's_ court train bothers her. -She is unrestrained in her language. The royal ladies and their suite -at first laugh contemptuously, then as _Catherine_, in her resentment, -recalls to _Carolina_ that _King Murat_, her husband, once was a -waiter in a tavern, the scene becomes one of growing mutual -recrimination, until, to the measures of "The Marseillaise," -_Catherine_ begins to recount her services to _Napoleon's_ army as -_Cantinire_. Enraged, the royal ladies and their suite leave. _De -Brigode_, the court chamberlain, summons _Catherine_ to the presence -of the _Emperor_. Not at all disconcerted, she salutes in military -fashion the men who have remained behind, and follows _De Brigode_. - -Act III. Cabinet of the _Emperor_. There is a brief scene between -_Napoleon_ and his sisters, to whom he announces that there is to be a -hunt at dawn, at which he desires their presence. They withdraw; -_Catherine_ is announced. - -_Napoleon_ brusquely attacks her for her behaviour. She recalls his -own humble origin, tells of her services to the army, and of the wound -in the arm she received on the battlefield, maintains that his sisters -in insulting her also insulted his army, and, as a climax draws out a -bit of yellow paper--a laundry bill he still owes her, for he was the -impecunious young lieutenant mentioned in the first act. With much -chicness she even tells him that, when she delivered his laundry, she -tried to attract his attention, but he was always too absorbed in -study to take notice of her, and make love to her. - -The _Emperor_ is charmed. He kisses the scar left by the wound on her -arm. _Catherine_, bowing, exclaims, "The Emperor owes me nothing -more!" - -_Catherine_ is about to go, _Napoleon_ ordering for her the escort of -an officer, when _Neipperg_ is apprehended, as he is approaching the -_Empress's_ door. Infuriated, _Napoleon_ tears the string of medals -from the Ambassador's breast and appears about to strike him in the -face with it. _Neipperg_ draws his sword. Officers rush in. _Napoleon_ -orders that he be shot ere dawn, and that _Fouch_ and _Lefebvre_ have -charge of the execution. - -Act IV. The scene is the same, but it is far into the night. The -candles are burning low, the fire is dying out, _Catherine_ and -_Lefebvre_ have a brief scene in which they deplore that they are -powerless to prevent _Neipperg's_ execution. _Catherine_ cannot even -inform the _Empress_ and possibly obtain her intervention, for her -door, at _Napoleon's_ command, is guarded by _Roustan_. - -But _Napoleon_, when he comes in, is sufficiently impressed by -_Catherine's_ faith in the _Empress's_ loyalty to put it to the test. -At his direction, she knocks at the _Empress's_ door, and pretending -to be her Matron of Honour, Mme. de Blow, says, "Majesty, Neipperg is -here." The _Empress_ passes out a letter. "Give this to him--and my -farewell." _Napoleon_ takes the letter, breaks the seal. The letter is -to the _Empress's_ father, the Emperor of Austria, whom she asks to -entertain _Neipperg_ in Vienna as his assiduity troubles her and the -_Emperor_. _Napoleon_ orders _Fouch_ to restore _Neipperg's_ sword -and let him depart. - -"As for your divorce," he says to _Lefebvre_, with a savage look, "My -wish is this"--playfully he tweaks _Catherine_ by the ear. "Hold her -for ever true. Give thanks to heaven for giving her to you." - -Hunting-horns and the chorus of hunters are heard outside. - - -ANDR CHNIER - -"Andr Chnier" was produced at La Scala, Milan, March 23, 1896. It -was given in London, in English, April 26, 1903. Long before that, -November 13, 1896, New York heard it at the Academy of Music, under -Mapleson. It had a single performance, under the management of Oscar -Hammerstein, at the Manhattan Opera House in 1908, and eight years -later was given by, and endured through the season of, the -Boston-National Opera Company, both in Boston and on tour. - -Historical as a character though Andr Chnier be, Giordano's -librettist, Luigi Illica, has turned his life into fiction. Chnier -was a poet, dreamer, and patriot. Born at Constantinople, he went to -Paris for his education. Later he became a participant in and victim -of the French Revolution. - - CHARACTERS - - ANDR CHNIER _Tenor_ - CHARLES GRARD _Baritone_ - COUNTESS DE COIGNY _Soprano_ - MADELEINE, her daughter _Soprano_ - BERSI, her maid _Mezzo-Soprano_ - ROUCHER _Bass_ - MATHIEU _Baritone_ - MADELON _Soprano_ - FLVILLE _Tenor_ - THE ABB _Tenor_ - SCHMIDT, jailer at St. Lazare _Bass_ - A SPY _Tenor_ - [Transcriber's Note: "Tenor" missing in original] - - Guests at ball, servants, pages, peasants, soldiers of the - Republic, masqueraders, judges, jurymen, prisoners, mob, - etc. - - _Time_--Just prior to and during the French Revolution. - - _Place_--Paris. - -Act I. Ballroom in a chteau. _Grard_, a servant, but also a -revolutionist, is secretly in love with _Madeleine_, the _Countess's_ -daughter. Among the guests at a ball is _Andr Chnier_, a poet with -revolutionary tendencies. _Madeleine_ asks him to improvise a poem on -love. Instead, he sings of the wrongs of the poor. _Grard_ appears -with a crowd of ragged men and women, but at the _Countess's_ command -servants force the intruders out. _Chnier_ and _Madeleine_, the -latter weary of the routine of fashion, have been attracted to each -other. - -Act II. Caf Hottot in Paris, several years later. _Chnier_ has -offended the Revolutionists by denouncing Robespierre. A spy is -watching _Bersi_, _Madeleine's_ old nurse, and sees her hand _Chnier_ -a letter. It is from _Madeleine_. She loves him. She is dogged by -spies, begs him come to her aid, and arranges a meeting. - -Robespierre passes, followed by a mob. _Grard_, now high in favour, -seeks to possess _Madeleine_, who comes to meet the poet. They are -about to flee, when _Grard_, notified by the spy, interposes. -_Chnier_ and _Grard_ fight with swords. _Grard_ is wounded. The -lovers escape. - -Act III. Revolutionary Tribunal. The crowd sings the "Carmagnole." -_Chnier_ has been captured. _Grard_ writes the indictment for his -rival. _Madeleine_ pleads for her lover, finally promising to give -herself to _Grard_ if _Chnier_ is spared. _Grard_, moved by the -girl's love, agrees to save _Chnier_ if he can. At the trial he -declares that the indictment against _Chnier_ is false. But the mob, -thirsting for more blood, demands the poet's death. - -Act IV. Prison of Lazare at midnight. _Madeleine_ enters to _Chnier_ -with _Grard_. She has bribed the _jailer_ to allow her to substitute -for another woman prisoner. If she cannot live for her lover, she can, -at least, die with him. Together she and _Chnier_ go to the scaffold. - - * * * * * - -Two other operas by Giordano have been heard in America--"Fedora," -after Sardou, Metropolitan Opera House, December 16, 1906, with -Cavalieri and Caruso; and "Siberia," Manhattan Opera House, February -5, 1908. They have not lasted. - - - - -Modern Italian Opera - - -ERO E LEANDRO - -Opera in three acts by Luigi Mancinelli; libretto by Arrigo Boto. -First produced in America at the Metropolitan Opera House, March 10, -1899, with the composer conducting and the following cast: _Hero_, -Mme. Eames; _Leandro_, Salza, and Planon as _Ariofarno_. - -In the first act the lovers meet at a festival. _Leandro_, victor in -the Aphrodisian games both as a swordsman and cytharist, is crowned by -_Hero_. He sings two odes borrowed from Anacreon. _Ariofarno_, the -archon, loves _Hero_. When he seeks to turn her from her sacred -mission as priestess of Aphrodite she spurns his love. She invokes an -omen from a sea shell, on the altar of the goddess, and hears in it -rushing waters and the surging sea, that will eventually turn her -romance to tragedy. When she kneels before the statue of Apollo and -pleads to know her fate, _Ariofarno_, concealed, answers: "Death." - -The second act takes place in the temple of Aphrodite. The archon -claims that he has been warned by the oracle to reinstate a service in -a town by the sea. He consecrates _Hero_ to the duty of giving warning -of approaching storms, so that the raging waters may be appeased by -priestly ritual. He offers to release her from this task if she will -return his love. When she again spurns him, _Leandro_ attempts to -attack him. For this, the young man is banished to the shores of Asia, -while _Hero_ sadly pledges herself to the new service. - -In the third act _Leandro_ has performed his famous swimming feat. -The lovers sing their ecstasy. Meanwhile a storm arises unobserved. -The trumpet that should have been sounded by _Hero_ is sounded from -the vaults beneath the tower. _Leandro_ throws himself into the -Hellespont while _Ariofarno_ and his priests chide _Hero_ for her -neglect as they discover its cause. A thunderbolt shatters a portion -of the tower wall and _Leandro's_ body is disclosed. _Hero_ falls -dying to the ground, while the archon rages. - - -CONCHITA - - Opera in four acts by Riccardo Zandonai; text by Vaucaire - and Zangarini, based on Pierre Lous's "La Femme et le - Pantin" (The Woman and the Puppet). Produced, Milan, 1911. - - CHARACTERS - - CONCHITA _Soprano_ - MATEO _Tenor_ - CONCHITA'S MOTHER _Mezzo-Soprano_ - RUFINA _Mezzo-Soprano_ - ESTELLA _Mezzo-Soprano_ - THE SUPERINTENDENT _Mezzo-Soprano_ - THE INSPECTOR _Bass_ - GARCIA, Dance Hall Proprietor _Bass_ - TONIO, waiter _Bass_ - - Various characters in a cigar factory, a dance hall, and a - street. Distant voices. - - _Time_--The Present. - - _Place_--Seville. - -Act I. In a cigar factory. Among the visitors _Conchita_, one of the -cigar girls, recognizes _Mateo_, a wealthy Spaniard, who rescued her -from the forced attentions of a policeman. She invites _Mateo_ to her -home. The girl's mother, delighted that her daughter has attracted a -wealthy man, goes out to make some purchases. Love scene for _Mateo_ -and _Conchita_. The mother returns, and, unseen by _Conchita_, _Mateo_ -gives her money. When _Mateo_ leaves, and _Conchita_ discovers he has -given her mother money, she is furious and vows never to see _Mateo_ -again, because she thinks he has endeavoured to purchase her love. In -her anger she leaves her home. - -Act II. A dance hall, where _Conchita_ earns a living by her risqu -dances. _Mateo_, who finds her after a long search, is astounded. He -begs her to go away with him. She refuses, and executes a most daring -dance for a group of visitors. _Mateo_, watching her from outside, and -wild with jealousy, breaks through the window. _Conchita_, angry at -first, takes from him the key to a little house he owns and tells him -that, if he comes at midnight, she will open her lattice to him as to -a mysterious lover. - -Act III. A street in Seville. _Mateo_ stands before the house. But -instead of admitting him, when he pleads his love, she turns and -calls, as if to someone within, "Morenito!"--the name of a man he saw -her dancing with at the dance hall. _Mateo_ tries to break into the -house. _Conchita_ taunts him. He staggers away. - -Act IV. _Mateo_ is desperate. _Conchita_ comes to his home and says -she certainly expected him to kill himself for love of her. Enraged, -he seizes her. She tries to stab him. He beats her without mercy. At -last--and it seems about time--_Conchita_ now sees how desperately he -must love her. She declares that she has loved him all the time. He -takes her, radiant, into his arms. - - -CRISTOFORO COLOMBO - - Opera in three acts and an epilogue, by Alberto Franchetti, - text by Luigi Illica. Produced, Genoa, 1892; in revised - version, same year, at La Scala, Milan. Metropolitan Opera - House, Philadelphia, November 20, 1913, with Titta Ruffo. - - CHARACTERS - - CRISTOFORO COLOMBO _Baritone_ - QUEEN ISABELLA OF SPAIN _Soprano_ - DON FERNANDO GUEVARA, Captain of the - Royal Guards _Tenor_ - DON ROLDANO XIMENES, Spanish Knight _Bass_ - MATHEOS, Foreman of the Crew _Tenor_ - ANACOANA, Indian Queen _Mezzo-Soprano_ - IGUAMOTA, her daughter _Soprano_ - BOBADILLA, False Messenger of the - King of Spain _Bass_ - - _Time_--Before, during, and soon after Columbus's voyage of - discovery. - - _Place_--Spain and America. - -In act first, on the square in Salamanca, _Colombo_ learns that the -council has rejected his plans. In the convent of San Stefano _Queen -Isabella_ is praying. _Colombo_ tells her of the council's acts. She -promises him the ships. In act second, on the _Santa Maria_, the -sailors mutiny. At the critical moment _Colombo_ points to a distant -shore. In act three, _Roldano_, an enemy to _Colombo_, has slain an -Indian king. The Indian queen, _Anacoana_, pretends to love her -husband's slayer, hoping for opportunity to avenge his death. But an -Indian uprising is quelled and _Bobadilla_, a false messenger arriving -from Spain, announces that _Colombo_ has been deposed from authority, -and _Roldano_ been made viceroy in his stead. - -The epilogue shows the royal tombs of Spain. _Colombo_--the librettist -here stretching historical license--learning that _Queen Isabella_ has -died and is buried here, expires upon her tomb. - - -CRISPINO E LA COMARE - -(THE COBBLER AND THE FAIRY) - - Opera "Bouffe" in three acts by Luigi and Federico Ricci; - text by Francesco Maria Piave. Produced, Venice, 1850. - - CHARACTERS - - CRISPINO, a cobbler _Baritone_ - ANNETTA, his wife, a ballad singer _Soprano_ - COUNT DEL FIORE _Tenor_ - FABRIZIO, a physician _Bass_ - MIRABOLANO, an apothecary _Tenor_ - DON ASDRUBALE, a miser _Bass_ - LA COMARE, a fairy _Mezzo-Soprano_ - BORTOLO, a mason _Bass_ - LISETTA, ward of DON ASDRUBALE _Soprano_ - - Doctors, Scholars, Citizens. - - _Place_--Venice. - - _Time_--Seventeenth Century. - -Act I. _Crispino_, the cobbler, and _Annetta_, his wife, the ballad -singer, are in sore straits. _Don Asdrubale_, their landlord, who is a -miser, is about to put them out for non-payment of rent, but hints -that if _Annetta_ will respond to his suit he may reconsider. -_Crispino_, in desperation, runs away, and is followed by _Annetta_. -He is about to drown himself in a well when a fairy appears to him. -She predicts that he will be a famous doctor. _Crispino_ and _Annetta_ -rejoice. - -Act II. _Crispino_ nails up a physician's sign. The neighbours rail, -but soon a mason is brought in severely hurt, and, though the doctors -fail to bring him around, _Crispino_ cures him. - -Act III. _Crispino_, overbearing since his good fortune, has built a -fine house. He ignores former friends and even is unkind to _Annetta_. -He even berates the _Fairy_. Suddenly he is in a cavern. The _Fairy's_ -head has turned into a skull. She has become Death. Humbled, he begs -for another glimpse of _Annetta_ and the children. He awakes to find -himself with them and to hear a joyous song from _Annetta_. - - -LORELEY - -Alfred Catalani's "Loreley" was presented by the Chicago Opera Company -for the first time in New York, at the Lexington Theatre, on Thursday -evening, February 13, 1919, with Anna Fitziu, Florence Macbeth, -Virgilio Lazzari, Alessandro Dolci, and Giacomo Rimini. The -librettists are Messrs. D'Ormeville and Zanardini. - -The legendary siren who sits combing her hair on a rock in the -traditional manner, is in this opera the reincarnated spirit of a -young orphan, who has been jilted by her fianc, _Walter_, Lord of -Oberwessel. When the faithless young man is about to marry another -beautiful maiden, _Anna_, _Loreley_ casts her spell upon him, and -_Anna_, too, is thrown over. _Walter_ follows _Loreley_ to a watery -grave, and _Anna_ dies of grief. - - -FEDORA - - Opera in three acts, by Umberto Giordano; text, after the - Sardou drama, by Colautti. Produced, Milan, 1898. - - CHARACTERS - - PRINCESS FEDORA _Soprano_ - COUNT LORIS _Tenor_ - COUNTESS OLGA _Soprano_ - DE SIRIEX, a diplomat _Baritone_ - GRECH, a police officer _Bass_ - DMITRI, a groom _Contralto_ - CYRIL, a coachman _Baritone_ - BOROV, a doctor _Baritone_ - BARON ROUVEL _Baritone_ - - _Time_--Present. - - _Place_--Paris and Switzerland. - -Act I. Home of _Count Vladimir_, St. Petersburg. While the beautiful -_Princess Fedora_ awaits the coming of her betrothed, _Count -Vladimir_, he is brought in, by _De Siriex_, mortally wounded. -Suspicion for the murder falls upon _Count Loris_. _Fedora_ takes a -Byzantine jewelled cross from her breast and swears by it to avenge -her betrothed. - -Act II. Salon of _Fedora_ in Paris. _Loris_ is entertained by her. She -uses all her arts of fascination in hope of securing proof of his -guilt. He falls desperately in love with her, and she succeeds in -drawing from him a confession of the murder. _Grech_, a police -officer, plans to take _Loris_ after all the guests have left. Then, -however, _Loris_ tells her further that he killed the _Count_ because -he betrayed his young wife and brought about her untimely death. -_Fedora_, who herself has fallen in love with _Loris_, now takes him -into her arms. But the trap is ready to be sprung. She is, however, -able to escape with him. - -Act III. Switzerland. _Loris_ and _Fedora_ are married. _Loris's_ -footsteps, however, are followed by a spy. _Fedora_ learns that -because of _Loris's_ act his brother has been thrown into prison and -has died there. _Loris's_ mother has died of shock. He discovers that -it was _Fedora_ who set the secret service on his track. He is about -to kill her when, in despair, she swallows poison. _Loris_ now pleads -with her to live, but it is too late. She dies in his arms. - - -GERMANIA - - Opera in a prologue, two acts and an epilogue, by Alberto - Franchetti; text by Luigi Illica. Produced, Milan, March 11, - 1902; in this country, January 22, 1910. - - CHARACTERS - - FREDERICK LOEWE, member of the brotherhood _Tenor_ - CARL WORMS, member of the brotherhood _Baritone_ - GIOVANNI PALM, member of the brotherhood _Bass_ - CRISOGONO, member of the brotherhood _Baritone_ - STAPPS, Protestant priest _Bass_ - RICKE, a Nuremberg maiden _Soprano_ - JANE, her sister _Mezzo-Soprano_ - LENA ARMUTH, a peasant woman _Mezzo-Soprano_ - JEBBEL, her nephew _Soprano_ - LUIGI LTZOW, an officer _Bass_ - CARLO KRNER, an officer _Tenor_ - PETERS, a herdsman _Bass_ - SIGNORA HEDVIGE _Mezzo-Soprano_ - CHIEF OF POLICE _Bass_ - - _Time_--Napoleonic Wars. - - _Place_--Germany. - -Prologue. An Old Mill near Nuremberg. Students under _Palm_ are -shipping out in grain-bags literature directed against the -invader--Napoleon. _Ricke_ tells _Worms_, whose mistress she has been, -that her sweetheart, the poet _Loewe_, will soon return, and that she -must confess to him her guilty secret. _Worms_ dissuades her. _Loewe_ -arrives and is joyously welcomed by his comrades. The police break in, -arrest _Palm_, and take him off to be executed. - -Act I. A Hut in the Black Forest. Seven years are supposed to have -passed. _Loewe_, his aged mother, and _Ricke_ and _Jane_ have found -refuge here from the victorious troops of Napoleon. _Worms_ is thought -to be dead. _Loewe_ is to be married to _Ricke_. But suddenly the -voice of _Worms_ is heard in the forest. _Loewe_ joyously meets his -old friend, who, however, is much disconcerted at the sight of -_Ricke_, and goes away. _Ricke_ flees from her husband, who concludes -that she has fled with _Worms_. - -Act II. Secret Cellar at Koenigsberg. _Worms_ and others plot to -overthrow Napoleon. _Loewe_ challenges _Worms_ to a duel. _Worms_, -penitent, asks _Loewe_ to kill him. But the preparations are stayed by -_Queen Louise_. She declares they should be fighting against Napoleon, -not against each other. - -Epilogue. Battlefield of Leipzig. Napoleon has been defeated. The -great field is strewn with dead and dying. Among the latter, _Ricke_, -still loving _Loewe_, finds him. He asks her to forgive _Worms_, who -lies dead. She forgives the dead man, then lies down beside her dying -husband. Distant view of the retreat of Napoleon's shattered legions. - - - - -Modern French Opera - - - The contemporaries and successors of Bizet wrote many - charming operas that for years have given pleasure to large - audiences. French opera has had generous representation in - New York. Offenbach's "Tales of Hoffmann," Delibes's - "Lakm," Saint-Sans's "Samson et Dalila," Massenet's - "Manon" are among the most distinguished works of this - school. - -"Les Contes d'Hoffmann"; a fanciful opera in four acts; words by MM. -Michel Carr and Jules Barbier; posthumous music by Jacques Offenbach, -produced at the Opra Comique on February 10, 1881. "Les Contes -d'Hoffmann" had been played thirty years before, on March 31, 1851, at -the Odon, in the shape of a comedy. Such as it was designed to be, -the work offers an excellent frame for the music, bringing on the -stage in their fantastic form three of the prettiest tales of the -German story-teller, connected with each other in an ingenious -fashion, with the contrasts which present themselves. Lyrical -adaptation therefore appeared quite natural and it was done with much -taste. Offenbach had almost entirely finished its music when death -came to surprise him. At the same time he had not put his score into -orchestral form and it was Ernest Girard who was charged with -finishing this and writing the instrumentation, which it was easy to -perceive at hearing it, Girard being a musician taught differently -from the author of the "Belle Hlne" and "Orphe aux Enfers." It is -right to say that several passages of the Contes d'Hoffmann were -welcome and testify to a real effort by the composer. If to that be -added the interest that the libretto offers and the excellence of an -interpretation entrusted to Mlle. Adle Isaac (_Stella_, _Olympia_, -_Antonia_), to MM. Talazac (_Hoffmann_), Taskin (_Lindorf_, -_Copplius_, _Dr. Miracle_), Belhomme (_Crespel_), Grivot (_Andrs_, -_Cochenille_, _Frantz_), Gourdon (_Spalanzani_), Collin (_Wilhelm_), -Mlles. Marguerite Ugalde (_Nicklausse_), Mol (_the nurse_), one will -understand the success which greeted the work. The Contes d'Hoffmann -was reproduced in 1893 at the Renaissance, during the transient -directorship of M. Dtroyat, who gave to this theatre the title of -Thtre Lyrique. - - -LAKM - -Opera in three acts by Delibes; libretto by Gille and Gondinet. - -[Illustration: Photo copyright, 1916, by Victor Georg - -Galli-Curci as Lakm] - -_Lakm_ is the daughter of _Nilakantha_, a fanatical Brahmin priest. -While he nurses his hatred of the British invader, his daughter -strolls in her garden, singing duets with her slave _Mallika_. An -English officer, one _Gerald_, breaks through the bambou fence that -surrounds _Nilakantha's_ retreat, in a ruined temple in the depths of -an Indian forest. He courts _Lakm_ who immediately returns his love. -_Nilakantha_ seeing the broken fence at once suspects an English -invader. In act two the old man disguised as a beggar is armed with a -dagger. _Lakm_ is disguised as a street singer. Together they search -for the profaner of the sacred spot at a market. It is here that she -sings the famous Bell Song. _Gerald_ recognizes _Lakm_ as -_Nilakantha_ recognizes the disturber of his peace. A dagger thrust -lays _Gerald_ low. _Lakm_ and her slave carry him to a hut hidden in -the forest. During his convalescence the time passes pleasantly. The -lovers sing duets and exchange vows of undying love. But _Frederick_, -a brother officer and a slave to duty, informs _Gerald_ that he must -march with his regiment. _Lakm_ makes the best of the situation by -eating a poisonous flower which brings about her death. - -The story is based by Gondinet and Gille upon "Le Mariage de Loti." -_Ellen_, _Rose_, and _Mrs. Benson_, Englishwomen, hover in the -background of the romance. But their parts are of negligible -importance, and in fact when Miss Van Zandt and a French Company first -gave the opera in London they were omitted altogether, some said -wisely. The opera was first presented in Paris at the Opra Comique -with Miss Van Zandt. It was first sung in New York by the American -Opera Company at the Academy of Music, March 1, 1886. The first -_Lakm_ to be heard in New York was Pauline L'Allemand, the second -Adelina Patti, this time in 1890 and at the Metropolitan Opera House. -Mme. Sembrich and Luisa Tetrazzini sang it later. - - -SAMSON ET DALILA - - Opera in three acts and four scenes. Music by Saint-Sans; - text by Ferdinand Lemaire. Produced: Weimar, December 2, - 1877. - - CHARACTERS - - DALILA _Mezzo-Soprano_ - SAMSON _Tenor_ - HIGH PRIEST OF DAGON _Baritone_ - ABIMELECH, satrap of Gaza _Bass_ - AN OLD HEBREW _Bass_ - THE PHILISTINES' WAR MESSENGER _Tenor_ - - _Place_--Gaza. - - _Time_--1136 B.C. - -Act I. Before the curtain rises we hear of the Philistines at Gaza -forcing the Israelites to work. When the curtain is raised we see in -the background the temple of Dagon, god of the Philistines. With the -lamentations of the Jews is mixed the bitter scorn of _Abimelech_. But -_Samson_ has not yet expressed a hope of conquering. His -drink-inspired songs agitate his fellow countrymen so much that it -now amounts to an insurrection. _Samson_ slays _Abimelech_ with the -sword he has snatched from him and Israel's champion starts out to -complete the work. _Dagon's_ high priest may curse, the Philistines -are not able to offer resistance to the onslaught of the enemy. -Already the Hebrews are rejoicing and gratefully praise God when there -appear the Philistines' most seductive maidens, _Dalila_ at their -head, to do homage to the victorious _Samson_. Of what use is the -warning of an old Hebrew? The memory of the love which she gave him -when "the sun laughed, the spring awoke and kissed the ground," the -sight of her ensnaring beauty, the tempting dances ensnare the -champion anew. - -Act II. The beautiful seductress tarries in the house of her victim. -Yes, her victim. She had never loved the enemy of her country. She -hates him since he left her. And so the exhortation of the high priest -to revenge is not needed. _Samson_ has never yet told her on what his -superhuman strength depends. Now the champion comes, torn by -irresolute reproaches. He is only going to say farewell to her. Her -allurements in vain entice him, he does not disclose his secret. But -he will not suffer her scorn and derision; overcome, he pushes her -into the chamber of love. And there destiny is fulfilled. _Dalila's_ -cry of triumph summons the Philistines. Deprived of his hair, the -betrayed champion is overcome. - -[Illustration: Copyright photo by White - -Caruso as Samson in "Samson and Dalila"] - -Act III. In a dungeon the blinded giant languishes. But more -tormenting than the corporal disgrace or the laments of his companions -are the reproaches in his own breast. Now the doors rattle. _Beadles_ -come in to drag him to the Philistines' celebration of their -victory--(change of scene). In _Dagon's_ temple the Philistine people -are rejoicing. Bitter scorn is poured forth on _Samson_ whom the high -priest insultingly invites to sing a love-song to _Dalila_. The false -woman herself mocks the powerless man. But _Samson_ prays to his God. -Only once again may he have strength. And while the intoxication of -the festival seizes on everybody, he lets himself be led between the -two pillars which support the temple. He clasps them. A terrible -crash--the fragments of the temple with a roar bury the Philistine -people and their conqueror. - - -LE ROI D'YS - -Opera by Lalo, produced at the Opra Comique in 1888, and given in -London in 1901. The story is founded upon a Breton legend. _Margared_ -and _Rozenn_, daughters of the King of Ys, love _Mylio_. But the -warrior has only eyes for _Rozenn_. In revenge _Margared_ betrays her -father's city to _Karnac_, a defeated enemy. To him she gives the keys -of the sluices which stand between the town and the sea. When the town -and all its inhabitants are about to be swept away, the girl in -remorse throws herself into the sea. St. Corentin, patron saint of Ys, -accepts her sacrifice and the sea abates. - - -GRISLIDIS - -Massenet's "Grislidis," a lyric tale in three acts and a prologue, -poem by Armand Silvestre and Eugne Morand based on the "Mystery" in -free verse by the same authors, produced at the Comdie-Franaise, -Paris, May 15, 1891, was given for the first time in America, January -19, 1910, at the Manhattan Opera House, New York. The story of the -patient _Griselda_ has been handed down to posterity by Boccaccio in -the Decameron, 10th day, 10th novel, and by Chaucer, who learned it, -he said from Petrarch at Padua, and then put it into the mouth of the -Clerk of Oxenforde. - -[Illustration: Copyright photo by Mishkin - -Mary Garden as Grislidis] - -The old ballad of "Patient Grissell" begins thus: - - A noble marquess - As he did ride a-hunting, - Hard by a forest side, - A fair and comely maiden, - As she did sit a-spinning, - His gentle eye espied. - - Most fair and lovely - And was of comely grace was she, - Although in simple attire, - She sang most sweetly, - With pleasant voice melodiously, - Which set the lord's heart on fire. - -An English drama, "Patient Grissel," was entered at Stationers' Hall -in 1599. The word "Grizel," the proverbial type of a meek and patient -wife, crept into the English language through this story. Chaucer -wrote: - - No wedded man so hardy be tassaille - His wyves patience, in hope to fynde - Grisildes, for in certain he shall fail. - -Several operas on this subject were written before Massenet's, but the -ballet "Griseldis: Les Cinq Sens" by Adam (Paris, 1848), has another -story. So too has Flotow's comic opera, "Griselda, l'esclave du -Camoens." - -Silvestre and Morand represented _Griselda_ as tempted by _Satan_ in -person that he might win a wager made with the marquis. When the -"Mystery" was given in 1891 the cast included Miss Bartet as -_Griseldis_; Coquelin cadet as _Le Diable_; Silvain as the _Marquis de -Saluce_ and A. Lambert, fils, as _Alain_. It was played at fifty-one -consecutive performances. According to Mr. Destranges, Bizet wrote -music for a "Grislidis" with a libretto by Sardou, but most of this -was destroyed. Only one air is extant, that is the air sung by Micaela -in "Carmen." According to the same authority Massenet's score lay "En -magasin" for nearly ten years. Thus the music antedated that of -"Thas" (1894), "La Navarraise" (1894), "Sapho" (1897), "Cendrillon" -(1899), and it was not performed until 1901. - -"Grislidis" was produced at the Opra Comique, Paris, November 20, -1901, with Lucienne Brval, Lucien Fugre, Messrs. Marchal and -Dufranne. Andr Messager conducted. On November 23, 1901, the opera -drew the largest receipts known thus far in the history of the Opra -Comique--9538 francs. - -Mr. Philip Hale tells the story of the opera as follows: - -"The scene is in Provence and in the fourteenth century. The _Marquis -of Saluzzo_, strolling about in his domains, met _Griselda_, a -shepherdess, and he loved her at first sight. Her heart was pure; her -hair was ebon black; her eyes shone with celestial light. He married -her and the boy _Los_ was born to them. The happy days came to an -end, for the _Marquis_ was called to the war against the Saracens. -Before he set out, he confided to the prior his grief at leaving -_Griselda_. The prior was a Job's comforter: 'Let my lord look out for -the devil! When husbands are far away, _Satan_ tempts their wives.' -The _Marquis_ protests for he knew the purity of _Griselda_; but as he -protested he heard a mocking laugh, and he saw at the window an -ape-like apparition. It was the devil all in green. The _Marquis_ -would drive him away, but the devil proposed a wager: he bet that he -would tempt _Griselda_ to her fall, while the _Marquis_ was absent. -The _Marquis_ confidently took up the wager, and gave the devil his -ring as a pledge. The devil of these librettists had a wife who nagged -her spouse, and he in revenge sought to make other husbands unhappy. -He began to lay snares for _Griselda_; he appeared in the disguise of -a Byzantine Jew, who came to the castle, leading as a captive, his own -wife, _Fiamina_, and he presented her: 'This slave belongs to the -_Marquis_. He bids you to receive her, to put her in your place, to -serve her, to obey her in all things. Here is his ring.' _Griselda_ -meekly bowed her head. The devil said to himself that _Griselda_ would -now surely seek vengeance on her cruel lord. He brought _Alain_ by a -spell to the castle garden at night--_Alain_, who had so fondly loved -_Griselda_. She met him in an odorous and lonely walk. He threw -himself at her feet and made hot love. _Griselda_ thought of her -husband who had wounded her to the quick, and was about to throw -herself into _Alain's_ arms, when her little child appeared. -_Griselda_ repulsed _Alain_, and the devil in his rage bore away the -boy, _Los_. The devil came again, this time as a corsair, who told -her that the pirate chief was enamoured of her beauty; she would -regain the child if she would only yield; she would see him if she -would go to the vessel. She ran to the ship, but lo! the _Marquis_, -home from the East. And then the devil, in another disguise, spoke -foully of _Griselda's_ behaviour, and the _Marquis_ was about to -believe him, but he saw _Griselda_ and his suspicions faded away. The -devil in the capital of a column declared that _Los_ belonged to him. -Foolish devil, who did not heed the patron saint before whom the -_Marquis_ and _Griselda_ were kneeling. The cross on the altar was -bathed in light; the triptych opened; there, at the feet of St. Agnes, -was little _Los_ asleep. - -"The opera begins with a prologue which is not to be found in the -version played at the Comdie-Franaise in 1891. The prologue -acquaints us with the hope of the shepherd _Alain_ that he may win -_Griselda_: with the _Marquis_ meeting _Griselda_ as he returns from -the chase, his sudden passion for her, his decision to take the young -peasant as his wife, the despair of _Alain_. This prologue, with a -fine use of themes that are used in the opera as typical, is described -as one of the finest works of Massenet, and even his enemies among the -ultra-moderns admit that the instrumentation is prodigiously skilful -and truly poetic. - -"The first act pictures the oratory of _Griselda_, and ends with the -departure of the _Marquis_. - -"The second act passes before the chteau, on a terrace adorned with -three orange trees, with the sea glittering in the distance. It is -preceded by an entr'acte of an idyllic nature. It is in this act -that the devil and his wife enter disguised, the former as a slave -merchant, the latter as an odalisque. In this act the devil, up to his -old tricks, orders the flowers to pour madding perfumes into the air -that they may aid in the fall of _Griselda_. And in this act _Alain_ -again woos his beloved, and the devil almost wins his wager. - -"The third act is in _Griselda's_ oratory. At the end, when _Los_ is -discovered at the feet of St. Agnes, the retainers rush in and all -intone the 'Magnificat' and through a window the devil is seen in a -hermitage, wearing cloak and hood. - -"The passages that have excited the warmest praise are the prologue, -_Griselda's_ scene in the first act, 'L'Oiseau qui pars -tire-d'aile,' and the quiet ending of the act after the tumult of the -departure to the East; in the second act, the prelude, the song, 'Il -partit au printemps,' the invocation, and the duet; in the third act, -a song from the _Marquis_, and the final and mystic scene." - - -THAS - -"Thas," a lyric comedy in three acts and seven scenes, libretto by M. -Louis Gallet, taken from the novel by M. Anatole France which bears -the same title; music by Massenet; produced at the Opra on March 16, -1894. It had been, I think, more than sixty years since the Opra had -applied the designation of "lyric comedy" to a work produced on its -stage, which is a little too exclusively solemn. As a matter of fact -there is no question in Thas of one of those powerful and passionate -dramas, rich in incidents and majestic dramatic strokes, or one of -those subjects profoundly pathetic like those of "Les Huguenots," "La -Juive," or "Le Prophte." One could extract from the intimate and -mystic novel of "Thas" only a unity and simplicity of action without -circumlocutions or complications, developing between two important -persons and leaving all the others in a sort of discreet shadow, the -latter serving only to emphasize the scenic movement and to give to -the work the necessary life, color, and variety. - -[Illustration: Copyright photo by Mishkin - -Mary Garden as Thas] - -[Illustration: Photo by White - -Farrar and Amato as Thas and Athanal] - -The librettist had the idea of writing his libretto in prose, rhymed, -if not entirely in blank verse, in a measured prose to which, in a too -long article reviewing it, he gave the name of "posie mlique." This -explanation left the public indifferent, the essential for them being -that the libretto be good and interesting and that it prove useful to -the musician. The action of "Thas" takes place at the end of the -fourth century. The first act shows us in a corner of the Theban plain -on the banks of the Nile a refuge of cenobites. The good fathers are -finishing a modest repast at their common table. One place near them -remains empty, that of their comrade _Athanal_ (Paphnuce in the -novel) who has gone to Alexandria. Soon he comes back, still greatly -scandalized at the sensation caused in the great city by the presence -of a shameless courtesan, the famous actress and dancer, _Thas_, who -seems to have turned the sceptical and light heads of its inhabitants. -Now in his younger days _Athanal_ had known this _Thas_, and in -Alexandria too, which he left to consecrate himself to the Lord and to -take the robe of a religious. - -_Athanal_ is haunted by the memory of _Thas_. He dreams that it -would be a pious and meritorious act to snatch her from her unworthy -profession and from a life of debauchery which dishonours her and of -which she does not even seem to be conscious. He goes to bed and -sleeps under the impress of this thought, which does not cease to -confront him, so much so that he sees her in a dream on the stage of -the theatre of Alexandria, representing the Loves of Venus. He can -refrain no longer and on awaking he goes to find her again, firmly -resolved to do everything to bring about her conversion. - -Arrived at Alexandria, _Athanal_ meets an old friend, the beau -_Nicias_, to whom he makes himself known and who is the lover of -_Thas_ for a day longer because he has purchased her love for a week -which is about to end. _Athanal_ confides his scheme to _Nicias_ who -receives him like a brother and makes him put on clothes which will -permit him to attend a fte and banquet which he is to give that very -night in honour of _Thas_. Soon he finds himself in the presence of -the courtesan who laughs at him at his first words and who engages him -to come to see her at her house if he expects to convert her. He does -not fail to accept this invitation and once in _Thas's_ house tells -her to be ashamed of her disorderly life and with eloquent words -reveals to her the heavenly joys and the felicities of religion. -_Thas_ is very much impressed; she is on the point of yielding to his -advice when afar off in a song are heard the voices of her companions -in pleasure. Then she repels the monk, who, without being discouraged, -goes away, saying to her: "At thy threshold until daylight I will -await thy coming." - -In fact here we find him at night seated on the front steps of -_Thas's_ house. Time has done its work and a few hours have sufficed -for the young woman to be touched by grace. She goes out of her house, -having exchanged her rich garments for a rough woollen dress, finds -the monk, and begs him to lead her to a convent. The conversion is -accomplished. - -But _Athanal_ has deceived himself. It was not love of God but it was -jealousy that dictated his course without his being aware of it. When -he has returned to the Thebaid after having conducted _Thas_ to a -convent and thinks he has found peace again, he perceives with horror -that he loves her madly. His thoughts without ceasing turn to her and -in a new dream, a cruel dream, he seems to see _Thas_, sanctified and -purified by remorse and prayer, on the point of dying in the convent -where she took refuge. On awaking, under the impression of this -sinister vision, he hurries to the convent where _Thas_ in fact is -near to breathing her last breath. But he does not wish that she die; -and while she, in ecstasy, is only thinking of heaven and of her -purification, he wants to snatch her from death and only talks to her -of his love. The scene is strange and of real power. _Thas_ dies at -last and _Athanal_ falls stricken down beside her. - -[Illustration: Copyright photo by Dupont - -Farrar as Thas] - -[Illustration: Photo by White - -Farrar and Amato as Thas and Athanal] - -This subject, half mystic, half psychological, was it really a -favourable one for theatrical action? Was it even treated in such a -way as to mitigate the defects it might present in this connection? We -may doubt it. Nevertheless M. Massenet has written on this libretto of -"Thas" a score which, if it does not present the firm unity of those -of "Manon" and of "Werther," certainly does not lack either -inspiration or colour or originality and in which moreover are found -in all their force and all their expansion the astonishing technical -qualities of a master to whom nothing in his art is foreign. All the -music of the first act, which shows us the retreat of the cenobites, -is of a sober and severe colour, with which will be contrasted the -movement and the gracefulness of the scene at the house of _Nicias_. -There should be noted the peaceful chorus of monks, the entrance of -_Athanal_, the fine phrase which follows his dream: "Toi qui mis la -piti dans nos mes," and the very curious effect of the scene where -he goes away again from his companions to return to Alexandria. In the -second act the kind of invocation placed in the mouth of the same -_Athanal_: "Voil donc la terrible cit," written on a powerful -rhythm, is followed by a charming quartette, a passage with an -emphasis full of grace and the end of which especially is delightful. -I would indicate again in this act the rapid and kindly dialogue of -_Nicias_ and of _Thas_: "Nous nous sommes aims une longue semaine," -which seems to conceal under its apparent indifference a sort of sting -of melancholy. I pass over the air of _Thas_: "Dis-moi que je suis -belle," an air of bravado solely destined to display the finish of a -singer, to which I much prefer the whole scene that follows, which -is only a long duet in which _Athanal_ tries to convert _Thas_. The -severe and stern accents of the monk put in opposition to the raillery -and the voluptuous outbreaks (buoyancy) of the courtesan produce a -striking contrast which the composer has known how to place in relief -with a rare felicity and a real power. The symphonic intermezzo which, -under the name of "Mditation," separates this act from the following, -is nothing but an adorable violin solo, supported by the harps and the -development of which, on the taking up again of the first motif by the -violin, brings about the entrance of an invisible chorus, the effect -of which is purely exquisite. The curtain then rises on the scene in -which _Thas_, who has put on a rough woollen dress, goes to seek the -monk to flee with him. Here there is a duet in complete contrast with -the preceding. _Athanal_ wants _Thas_ to destroy and burn whatever -may preserve the memory of her past. She obeys, demanding favour only -for a little statue of Eros: "L'amour est un vertu rare." It is a sort -of invocation to the purity of love, written, if one may say so, in a -sentiment of chaste melancholy and entirely impressed with -gracefulness and poetry. But what should be praised above all is the -final scene, that of the death of _Thas_. This scene, truly pathetic -and powerful, has been treated by the composer with a talent of the -first order and an incontestable superiority. There again he knew -wonderfully well how to seize the contrast between the pious thoughts -of _Thas_, who at the moment of quitting life begins to perceive -eternal happiness, and the powerless rage of _Athanal_, who, devoured -by an impious love, reveals to her, without her understanding or -comprehending it, all the ardour of a passion that death alone can -extinguish in him. The touching phrases of _Thas_, the despairing -accents of _Athanal_, interrupted by the desolate chants of the nuns, -companions of the dying woman, provoke in the hearer a poignant and -sincere emotion. That is one of the finest pages we owe to the pen of -M. Massenet. We must point out especially the return of the beautiful -violin phrase which constitutes the foundation of the intermezzo of -the second act. - -The work has been very well played by Mlle. Sybil Sanderson (_Thas_), -M. Delmas (_Athanal_), M. Alvarez (_Nicias_), Mmes. Hglon and Marcy, -and M. Delpouget. - - -MANON - - Opera in five acts by Massenet; words by Henri Meilhac and - Philippe Gille, after the story by Abb Prvost. Produced - Opra Comique, Paris, January 19, 1884; Thtre de la - Monnaie, Brussels, March 15, 1884. In English, by the Carl - Rosa Company, Liverpool, January 17, 1885; and at Drury - Lane, London, May 7, 1885, with Marie Roze, Barton McGuckin, - and Ludwig. In French, Covent Garden, May 14, 1894. Carcano - Theatre, Milan, October 19, 1893. Academy of Music, New - York, December 23, 1885, with Minnie Hauck (_Manon_), - Giannini (_Des Grieux_), and Del Puente (_Lescaut_); - Metropolitan Opera House, January 16, 1895, with Sibyl - Sanderson and Jean de Reszke. - - CHARACTERS - - CHEVALIER DES GRIEUX _Tenor_ - COUNT DES GRIEUX, his father _Bass_ - LESCAUT, of the Royal Guard, - cousin to Manon _Baritone_ - GUILLOT DE MORFONTAINE, Minister of - Finance, an old beau _Bass_ - DE BRTIGNY, a nobleman _Baritone_ - MANON _Soprano_ - POUSSETTE, JAVOTTE, ROSETTE, actresses _Sopranos_ - - Students, innkeeper, a sergeant, a soldier, gamblers, - merchants and their wives, croupiers, sharpers, guards, - travellers, ladies, gentlemen, porters, postilions, an - attendant at the Monastery of St. Sulpice, the people. - - _Time_--1821. - - _Place_--Amiens, Paris, Havre. - -Act I. Courtyard of the inn at Amiens. _Guillot_ and _De Brtigny_, -who have just arrived with the actresses _Poussette_, _Javotte_, and -_Rosette_, are shouting for the innkeeper. Townspeople crowd about the -entrance to the inn. They descry a coach approaching. _Lescaut_, who -has alighted from it, enters followed by two guardsmen. Other -travellers appear amid much commotion, amusement, and shouting on the -part of the townspeople. He is awaiting his cousin _Manon_, whom he is -to conduct to a convent school, and who presently appears and gives a -sample of her character, which is a mixture of demureness and -vivacity, of serious affection and meretricious preferment, in her -opening song, "Je suis encore tout tourdie" (A simple maiden fresh -from home), in which she tells how, having left home for the first -time to travel to Amiens, she sometimes wept and sometimes laughed. It -is a chic little song. - -_Lescaut_ goes out to find her luggage. From the balcony of the inn -the old rou _Guillot_ sees her. She is not shocked, but laughs at his -hints that he is rich and can give her whatever she wants. _De -Brtigny_, who, accompanied by the actresses, comes out on the balcony -in search of _Guillot_, also is much struck with her beauty. -_Guillot_, before withdrawing with the others from the balcony, softly -calls down to her that his carriage is at her disposal, if she will -but enter it and await him. _Lescaut_ returns but at the same time his -two guardsmen come after him. They want him to join with them in -gambling and drinking. He pretends to _Manon_ that he is obliged to go -to his armoury for a short time. Before leaving her, however, he warns -her to be careful of her actions. "Regardez-moi bien dans les yeux" -(Now give good heed to what I say). - -Left alone, _Manon_ expresses admiration for the jewels and finery -worn by the actresses. She wishes such gems and dresses might belong -to her. The _Chevalier des Grieux_, young, handsome, ardent, comes -upon the scene. He loves _Manon_ at first sight. Nor does she long -remain unimpressed by the wooing of the _Chevalier_. Beginning with -his words, "If I knew but your name," and her reply, "I am called -Manon," the music soon becomes an impassioned love duet. To him she is -an "enchantress." As for her--" vous ma vie et mon me" (To you my -life and my soul). - -_Manon_ sees _Guillot's_ postilion, who has been told by his master to -take his orders from _Manon_. She communicates to _Des Grieux_ that -they will run away to Paris in _Guillot's_ conveyance. "Nous vivrons -Paris" ('Tis to Paris we go), they shout in glad triumph, and are off. -There is much confusion when the escape is discovered. Ridicule is -heaped upon _Guillot_. For is it not in his carriage, in which the old -rou hoped to find _Manon_ awaiting him, that she has driven off with -her young lover! - -Act II. The apartment of _Des Grieux_ and _Manon_, Rue Vivienne, -Paris. _Des Grieux_ is writing at his desk. Discovering _Manon_ -looking over his shoulder, he reads her what he has written--a letter -to his father extolling her charms and asking permission to marry her. - -[Illustration: Copyright photo by Mishkin - -Caruso as Des Grieux in "Manon"] - -The scene is interrupted by knocking and voices without. The maid -servant announces that two guardsmen demand admission. She whispers to -_Manon_, "One of them loves you--the nobleman, who lives near here." -The pair are _Lescaut_ and _De Brtigny_, the latter masquerading as a -soldier in _Lescaut's_ regiment. _Lescaut_ scents more profit for -himself and for his cousin _Manon_ in a liaison between her and the -wealthy nobleman than in her relations with _Des Grieux_. Purposely he -is gruff and demands "yes" or "no" to his question as to whether or -not _Des Grieux_ intends to marry the girl. _Des Grieux_ shows the -letter he is about to despatch to his father. Apparently everything is -satisfactory. But _De Brtigny_ manages to convey to _Manon_ the -information that the _Chevalier's_ father is incensed at his son's -mode of life, and has arranged to have him carried off that night. If -she will keep quiet about it, he (_De Brtigny_) will provide for her -handsomely and surround her with the wealth and luxury she craves. -She protests that she loves _Des Grieux_--but is careful not to warn -him of the impending abduction. - -_Lescaut_ and the nobleman depart, after _Lescaut_, sly fellow, has -blessed his "children," as he calls _Manon_ and _Des Grieux_. Shortly -afterwards the latter goes out to despatch the letter to his father. -_Manon_, approaching the table, which is laid for supper, sings the -charming air, "Adieu, ntre petite table" (Farewell, dear little -table). This is followed by the exquisite air with harp accompaniment, -"Le Rve de Manon" (A vision of Manon), which is sung by _Des Grieux_, -who has re-entered and describes her as he saw her in a dream. - -There is a disturbance outside. _Manon_ knows that the men who will -bear away her lover have arrived. She loves _Des Grieux_, but luxury -means more to her than love. An effort is made by her to dissuade the -_Chevalier_ from going outside to see who is there--but it is a -half-hearted attempt. He goes. The noise of a struggle is heard. -_Manon_, "overcome with grief," exclaims, "He has gone." - -Act III. Scene I. The Cours de la Reine, Paris, on the day of a -popular fte. Stalls of traders are among the trees. There is a -pavilion for dancing. After some lively preliminary episodes between -the three actresses and _Guillot_, _De Brtigny_ enters with _Manon_. -She sings a clever "Gavotte." It begins, "Obissons, quand leur voix -appelle" (List to the voice of Youth when it calleth). - -The _Count des Grieux_, father of the _Chevalier_, comes upon the -scene. From a conversation between him and _De Brtigny_, which -_Manon_ overhears, she learns that the _Chevalier_ is about to enter -the seminary of St. Sulpice and intends to take holy orders. After a -duet between _Manon_ and the _Count_, who retires, the girl enters her -chair, and bids the wondering _Lescaut_ to have her conveyed to the -seminary. - -Scene II. Parlour in the Seminary of St. Sulpice. Nuns and visitors, -who have just attended religious service, are praising the sermon -delivered by _Des Grieux_, who enters a little later attired in the -garb of an abb. The ladies withdraw, leaving _Des Grieux_ with his -father, who has come in unobserved, and now vainly endeavours to -dissuade his son from taking holy orders. Left alone, _Des Grieux_ -cannot banish _Manon_ from his thoughts. "Ah! fuyez douce image" (Ah! -depart, image fair), he sings, then slowly goes out. - -Almost as if in answer to his soliloquy, the woman whose image he -cannot put away enters the parlour. From the chapel chanting is heard. -Summoned by the porter of the seminary, _Des Grieux_ comes back. He -protests to _Manon_ that she has been faithless and that he shall not -turn from the peace of mind he has sought in religious retreat. - -Gradually, however, he yields to the pleading of the woman he loves. -"N'est-ce plus ma main que cette main presse?... Ah! regarde-moi! -N'est-ce plus Manon?" ("Is it no longer my hand, your own now -presses?... Ah! look upon me! Am I no longer Manon?") The religious -chanting continues, but now only as a background to an impassioned -love duet--"Ah! Viens, Manon, je t'aime!" (Ah, Manon, Manon! I love -thee.) - -Act IV. A fashionable gambling house in Paris. Play is going on. -_Guillot_, _Lescaut_, _Poussette_, _Javotte_, and _Rosette_ are of the -company. Later _Manon_ and _Des Grieux_ come in. _Manon_, who has run -through her lover's money, counsels the _Chevalier_ to stake what he -has left on the game. _Des Grieux_ plays in amazing luck against -_Guillot_ and gathers in winning after winning. "Faites vos jeux, -Messieurs," cry the croupiers, while _Manon_ joyously sings, "Ce bruit -de l'or, ce rire, et ces clats joyeux" (Music of gold, of laughter, -and clash of joyous sounds). The upshot of it all, however, is that -_Guillot_ accuses the _Chevalier_ of cheating, and after an angry -scene goes out. Very soon afterwards, the police, whom _Guillot_ has -summoned, break in. Upon _Guillot's_ accusation they arrest _Manon_ -and the _Chevalier_. " douleur, l'avenir nous spare" (Oh despair! -Our lives are divided for ever), sings _Manon_, her accents of grief -being echoed by those of her lover. - -Act V, originally given as a second scene to the fourth act. A lonely -spot on the road to Havre. _Des Grieux_ has been freed through the -intercession of his father. _Manon_, however, with other women of her -class, has been condemned to deportation to the French colony of -Louisiana. _Des Grieux_ and _Lescaut_ are waiting for the prisoners to -pass under an escort of soldiers. _Des Grieux_ hopes to release -_Manon_ by attacking the convoy, but _Lescaut_ restrains him. The -guardsman finds little difficulty in bribing the sergeant to permit -_Manon_, who already is nearly dead from exhaustion, to remain behind -with _Des Grieux_, between whom the rest of the opera is a dolorous -duet, ending in _Manon's_ death. Even while dying her dual nature -asserts itself. Feebly opening her eyes, almost at the last, she -imagines she sees jewels and exclaims, "Oh! what lovely gems!" She -turns to _Des Grieux_: "I love thee! Take thou this kiss. 'Tis my -farewell for ever." It is, of course, this dual nature which makes the -character drawn by Abb Prvost so interesting. - - * * * * * - -"Manon" by Massenet is one of the popular operas in the modern -repertoire. Its music has charm, and the leading character, in which -Miss Farrar appears with such distinction, is both a good singing and -a good acting rle, a valuable asset to a prima donna. I have an -autograph letter of Massenet's written, presumably to Sibyl Sanderson, -half an hour before the curtain rose on the _premire_ of "Manon," -January 19, 1884. In it he writes that within that brief space of time -they will know whether their hopes are to be confirmed, or their -illusions dissipated. In New York, eleven years later, Miss Sanderson -failed to make any impression in the rle. - -The beauty of Massenet's score is responsible for the fact that -audiences are not troubled over the legal absurdity in the sentence of -deportation pronounced upon _Manon_ for being a courtesan and a -gambler's accomplice. In the story she also is a thief. - -The last act is original with the librettists. In the story the final -scene is laid in Louisiana (see Puccini's _Manon Lescaut_). The -effective scene in the convent of St. Sulpice was overlooked by -Puccini, as it also was by Scribe, who wrote the libretto for Auber's -"Manon." This latter work survives in the laughing song, "L'clat de -Rire," which Patti introduced in the lesson scene in "Il Barbiere di -Siviglia," and which Galli-Curci has revived for the same purpose. - - -LE CID - -"Le Cid"; opera in four acts and ten scenes; the poem by MM. d'Ennery, -Louis Gallet, and douard Blau; music by Massenet; produced at the -Opra on November 30, 1885. The authors of the libretto of "Le Cid" -declared at the start of it that they had been inspired by Guillen de -Castro and by Corneille. The sole masterpiece of Corneille which is -built about a sort of psychological analysis of the character of -_Chimne_ and of the continual conflict of the two feelings which -divide her heart, in fact would not have given them sufficient action; -on the other hand they would not have been able to find in it the -pretext for adornments, for sumptuousness, for the rich stage setting -which the French opera house has been accustomed for two centuries to -offer to its public. - -This is the way the opera is arranged: First act, first scene: at the -house of the _Comte de Gormas_; scene between _Chimne_ and the -_Infanta_. Second scene: entering the cathedral of Burgos. _Rodrigo_ -is armed as a knight by the _King_. The _King_ tells _Don Diego_ that -he names him governor of the _Infanta_. Quarrel of _Don Diego_ and -_Don Gormas_. Scene of _Don Diego_ and _Don Rodrigo_: "Rodrigue, -as-tu du coeur?" Second act, third scene: A street in Burgos at -night. Stanzas by _Rodrigo_: "Perc jusques au fond du coeur." -_Rodrigo_ knocks at the door of _Don Gormas_: " moi, comte, deux -mots!" Provocation; duel; death of _Don Gormas_. _Chimne_ discovers -that _Rodrigo_ is the slayer of her father. Fourth scene: The public -square in Burgos. A popular festival. Ballet. _Chimne_ arrives to ask -the _King_ for justice. _Don Diego_ defends his son. A Moorish courier -arrives to declare war on the _King_ on the part of his master. The -_King_ orders _Rodrigo_ to go and fight the infidels. Third act, fifth -scene: The chamber of _Chimne_: "Pleurez, pleurez, mes yeux, et -fondez-vous en eau." Scene of _Chimne_ and _Rodrigo_. Sixth scene: -the camp of _Rodrigo_. Seventh scene: _Rodrigo's_ tent. The vision. -St. James appears to him. Eighth scene: the camp. The battle. Defeat -of the Moors. Fourth act, ninth scene: The palace of the Kings at -Granada. _Rodrigo_ is believed to be dead. _Chimne_ mourns for him: -"clate mon amour, tu n'as plus rien craindre." Tenth scene: A -courtyard in the palace. _Rodrigo_ comes back as a conqueror. -_Chimne_ forgives him. The end. - - -DON QUICHOTTE - - Opera in five acts by Jules Massenet; text by Henri Cain, - after the play by Jacques Le Lorrain, based on the romance - of Cervantes. Produced, Monte Carlo, 1910. - - CHARACTERS - - LA BELLE DULCINE _Contralto_ - DON QUICHOTTE _Bass_ - SANCHO _Baritone_ - PEDRO, burlesquer _Soprano_ - GARCIAS, burlesquer _Soprano_ - RODRIGUEZ _Tenor_ - JUAN _Tenor_ - TWO VALETS _Baritone_ - - TENEBRUN, chief, and other bandits, friends of Dulcine, and - others. - - _Time_--The Middle Ages. - - _Place_--Spain. - -Act I. Square in front of the house of _Dulcine_, whose beauty people -praise in song. Into the midst of the throng ride _Don Quichotte_ and -his comical companion, _Sancho_. Night and moonlight. _Don Quichotte_ -serenades _Dulcine_, arousing the jealousy of _Juan_, a lover of the -professional beauty, who now appears and prevents a duel. She is -amused by the avowals of _Don Quichotte_, and promises to become his -beloved if he will recover a necklace stolen from her by brigands. - -Act II. On the way to the camp of the brigands. Here occurs the fight -with the windmill. - -Act III. Camp of the brigands. _Don Quichotte_ attacks them. _Sancho_ -retreats. The Knight is captured. He expects to be put to death. But -his courage, his grave courtesy, and his love for his _Dulcine_, -deeply impress the bandits. They free him and give him the necklace. - -Act IV. Fte at _Dulcine's_. To the astonishment of all _Don -Quichotte_ and _Sancho_ put in their appearance. _Dulcine_, overjoyed -at the return of the necklace, embraces the Knight. He entreats her to -marry him at once. Touched by his devotion, _Dulcine_ disillusions -him as to the kind of woman she is. - -Act V. A forest. _Don Quichotte_ is dying. He tells _Sancho_ that he -has given him the island he promised him in their travels; the most -beautiful island in the world--the "Island of Dreams." In his delirium -he sees _Dulcine_. The lance falls from his hand. The gaunt figure in -its rusty suit of armour--no longer grotesque, but tragic--stiffens in -death. - - -CENDRILLON - -CINDERELLA - - Opera, in four acts, by Massenet, text by Henri Cain. - Produced, Opra Comique, Paris, May 24, 1899. - - CHARACTERS - - CINDERELLA _Soprano_ - MME. DE LA HALTIRE, her stepmother _Mezzo-Soprano_ - NOMIE, her stepsister _Soprano_ - DOROTHE, her stepsister _Soprano_ - PANDOLFE, her father _Baritone_ - THE PRINCE CHARMING _Soprano_ - THE FAIRY _Soprano_ - THE KING _Baritone_ - DEAN OF THE FACULTY _Baritone_ - MASTER OF CEREMONIES _Tenor_ - PRIME MINISTER _Bass_ - - _Time_--Period of Louis XIII. - - _Place_--France. - -The story follows almost entirely the familiar lines of the fairy -tale. It may differ from some versions in including _Cinderella's_ -father, _Pandolfe_, among the characters. In the third act, -sympathizing with her in her unhappiness with her stepmother and -stepsisters, he plans to take her back to the country. But she goes -away alone, falls asleep under the fairy oak, and in a dream sees the -_Prince_, with whom she has danced at the ball. The fairy reveals them -to each other and they pledge their love. In the fourth act the dream -turns into reality. - -As for the music, it is bright, graceful, and pretty, especially in -the dances, the fairy scenes, and the love scene between _Cinderella_ -and _Prince Charming_. - - -LA NAVARRAISE - -Opera in one act by Massenet; libretto by Jules Claretie and Henri -Cain. It was performed for the first time at Covent Garden, June 20, -1894, by Mme. Calv and Messrs. Alvarez, Planon, Gilibert, Bonnard, -and Dufriche. - -The opera is one of other days. Now it is seldom given. There were two -famous _Anitas_--Emma Calv and Jeanne Gerville-Rache. The -extraordinary success of "Cavalleria Rusticana" no doubt impelled -Massenet to try his hand at a tragic one-act opera, just as "Hnsel -and Gretel" was responsible for his "Cendrillon." It is among the best -of his works. The music is intensely dramatic. It has colour, -vitality. The action is swift and stirring, uninterrupted by -sentimental romanzas. The libretto is based on a short story, "La -Cigarette," written by Jules Claretie and published in the _Figaro -Illustr_ about 1890. Later it gave the title to a collection of short -stories. - -The time is during the last days of the Carlist war. The place is -Spain. _Araquil_, a Biscayan peasant, loves _Anita_ madly, but her -parents frown upon his poverty. No crime seems too great to win his -bride. _General Garrito_, the Spanish chief, has promised a reward to -any man who will deliver up _Zucarraga_, the Carlist. When this -dangerous foe is injured in battle, _Araquil_ poisons the wound and -claims the promised reward. The general pays the sum, but, disgusted, -orders _Araquil_ to be shot. _Anita's_ father consents to the wedding -before the execution. But _Anita_ refuses disdainfully, and _Araquil_ -is killed as he puffs a cigarette. This is Claretie's story. At his -suggestion and for the purposes of opera the parts were changed. -_Araquil_ became _Anita_ and the peasant with the cigarette became _La -Navarraise_. - - -LE JONGLEUR DE NTRE DAME - -Opera in three acts by Jules Massenet. Libretto by Maurice Lna. - -[Illustration: Copyright photo by Dupont - -Mary Garden in "Le Jongleur de Ntre Dame"] - -The opera was first sung at Monte Carlo, February 18, 1902, when the -part of Jean was taken by Mr. Marchal, for this miracle play with -music was composed originally for male singers. The only two women in -the cast were represented as angels. The part of _Boniface_ the cook -was created by Mr. Renaud. - -The story was first published by Gaston Paris as "Le Tombeor de Nostre -Dame" in 1874-75 in the review, _Romania_, and later in his "tude sur -la Posie Franaise au Moyen ge." The story is better known, however, -by Anatole France's version, included in his "tui de Nacre" (1912). - -A poor juggler after performing in the streets to earn his bread, -begins to think of the future life and enters a monastery. There he -sees the monks paying homage to the Virgin in eloquent prayers. Unable -in his ignorance to imitate their pious learning, _Jean_ decides to -offer homage through the only means in his power. He shuts himself in -the chapel, turns somersaults, and performs his feats in Our Lady's -honour. When the monks searching for _Jean_ rush in and cry -"Sacrilege" at his singing, dancing, and tumbling, the statue of the -Virgin comes to life, smiles, and blesses the poor juggler, who dies -in ecstasy at her feet, while the monks chant the beatitude concerning -the humble. - -Massenet was later persuaded to turn the part of _Jean_ into a -soprano. It is known to New York through Miss Mary Garden. It is said -that the libretto of this opera was handed to Massenet by the postman, -one day, as he was leaving for the country. In the railway carriage, -seeking distraction, he opened the registered package. He was -delighted with the libretto and wrote at once to the author, a teacher -in the university. - - -WERTHER - -Opera in four acts by Jules Massenet with a libretto by douard Blau, -Paul Milliet, and G. Hartmann. First performance in New York, April -19, 1894, with Mme. Eames and Sigrid Arnoldson and Jean de Reszke. - -In the first act the bailiff, _Charlotte's_ father, is seen teaching -his youngest children to sing a Christmas carol, while _Charlotte_ -dresses for a ball. Ready before the carriage arrives, she gives the -children their bread and butter as she has done every day since their -mother died. She greets _Werther_, her cousin, who is also invited to -the ball, with a kiss. After they have gone, _Albert_ returns. He has -been away six months. He wonders whether _Charlotte_, his betrothed, -still cares for him and is reassured as to her fidelity by her younger -sister _Sophie_. When _Charlotte_ and _Werther_ return from the ball -_Werther_ declares his love. At that moment the bailiff announces -_Albert's_ return. _Charlotte_ tells _Werther_ that she had promised -to marry him only to please her mother. _Werther_ replies: "If you -keep that promise I shall die." - -Act II takes place three months later. _Charlotte_ and _Albert_ are -man and wife. _Albert_ knows that _Werther_ loves his wife but trusts -him. _Charlotte_ begs _Werther_ not to try to see her again until -Christmas day. - -In Act III _Charlotte_ is at home alone. Her thoughts are with -_Werther_ and she wonders how she could have sent him away. Suddenly -_Werther_ returns and there is a passionate love scene. When _Werther_ -has gone _Albert_ enters, and notices his wife's agitation. A servant -brings a note from _Werther_ saying that he is about to go on a long -journey and asking _Albert_ to lend him his pistols. _Charlotte_ has a -horrible presentiment and hastily follows the servant. - -In Act IV _Charlotte_ finds _Werther_ dying in his apartments. He is -made happy by her confession that she has loved him from the moment -when she first saw him. - - -HRODIADE - -Massenet's "Hrodiade," with a libretto by Paul Milliet, had its -first performance in New York at the Manhattan Opera House, November, -1908, with Lina Cavalieri, Jeanne Gerville-Rache, Charles Dalmors, -and Maurice Renaud in the principal rles. The scene is Jerusalem and -the first act shows _Herod's_ palace. _Salome_ does not know that she -is the daughter of _Herodias_, for she was mysteriously separated from -her mother in childhood. With a caravan of Jewish merchants, who bring -gifts to _Herod_, she comes to Jerusalem in search of her mother. She -tells _Phanuel_, a young philosopher, that she wishes to return to the -_Prophet_ who had been kind to her in the desert. - -As she leaves _Herod_ enters, notices her, and is aroused by her -beauty. He calls upon her to return. But instead _Herodias_ enters -demanding _John's_ head for he has publicly called her Jezebel. -_Herod_ refuses. _John_ appears and continues his denunciation. The -royal couple flee. _Salome_ returns and falls at _John's_ feet -confessing her love. - -_Herod_ in vain seeks to put the thought of _Salome_ from him. -_Herodias_, mad with jealousy, consults the astrologer _Phanuel_ who -tells her that her daughter is her rival. - -In the temple _Herod_ offers his love to _Salome_, who repulses him -crying: "I love another who is mightier than Csar, stronger than any -hero." In his fury _Herod_ orders both _Salome_ and _John_, who has -been seized and put in chains, delivered into the hands of the -executioner. _John_ in his dungeon clasps _Salome_ in his arms. - -In the last scene _Salome_ implores _Herodias_ to save _John_, but the -executioner's sword is already bloodstained. _Salome_ snatches a -dagger and rushes upon _Herodias_ who cries in terror, "Have mercy. I -am your mother." "Then take back your blood and my life," cries -_Salome_, turning the weapon upon herself. - - -SAPHO - -Massenet's "Sapho," with a libretto by Henri Cain and Arthur Bernde, -based on Daudet's famous novel, was a complete failure in New York -when it was sung for three performances in 1909. Its favourable -reception in Paris, where it was produced at the Opra Comique in -1897, was chiefly due to the vivid impersonation of Emma Calv. The -story concerns an artist's model who captivates an unsophisticated -young man from the country and wrecks his life in attempting to rise -above her past. - - -CLOPTRE - -Opera by J. Massenet. Written for Lucy Arbell, the opera was produced -by Raoul Gunsbourg, at Monte Carlo, in his season of 1914-15 with -Marie Kousnezova in the title rle. The first performance in America -took place in Chicago, at the Auditorium, January 10, 1916, with the -same singer. The first performance in New York was on January 23, -1919, with Miss Mary Garden as the Queen of Egypt and Alfred Magunat, -who created the rle at Monte Carlo and in Chicago, as the _Marc -Anthony_. The story is the traditional one. - - -LOUISE - - A musical romance in four acts, libretto and music by - Gustave Charpentier. - - CHARACTERS - - JULIEN _Tenor_ - THE FATHER _Baritone_ - LOUISE _Soprano_ - THE MOTHER _Contralto_ - IRMA _Soprano_ - -The opera was produced at the Opra Comique, Paris, February 2, 1900. -The part of _Louise_ was created by Miss Rioton, who then sang for the -first time in an opera house; that of _Julien_ by Marchal; that of -the father by Fugre, and that of the mother by Mme. Deschamps-Jhin. - -[Illustration: Photo by Mishkin - -Mary Garden as Louise] - -The story is simple. _Louise_, a working girl, loves _Julien_, an -artist. Her father puts no trust in an artist of irregular life, so -_Louise_ leaves her family. The lovers are happy, but _Louise_ is -remorseful. She grieves for her father and reproaches herself for -ingratitude. Finally she returns home. But free forgiveness does not -make up for the freedom she has lost. Paris the city of pleasure -tempts her again, and again she succumbs. Her family realizes that she -is for ever lost to the home. - -Charpentier himself described his work to F. de Menil. When asked why -he called his opera a musical romance, he replied: "Because in a -romance there are two entirely distinct sides, the drama and the -description, and in my 'Louise' I wish to treat these different sides. -I have a descriptive part, composed of decoration, scenic -surroundings, and a musical atmosphere in which my characters move; -then I have the purely dramatic part, devoted wholly to the action. -This is, therefore, a truly musical romance." When asked whether the -work were naturalistic, realistic, or idealistic, he answered: "I have -a horror of words that end in 'istic.' I am not a man of theories. -'Louise,' as everything that I do, was made by me instinctively. I -leave to others, the dear critics, the care of disengaging the -formulas and the tendencies of the work. I have wished simply to give -on the stage that which I have given in concert; the lyric impression -of the sensations that I reap in our beautiful, fairy-like modern -life. Perhaps I see this as in a fever, but that is my right for the -street intoxicates me. The essential point of the drama is the coming -together, the clashing of two sentiments in the heart of -_Louise_--love, which binds her to her family, to her father, the fear -of leaving suffering behind her, and, on the other hand, the -irresistible longing for liberty, pleasure, happiness, love, the cry -of her being, which demands to live as she wishes. Passion will -conquer because it is served by a prodigious and mysterious auxiliary, -which has little by little breathed its dream into her young -soul--Paris, the voluptuous city, the great city of light, pleasure, -and joy, which calls her irresistibly towards an undaunted future." - - -SALAMMB - -Reyer's "Salammb" received a gorgeous production at the Metropolitan -Opera House on March 20, 1901, with the following cast: _Salammb_, -Lucienne Brval; _Taanach_, Miss Carrie Bridewell; _Math_, Albert -Salza; _Shahabarim_, Mr. Salignac; _Narr'Havas_, Mr. Journet; -_Spendius_, Mr. Sizes; _Giscon_, Mr. Gilibert; _Autharite_, Mr. -Dufriche; _Hamilcar_, Mr. Scotti. Mr. Mancinelli conducted. The -exquisitely painted scenes were copies of the Paris models, and the -costumes were gorgeous. Miss Brval's radiant Semitic beauty shone in -the title rle. Flaubert's novel was made into a libretto by Camille -du Locle. History supplied the background for romance in the shape of -the suppression of a mutiny among the mercenaries of the Carthaginians -in the first Punic war. Against this is outlined in bold relief the -story of the rape of the sacred veil of Tanit by the leader of the -revolting mercenaries, his love for _Salammb_, daughter of the -Carthaginian general; her recovery of the veil, bringing in its train -disaster to her lover and death to both. - -[Illustration: Photo by Histed - -Lucienne Brval as Salammb] - - -PELLAS ET MLISANDE - - Opera in five acts (12 scenes). Music by Debussy; text by - Maurice Maeterlinck. Produced: Paris, April 30, 1902. New - York, February 19, 1908. - - CHARACTERS - - ARKEL, King of Allemonde _Bass_ - GENOVEVA, mother of Pellas and Golo _Alto_ - PELLAS } King Arkel's { _Tenor_ - GOLO } grandsons { _Baritone_ - MLISANDE _Soprano_ - LITTLE YNIOLD, Golo's son by - first marriage _A child's voice_ - A PHYSICIAN _Bass_ - -Act I. Scene I. In a forest. _Golo_ while hunting has lost his way -following a wild boar and come to a place unknown to him. There he -sees a woman sitting by a spring. She acts like a figure in a fairy -tale and behaves like a person stranger to and isolated from the -world. Finally _Golo_ succeeds in inducing _Mlisande_--she at last -tells him her name after being urged--to follow him out of the dark -woods. - -Scene II. A room in the castle. _Genoveva_ is reading to the aged, -almost blind _King Arkel_ a letter which _Golo_ has written to his -half-brother _Pellas_. From this letter we learn that _Golo_ has -already been married six months to the mysterious _Mlisande_. He has -great love for his wife, about whom, however, he knows no more today -than he did at first in the woods. So he fears that his grandfather, -the _King_, may not forgive him for this union and asks _Pellas_ to -give him a sign in case the _King_ is ready "to honour the stranger as -his daughter." Otherwise he will steer the keel of his ship to the -most remote land. _King Arkel_ has arrived at that time of life when -the wisdom of experience tends to make one forgiving toward everything -that happens. So he pardons _Golo_ and commissions his grandson -_Pellas_ to give his brother the sign agreed upon. - -Scene III. Before the castle. The old queen _Genoveva_ seeks to calm -_Mlisande's_ distress at the gloominess of the world into which she -has wandered. _Pellas_ too is there. He would like to go to see a -distant friend who is ill but fate holds him here. Or rather have not -chains been wound about the twain of which they yet have no -anticipation? - -Act II. Scene IV. A fountain in the park. _Pellas_ and _Mlisande_ -have arrived at this thickly shaded spot. Is _Mlisande_ a -Melusine-like creature? Water attracts her wonderfully. She bends over -her reflection. Because she cannot reach it, she is tempted to play -with the ring that _Golo_ sent her. It slips from her hand and sinks. - -Scene V. There must have been some peculiar condition attached to the -ring. At the same hour that it fell in the fountain _Golo's_ horse -shied while hunting so that he was hurt and now lies wounded in bed. -_Mlisande_ is taking care of him. She tells _Golo_ that she did not -feel well the day before. She is oppressed by a certain foreboding, -she does not know what it is. _Golo_ seizes her hands to console her -and sees that the ring is missing. Then he drives her out into the -night to look for it. "Sooner would I give away everything I have, my -fortune and goods, rather than have lost the precious ring." _Pellas_ -will help her. - -Scene VI. Before a grotto in the rocks. _Mlisande_ has deceived -_Golo_ by telling him that the ring has slipped from her hand into the -sea. So _Pellas_ must now lead her to this grotto in order that she -may know at least the place in which she can claim that she lost the -ring. A dreadful place in which the shudder of death stalks. - -Act III. Scene VII. A tower in the castle. At the window of the tower -_Mlisande_ is standing combing her hair that she has let down. Then -_Pellas_ comes along the road that winds around under her window. -_Pellas_ is coming to say farewell. Early the next morning he is -going away. So _Mlisande_ will at least once more reach out her hand -to him that he may press it to his lips. Love weaves a web about the -twain with an ever thicker netting without their noticing it. Their -hands do not touch but as _Mlisande_ leans forward so far her long -hair falls over _Pellas's_ head and fills the youth with passionate -feelings. Their words become warmer--then _Golo_ comes near and -reproves their "childishness." - -[Illustration: Copyright photo by Davis & Sanford Co. - -Mary Garden as Mlisande in "Pellas and Mlisande"] - -Scene VIII. In the vault under the castle. Like a gloomy menace _Golo_ -leads _Pellas_ into these underground rooms where the breeze of death -blows. Seized with shuddering they go out. On the terrace at the -entrance to the vault _Golo_ in earnest words warns _Pellas_ to keep -away from _Mlisande_ and to refrain from confidential conversations -with her. - -Scene IX. Before the castle. In vain _Golo_ has sought to quiet -himself by saying that it was all only childishness. Jealousy devours -his heart. So now he seeks with hypocritical calm his little son -_Yniold_, offspring of his first marriage, to inquire about the -intimacy of _Pellas_ and _Mlisande_. The child cannot tell him of -anything improper yet _Golo_ feels how it is with the couple. And he -feels that he himself is old, much older than _Pellas_ and -_Mlisande_. - -Act IV. Scene X. In a room in the castle _Pellas_ and _Mlisande_ -meet. This evening he must see her. She promises to go in the park to -the old fountain where she formerly lost the ring. It will be their -last meeting. Yet _Mlisande_ does not understand what is driving the -youth away. The old _King Arkel_ enters the room. The aged man has -taken _Mlisande_ to his heart. He feels that the young wife is -unhappy. Now _Golo_ also enters. He can scarcely remain master of his -inner commotion. The sight of his wife, who appears the picture of -innocence, irritates him so much that he finally in a mad rage throws -her on her knees and drags her across the room by her hair. - -Scene XI. By the old spring in the park. There is an oppressive -feeling of disaster in the air. Only little _Yniold_ does not suffer -this gripping burden. It is already growing dark when _Mlisande_ goes -to _Pellas_. And yet in their farewell, perhaps also on account of -_Golo's_ outburst of anger, the couple clearly see what has caused -their condition. And there comes over them something like the -affirmation of death and the joy of dying. How fate shuts the gates -upon them; like a fate they see _Golo_ coming. They rejoice in the -idea of death. _Pellas_ falls by _Golo's_ sword, _Mlisande_ flees -from her husband's pursuit into the night. - -Act V. Scene XII. A room in the castle. _Mlisande_ lies stretched out -in bed. _Arkel_, _Golo_, and the physician are conversing softly in -the room. No; _Mlisande_ is not dying from the insignificant wound -_Golo_ has given her. Perhaps her life will be saved. She awakes as if -from dreaming. Everything that has happened is like a dream to her. -Desperately _Golo_ rushes to her couch, begs her pardon, and asks her -for the truth. He is willing to die too but before his death he wants -to know whether she had betrayed him with _Pellas_. She denies it. -_Golo_ presses her so forcibly and makes her suffer so that she is -near death. Then earthly things fall away from her as if her soul were -already free. It is not possible to bring her back now. The aged -_Arkel_ offers the last services for the dying woman, to make the way -free for her soul escaping from earthly pain and the burden of the -tears of persons left behind. - - -APHRODITE - - A lyric drama in five acts and seven scenes after the story - by Pierre Lous. Adapted by Louis de Gramont. Music by - Camille Erlanger. First given at the Opra Comique, Paris, - March 23, 1906, with Mary Garden as _Chrysis_, Leon Beyle as - _Dmtrios_, Gustave Huberdeau as the _Jailor_, Mmes. - Mathieu-Lutz and Demellin as _Myrto_ and _Rhodis_, and - Claire Friche as _Bacchis_. - - CHARACTERS - - DMTRIOS _Tenor_ - TIMON _Baritone_ - PHILODME _Tenor_ - LE GRAND PRTRE _Bass_ - CALLIDS _Bass_ - LE GELIER _Bass_ - CHRYSIS _Soprano_ - BACCHIS _Mezzo-Soprano_ - MYRTO _Soprano_ - RHODIS _Mezzo-Soprano_ - CHIMARIS _Mezzo-Soprano_ - SSO _Soprano_ - -Act I. The wharf at Alexandria. Act II. The temple of Aphrodite. Act -III. At the house of _Bacchis_. Act IV. The studio of _Dmtrios_. Act -V. Scene I. The lighthouse; Scene II. The prison; Scene III. The -garden of Hermanubis. - -Act I. The throng moves back and forth on the crowded wharf. There are -young people, courtesans, philosophers, sailors, beggars, -fruit-sellers. _Rhodis_ and _Myrto_ play on their flutes while -_Thano_ dances. _Dmtrios_ the sculptor approaches and leans on the -parapet overlooking the sea. The Jewess _Chimaris_, a fortune-teller, -reads his hand. She tells him that she sees past happiness and love in -the future, but that this love will be drowned first in the blood of -one woman, then in that of a second, and finally in his own. -_Chrysis_, a beautiful courtesan, appears on the wharf. _Dmtrios_ -wishes to follow her, but she declines his advances. To possess her he -must bring her three gifts, the silver mirror of _Bacchis_, the -courtesan, the ivory comb of _Touni_, wife of the High Priest, and the -pearl necklace clasped around the neck of the statue of the goddess -Aphrodite in the temple. _Dmtrios_ is appalled but swears to fulfil -her wishes. She embraces him and disappears. - -In Act II the temple guards and eunuchs perform their sacred offices. -_Dmtrios_ enters the temple. He has committed two of the three -crimes. He has stolen the mirror from _Bacchis_ and stabbed Touni to -take her comb. The celebration of the first day of the Aphrodisiacs -begins. Courtesans bring offerings to the goddess. _Rhodis_ and -_Myrto_ bring a caged dove. _Chrysis_ hands the High Priest her -bronze mirror, her copper comb, and her emerald necklace, as -offerings. When the crowd leaves the temple, _Dmtrios_ snatches the -necklace from the statue and disappears. - -Act III shows the feast and the bacchanale at the house of _Bacchis_. -The theft of the mirror is discovered. _Corinna_, a slave, is accused -and crucified. _Chrysis_ is inwardly exultant that her wish has been -obeyed. - -In Act IV _Chrysis_ goes to _Dmtrios_ to receive the gifts and to -bestow the reward. _Dmtrios_, mad with passion, clasps her in his -embrace. The clamour without reminds him of his misdeed. In a fit of -disgust he demands that the beautiful woman shall not hoard her -treasures in secret, but appear in public decked with them, as an -atonement. He sends her away. - -On the island of the lighthouse of Alexandria the crowds discuss the -theft of the mirror and the crucifixion of _Corinna_. _Timon_ -announces the slaying of Touni and the stealing of her comb. _Chrysis_ -appears wrapped in a long mantle. The sacred courtesans and the temple -guards announce the theft of the jewels from the temple. Suddenly -_Chrysis_ appears on the highest balcony of the lighthouse, the stolen -comb in her hair, the mirror in her hand, and the necklace about her -throat. Disclosed in a flash of lightning the crowds think it is the -goddess in person. Soon they realize the truth and _Chrysis_ is seized -and taken to prison. - -The _Jailor_ brings a poisoned goblet to her cell. She -drinks--_Dmtrios_ arrives too late, to find her dead. - -Her friends, _Myrto_ and _Rhodis_, bury her body in the Garden of -Hermanubis. - - -L'ATTAQUE DU MOULIN - -THE ATTACK ON THE MILL - -This is a four-act music-drama by Alfred Bruneau, the libretto by -Louis Gallet, based on a story from Zola's "Soires de Medan." It was -produced at the Opra Comique, Paris, November 23, 1893, and in this -country in 1908. - -The tale is an episode of the Franco-Prussian War. In the first act we -see the betrothal of _Franoise_, daughter of the miller, _Merlier_, -to _Dominique_. The _Town Crier_ announces the declaration of war. - -In the second act the mill is attacked and captured by the Germans. -_Dominique_ is made a prisoner and locked in the mill. _Franoise_ -gets a knife to him. While (in the third act) the girl engages the -attention of the sentinel, _Dominique_ makes his way out of the mill, -kills the sentinel, and escapes. In the fourth act the French, guided -by _Dominique_, return. But just as they enter, with _Dominique_ at -their head, the Germans shoot _Merlier_ before his daughter's eyes. - - * * * * * - -In writing about his theories of the lyric drama, Bruneau, who was -regarded as a promising follower of Wagner, used these words: "It is -music uniting itself intimately to the poetry ... the orchestra -comments upon the inward thoughts of the different characters." -Wagnerian--but also requiring the genius of a Wagner. - - -ARIANE ET BARBE-BLEUE - -ARIADNE AND BLUE-BEARD - - Opera in three acts, by Paul Dukas; text by Maurice - Maeterlinck. Produced in New York, March 3, 1911. - - CHARACTERS - - BLUE-BEARD _Bass_ - ARIANE, wife of _Blue-Beard_ _Soprano_ - THE NURSE _Contralto_ - SLYSETTE, wife of _Blue-Beard_ _Mezzo-Soprano_ - YGRAINE, wife of _Blue-Beard_ _Soprano_ - MLISANDE, wife of _Blue-Beard_ _Soprano_ - BELLANGRE, wife of _Blue-Beard_ _Soprano_ - ALLAINE, wife of _Blue-Beard_ _Acting Rle_ - AN OLD PEASANT _Bass_ - - Peasants and Mob. - - _Time_--Middle Ages. - - _Place_--_Blue-Beard's_ Castle. - -Act I. Hall in _Blue-Beard's_ castle. _Ariane_, sixth wife of -_Blue-Beard_, is warned by voices of the crowd outside that -_Blue-Beard_ has already murdered five wives. _Ariane_ has seven -keys--six of silver and one of gold. When _Ariane_, intent only on -opening the forbidden chamber, throws down the six silver keys, her -_Nurse_ picks them up. With one she unlocks the first door. Instantly -amethysts set in diadems, bracelets, rings, girdles, fall down in a -shower on _Ariane_. And so, to her joy, as door after door swings -open, she is showered with sapphires, pearls, emeralds, rubies, and -diamonds. Now _Ariane_ opens, with the golden key, the seventh door. -Darkness, out of which come the voices of the five lost wives. Here -_Ariane_ is surprised by _Blue-Beard_, who lays hold of her. The -crowd, admitted by the _Nurse_, rush in to kill _Blue-Beard_, but are -told by _Ariane_ that he has not harmed her. - -Act II. A subterranean hall. _Ariane_ descends with the _Nurse_ into -the depths of the blackness on which the seventh door opened. There -she finds the five wives still alive but emaciated and in rags. She -tells them that she has obeyed a higher law than _Blue-Beard's_, and -that outside birds are singing and the sun is shining. A jet of water -extinguishes _Ariane's_ light, but she is not fearful. She leads the -five toward a radiant spot at the end of the vault. She throws herself -against the barred wall. It gives away. The sunlight streams in. -Blinded at first by its brilliance, the five wives finally come out of -the vault and go off singing joyously. - -Act III. Same as Act I. The wives are adorning themselves with the -help of _Ariane_. She urges them to make the best use of their gifts. -_Blue-Beard_ is approaching. The people are lying in wait for him. The -wives watch his capture. Bound and wounded, he is brought in. But to -the astonishment of all _Ariane_ bandages his wounds and the others -help her. Then she cuts the cords and frees him, but herself departs, -although _Blue-Beard_ pleads with her to remain. But when she in turn -implores the five wives to go with her, they decline, and she leaves -them in the castle. - -The allegory in this tale is that five out of six women prefer -captivity (with a man) to freedom without him. The opera has not been -popular in this country. - - -MONNA VANNA - -Henry Fvrier's "Monna Vanna" was first sung in New York in 1914 by -Mary Garden and Lucien Muratore. The opera is based upon Maeterlinck's -play in which _Monna Vanna_ to save the starving Pisans goes to -_Prinzivalle's_ tent clad only in a cloak and her long hair. The -commander of the besieging army does not profit by the bargain, but -treats her with the utmost respect while he discourses eloquently of -his youthful love. The music is as commonplace as that of this -composer's other opera, "Gismonda." - - -GISMONDA - -Opera in four acts by Henri Fvrier with a libretto based on Sardou's -famous play had its first performance in America in Chicago, January -14, 1919, with Miss Mary Garden, Charles Fontaine, Gustave Huberdeau, -Marcel Journet, and other members of the Chicago Opera Company in the -leading rles. The opera was given on the opening night of the same -organization's season in New York, January 27, 1919, at the Lexington -Theatre with the same cast. - -The story follows that of the play. _Gismonda_, Duchess of Athens, -promises to wed the man who succeeds in rescuing her little son from a -tiger's pit, into which he has been pushed by a conspirator who wishes -to help _Zaccaria Franco_ to seize the Duchy. _Almrio_, a young -falconer, kills the beast and saves the child. But the proud though -grateful _Duchess_ will not consider a peasant for her husband. - -If _Almrio_ will renounce his claim _Gismonda_ promises to spend a -night at his hut. When she discovers that _Zaccaria_ has followed her -she slays him. _Almrio_ takes the guilt for the murder upon himself -but _Gismonda_ makes public confession of her visit to his hut, hands -over the wicked _Grgoras_, who had attempted to murder her little -son, to justice, and proclaims the falconer her lord and husband. - - -MAROUF, THE COBBLER OF CAIRO - -"Marouf" was sung for the first time in America at the Metropolitan -Opera House, December 19, 1917, with Frances Alda, Kathleen Howard, -Lon Rothier, Andrs de Segurola, Thomas Chalmers, and Giuseppe de -Luca as the Cobbler, in the cast. Pierre Monteux conducted. - -_Marouf_ is unhappy at home. His wife, _Fatimah_, is ugly and has a -bad disposition. When she asked for rice cake, sweetened with honey, -and thanks to his friend the pastry cook, _Marouf_ brought her cake -sweetened with cane sugar instead, she flew into a rage and ran to -tell the _Cadi_ that her husband beat her. The credulous _Cadi_ orders -the _Cobbler_ thrashed by the police, in spite of protesting -neighbours. _Marouf_, disgusted, decides to disappear. He joins a -party of passing sailors. A tempest wrecks the ship. He alone is -saved. _Ali_, his friend, whom he has not seen for twenty years and -who has become rich in the meantime, picks him up on the shore and -takes him to the great city of Khaltan, "somewhere between China and -Morocco." _Marouf_ is presented to the townspeople as the richest -merchant in the world who has a wonderful caravan on the way. He is -accepted everywhere and in spite of the doubting _Vizier_ the Sultan -invites him to his palace. Furthermore, he offers him his beautiful -daughter as a bride. For forty days _Marouf_ lives in luxury with the -princess. He empties the treasury of the _Sultan_ who consoles himself -with thoughts of the promised caravan which must soon arrive. At last -the _Princess_ questions _Marouf_ who tells the truth. They decide -upon flight, and the _Princess_ disguises herself as a boy. - -At an oasis in the desert they are sheltered by a poor peasant. -_Marouf_ seeks to repay his hospitality by a turn at his plow. The -implement strikes an iron ring attached to the covering of a -subterranean chamber. The ring also has magic power. When the -_Princess_ rubs it the poor peasant is transformed into a genii, who -offers his services, and discloses a hidden treasure. When the -_Sultan_ and his guards, in pursuit of the fugitives, appear upon the -scene, the sounds of an approaching caravan are also heard in the -distance. The ruler apologizes. _Marouf_ and the _Princess_ triumph. -The doubting _Vizier_ is punished with a hundred lashes. - - * * * * * - -Henri Rabaud, composer of "Marouf," is a Parisian, the son of a -professor of the Conservatoire of which he is also a graduate. - -His second symphony has been played in New York. He has to his credit -a string quartet, other smaller works, and an opera, "La Fille de -Roland," which was given some years ago at the Opra Comique. "Marouf" -was produced at that theatre in the spring of 1914. M. Rabaud, for -several years conductor at the Grand Opra and the Opra Comique, was -called to America in 1918 to be the conductor of the Boston Symphony -Orchestra, succeeding Karl Muck, and Pierre Monteux who filled the -vacancy for a few weeks before M. Rabaud's arrival from France. - - -LE SAUTERIOT - -THE GRASSHOPPER - -"Le Sauteriot" (Grasshopper) by Sylvio Lazzari, with a libretto by -Henri Pierre Roche and Martial Perrier, based on E. de Keyserling's -drama "Sacre de Printemps," is the story of a modern Cinderella, -_Orti_, who lives in Lithuania. She is the natural daughter of -_Mikkel_, whose wife _Anna_, lies dying as the curtain rises. The -doctor gives _Orti_, or _Grasshopper_ as she is known, some medicine -to give the patient if she grows worse. Only ten drops though, because -the remedy is a powerful poison. _Anna's_ old mother, _Trine_, tells -_Orti_ the legend of the mother who prayed that she might die in place -of her baby, and whose prayer was granted. Realizing herself despised -and a drudge, _Orti_ prays to die instead of _Anna_. - -_Grasshopper_ is secretly in love with _Indrik_. But he has no eyes -for her. All his attention is fixed upon _Madda_, _Mikkel's_ youngest -sister. In the second act at a village festival, _Indrik_, who has -quarrelled with _Madda_, fights with his successor in her affections, -_Josef_. _Orti_ rushes in and seizes _Josef's_ hand as he is about to -slay _Hendrik_. She is the heroine of the festival. _Hendrik_ pays -court to her and leads her to believe that he will marry her. When a -few days later she discovers that he has gone back to _Madda_, -_Grasshopper_ commits suicide. - - * * * * * - -M. Lazzari of Paris is by birth a Tyrolean, whose father was an -Italian. But the composer has spent most of his life in Paris. He -entered the Conservatoire at twenty-four, where his teachers were -Guiraud and Csar Franck. His operas "L'Ensorcele" and "La Lpreuse" -were first sung in Paris. "Le Sauteriot" would also have had its first -performance there. But the war made it possible for Mr. Campanini to -acquire it for Chicago. It was presented there on the closing day of -the season, January 19, 1918. The Chicago Opera Company gave New York -its first opportunity to hear the work on February 11, 1918, when it -was conducted by the composer. - - -LA REINE FIAMMETTE - -QUEEN FIAMMETTE - - "La Reine Fiammette," by Xavier Leroux, with a libretto - adapted from his play by Catulle Mends, had its first - performance in America at the Metropolitan Opera House, - January 24, 1919. The cast was as follows: - - CHARACTERS - - ORLANDA _Geraldine Farrar_ - DANIELO _Hipolito Lazaro_ - GIORGIO D'AST _Adamo Didur_ - CARDINAL SFORZA _Lon Rothier_ - PANTASILLE _Flora Perini_ - MOTHER AGRAMENTE _Kathleen Howard_ - VIOLINE _Kittie Beale_ - VIOLETTE _Lenore Sparkes_ - VIOLA _Mary Ellis_ - POMONE _Marie Tiffany_ - MICHELA _Lenore Sparkes_ - ANGIOLETTA _Mary Ellis_ - CHIARINA _Marie Mattfeld_ - TWO BOYS { _Mary Mellish_ - { _Cecil Arden_ - LUC AGNOLO _Mario Laurenti_ - CASTIGLIONE _Angelo Bada_ - CORTEZ _Albert Reiss_ - CESANO _Giordano Paltrinieri_ - VASARI _Pietro Audisio_ - PROSECUTOR _Paolo Ananian_ - TWO NOVICES { _Phillis White_ - { _Veni Warwick_ - -While this was the first operatic performance of Catulle Mends's -famous work, Charles Dillingham produced the play for the first time -in America at the Hollis Street Theatre, Boston, October 6, 1902, with -Julia Marlowe. Paul Kester made the English adaptation. The late Frank -Worthing appeared as _Danielo_. Others in the cast were Frank Reicher, -Albert Bruning, and Arthur Lawrence. - -The story takes place in Italy of the sixteenth century, in an -imaginary Kingdom of Bologna, whose ruler _Queen Fiammette_, young and -capricious, has chosen as her consort _Giorgio d'Ast_, an adventurer. -It is this very man whom the Papal See has determined to elevate to -the throne in place of the madcap _Orlanda_. But _Cardinal Sforza_ is -not satisfied with the mere dethroning of _Orlanda_. He wishes her to -be assassinated, and goes to Bologna to hatch the plot for her doom. -The _Prince Consort_ agrees to play his part and to involve several -young courtiers in the scheme. It is decided to slay the _Queen_ -during a fte at her palace. - -_Danielo_, a young monk, is chosen to strike the blow. The _Cardinal_ -tells him that after indulging in a passing fancy for his brother, the -_Queen_ has had the youth killed. The monk is only too eager for -revenge. He has been in the habit of meeting a beautiful woman, whose -identity is unknown, at a convent. This is none other than _Fiammette_ -herself who uses the convent for her gallantries. _Danielo_ confides -his mission of vengeance to the fair unknown. But when he recognizes -in the queen the woman he adores he is powerless to carry out his -intention of slaying her. He is arrested by order of the _Cardinal_ -for failing to keep his pact. The _Queen_ signs her abdication and -hopes to fly with her lover, but the _Cardinal_ condemns both to the -headsman's block. - - -LE CHEMINEAU - -THE WAYFARER - -Opera by Xavier Leroux with a libretto by Jean Richepin, performed -for the first time in America at New Orleans in 1911. - -A jovial wayfarer dallies with _Toinette_, one of the pretty girls -working on a farm in Normandy. He loves her and goes his way. In -despair _Toinette_ marries _Franois_. The wayfarer's child, _Toinet_, -is born. Years later when _Franois_ has become a hopeless invalid, -_Toinet_ woos _Aline_, the daughter of _Pierre_, a surly neighbour, -who doubting the youth's origin refuses his consent to the match. -Suddenly the wayfarer reappears. _Franois_ expires, after commending -_Toinette_ to the care of her former lover. But the call of the open -road is too strong. The wayfarer refuses to contemplate domesticity. -Once more he takes his well-worn hat and goes out into the storm. - - -LE VIEIL AIGLE - -THE OLD EAGLE - -Raoul Gunsbourg wrote both the words and the music for his one act -lyric drama, "Le Vieil Aigle" (The Old Eagle), which was first -produced at the Opera House in Monte Carlo, February 13, 1909. The -first performance of the opera in New York was given by the Chicago -Opera Company at the Lexington Theatre with Georges Baklanoff in the -title rle, supported by Yvonne Gall, Charles Fontaine, and Dsir -Defrre, February 28, 1919. - -The scene of the story is a rocky coast in the Crimea. The time, the -fourteenth century. The _Khan Asvezel Moslain_ informs his son -_Tolak_, who has just returned from a successful campaign against the -Russians, that great preparations have been made to celebrate his -return. But the young man is sad and replies that he only seeks -forgetfulness in death. He asks his father to grant him the dearest -wish of his heart and confesses his love for the _Khan's_ favourite -slave _Zina_. The old man consents to give her to his son, but when -he orders the girl to follow _Tolak_ she refuses to do so. The _Khan_, -wishing to retain his son's love, throws the disobedient slave into -the sea, but as this far from restores harmony between the generations -the old man follows her to her watery grave. - - - - -Modern German and Bohemian Opera - - - Wagner's powerful influence upon German opera produced - countless imitators. For some reason or other it appeared to - be almost impossible for other German composers to - assimilate his ideas and yet impart originality to their - scores. Among those who took his works for a model were - Peter Cornelius, Hermann Goetz, and Carl Goldmark. - - Perhaps the most important contribution to German opera - during the decade that followed Wagner's death was - Humperdinck's "Hnsel und Gretel." Then came Richard Strauss - with his "Feuersnot," "Salome," "Elektra," and "Der - Rosenkavalier." - - The most famous representative of the Bohemian school of - opera, which is closely allied to the German, is Smetana. - - -ST. ELIZABETH - - Operatic version of Liszt's "Legend," made by Artur - Bodanzky, from the book of the oratorio by Otto Roquette. - Sung in English at the Metropolitan Opera House, January 3, - 1918, with the following cast: - - CHARACTERS - - ELIZABETH _Florence Easton_ - LANDGRAVINE SOPHIE _Margarete Matzenauer_ - LANDGRAVE LUDWIG _Clarence Whitehill_ - LANDGRAVE HERMANN _Carl Schlegel_ - A HUNGARIAN MAGNATE _Basil Ruysdael_ - SENESCHAL _Robert Leonhardt_ - - Conductor, _Artur Bodanzky_ - -The dramatic version of Liszt's sacred work once had sixty -performances at Prague. - -Although the score of "Saint Elizabeth" is dedicated to Wagner's -benefactor, Ludwig II. of Bavaria, the Grand Duke Alexander of Weimar -was responsible for the fact that Liszt undertook a setting of a poem -on this subject by Otto Roquette. This poem was inspired by a series -of frescoes by Moritz Schwind at the Wartburg, which tells the story -of _Elizabeth's_ sad life. The daughter of a Hungarian king of the -thirteenth century, she was brought to the Wartburg at the age of four -and betrothed to the boy, _Ludwig_, son of the Landgrave of Thuringia. -The children were reared as brother and sister, and at seventeen -_Elizabeth_ was married to _Ludwig_ who succeeded to the throne. - -A famine came upon the land. _Elizabeth_ impoverished herself by -helping the poor, and incurred the displeasure of her mother-in-law. -Forbidden to give any further aid to the victims of the famine, she -was one day found by her husband carrying a basket. She declared that -it was filled with flowers. When he tore it from her hands a miracle -had happened, and the bread and wine had changed into roses. Then she -confessed her deception which was atoned for by the miracle. The two -after offering a prayer of thanksgiving renew their vows. - -Soon afterwards _Ludwig_ joins a passing procession of crusaders. He -is killed in battle with the Saracens and his wife becomes ruler of -the Wartburg. _Sophie_, her mother-in-law, plots with the _Seneschal_ -and drives _Elizabeth_ out with her children into a storm. She finds -refuge in a hospital she once founded. The remainder of her life is -devoted to assisting the helpless and the poor. The closing scene of -the opera shows her apotheosis. - - -THE BARBER OF BAGDAD - - Opera in two acts. Words and music by Peter Cornelius. - Produced: Weimar, December 15, 1858. - - CHARACTERS - - THE CALIPH _Baritone_ - BABA MUSTAPHA, a cadi _Tenor_ - MARGIANA, his daughter _Soprano_ - BOSTANA, a relative of the cadi _Mezzo-Soprano_ - NUREDDIN _Tenor_ - THE BARBER _Bass_ - -Act I. _Nureddin_ is ill, very ill his servants say. They must know -very little of such youthful illnesses. _Margiana_ calls the invalid -in a dream. _Margiana_ is the medicine that can cure him, _Margiana_, -the marvellously glorious daughter of the mighty cadi, _Baba -Mustapha_. And see how health reanimates _Nureddin's_ limbs, when -_Bostana_, a relative of the cadi, approaches and brings the sweet -news that _Margiana_ will wait for her lover about noon when her -father has gone to prayers in the mosque. But the latter, in order to -appear properly, needs above everything else a barber. And _Bostana_ -appoints--"O knowest thou, revered one, I find for you a learned -one--the greatest of all barbers, _Abdul Hassan Ali Ebn Bekar_. He is -great as a barber, a giant as a talker, swift his razor, a thousand -times quicker his tongue." - -Act II. A magnificent room in the cadi's house. What a stirring, -harmonious picture. _Margiana_, _Bostana_, and the cadi rejoice: "He -comes! he comes! oh, delightful pleasure." Of course the covetous old -cadi is not thinking of young _Nureddin_ but of the rich old _Selim_ -who wants to have _Margiana_ for his wife. A mighty chest full of rich -gifts, so he announces. But the cadi goes off full of dignity to -prayers in the mosque. And now _Nureddin_ comes. How happy the couple -are. But is not that the barber approaching with his love-song? "O -Allah, save us from the flood of his talk"--no, rather save us from -the cadi who suddenly comes back. The screams of a servant, whom he is -punishing with a bastonade by his own hand, announce his arrival. -There is only one escape. Quickly the chest is emptied and _Nureddin_ -gets in. Then the barber with _Nureddin's_ servant. _Abdul Hassan Ali -Ebn Bekar_ leaves no customers in the lurch. He who screamed can only -be _Nureddin_ whom the furious cadi has murdered. _Bostana_ advises -him to drag forth the chest; the cadi opposes. The wild clamour -brings, in crowds, the people of Bagdad who hear rumours of a murder. -Finally the caliph comes too. What is in the chest? _Nureddin's_ -corpse, says the barber; _Margiana's_ dowry, answers the cadi. The -chest is opened. The cadi is right, for _Nureddin_ is not a corpse but -only in a swoon because he was nearly smothered, but he is without -doubt _Margiana's_ dowry and he will become so publicly. A cadi cannot -lightly oppose the wish of a caliph. The barber is seized but is -ordered by the caliph to be taken to his palace to entertain him with -stories. - - -THE TAMING OF THE SHREW - - Opera in four acts; libretto adapted by Victor Widmann from - Shakespeare's comedy. Music by Herman Goetz. - - CHARACTERS - - BAPTISTA _Otto Goritz_ - KATHARINA _Margarete Ober_ - BIANCA _Marie Rappold_ - HORTENSIO _Robert Leonhardt_ - LUCENTIO _Johannes Sembach_ - PETRUCHIO _Clarence Whitehill_ - GRUMIO _Basil Ruysdael_ - A TAILOR _Albert Reiss_ - MAJOR DOMO _Max Bloch_ - HOUSEKEEPER _Marie Mattfeld_ - -This opera was produced at the Metropolitan Opera House in -commemoration of Shakespeare in 1916. It was first sung in Mannheim -in 1874, when it was known as "Die Widerspenstigen Zachmung." Mr. -Bodanzky came to conduct at the Metropolitan Opera House, from that -city, and the New York performance was perhaps the result of a -suggestion made by him. Widmann in his libretto brings into prominence -the wooing of _Bianca_ by rival suitors. This is done to give relief -to _Petruchio's_ blustering and to the exhibitions of temper by the -_Shrew_. The librettist also provides his own introduction which -includes the rival suitors, a chorus of angry servants, interested -women on the balcony, and _Petruchio's_ entrance. The second act -represents _Petruchio's_ tempestuous wooing. In the third _Bianca_ is -courted by _Lucentio_ as a tutor and _Hortensio_ as a musician. The -wedding party returns and _Petruchio_ makes his hasty exit bearing his -sulky bride. Servants and wedding guests provide an opportunity for -chorus music. The tailor is introduced and _Katharina_ is finally -tamed. - - -THE QUEEN OF SHEBA - - Opera in four acts: music by Karl Goldmark; text by G.H. - Mosenthal. Produced: Vienna, March 10, 1875. - - CHARACTERS - - KING SOLOMON _Baritone_ - BAAL HANAU, the palace overseer _Baritone_ - ASSAD _Tenor_ - THE HIGH PRIEST _Bass_ - SULAMITH, his daughter _Tenor_ - THE QUEEN OF SHEBA _Mezzo-Soprano_ - ASTAROTH, her slave _Soprano_ - - _Time_--Tenth Century B.C. - - _Place_--Jerusalem. - -Act I. In _Solomon's_ magnificent palace everybody is preparing for -the reception of the _Queen of Sheba_. But nobody is more delighted -than _Sulamith_, the daughter of the High Priest. _Assad_, who had -gone to meet the foreign queen, returns. Here he comes already into -the hall. But _Assad_, growing pale, draws back before his betrothed. -He confesses to _King Solomon_ that he has not yet seen the _Queen of -Sheba_ but at a certain well a wonderful woman favoured him with her -love and since then his mind has been confused. The King consoles the -young man by telling him that God will permit him to find her again. -Now the queen's train approaches; she greets _Solomon_ and unveils -herself. _Assad_ rushes toward her. What does the young man want of -her? She does not know him. - -Act II. The queen did not want to recognize _Assad_ but the woman in -her is consumed with longing for him. He comes and happy love unites -them. Then the scene changes and shows the interior of the Temple. The -wedding of _Assad_ and _Sulamith_ is about to be solemnized. Then, at -a decisive moment the queen appears, and _Assad_ throws the ring on -the floor and hurries to the queen as if the deceit were making a fool -of him. She has never seen him, she declares a second time. _Assad_, -however, who has offended the Almighty, has incurred the penalty of -death. In the meantime _Solomon_, who is examining the affair, defers -sentence. - -Act III. _Solomon_ is alone with the queen. She has one request to -make of him, that he shall release _Assad_. Why? He is nothing to her -but she wants to see whether the king has regard for his guest. And -_Solomon_ refuses the request of the deceitful woman who, breathing -vengeance, strides out of the palace. But when _Sulamith_ complains, -_Solomon_ consoles her. _Assad_ will shake off the unworthy chains. -Far away on the borders of the desert, she will find peace with -_Assad_. - -Act IV. Again the scene changes. On the border of the desert stands -the asylum of the young women consecrated to God in which _Sulamith_ -has found rest from the deceitful world. _Assad_ staggers hither; a -weary, banished man. And again the _Queen of Sheba_ appears before -him offering him her love. But he flees from the false woman for whom -he had sacrificed _Sulamith_, the noble one. A desert storm arises, -burying _Assad_ in the sand. When the sky becomes clear again -_Sulamith_, taking a walk with her maidens, finds her lover. She -pardons the dying man and points out to him the eternal joys which -they will taste together. - - -THE CRICKET ON THE HEARTH - - Opera in three acts, by Carl Goldmark, text by M. Willner, - after the story by Charles Dickens. Produced, Berlin, 1896; - in this country, 1910. - - CHARACTERS - - JOHN _Baritone_ - DOT, his wife _Soprano_ - MAY _Soprano_ - EDWARD PLUMMER _Tenor_ - TACKLETON _Basso_ - THE CRICKET _Soprano_ - - _Time_--Early Part of 19th Century. - - _Place_--An English Village. - -Act I. Room in _John's_ house. Invisible chorus of elves. To the -_Cricket_, the guiding spirit of the house, _Dot_ confides her secret. -She hopes soon to have a child. _May_, a pretty young girl, a -toymaker, is to be married the next day to _Tackleton_, her employer. -She bemoans her fate. She still loves _Edward Plummer_, who -disappeared several years before. After _May's_ departure _John_ -appears with _Edward_, disguised as a sailor, and is not recognized -either by _John_ or the villagers. - -Act II. A garden. _May_ and _Tackleton_ are supping together. _John_ -makes _Tackleton_ jealous of the stranger, _Edward_, who, seeing that -_May_ is only marrying _Tackleton_ because his wealth will save her -old foster-father from want, reveals his identity to _Dot_. -_Tackleton_ now makes _John_ jealous of _Edward_, but _John_ is lulled -to sleep by the _Cricket_, and dreams of himself as a happy father. - -Act III. _May_ resolves to be true to _Edward_. Recognizing him (after -his song, "Hulla, list to the Seas"), they drive off in _Tackleton's_ -carriage. _John_ is told of _Dot's_ secret. Reconciliation, with the -_Cricket_ chirping merrily. There is much pretty music (for instance, -the quintet on the hearth in the second act, and _Edward's_ song), -which, however, has not sufficed to keep the piece in the repertoire -in this country. - - -KNIGSKINDER - -KING'S CHILDREN - - Opera by Engelbert Humperdinck with a libretto by Ernst - Rosmer. The first performance on any stage was at the - Metropolitan Opera House, December 28, 1910, with the - following cast: - - DER KNIGSSOHN _Herman Jadlowker_ - DIE GANSEMAGD _Geraldine Farrar_ - DER SPIELMANN _Otto Goritz_ - DIE HEXE _Louise Homer_ - DER HOLZHACKER _Adamo Didur_ - DER BESENBINDER _Albert Reiss_ - ZWEI KINDER _Edna Walter and Lotta Engel_ - DER RATSALTESTE _Marcel Reiner_ - DER WIRT _Antonio Pini-Corsi_ - DIE WIRTSTOCHTER _Florence Wickham_ - DER SCHNEIDER _Julius Bayer_ - DIE STALLMAGD _Marie Mattfeld_ - ZWEI TORWACHTER _Ernst Maran and William Hinshaw_ - -[Illustration: Photo by White - -Farrar as the Goose Girl in "Knigskinder"] - -A king's daughter forced to act as a goose-girl in a forest, by an old -witch who has cast a spell upon her, is discovered and loved by a -king's son. Though she returned his love and would gladly go with him -she finds that she cannot break the spell which holds her a -prisoner in the forest. Leaving the crown at her feet the prince -continues his wanderings. No sooner has he gone than a broom-maker and -a wood-chopper guided by a wandering minstrel come to the witch's hut. -They are ambassadors from the city of Hellabrunn which has been so -long without a sovereign that the people themselves feel sadly in need -of a government. The ambassadors ask the witch who this ruler shall be -and by what signs the people may recognize him. The witch answers that -their ruler will be the first person who enters the gates of the city -after the bells have rung the hour of noon on the following day, which -is the day of the festival of Hella. The minstrel notices the -beautiful goose-girl and recognizes her to be of royal birth. He -breaks the spell of the witch and forces her to give the lovely maiden -into his keeping. He persuades her to break the enchantment and defy -the evil powers by which she has been bound. - -The prince, meanwhile, is at Hellabrunn, acting as a swineherd. The -innkeeper's daughter loves the handsome young man but he proudly -repulses her advances. He dreams of the goose-girl. The innkeeper's -daughter revenges herself by proclaiming him a thief. As he is about -to be led away to prison the bells announce the hour of the festival, -and the gates are thrown open in expectation of the new ruler. Through -the gates comes the goose-girl, wearing her wreath of flowers and -followed by her geese and the minstrel. The lovers embrace. But only -the minstrel and a little child recognize their royal rank. The -townspeople, thinking that their sovereign would appear in royal -regalia, drive the kings' children from the city, burn the witch, and -break the minstrel's leg on a wheel. - -The two lovers lose their way in a forest as the snow falls. They both -die of a poisoned loaf made by the witch. The children of Hellabrunn, -guided by a bird, find them buried under the same tree under which -they had first met. - - -HNSEL UND GRETEL - - A fairy opera in three acts. Music by Engelbert Humperdinck. - Book by Adelheid Wette. - -[Illustration: Copyright photo by Dupont - -Van Dyck and Mattfeld as Hnsel and Gretel] - -The first act represents the hut of a broom-maker. _Hnsel_ is binding -brooms and _Gretel_ is knitting. The children romp, quarrel, and make -up. When their mother, _Gertrude_, enters she is angry to see them -idle, but wishing to strike them, she upsets a pitcher of milk -instead. With all hope of supper banished she sends the children out -into the woods with little baskets to look for strawberries, while she -herself, bemoaning their poverty, sinks exhausted upon a chair and -falls asleep. A riotous song announces the approach of her husband, -drunk as usual. She is about to utter reproaches when she notices that -he has brought sausages, bread and butter, coffee--enough for a feast. -He tells her that he has had good luck at the Kirmes and bids her -prepare supper. When he asks for the children he is horrified to hear -that they have been sent into the woods, for a wicked fairy lives near -the Ilsenstein who entices children to bake them in her oven and -devour them. Both parents rush off in search of _Hnsel_ and _Gretel_. - -The second act takes place near the Ilsenstein. _Hnsel_ has filled -his basket with berries and _Gretel_ has made a wreath with which her -brother crowns her. Before they realise what they are doing the -children eat all the berries. Then they see that it is both too dark -to look for any more or to find their way home. _Gretel_ weeps with -fear. _Hnsel_ comforts her. They grow sleepy. The sandman sprinkles -sand into their eyes, but before going to sleep the children are -careful not to forget their evening prayer. Fourteen guardian angels -are seen descending the heavenly ladder to protect them. - -Morning comes with the third act. The dew fairy sprinkles dew on the -children. Suddenly they notice a little house made of cake and sugar. -They start to break off little bits when a voice cries out from within -and the witch opens the door. She throws a rope around _Hnsel's_ -throat, urging them both to enter. Frightened, they try to escape, but -after binding them with a magic spell she imprisons _Hnsel_ in a -kennel, [Transcriber's Note: missing 'and'] she forces _Gretel_ to go -into the house. - -When she believes _Hnsel_ to be asleep she turns her attention to the -oven, then rides around the house on her broom-stick. When she alights -she orders _Hnsel_ to show her his finger. But it is still thin and -the witch orders more food for him. While she turns her back, -_Gretel_, seizing the juniper bough, speaks the magic words and breaks -her brother's enchantment. Then the witch tells _Gretel_ to get into -the oven and see if the honey cakes are done. But _Gretel_ pretends to -be stupid and asks her to show her how to get in. Together the -children push the old witch into the oven and slam the door. The oven -soon falls to pieces. The children then see a row of boys and girls -standing stiffly against the house. _Gretel_ breaks the spell for them -as she had done for _Hnsel_. There is general rejoicing. _Gertrude_ -and _Peter_ now appear, the old witch is pulled out of the ruined oven -as gigantic honey cake and everyone on the stage joins in a hymn of -thanksgiving. - - -THE GOLDEN CROSS - - Opera in two acts. Music by Brll; text by H. Mosenthal, - after the French. Produced: Berlin, December 22, 1875. - - CHARACTERS - - GONTRAN DE L'ANERY, a young nobleman _Tenor_ - COLAS, an innkeeper _Baritone_ - CHRISTINE, his sister _Soprano_ - THRSE, his bride _Soprano_ - BOMBARDON, a sergeant _Bass_ - - _Time_--1812. - - _Place_--Melun, near Paris. - -Act I. The town of Melun is suffering heavily from the great campaign -which Napoleon is undertaking against Russia in 1812, so many of the -young men must take the field. Among the hardest hit are _Thrse_ and -_Christine_, the first a bride, the other a beloved sister. Their -_Colas_ has been taken away; if he can find no substitute he must go -to the war. _Sergeant Bombardon_, who is to take away the drafted men, -is already in town with his soldiers. At the same time as the -sergeant, a young nobleman, _Gontran de l'Anery_, arrives. He hears -that _Christine_ has promised her hand to the man who goes to war in -place of her brother. She will give him a golden cross and when he -brings it back will be his bride. But no one has the desire to expose -himself to the hazards of war. Then _Gontran_, seized by a violent -love, decides to take _Colas'_ place. Through the sergeant he sends -for the cross. _Christine_ does not know who has offered himself for -her brother. - -Act II. Three years have passed. In the house of the innkeeper -_Colas_, now as brave as before, having been wounded in battle with -the invading enemy, _Captain Gontran_ finds himself received as a -severely wounded person. He loves his nurse _Christine_ with all his -heart and she also is attached to him. He even has a claim upon her as -having been once a substitute for her brother, but he will not force -her affections, and besides, he no longer has "the golden cross." -_Christine_ too dares not follow her inclinations for, as _Gontran_ -tells her that it was he who went to the war, she would offend him -very much if she, true to her oath, should ask for the cross. This -also reappears. A cripple, in whom one would scarcely recognize the -former stalwart _Sergeant Bombardon_, is the bearer. _Christine's_ -heart nearly breaks, but she does not hesitate to keep her word. But -no! _Bombardon_ is not an impostor. He got the cross from a dying man. -Yet, who is this? Dare he trust his eyes? The man whom he believed -dead comes out of the house. It is _Gontran_. What happiness for the -two lovers! - - -VERSIEGELT - -SEALED IN - - Opera in one act after Raupach. Music by Blech. Words by - Richard Batka and Pordes-Milo. Produced: Hamburg, November - 4, 1908. - - CHARACTERS - - BRAUN, a burgomaster _Baritone_ - ELSE, his daughter _Soprano_ - FRAU GERTRUD, a young widow _Mezzo-Soprano_ - FRAU WILLMERS _Alto_ - BERTEL, her son, a court clerk _Tenor_ - LAMPE, a bailiff _Bass_ - - _Time_--1830. - - _Place_--A small German town. - -In the centre of the whole scene stands a sideboard. This same -sideboard belongs to _Frau Willmers_ who now comes running to the -apartment of the pretty young widow, _Gertrud_, with every sign of -agitation, to tell her that the bailiff, _Lampe_, intends to seize her -sideboard, an old and valuable heirloom. The burgomaster bears her ill -will because her son _Bertel_ has been casting eyes at his daughter -_Else_, and now takes occasion to inflict on her this disgrace. To -escape this she begs her lodger the favour of taking in the sideboard -for her. _Frau Gertrud_ is very willing. She has a grudge against the -burgomaster. He used to call on her almost every day, and _Frau -Gertrud_ allowed herself to hope that sometime she would become the -_Frau_ burgomistress. Nevertheless, she would very willingly -accelerate his decision. Scarcely is the sideboard, with the help of a -neighbour, happily installed at _Frau Gertrud's_ than _Bertel_, _Frau -Willmers'_ son and the burgomaster's daughter _Else_ enter. They have -made every effort to make the burgomaster kindly disposed but it was -in vain. But as the couple have decided not to give up each other, -they have come to _Frau Gertrud_ to beg her influence with the -burgomaster. When she thus receives confirmation of her suspicion of -the burgomaster's liking for her, she naturally is not averse to the -rle of matchmaker. Out of her beautiful dreams of the future the -young woman, left alone by her neighbours, is aroused by a knock. But -it is not the burgomaster, whom she secretly expected, but the -bailiff, _Lampe_. Loquacious, conceited, and intrusive, he begins by -telling her all his merits and his skill, brings greetings to the -widow, as the burgomaster has commissioned him. The sideboard seems to -him very suspicious. So now he will go only to _Frau Willmers'_ to -convince himself whether his suspicion is well founded. As soon as he -has gone the burgomaster comes. He also makes use of evasions and then -confides to his gentle friend the anxieties of a father. It grieves -him very much that his _Else_ loves this _Bertel_, son of his -bitterest enemy, who is now dead. _Frau Gertrud_, however, interests -her self bravely in favour of her protgs. Her remark that the -burgomaster surely has not a heart of stone, brings him nearer to -realizing his own condition. Instead of the children he now talks of -himself. First he is seeking for a sign that she means well by him -with her advice. Soon she has led him so far that he confesses his -love for her and begs a kiss. The twilight that has begun favours the -idyll. Then again comes the trouble-maker _Lampe_. Nothing worse can -happen to the couple than to be discovered by this gossiper. So the -burgomaster must hide in order to save his own and _Frau Gertrud's_ -reputation. But where? There is nothing better than the empty -sideboard. Scarcely has the somewhat corpulent burgomaster fortunately -concealed himself in it than _Lampe_ enters the apartment and, "In the -name of the authorities" seals up the sideboard. Unfortunately the -burgomaster in his hiding place finds himself not so quiet as caution -demanded. The sound does not escape _Lampe_ and his evil thoughts -scent here something very improper. Surely there is a lover concealed -in the sideboard, and he goes away with the malicious idea of finding -the burgomaster to tell him that _Frau Gertrud_ is not the right sort -of woman for him. But _Frau Gertrud_ is sure of her point and, as -_Bertel_ and _Else_ also come in with _Frau Willmers_, a plot is soon -concocted by the four so that the happiness of everybody will result -from this favourable accident. The two women leave the young couple -alone so that through a put-up game on the father everything will be -obtained. _Else_ plays the lovesick girl, _Bertel_ on the other hand -the virtuous one whose respect for the burgomaster knows no bounds. So -he refuses to accept _Else's_ love against the will of her father and -she, desperate, wants to run away when a voice proceeds from the -sideboard. Now the father and burgomaster must humbly beg of his clerk -that he take upon himself the offence of breaking the seal and letting -him out of the sideboard. Naturally, the first takes place after -_Else_ has dictated the marriage contract. The burgomaster, who at all -hazards must get out before _Lampe_ comes back, consents to -everything. _Bertel_ employs his profession in writing out the whole -contract and through a peephole in the sideboard the burgomaster has -to sign it before the door is finally opened to him. But he makes his -terms. In place of himself, _Bertel_ and _Else_ must enter the -sideboard. Naturally they do not hesitate long and they are for the -first time together undisturbed within it. The burgomaster has -concealed himself in the next room when the two women come back with a -gay company. (The following very indelicate passage, which endangers -all the sympathy of the audience for _Frau Gertrud_, might easily be -cut out.) _Frau Gertrud_ has brought people from a nearby shooters' -festival to show them the trapped burgomaster, evidently because she -believes her scheme more assured thus. All the greater is the -astonishment when the young couple step out of the opened sideboard. -But the burgomaster all of a sudden appears in the background. Then -_Frau Gertrud_ cleverly takes everything on herself. She had shut up -the young couple in it and had spread the report that the burgomaster -was concealed in it in order that he might be affected by it and could -no longer oppose the union of the two young people. Surely everything -is solved satisfactorily when _Lampe_ arrives with every sign of -agitation. He has not found the burgomaster, and _Else_ and the clerk -of the court have disappeared. The burgomaster must certainly have -been murdered by the clerk. _Lampe_ rages so long in the excessive -indignation of his official power that he himself is shut up in the -sideboard and the others, now undisturbed, seal their compact and -reseal it. - - -DER TROMPETER VON SKKINGEN - -THE TRUMPETER OF SKKINGEN - - Opera in three acts and a Prologue; music by Viktor E. - Nessler; text by Rudolf Bunge after Viktor von Scheffel's - poem with the same title. Produced: Leipzig, May 4, 1884. - - CHARACTERS - - WERNER KIRCHHOFER _Baritone_ - KONRADIN, a peasant _Bass_ - THE STEWART _Tenor_ - THE RECTOR _Bass_ - BARON VON SCHNAU _Bass_ - MARIA, his daughter _Soprano_ - COUNT VON WILDENSTEIN _Bass_ - HIS DIVORCED WIFE _Alto_ - DAMIAN, Count von Wildenstein's son _Tenor_ - -Prologue. In the Heidelberg palace courtyard there is a merry company -of students and peasants gathered in a drinking bout. The enthusiasm -for "Old Heidelberg the fine" and for the gay life of a cavalier takes -on such a noisy expression that the steward of the _Rector's_ wife -orders them to be quiet. _Werner Kirchhofer_, a law student, leaps on -a table, the peasant _Konradin_ lends him his trumpet and now there -echoes forth the sweet song "which once the Palsgrave Friedrich sang" -in honour of the "Palsgravin, the most beautiful of women." But the -_Rector_ and the Senate entertain other views of the nightly noise of -trumpets and the entire body of students is expelled. So they all seek -to become cavaliers. - -Act I. In Skkingen a great festival is being held, Fridolin's day. -Peasants from the suburbs have come to town for it. There is a -suspicious agitation among them. _Konradin_ who is now in the service -of the state has his hands full keeping order. What happiness when he -sees his old comrade _Werner_. But now as _Maria_, daughter of the -_Baron von Schnau_; together with her haughty aunt, the divorced wife -of _Count von Wildenstein_, arrive at the church, insurrection breaks -out. Who knows what the peasants would not have done to the ladies had -not _Werner_ as knightly protector sprung between them. Love at first -sight seized the two young people. (Change of scene.) Above in Schnau -castle the old baron is again tormented by chills. Serving as a means -of lessening his pain comes a letter from his brother-in-law, _Count -von Wildenstein_, who announces that he is coming to visit him. He has -a son, _Damian_, who would be just the right husband for _Schnau's_ -daughter _Maria_. Moreover that would be an opportunity to bring about -a reconciliation between the count and his divorced wife, none other -than _Maria's_ aunt. The marriage was dissolved and their son was once -stolen by gypsies. _Damian_ is a son of the second wife of _Count von -Wildenstein_, who is dead. Out of his pleasant thoughts about his -future son-in-law and protector of the castle in these evil days the -_Baron_ is frightened by the reports of his women about the uprising -of the peasants. In the praise that _Maria_ gives to the brave -trumpeter is echoed his playing from the Rhine to here. That stirs the -old baron like an elixir of youth in his bones. The trumpeter is -summoned and a look in _Maria's_ love-warmed eyes is enough for him to -accept the Baron's offer to become trumpeter of the castle. Of course -the proximity of the young people will not please the aunt. - -Act II. That they love each other both already long know but the -acknowledgment nevertheless would be very beautiful. But the old aunt -is always at hand especially at the music lessons which _Werner_ gives -to the young woman. A real piece of luck that _Konradin_ is coming -today to the castle to bring wine for the May festival. He knows how -to arrange it so that the old woman must go to the wine cellar. Now it -is all over with pride. _Maria_ lies in the arms of the humble -trumpeter. Unfortunately, the old aunt comes back. She is not moved by -their prayers, but tells all about it to the excited Baron. Nothing -helps, the trumpeter must leave the house. _Maria's_ bridegroom is -already chosen. At today's May festival he will take part. _Damian_ is -certainly stupid enough but that does not help the lovers. "Would to -God that it had not been so beautiful, would to God it had not been!" - -Act III. But _Damian_ is not only stupid, he is also a miserable -coward. That is shown as it now behooves him to defend _Baron von -Schnau's_ castle against the revolted peasants. The knights there -would have been lost had not relief suddenly come. It is _Werner_ who -arrives with a troop of country people. _Maria_ flees to her lover's -arms. But alas, he is wounded in the arm. And what is that? That mole? -The old _Countess Wildenstein_ recognizes in the trumpeter her son, -whom the gypsies once stole. Now naturally there is nothing in the way -of the union. Now "young _Werner_ is the happiest man" and who can -deny that "Love and trumpet sounds are very useful, good things." - - -DER EVANGELIMANN - -THE EVANGELIST - - Music-drama in two acts by Wilhelm Kienzl; text by the - composer after a tale by L.F. Meissner. Produced: Berlin, - May 4, 1895. - - CHARACTERS - - FRIEDRICH ENGEL _Bass_ - MARTHA, his niece _Soprano_ - MAGDALENA, her friend _Alto_ - JOHANNES FREUDHOFER, teacher at - St. Othmar's _Baritone_ - MATTHIAS FREUDHOFER, his brother, - actuary in a monastery _Tenor_ - ZITTERBART, a tailor and other artisans _Tenor_ - -Act I. The feelings in the breast of _Johannes Freudhofer_, the -teacher, do not correspond to the peaceful spectacle of the monastery -of the Benedictine Abbey of St. Othmar. He is filled with a savage -jealousy of his own brother, _Matthias_, who is actuary in the -monastery, because he sees that the affections of _Martha_, the -beautiful niece of _Engel_, the steward of the monastery, are denied -him. He thinks to injure his brother when he betrays the latter's love -to the haughty steward. And the latter actually dismisses _Matthias_ -from his office. But with this _Johannes_ has not attained his object. -For he himself can spy on them and see the two plighting eternal -faithfulness on his secret departure. So the treacherous man resolved -upon the complete ruin of the lovers. He sets fire to the monastery. -_Matthias_, who is tarrying in the arbour beside his sweetheart -hurries out to get help, but is seized by the other as the incendiary -out of revenge. - -Act II. Thirty years have elapsed. In the courtyard of a house in -Vienna, _Magdalena_ meets an evangelist in whom she recognizes -_Matthias_, the friend of her youth. She herself is here caring for -_Johannes_ who is ill. How has _Matthias_ become an evangelist? He -tells her his sad history. He had been sentenced to prison for twenty -years. When he had finished his punishment he learned that his -sweetheart _Martha_ out of grief had sought death in the water. Then -he had become a wandering, singing preacher. - -Second Part. In the sitting-room, _Johannes_ lies ill. But more than -pain disturbs his mind. Then he hears outside the voice of the -evangelist. _Magdalena_ must call him in. Without recognizing him -_Johannes_ tells his brother of the infamous action through which he -had ruined the other's life. And _Matthias_ not only preaches love but -practices it too. He forgives his brother who now can die in peace. - - -DER KUHREIGEN - -RANZ DES VACHES - - Music-drama in three acts; music by Wilhelm Kienzl; poem by - Richard Batka. - - CHARACTERS - - THE KING _Bass_ - MARQUIS MASSIMELLE, commandant _Bass_ - BLANCHEFLEUR, his wife _Soprano_ - CLEO, their lady at court _Mezzo-Soprano_ - CAPTAIN BRAYOLE _Tenor_ - PRIMUS THALLUS _Tenor_ - DURSEL (_Bass_) and under officers - in a Swiss regiment - FAVART, under-officer of Chasseurs _Baritone_ - DORIS, daughter of the keeper of a - canteen in the St. Honor barracks _Soprano_ - - _Time_--1792-3. - - _Place_--Paris and Versailles. - -Act I. Barracks of St. Honor. Under penalty of death the Swiss -soldiers have been forbidden to sing their native songs especially -the Kuhreigen or "Ranz des Vaches," because songs of their native land -always awakened homesickness and had led to desertions. But a quarrel -between _Primus Thallus_, of the Swiss, and _Favart_, of the -Chasseurs, excites the Swiss and they sing "In the fort at Strassburg" -(Zu Strassburg auf der Schanz) the song of the Swiss who became a -deserter through homesickness, the song which was forbidden by such a -severe decree, especially because it introduced the Kuhreigen or "Ranz -des Vaches." Then _Favart_ believed the moment had come to be able to -avenge himself. He quickly called an officer to hear the forbidden -song. The officer first wants to arrest all the Swiss, but _Primus -Thallus_ takes all the blame on himself; he is glad to prevent the -others being imprisoned. - -Act II. In the King's bedroom at Versailles the ceremony of the royal -levee is taking place. This medley of laughable ceremonial and the -practice of the highest refinement makes a sharp contrast with the -wild ferment and discontent among the people, of which, however, no -one hears anything in these rooms and will know nothing. So the -commandant _Massimelle_ is among those waiting because he has to lay -before the _King_ the death sentence on the unsubdued Swiss. Naturally -the _King_ thinks nothing about bringing an obsolete law into force -again, and leaves the decision to _Massimelle's_ wife, _Blanchefleur_. -She begs _Thallus's_ life for herself and wants to learn the fellow -manners in her service. Silly as are the thoughts of this whole -company, so also are those of _Blanchefleur_. Through a whim she has -obtained the release of the young Swiss, now she wants as a reward to -have diversion with him. The high authorities already are glad to play -shepherds and shepherdesses; what would happen if they could have a -real Swiss as a shepherd! _Cleo_, the court lady, is perfectly -delighted with the idea and awaits with enjoyment the play in which -_Primus Thallus_ shall appear with _Blanchefleur_. But the play takes -a serious turn, _Primus Thallus_ sees no joke in the thing. To him, -_Blanchefleur_ appears as the image of his dreams, and yet he knows -that this dream never can be a reality, at least not for a man to -whom, as to this Swiss, love is not merely a form of amusement in -life. So _Blanchefleur_ has to give up her shepherd's dream and let -_Primus Thallus_ withdraw. - -Act III. The earnest man is very quickly drawn in. In the ruined -dining-hall of the palace of _Massimelle_, the sans-culottes are -lodged. _Favart_, under whose direction the castle has been stormed, -is vexed at his report for which _Doris_, his sweetheart, and the -others with their wild drinking and quarrelling scarcely leave him the -possibility. By chance the half-drunken men discover a secret door. -They go down into the passage and drag out _Blanchefleur_ who had -concealed herself there. _Favart_ wants her to play for the men, but -he cannot prevail upon her to do it. With her graceful, distinguished -air she refuses to have anything to do with the dirty, uncivilized men -and smilingly allows herself to be condemned to death and led away to -the frightful prison of the Temple. Hardly has she gone than _Primus -Thallus_ enters. He has been promoted by the Directory to be a captain -as a reward because he has often been threatened with death by the -royalists. His great courage certainly makes an impression on these -savage troops, but as _Massimelle_ outside is being led to the -scaffold and he learns of the arrest of _Blanchefleur_ only one -thought rules him--to save the beautiful woman. - -The scene changes to the underground prison of the Temple. One can -hardly recognize the figure of _Primus Thallus_ who presents himself -here, but one must admit of these aristocrats that while they know how -to live laughingly they also know how to die with a smile. While -without the guillotine is fulfilling its awful task uninterruptedly, -they are dancing and playing here underneath as though these were -still the gayest days of the _King's_ delights at Versailles. In vain -_Primus Thallus_ uses all his eloquence to persuade _Blanchefleur_ to -flee or to give him her hand because then he could obtain a pardon. -She has only one reward for his faithfulness: a dance. Then when her -name is called she dances with a light minuet step to the scaffold. - - -LOBETANZ - - Opera in three acts; music by Ludwig Thuille; text by Otto - Julius Bierbaum. Produced: Carlsruhe, February 6, 1898. - - CHARACTERS - - LOBETANZ _Tenor_ - THE PRINCESS _Mezzo-Soprano_ - THE KING _Bass_ - THE FORESTER, the executioner, - the judge _Speaking parts_ - A TRAVELLING STUDENT _Tenor_ - -Act I. This play takes place somewhere and somewhen but begins in a -blooming garden in spring. And the most fragrant flowers in the garden -are the lovely girls that play in it. Take care, _Lobetanz_; take -care! Now that you have leaped over the wall into the garden, still -take care! You are a travelling singer, your clothes are tattered; but -you are a magnificent fellow and sing as only a bird can sing or a -fellow who knows nothing about the illness of the _Princess_. What is -the matter with her then? She no longer laughs as she once did, her -cheeks are pale, she no longer sings but sighs. "Alas!" Oh, the -maidens know what is the matter with her but no one asks the maidens. -The poet-laureate today at the festival of the Early Rose Day will -announce what is the matter with the child of the _King_. And the -_King_ is coming, the _Princess_ and the people. And the poets proudly -strut in and make known their wisdom. But that does not help. Now the -sound of a violin is heard. How the _Princess_ listens and now the -player comes before her and fiddles and sings and the maid revives. -Roses bloom on her cheeks; her eyes shine in looking at the violinist -who is singing of the morning in May when they kissed each other, -innocently dear, and played "bridegroom and bride." You must flee, -_Lobetanz_, flee; that is magic with which you are subduing the child -of the _King_. - -Act II. Spring has awakened your heart, you happy singer, and has -brought to life what was asleep deep within you. Now you may dream of -what will be. And see, she comes to you, the sick _Princess_, to be -restored to health by you. And she sits there by you in the branch of -a linden tree. But alas, alas! The _King_ and his hunting train are -suddenly there and all things have an end. - -Act III. In a dungeon sits the bird once so gay. For "dead, dead, dead -must he be and so slip with hurrahs into the infernal abode." And they -lead you to the gallows and tell you your sentence. And the _King_ and -the people, the envious singers and the _Princess_ sick unto death on -her bier are all there. Now choose your last present, you poor gallows -bird. So let me once more sing. And, "see, Oh see, how the delicate -face is covered with a rosy glow." He is singing her back to life, the -lovely _Princess_, until finally she flees to his arms: "Thou art -mine!" Now leave the gallows, there is a wedding today. "A great -magician is _Lobetanz_, let the couple only look, the gallows shine -with luck and lustre; spring has done wonders." - - -DER CORREGIDOR - -THE MAGISTRATE - - Opera in four acts; music by Hugo Wolf; text by Rosa - Mayreder-Obermayer. Produced: Mannheim, June 7, 1896. - - CHARACTERS - - THE CORREGIDOR (magistrate) _Tenor_ - DOA MERCEDES, his wife _Soprano_ - REPELA, his valet _Bass_ - TIO LUCAS, a miller _Baritone_ - FRASQUITA, his wife _Mezzo-Soprano_ - JUAN LOPEZ, the alcalde _Bass_ - PEDRO, his secretary _Tenor_ - MANUELA, a maid _Mezzo-Soprano_ - TONUELO, a court messenger _Bass_ - -Act I. The miller, _Tio Lucas_, is living a happy life with his -beautiful wife, _Frasquita_. Her love is so true that jealousy, to -which he is inclined, cannot thrive. Jealous? Yes, he has a bump of -jealousy. True, the _Corregidor_, who eagerly concerns him about the -miller's pretty wife, has one too. But no matter, he is a high, very -influential functionary. Meanwhile _Frasquita_ loves her _Tio Lucas_ -so truly that she can even allow herself a dance with the -_Corregidor_. Perhaps she will cure him so, perhaps she will obtain in -addition the wished-for official place for her nephew. The -_Corregidor_ too does not keep her waiting long and _Frasquita_ makes -him so much in love with her that he becomes very impetuous. Thereupon -he loses his balance and the worthy official falls in the dust, out of -which the miller, without suspecting anything, raises him up. But the -_Corregidor_ swears revenge. - -Act II. The opportunity for this comes very quickly. As the miller one -evening is sitting with his wife in their cozy room, there comes a -knock at the door. It is the drunken court messenger, _Tonuelo_, who -produces a warrant of arrest. _Tio Lucas_ must follow him without -delay to the alcalde who has lent himself as a willing instrument to -the _Corregidor_. _Frasquita_ is trying to calm her anxiety with a -song when outside there is a cry for help. She opens the door and -before it stands the _Corregidor_ dripping with water. He had fallen -in the brook. Now he begs admission from _Frasquita_ who is raging -with anger. He has also brought with him the appointment of the -nephew. But the angry woman will pay no attention and sends the -_Corregidor_ away from her threshold. Then he falls in a swoon. His -own servant now comes along. _Frasquita_ admits both of them to the -house and herself goes into town to look for her _Tio Lucas_. When the -_Corregidor_, awakened out of his swoon, hears this, full of anxiety, -he sends his valet after her; he himself, however, hangs his wet -clothes before the fire and goes to bed in the miller's bedroom. - -(Change of scene.) In the meantime _Tio Lucas_ has drunk under the -table the alcalde and his fine comrades and seizes the occasion to -flee. - -Act III. In the darkness of the night, _Tio Lucas_ and _Frasquita_ -pass by without seeing each other. The miller comes to his mill. -(Change of scene.) Everything is open. In the dust lies the -appointment of the nephew; before the fire hang the _Corregidor's_ -clothes. A frightful suspicion arises in _Tio Lucas's_ mind which -becomes certainty when through the keyhole he sees the _Corregidor_ in -his own bed. He is already groping for his rifle to shoot the seducer -and the faithless woman when another thought strikes him. The -_Corregidor_ also has a wife, a beautiful wife. Here the -_Corregidor's_ clothes are hanging. He quickly slips into them and -goes back to town. In the meantime the _Corregidor_ has awakened. He -wants to go back home now. But he does not find his clothes and so he -crawls into those of the miller. Thus he is almost arrested by the -alcalde who now enters with his companions and _Frasquita_. When the -misunderstanding is cleared up, they all go with different feelings -into the town after the miller. - -Act IV. Now comes the explanation and the punishment of the -_Corregidor_, at least in so far as he receives a sound thrashing and -becomes really humbled. In reality the miller also has not yet had his -"revenge," but he is recognized and likewise is beaten blue. That he -must suffer in reparation for his doubt of the faithful _Frasquita_, -and he hears it willingly for they have now come to a good -understanding about everything. - - - - -Richard Strauss - - -Richard Strauss was born at Munich, June 11, 1864. His father, Franz -Strauss, was a distinguished horn player in the Royal Opera orchestra. -From him Richard received rigid instruction in music. His teacher in -composition was the orchestral conductor, W. Meyer. At school he wrote -music on the margins of his books. He was so young at the first public -performance of a work by him, that when he appeared and bowed in -response to the applause, someone asked, "What has that boy to do with -it?" "Nothing, except that he composed it," was the reply. - -Strauss is best known as the composer of many beautiful songs and of -the orchestral works _Tod und Verklaerung_ (Death and Transfiguration), -and _Till Eulenspiegel's Lustige Streiche_ (Till Eulenspiegel's Merry -Pranks). The latter is a veritable _tour de force_ of orchestral -scoring and a test of the virtuosity of a modern orchestra. _Thus -Spake Zarathustra_, _Don Quixote_, and _Ein Heldenleben_ (A Hero's -Life) are other well-known orchestral works by him. They are of large -proportions. To the symphony, and the symphonic poem, Strauss has -added the tone poem as a form of instrumental music even freer in its -development than the symphonic poem, which was Liszt's legacy to -music. - - -FEUERSNOT - -FIRE FAMINE - - Opera in one act. Music by Richard Strauss; text by Ernst - von Wolzogen. Produced: Dresden, November 21, 1901. - - CHARACTERS - - SCHWEIKER VON GUNDELFINGEN, keeper of - the castle _Tenor_ - ORTOLF SENTLINGER, burgomaster _Bass_ - DIEMUT, his daughter _Soprano_ - KUNRAD, the leveller _Baritone_ - - _Time_--13th Century. - - _Place_--Munich. - -The action takes place in Munich on the day of the winter solstice in -olden times. At the time of the representation the twelfth century has -just passed. A big crowd of children, followed by grown-ups, is going -in whimsical wantonness from house to house to collect wood for the -solstitial fire ("Subendfeuer"). After they have collected rich booty -at the burgomaster's they go over to the house opposite. It appears -strangely gloomy. Shutters and doors are closed as though it were -empty. Yet a short time ago young _Herr Kunrad_ lived there. It is his -legal inheritance and property, a legacy from his ancestor who was an -"excellent sorcerer" and now taken possession of after a long absence. -Nevertheless, the superstition of the masses had been much concerned -with the house. The most reasonable was that its occupant was a -strange fellow, the majority thought him a gloomy magician. In reality -the young man sat in the house poring over books. The noise of the -children calls him forth. When he hears that it is the solstice, the -great festival of his profession, an agitation seizes him in which he -tells the children to take away all the wood from his house. This -destruction stirs the townsmen but _Kunrad_ is so struck at sight of -_Diemut_, who seems to him like a revelation of life, that he dashes -through the townsmen and kisses the girl on the mouth. The agitation -of the townsmen is silenced sooner than _Diemut's_ who plans revenge -for this outrage. - -Now the townsmen are all out of doors on account of the solstitial -holiday. But in _Kunrad's_ heart the promptings of love are blazing -like a fire. A mad longing for _Diemut_ seizes him, and as she now -appears on her balcony he begs for her love with warm words. The spark -has also been well kindled in her heart, but still she only thinks of -revenge. So she lures him toward the side street where the order -basket still stands on the ground. _Kunrad_ steps into it and _Diemut_ -hauls him upward. But halfway up she lets him hang suspended. So -_Kunrad_ becomes a laughing-stock for the townsmen returning home. -Then a fearful rage seizes upon him; he makes use of his magic art: -"May an ice-cold everlasting night surround you because you have -laughed at the might of love." Every light is extinguished and a deep -darkness covers the town and its inhabitants. Now _Kunrad_ from the -balcony, addresses the townsmen, furious with rage in a speech filled -with personal references whose basic idea is that the people always -recognize and follow their great masters. So they have sadly mistaken -his purpose and the maid whom he had chosen had mocked him. For -punishment their light is now extinguished. Let all the warmth leave -the women, all the light of love depart from ardent young maidens, -until the fire burns anew. Now the tables are turned. All recognize in -_Kunrad_ a great man. In their self-reproaches are mingled complaints -about the darkness and an imploring cry to _Diemut_ by her love to -make an end of the lack of fire. But _Diemut_ in the meantime has -changed her mind; love in her too gets the upper hand as the sudden -rekindling of every light makes known. - - -GUNTRAM - - Music-drama in three acts: music and words by Richard - Strauss. Produced: Weimar, May 10, 1894. - - CHARACTERS - - THE OLD DUKE _Bass_ - FREIHILD, his daughter _Soprano_ - DUKE ROBERT, her betrothed _Baritone_ - GUNTRAM, a singer _Tenor_ - FRIEDHOLD, a singer _Bass_ - THE DUKE'S CLOWN _Tenor_ - - _Time_--Thirteenth Century. - - _Place_--A German duchy. - -Act I. _Guntram_ has been brought up to manhood as pupil of the -religious knightly Band of the Good. This band has set for itself the -realization of the Christian idea of love for the soul. The brotherly -union of all men, who shall be brought through love to world peace is -the aim of the band, the noble art of song its means of obtaining -recruits. _Guntram_ seems to his teacher _Friedhold_ ready for the -great work and so he is assigned to a difficult task. The _Old Duke_ -has given the hand of his daughter _Freihild_, and also his estate, to -_Duke Robert_. The latter, the only one of the powerful tyrants left, -through his oppression had so stirred up the peaceful people that they -rose against his rule. Then he had put down the rising cruelly and had -burdened the unfortunate people so heavily that they were thinking of -leaving their homes. _Freihild_ most deeply sympathizes with the -people and had given her hand to the _Duke_ only unwillingly, and she -seeks in the happiness of the people consolation for her loveless -life. But the _Duke_ has forbidden her this work of love and she seeks -release from life in a voluntary death in the waters of the lake. -_Guntram_ rescues her. The _Old Duke_, out of gratitude for saving his -daughter, promises pardon to the rebels and invites the singer to the -feast that is to be given in the ducal palace in celebration of the -putting down of the rebellion. - -Act II. At the festive banquet _Guntram_, relying upon the power of -the thought of love as presented by him, will make use of the occasion -to win the _Duke's_ heart for peace. The _Duke_, whose _clown_ has -just irritated him, in a rage interrupts _Guntram_. But the latter is -protected by the vassals all of whom at heart are angry at the cruel -ruler. When a messenger brings news of a new revolt, a vote is taken -and they all decide for war. Then _Guntram_ reminds them anew of peace -in inspired songs. In a rage the _Duke_ scorns him as a rebel, -assaults him and, after a brief wrestle, _Guntram_ strikes down the -tyrant. Then the _Old Duke_ has him thrown into a dungeon and goes off -with the vassals to put down the rebellion again. But _Freihild_, -whose heart is inflamed with love for the bold, noble singer, -conspires with the _clown_ to save him and flee with him. - -Act III. In the gloomy dungeon in which _Guntram_ is awaiting his -punishment, the young hero has plenty of leisure to meditate on his -deeds and their motives. The Band of the Good has sent _Friedhold_ to -him in order that he may ask of him an account of his sinful deed. For -such an act is considered as murder in every case. _Guntram_ feels -that he is not guilty in the opinion of the Band but is self-convicted -in the opinion of the highest humanity. For he cannot conceal from -himself that the passionate love for _Freihild_, wife of the _Duke_, -which burns in his heart, led him to his deed. Therefore, he can -certainly reject the reproach of the Band, but he charges himself with -renunciation as expiation for his deed. He has taught himself that -true freedom cannot be attained unless it is acquired by one's own -power and victory over one's self. So the Band of the Good is caught -in an error and _Guntram_ renounces his connection with them. But -_Freihild_, who has succeeded to the duchy since the _Old Duke_ has -fallen on the field, he refers to the godly message which calls her to -promote the happiness of the people. In this noble task she will find -indemnification for the personal sacrifice of her lost love. The -singer withdraws thence into solitude. - - -SALOME - - Opera in one act by Richard Strauss; words after Oscar - Wilde's poem of the same title, translated into German by - Hedwig Lachmann. Produced at the Court Opera, Dresden, - December 9, 1905. Metropolitan Opera House, New York, 1907, - with Olive Fremstad; Manhattan Opera House, New York, with - Mary Garden. - - CHARACTERS - - HEROD ANTIPAS, Tetrarch of Judea _Tenor_ - HERODIAS, wife of Herod _Mezzo-Soprano_ - SALOME, daughter of Herodias _Soprano_ - JOKANAAN (John the Baptist) _Baritone_ - NARRABOTH, a young Syrian, Captain of - the Guard _Tenor_ - A PAGE _Alto_ - - A young Roman, the executioner, five Jews, two Nazarenes, - two soldiers, a Cappadocian and a slave. - - _Time_--About 30 A.D. - - _Place_--The great terrace in the palace of Herod at - Tiberias, Galilee, the capital of his kingdom. - -On the great terrace of _Herod's_ palace, off the banquet hall, is his -body-guard. The ardent looks of the young captain, _Narraboth_, a -Syrian, are directed toward the banquet hall where _Salome_ is seated. -In vain the _Page_, who is aware of the neurotic taint in the woman, -warns him. The young captain is consumed with ardent desires. - -The night is sultry. The soldiers' talk is interrupted by the sounds -from the hall. Suddenly there is heard a loud and deep voice, as from -a tomb. Dread seizes even upon the rough soldiers. He who calls is a -madman according to some, a prophet according to others, in either -case, a man of indomitable courage who with terrifying directness of -speech brings the ruling powers face to face with their sins and bids -them repent. This is _Jokanaan_. His voice sounds so reverberant -because it issues from the gloomy cistern in which he is held a -captive. - -Suddenly _Salome_, in great commotion, steps out on the terrace. The -greedy looks with which the _Herod_, her stepfather, has regarded her, -as well as the talk and noisy disputes of the gluttons and degenerates -within have driven her out. In her stirs the sinful blood of her -mother, who, in order that she might marry _Herod_, slew her husband. -Depraved surroundings, a court at which the satiating of all desires -is the main theme of the day, have poisoned her thoughts. She seeks -new pleasures, as yet untasted enjoyments. Now, as she hears the voice -of the _Prophet_, there arises in her the lust to see this man, whom -she has heard her mother curse, because he has stigmatized her shame, -and whom she knows the Tetrarch fears, although a captive. What she -desires is strictly forbidden, but _Narraboth_ cannot resist her -blandishments. The strange, gloomy figure of the _Jokanaan_, -fantastically noble in the rags of his captivity, stirs _Salome's_ -morbid desires. Her abandoned arts are brought into full play in her -efforts to tempt him, but with the sole result that he bids her do -penance. This but adds fuel to the flame. When _Narraboth_, in despair -over her actions, kills himself on his own sword, she does not so much -as notice it. Appalled by the wickedness of the young woman, the -_Prophet_ warns her to seek for the only one in whom she can find -redemption, the Man of Galilee. But realizing that his words fall on -deaf ears, he curses her, and retreats into his cistern. - -[Illustration: Copyright photo by Mishkin - -Mary Garden as Salome] - -_Herod_, _Herodias_, and their suite come out on the terrace. _Herod_ -is suffering under the weight of his crimes, but the infamous -_Herodias_ is as cold as a serpent. _Herod's_ sinful desire for his -stepdaughter is the only thing that can stir his blood. But _Salome_ -is weary and indifferent; _Herodias_ full of bitter scorn for him and -for her daughter. Against the _Prophet_, whose voice terrifies the -abandoned gatherings at table, her hatred is fierce. But _Herod_ -stands in mysterious awe of the _Prophet_. It is almost because of his -dread of the future, which _Jokanaan_ proclaims so terribly, that -_Herod_ asks as a diversion for _Salome's_ dance in order that life -may flow warm again in his chilled veins. _Salome_ demurs, until he -swears that he will grant any request she may make of him. She then -executes the "Dance of the Seven Veils," casting one veil after -another from her. _Herod_ asks what her reward shall be. In part -prompted by _Herodias_, but also by her own mad desire to have -vengeance for her rejected passion, she demands the head of the -_Prophet_. _Herod_ offers her everything else he can name that is most -precious, but _Salome_ refuses to release him from his promise. The -executioner descends into the cistern. _Jokanaan_ is slain and his -severed head presented to _Salome_ upon a silver charger. Alive he -refused her his lips. Now, in a frenzy of lust, she presses hers upon -them. Even _Herod_ shudders, and turns from her revolted. "Kill that -woman!" he commands his guards, who crush her under their shields. - -Regarding the score of "Salome," Strauss himself remarked that he had -paid no consideration whatever to the singers. There is a passage for -quarrelling Jews that is amusing; and, for a brief spell, in the -passage in which _Salome_ gives vent to her lust for _Jokanaan_, the -music is molten fire. But considered as a whole, the singers are like -actors, who intone instead of speaking. Whatever the drama suggests, -whatever is said or done upon the stage--a word, a look, a gesture--is -minutely and realistically set forth in the orchestra, which should -consist of a hundred and twelve pieces. The real musical climax is -"The Dance of the Seven Veils," a superb orchestral composition. - -Strauss calls the work a drama. As many as forty motifs have been -enumerated in it. But they lack the compact, pregnant qualities of the -motifs in the Wagner music-dramas which are so individual, so -melodically eloquent that their significance is readily recognized not -only when they are first heard, but also when they recur. -Nevertheless, the "Salome" of Richard Strauss is an effective work--so -effective in the setting forth of its offensive theme that it was -banished from the Metropolitan Opera House, although Olive Fremstad -lavished her art upon the title rle; nor have the personal -fascination and histrionic gifts of Mary Garden been able to keep it -alive. - -At the Metropolitan Opera House, then under the direction of Heinrich -Conried, it was heard at a full-dress rehearsal, which I attended, and -at one performance. It was then withdrawn, practically on command of -the board of directors of the opera company, although the initial -impulse is said to have come from a woman who sensed the brutality of -the work under its mask of "culture." - - -ELEKTRA - - Opera in one act by Richard Strauss; words by Hugo von - Hofmannsthal. Produced: Dresden, January 25, 1909. Manhattan - Opera House, New York, in a French version by Henry - Gauthier-Villars, and with Mazarin as _Elektra_. - - CHARACTERS - - CLYTEMNESTRA, wife of _Aegisthus_ _Mezzo-Soprano_ - ELEKTRA } her daughters by the { _Soprano_ - CHRYSOTHEMIS } murdered king Agamemnon { _Soprano_ - AEGISTHUS _Tenor_ - ORESTES _Baritone_ - - Preceptor of _Orestes_, a confidant, a train bearer, an - overseer of servants, five serving women, other servants, - both men and women, old and young. - - _Time_--Antiquity. - - _Place_--Mycenae. - -Storck, in his _Opera Book_, has this to say of Von Hofmannsthal's -libretto: "The powerful subject of the ancient myth is here dragged -down from the lofty realm of tragedy, to which Sophocles raised it, to -that of the pathologically perverse. With a gloomy logic the strain of -blood-madness and unbridled lust is exploited by the poet so that the -overwhelming effect of its consequences becomes comprehensible. None -the less, there is the fact, of no little importance, that through its -treatment from this point of view, a classical work has been dragged -from its pedestal." - -The inner court of the palace in Mycenae is the scene of the drama. -Since _Clytemnestra_, in league with her paramour, _Aegisthus_, has -compassed the murder of her husband, _Agamemnon_, her daughter -_Elektra_ lives only with the thought of vengeance. She exists like a -wild beast, banished from the society of human beings, a butt of -ridicule to the servants, a horror to all, only desirous of the blood -of her mother and _Aegisthus_ in atonement for that of her father. The -murderers too have no rest. Fear haunts them. - -_Elektra's_ sister, _Chrysothemis_, is entirely unlike her. She craves -marriage. But it is in a disordered way that her desire for husband -and child is expressed. _Clytemnestra_ also is morbidly ill. Deeply -she deplores her misdeed, but for this very reason has completely -surrendered herself to the unworthy _Aegisthus_. So frightfully do her -dreams torment her that she even comes to seek help from the hated -Elektra in her hovel in the inner court. It is the latter's first -triumph in all her years of suffering. But it is short-lived, for -_Clytemnestra_ mocks her with the news that _Orestes_ has died in a -distant land. A terrible blow this for _Elektra_, who had hoped that -_Orestes_ would return and wreak vengeance on the queen and -_Aegisthus_. Now the daughters must be the instruments of vengeance. -And as _Chrysothemis_, shocked, recoils from the task, _Elektra_ -determines to complete it alone. She digs up in the courtyard the very -axe with which her father was slain and which she had buried in order -to give it to her brother on his return. - -But the message regarding the death of _Orestes_ was false. It was -disseminated by her brother in order to allay the fears of the -murderers of his father and put them off their guard. The stranger, -who now enters the court, and at first cannot believe that the -half-demented woman in rags is his sister, finally is recognized by -her as _Orestes_, and receives from her the axe. He enters the palace, -slays _Clytemnestra_ and, upon the return of _Aegisthus_, pursues him -from room to room and kills him. _Elektra_, her thirst for vengeance -satisfied, under the spell of a blood-madness, dances, beginning -weirdly, increasing to frenzy, and ending in her collapse, dead, upon -the ground, where, since her father's death, she had grovelled waiting -for the avenger. - -As in "Salome," so in "Elektra" there is a weft and woof of leading -motifs which, lacking the compactness, firmness, and unmistakable -_raisons d'tre_ of the leading motives in the Wagner music-dramas, -crawl, twist, and wind themselves in spineless convolutions about the -characters and the action of the piece. In "Salome" the score worked -up to one set climax, the "Dance of the Seven Veils." In "Elektra" -there also is a set composition. It is a summing up of emotions, in -one eloquent burst of song, which occurs when _Elektra_ recognizes -_Orestes_. It may be because it came in the midst of so much cacophony -that its effect was enhanced. But at the production of the work in the -Manhattan Opera House, it seemed to me not only one of Strauss's most -spontaneous lyrical outgivings, but also one of the most beautiful I -had ever heard. Several times every year since then, I have been -impelled to go to the pianoforte and play it over, although forced to -the unsatisfactory makeshift of playing-in the voice part with what -already was a pianoforte transcription of the orchestral -accompaniment. - -Mme. Schumann-Heink, the _Clytemnestra_ of the original production in -Dresden, said: "I will never sing the rle again. It was frightful. We -were a set of mad women.... There is nothing beyond 'Elektra.' We have -lived and reached the furthest boundary in dramatic writing for the -voice with Wagner. But Richard Strauss goes beyond him. His singing -voices are lost. We have come to a full stop. I believe Strauss -himself sees it."--And, indeed, in his next opera, "Der -Rosenkavalier," the composer shows far more consideration for the -voice, and has produced a score in which the melodious elements are -many. - - -DER ROSENKAVALIER - -THE KNIGHT OF THE ROSE - - Opera in three acts by Richard Strauss; words by Hugo von - Hofmannsthal. Produced: Royal Opera House, Dresden, January - 26, 1911; Covent Garden, London, January 1, 1913; - Metropolitan Opera House, New York, by Gatti-Casazza, - December 9, 1913, with Hempel (_Princess Werdenberg_), Ober - (_Octavian_), Anna Case (_Sophie_), Fornia (_Marianne_), - Mattfeld (_Annina_), Goritz (_Lerchenan_), Weil (_Faninal_), - and Reiss (_Valzacchi_). - - CHARACTERS - - BARON OCHS of Lerchenan _Bass_ - VON FANINAL, a wealthy parvenu, - recently ennobled _Baritone_ - VALZACCHI, an intriguer _Tenor_ - OCTAVIAN, Count Rofrano, known as - "Quin-Quin" _Mezzo-Soprano_ - PRINCESS VON WERDENBERG _Soprano_ - SOPHIE, daughter of _Faninal_ _Soprano_ - MARIANNE, duenna of _Sophie_ _Soprano_ - ANNINA, companion of _Valzacchi_ _Alto_ - - A singer (_tenor_), a flutist, a notary, commissary of - police, four lackeys of _Faninal_, a master of ceremonies, - an innkeeper, a milliner, a noble widow and three noble - orphans, a hairdresser and his assistants, four waiters, - musicians, guests, two watchmen, kitchen maids and several - apparitions. - - _Time_--Eighteenth century during the reign of Maria - Theresa. - - _Place_--Vienna. - -[Illustration: Photo by White - -Hempel as the Princess and Ober as Octavian in "Der Rosenkavalier"] - -With the exception of Humperdinck's "Hnsel und Gretel," "Der -Rosenkavalier," by Richard Strauss, is the only opera that has come -out of Germany since the death of Wagner, which has appeared to secure -a definite hold upon the repertoire. Up to the season of 1917-18, when -it was taken out of the repertoire on account of the war in Europe, -it had been given twenty-two times at the Metropolitan Opera House, -since its production there late in 1913. - -The work is called a "comedy for music," which is mentioned here -simply as a fact, since it makes not the slightest difference to the -public what the composer of an opera chooses to call it, the proof of -an opera being in the hearing just as the proof of a pudding always is -in the eating. So far it is the one opera by Richard Strauss which, -after being heralded as a sensation, has not disappeared through -indifference. - -To those who know both works, the libretto of "Der Rosenkavalier" -which has been violently attacked, goes no further in suggestiveness -than that of "Le Nozze di Figaro." But it is very long, and -unquestionably the opera would gain by condensation, although the -score is a treasure house of orchestration, a virtuosity in the choice -of instruments and manner of using them which amounts to inspiration. -An examination of the full orchestral score shows that 114 instruments -are required, seventeen of them for an orchestra on the stage. The -composer demands for his main orchestra 32 violins, 12 violas, 10 -violoncellos, 8 double basses, 3 flutes, 3 oboes, 2 clarinets, 1 bass -clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, 1 tuba, 2 -harps, glockenspiel, triangle, bell, castanets, tympani, side and bass -drums, cymbals, celeste, and rattle. A small orchestra for the stage -also requires 1 oboe, 1 flute, 2 clarinets, 2 horns, 2 bassoons, 1 -trumpet, 1 drum, harmonium, piano, and string quintet. - -"Der Rosenkavalier" also contains melodious phrases in number and -variety, which rarely permit the bearer's interest to flag. Waltz -themes abound. They are in the manner of Johann Strauss and Lanner. It -is true that these composers flourished much later than the rococo -period in which the opera is laid, but just as it makes no difference -what a composer calls an opera, so it makes no difference whether he -indulges in anachronisms or not. Gavottes, etc., would have been more -in keeping with the period, but the waltz themes served Strauss's -purpose far better and are introduced with infinite charm. They give -the work that subtle thing called atmosphere, and play their part in -making passages, like the finale to the second act, the most -significant music for the stage of opera that has been penned in the -composer's country since Wagner. They also abound in the scene between -_Octavian_ and _Lerchenan_ in the third act. - -Act I. Room in the _Princess von Werdenberg's_ palace. Morning. The -curtain rises after an impassioned orchestral introduction which is -supposed to depict _risqu_ incidents of the previous night suggested -by the stage directions. These directions were not followed in the -production made at the Metropolitan Opera House. Not only did their -disregard show respect for the audience's sense of decency, it in no -way interfered with the success of the work as a comedy set to music. - -_Octavian_, a handsome youth, is taking a passionate leave of the -_Princess_, whose husband, a Field Marshal, is away on military duty. -_Octavian_ is loath to go, the _Princess_, equally loather to have him -depart. For the _Princess_ cannot conceal from herself that in spite -of _Octavian's_ present love for her, the disparity in their ages soon -will cause him to look to women younger than herself for love. - -There is a commotion beyond the door of the _Princess's_ suite of -rooms. One of her relatives, the vulgar _Baron Ochs von Lerchenan_, -wishes to see her. The servants remonstrate with him that the hour is -much too early, but he forces his way in. Taking alarm, and in order -to spare the _Princess_ the scandal of having him discovered with her, -_Octavian_ escapes into an inner room where he disguises himself in -the attire of a chambermaid, a rle which his youthful, beardless -beauty enables him to carry out to perfection. - -_Von Lerchenan_ has come to inquire of the _Princess_ if, as she -promised, she has sent a Knight of the Rose with an offer of his hand -to _Sophie_, daughter of the wealthy, recently ennobled _Herr von -Faninal_. A Knight of the Rose was chosen at that period as a suitor -by proxy to bear a silver rose, as a symbol of love and fidelity, to -the lady of his principal's choice. Unfortunately the _Princess's_ -passion for _Octavian_ has entirely diverted her thoughts from -_Lerchenan's_ commission. He, however, consoles himself by flirting -with the pretty chambermaid, _Octavian_, whose assumed coyness, -coupled with slyly demure advances, charms him. Before this, however, -he has lost his temper, because he has been unable to engage the -_Princess's_ attention amid the distractions provided by her morning -levee, at which she receives various petitioners--a singer, -_Valzacchi_, and _Annina_, who are Italian intriguers, three noble -orphans, and others. This levee, together with the love intrigues and -the looseness of manners and morals indicated by the plot, is supposed -in a general way to give to the piece the tone of the rococo period in -which the story is laid. The scene is a lively one. - -_Lerchenan_ is appeased not only by the charms of the supposed -chambermaid, who waits on the _Princess_ and her relative at -breakfast, but also because he is so eager to make a rendezvous with -her. _Octavian_ in his disguise understands so well how to lead -_Lerchenan_ on without granting his request, that he forgets the cause -of his annoyance. Moreover the _Princess_ promises that she presently -will despatch a Knight of the Rose to the daughter of the wealthy -_Faninal_ whose wealth, of course, is what attracts _Lerchenan_. The -_Princess_ chooses _Octavian_ to be the Knight of the Rose. Later she -regrets her choice. For after the handsome youth has departed on his -mission, and she is left alone, she looks at herself in the glass. -She is approaching middle age, and although she still is a handsome -woman, her fear that she may lose _Octavian_, to some younger member -of her sex, cannot be banished from her thoughts. - -Act II. Salon in the house of _Herr von Faninal_. This lately ennobled -_nouveau rich_ considers it a great distinction that the _Baron von -Lerchenan_, a member of the old nobility, should apply for the hand of -his daughter. That the _Baron_ only does it to mend his broken -fortunes does not worry him, although his daughter _Sophie_ is a sweet -and modest girl. Inexperienced, she awaits her suitor in great -agitation. Then his proxy, _Octavian_, comes with the silver rose to -make the preliminary arrangements for his "cousin," _Baron von -Lerchenan_. _Octavian_ is smitten with the charms of the girl. She, -too, is at once attracted to the handsome young cavalier. So their -conversation imperceptibly has drifted into an intimate tone when the -real suitor enters. His brutal frankness in letting _Sophie_ -comprehend that he is condescending in courting her, and his rude -manners thoroughly repel the girl. _Octavian_ meanwhile is boiling -with rage and jealousy. The girl's aversion to the _Baron_ increases. -The two men are on the point of an outbreak, when _Lerchenan_ is -called by a notary into an adjoining room where the marriage contract -is to be drawn up. _Sophie_ is shocked at what she has just -experienced. Never will it be possible for her to marry the detested -_Baron_, especially since she has met the gallant _Octavian_. The two -are quick in agreeing. _Sophie_ sinks into his arms. - -At that moment there rush out from behind the two large chimney pieces -that adorn the room, the intriguers, _Valzacchi_ and his companion -_Annina_, whom _Lerchenan_ has employed as spies. Their cries bring -the _Baron_ from the next room. The staff of servants rushes in. -_Octavian_ tells the _Baron_ of _Sophie's_ antipathy, and adds taunt -to taunt, until, however reluctant to fight, the _Baron_ is forced to -draw his sword. In the encounter _Octavian_ lightly "pinks" him. The -_Baron_, a coward at heart, raises a frightful outcry. There ensues -the greatest commotion, due to the mix-up of the servants, the doctor, -and the rage of _Faninal_, who orders _Sophie_ to a convent when she -positively refuses to give her hand to _Lerchenan_. The latter, -meanwhile, rapidly recovers when his wound has been dressed and he has -drunk some of _Faninal's_ good wine. - -_Octavian_ is determined to win _Sophie_. For that purpose he decides -to make use of the two intriguers, who are so disgusted by the -niggardly pay given them by the _Baron_, that they readily fall in -with the plans of the brilliant young cavalier. After the crowd has -dispersed and the _Baron_ is alone for a moment, _Annina_ approaches -and hands him a note. In this the _Princess's_ chambermaid promises -him a rendezvous. _Lerchenan_ is delighted over the new conquest he -believes himself to have made. - -Act III. A room in an inn near Vienna. With the help of _Valzacchi_ -and _Annina_, who are now in the service both of the _Baron_ and of -_Octavian_, but are more prone to further the latter's plans because -he pays them better, _Octavian_ has hired a room in an inn. This room -is fitted up with trapdoors, blind windows and the like. Here, at the -suggestion of the intriguers, who have the run of the place and know -to what uses the trick room can be put, _Lerchenan_ has made his -rendezvous for the evening with the pretty chambermaid. _Octavian_, in -his girl's clothes, is early at the place. - -Between the _Baron_ and the disguised _Octavian_, as soon as they are -alone, a rude scene of courtship develops. _Octavian_ is able to hold -him off skilfully, and gradually there is unfolded the mad web of -intrigue in which the _Baron_ is caught. Strange figures appear at the -windows. _Lerchenan_, ignorant, superstitious, thinks he sees ghosts. -Suddenly what was supposed to be a blind window, bursts open, and a -woman dressed in mourning rushes in. It is the disguised intriguante, -_Annina_, who claims to be the deserted wife of _Lerchenan_. Innkeeper -and servants hurry in. The clamour and confusion become more and more -frantic. Finally the _Baron_ himself calls for the police, without -thinking what a "give away" it may be for himself. When the Commissary -of Police arrives, to save his face, he gives out that his companion, -the supposed chambermaid, is his affianced, _Sophie von Faninal_. -That, however, only adds to the confusion, for _Octavian's_ -accomplices have sought out _Faninal_ and invited him on behalf of the -_Baron_ to come to the inn. In his amazement the _Baron_ knows of no -other way out of the dilemma save to act as if he did not know -_Faninal_ at all, whereupon the latter, naturally, is greatly angered. -When the confusion is at its height the _Princess_ suddenly appears. A -lackey of the _Baron_, seeing his master in such difficulties, has run -to her to ask for her powerful protection. She quickly takes in the -whole situation; and however bitterly _Octavian's_ disaffection -grieves her, she is a clever enough woman of the world to recognize -that the time for her to give him up has come. The threads now quickly -disentangle themselves. The _Baron_ leaves, _Octavian_ and _Sophie_ -are forgiven, and _Herr von Faninal_ feels himself fully compensated -for all he has been through, because he is to be driven home beside -the _Princess_ in her carriage. - - -ARIADNE AUF NAXOS - -ARIADNE ON NAXOS - - Opera in one act; by Richard Strauss; words by Hugo von - Hofmannsthal. To follow Molire's Comedy, "Le Bourgeois - Gentilhomme." - - CHARACTERS - - ARIADNE _Soprano_ - BACCHUS _Tenor_ - NAIAD _Soprano_ - DRYAD _Alto_ - ECHO _Soprano_ - ZERBINETTA _Soprano_ - ARLECCHINO } Characters in _Baritone_ - SCARAMUCCIO } old Italian _Tenor_ - TRUFFALDIN } comedy _Bass_ - BRIGHELLA _Tenor_ - - _Time_--Antiquity. - - _Place_--The Island of Naxos. - - NOTE: On the stage there are present, as spectators of the - opera, _Jourdain_, _Marquise Dorimne_ and _Count Dorantes_, - characters from "Le Bourgeois Gentilhomme." - -The peculiar relationship of this opera to Molire's comedy is easily -explained, although the scheme is a curious one. In "Le Bourgeois -Gentilhomme," Molire has _Jourdain_, the commoner, who in his folly -strives to imitate the nobility, engage an entire ballet troupe for a -private performance at his house. The opera, "Ariadne auf Naxos," is -supposed to take the place of this ballet. Besides the opera, Richard -Strauss has composed eleven incidental musical members for the two -acts of the comedy, to which the opera is added as an independent -third act. - -Into the representation there enters another factor, which is liable -to cause confusion, unless it is understood by the spectator. Besides -the opera, _Jourdain_ has engaged a troupe of buffoons to give a -performance of the old Italian Harlequin (Arlecchino) comedy. Having -paid for both, he insists that both shall take place, with the result -that, while the opera is in progress, the comedians dash on the stage, -go through their act, and dash off again. - -The adapter of Molire's work to Strauss's purpose has omitted the -entire passage of the love scene between _Clonte_ and _Lucille_, -_Jourdain's_ daughter, so that the two acts of the comedy concern -themselves mainly with _Jourdain's_ folly--his scenes with the music -teacher, the dancing master, the fencing master, the philosopher, and -the tailor. They also show how the intriguing _Count Dorantes_ makes -use of _Jourdain's_ stupidity, borrowing a large sum of money from -him, and persuading him that he can win the favour of the _Marquise_ -with costly presents and by arranging in her honour the fte at which -the opera is given. At the same time the sly _Dorantes_ represents -everything to the _Marquise_ as if he himself had contrived and paid -for the gifts and the fte in her honour. The _Marquise_ goes to -_Jourdain's_ house to the banquet and celebration, as a climax to -which the opera "Ariadne auf Naxos" is presented. The opera therefore -follows the adaptation of "Le Bourgeois Gentilhomme." - -On a desert island lies _Ariadne_ asleep before a cave. _Naiad_, -_Echo_ and _Dryad_ are singing. _Ariadne_, on awaking, bewails the lot -of the forsaken one. In her grief she feels herself near death. Then -the old comedy figures come whirling in. In her desire for death -_Ariadne_ does not notice them. _Zerbinetta_ sings and dances with her -four _Harlequins_. This is their idea of life--to enjoy things -lightly. When they have disappeared, _Naiad_, _Dryad_, and _Echo_ come -back and announce the arrival of a youthful god. _Bacchus_ approaches -the island. From afar he sings. _Ariadne_ hopes it is Death coming to -release her. She longs for him, sinks into his arms. They are the arms -of love. - - -DIE VERKAUFTE BRAUT - -THE BARTERED BRIDE - - Opera in three acts; music by Friedrich Smetana, Czech, text - by R. Sabina. Produced in Czech, May 30, 1866, at Prague; in - German, April 2, 1893, in Vienna. - - CHARACTERS - - KRUSCHINA, a peasant _Baritone_ - KATRINKA, his wife _Soprano_ - MARIE, their daughter _Soprano_ - MICHA, a landlord _Bass_ - AGNES, his wife _Mezzo-Soprano_ - WENZEL, their son _Tenor_ - HANS, MICHA'S son by a first marriage _Tenor_ - KEZAL, a marriage broker _Bass_ - SPRINGER, manager of a troop of artists _Tenor_ - ESMERALDA, a danseuse _Soprano_ - MUFF, a comedian _Tenor_ - -Act I. It is the anniversary of the consecration of the village -church. _Marie_, daughter of the rich peasant _Kruschina_, is not -happy for she must today accept a suitor picked out for her by her -parents and she only loves _Hans_ although she does not know his -antecedents. _Hans_ consoles her. He will always be true to her and he -comes from a good family, only a wicked stepmother has robbed him of -his father's love. So she must be of good cheer. Then _Marie's_ -parents arrive with the marriage broker, _Kezal_. The latter wants to -complete arrangements for the marriage of _Marie_ and _Wenzel_, the -rich son of the peasant _Micha_. When _Marie's_ father has given his -consent to this union, the go-between considers _Marie's_ opposition -as a trifle which, he tells _Micha_ outside in the inn, can be easily -remedied. - -Act II. But with what eyes has _Kezal_ looked upon _Wenzel_ that he -praises his excellences so loudly? At any rate not with those of a -young woman. Can _Kruschina's Marie_ love this stutterer and coxcomb? -Never! Fortunately for her, he does not know her; and so the clever -girl is able to deceive him. She speaks disparagingly to him of -_Kruschina's Marie_ who loves another and whom therefore he should not -allow himself to marry. The puzzled _Wenzel_, enamoured, runs after -the laughing girl. On this _Hans_ comes in with _Kezal_. The latter is -telling his companion to give up his love affair. He offers him first -a hundred and finally three hundred florins if he will do so. At last -_Hans_ consents but only on condition that _Marie_ shall marry none -other than the son of _Micha's_ wife. _Kezal_ is content with that as -he understands it. He goes away to get witnesses and everybody is -provoked at the light heart with which _Hans_ has sold his bride. - -Act III. In the meantime, _Wenzel_ has fallen in love with _Esmeralda_ -the danseuse in a troop of acrobats. In his infatuation he allows -himself to be induced to act in place of a drunken comedian. His -parents and _Kezal_ surprise him while practising his dance. They are -very much astonished when he absolutely refuses to marry _Kruschina's -Marie_. But the matter would have been entirely different had he -recognized her to be the lovely maiden of earlier in the day. _Marie_ -herself, out of revolt and grief at the fact that her lover has so -lightly prized her heart, is ready for everything. Then _Hans_ rushes -in, freely expressing his supercilious feelings. All stand astounded -until _Micha_ recognizes in _Hans_ his own long missing son by his -first marriage. That _Hans_ now signs the contract as the happy -husband of _Marie_ is the joyful end of this merry opera. - - - - -Russian Opera - - - Too little is known of Russian opera in this country. It is - true that Tschaikowsky's "Pique-Dame," Rubinstein's "Nero," - Moussorgsky's "Boris Godounoff," Borodin's "Prince Igor," - Rimsky-Korsakoff's fascinating "Coq d'Or" have been - performed here; while one act of Serge Rachmaninoff's "Miser - Knight" was given by Henry Russell at the Boston Opera House - with that excellent artist George Baklanoff in the title - rle. But according to Mr. Rachmaninoff thirteen operas of - Rimsky-Korsakoff still await an American production and this - represents the work of only one composer. Who will undertake - the further education of the American public in this - respect? - - -RUSSLAN AND LUDMILLA - -Michael Ivanovich Glinka's second opera is based upon one of Pushkin's -earliest poems. The poet had hardly agreed to prepare a dramatic -version of his fairy tale for the composer when he was killed in a -duel incurred owing to the supposed infidelity of his wife. As a -result of his untimely end, Glinka employed the services of no less -than five different librettists. This, of course, weakened the story. - -The opera opens with an entertainment held by the Grand Duke of Kieff -in honour of his daughter _Ludmilla's_ suitors. Of the three, -_Russlan_, a knight, _Ratmir_, an Oriental poet, and _Farlaf_, a -blustering coward. _Russlan_ is the favoured one. A thunderclap -followed by sudden darkness interrupts the festivities. When this is -over, _Ludmilla_ has disappeared. Her father, _Svietosar_, promises -her hand in marriage to anyone who will rescue her. - -The second act takes place in the cave of _Finn_, the wizard, to whom -_Russlan_ has come for advice. The knight hears that the abduction is -the work of _Tchernomor_ the dwarf. _Finn_ warns him against the -interference of _Naina_, a wicked fairy. He then starts out on his -search. The next scene shows _Farlaf_ in consultation with _Naina_. -The fairy advises him to neglect _Ludmilla_ until she is found by -_Russlan_, then to carry her off again. The next scene shows _Russlan_ -on a battlefield. In spite of the mist he finds a lance and shield. -When the atmosphere grows clearer he discovers a gigantic head, which -by its terrific breathing creates a storm. _Russlan_ subdues the head -with a stroke of his lance. Under it is the magic sword which will -make him victorious over _Tchernomor_. The head then explains that its -condition is due to its brother, the dwarf, and reveals to _Russlan_ -the means to be made of the sword. - -In the third act, at the enchanted palace of _Naina_, _Gorislava_, who -loves _Ratmir_ appears. When the object of her passion appears he -slights her for a siren of _Naina's_ court. _Russlan_, too, is -imperilled by the sirens, but he is saved from their fascination by -_Finn_. - -The fourth act takes place in the dwelling of _Tchernomor_. -_Ludmilla_, in despair, refuses to be consoled by any distraction. She -finally falls asleep, only to be awakened by _Tchernomor_ and his -train. The arrival of _Russlan_ interrupts the ensuing ballet. Forcing -_Ludmilla_ into a trance, _Tchernomor_ meets _Russlan_ in single -combat. The knight is victorious, but unable to awaken _Ludmilla_ from -her sleep. He carries her off. - -In the fifth act, _Russlan_ with a magic ring, the gift of _Finn_, -breaks _Tchernomor's_ spell and restores _Ludmilla_ to consciousness. - - -PRINCE IGOR - -Opera in four acts and a prologue by Borodin. Libretto suggested by -Stassoff, written by the composer. - -The prologue takes place in the market-place of Poultivle where -_Igor_, Prince of Seversk lives. Although implored to postpone his -departure because of an eclipse of the sun, which his people regard as -an evil omen, _Igor_ with his son _Vladimir Igoreivitch_ departs to -pursue the Polovtsy, an Oriental tribe, driven to the plains of the -Don by _Prince Sviatoslav_ of Kiev. _Prince Galitzky_, _Igor's_ -brother, remains to govern Poultivle and watch over the _Princess -Yaroslavna_. The first scene of the first act shows _Galitzky_ a -traitor, endeavouring to win the populace to his side with the help of -_Eroshka_ and _Skoula_, two deserters from _Igor's_ army. In the -second scene of this act young girls complain to _Yaroslavna_ about -the abduction of one of their companions. They ask her protection -against _Galitzky_. _Yaroslavna_ has a scene with her brother and -orders him from her presence. News is brought that _Igor's_ army has -been defeated, that he and the young prince are prisoners, and that -the enemy is marching upon Poultivle. The loyal Boyards swear to -defend their princess. - -The second and third acts take place in the camp of the Polovtsy. -Young _Vladimir_ has fallen in love with _Khan Konchak's_ beautiful -daughter, _Konchakovna_. He serenades her in her tent. His father -laments his captivity. _Ovlour_, a soldier of the enemy, offers to -help him escape, but _Igor_ refuses to repay the _Khan's_ chivalrous -conduct in that manner. In the second act the _Khan_ gives a banquet -in honour of his captive. Oriental dances and choruses are introduced. - -[Illustration: Photo by Mishkin - -Scene from the Ballet in "Prince Igor" (with Rosina Galli)] - -In the third act the victorious Polovstians return with prisoners from -Poultivle. _Igor_ consents to escape. _Konchakovna_ learns of the -secret preparations for flight which _Ovlour_ arranges by giving the -army a liberal allowance of wine. After a wild orgy the soldiers fall -asleep. When _Igor_ gives the signal for flight, _Konchakovna_ throws -herself upon young _Vladimir_ and holds him until his father has -disappeared. The soldiers rush to kill him as in revenge for _Igor's_ -escape, but the _Khan_ is content to let him remain as his daughter's -husband. - -In the last act the lamenting _Yaroslavna_ is cheered by the return of -her husband, and together they enter the Kremlin at Poultivle. - -Borodin, who divided his life between science and music, wrote his -opera piece by piece. Rimsky-Korsakoff wrote that he often found him -working in his laboratory that communicated directly with his house. -"When he was seated before his retorts, which were filled with -colourless gases of some kind, forcing them by means of tubes from one -vessel to another, I used to tell him that he was spending his time in -pouring water into a sieve. As soon as he was free he would take me to -his living-rooms and there we occupied ourselves with music and -conversation, in the midst of which Borodin would rush off to the -laboratory to make sure that nothing was burning or boiling over, -making the corridor ring as he went with some extraordinary passage of -ninths or seconds. Then back again for more music and talk." - -Borodin, himself, wrote: "In winter I can only compose when I am too -unwell to give my lectures. So my friends, reversing the usual custom, -never say to me, 'I hope you are well' but 'I do hope you are ill.' At -Christmas I had influenza, so I stayed at home and wrote the -Thanksgiving Chorus in the last act of 'Igor.'" - -He never finished his opera. It was completed by Rimsky-Korsakoff and -his pupil Glazounoff, and three years after his death received its -first performance. Borodin never wrote down the overture, but -Glazounoff heard him play it so frequently that it was an easy matter -for him to orchestrate it according to Borodin's wishes. The composer -left this note about his opera: "It is curious to see how all the -members of our set agree in praise of my work. While controversy rages -amongst us on every other subject, all, so far, are pleased with -'Igor.' Moussorgsky, the ultra-realist, the innovating lyrico-dramatist, -Cui, our master, Balakireff, so severe as regards form and tradition, -Vladimir Stassoff himself, our valiant champion of everything that -bears the stamp of novelty or greatness." - - -BORIS GODOUNOFF - - Opera in four acts and eight scenes; libretto taken from the - dramatic scenes of Pushkin which bear this title; music by - Moussorgsky; produced at the theatre Marie in Petrograd in - 1874. - - CHARACTERS - - BORIS GODOUNOFF _Baritone_ - FEODOR _Mezzo-Soprano_ - XENIA _Soprano_ - THE OLD NURSE _Contralto_ - PRINCE SHOUISKY _Tenor_ - ANDREY STCHELAKOV, clerk of the Douma _Baritone_ - PIMEN, monk and chronicler _Bass_ - THE PRETENDER DIMITRI, called _Gregory_ _Tenor_ - MARINA _Soprano_ - RANGONI, a Jesuit in disguise _Bass_ - VARLAAM _Bass_ - MISSAIL _Tenor_ - THE HOSTESS _Mezzo-Soprano_ - NIKITIN (_Michael_), constable _Bass_ - - _Time_--1598-1605. - - _Place_--Russia. - -[Illustration: Photo by White - -Anna Case as Feodor, Didur as Boris, and Sparkes as Xenia, in "Boris -Godounoff"] - -The subject brings to the stage one of the most curious episodes of -the history of Russia in the seventeenth century. A privy councillor -of the _Czar Feodor_, son of Ivan, named _Boris Godounoff_, has caused -to be assassinated the young _Dimitri_, brother of the emperor and his -only heir. On the death of _Feodor_, _Boris_, who has committed his -crime with the sole object of seizing power, causes himself to be -acclaimed by the people and ascends the throne. But about the same -time, a young monk named Grischka escapes from his convent, discards -his habit, and goes to Poland where he passes as the dead czarevitch -_Dimitri_. The Polish government receives him all the more cordially -as it understands all the advantage such an event might afford it. -Soon the pretended _Dimitri_, who has married the daughter of one of -the most powerful magnates, puts himself at the head of the Polish -army and marches with it against Russia. Just at this moment they hear -of the death of _Boris_, and the false _Dimitri_, taking advantage of -the circumstances, in turn usurps power which he is destined not to -keep very long. - -Such is the poetical drama, the arrangement of which is a little -inconsistent from the scenic point of view, and which a historian of -Russian music, himself a musician, M. Csar Cui, treats in these -words: "There is no question here of a subject of which the different -parts, combined in such a way as to present a necessary sequence of -events, one flowing from the other, correspond in their totality to -the ideas of a strict dramatic unity. Each scene in it is independent; -the rles, for the greater part, are transitory. The episodes that we -see follow each other necessarily have a certain connection; they all -relate more or less to a general fact, to a common action; but the -opera would not suffer from a rearrangement of the scenes nor even -from a substitution of certain secondary episodes by others. This -depends on the fact that 'Boris Godounoff' properly speaking is -neither a drama nor an opera, but rather a musical chronicle after the -manner of the historical dramas of Shakespeare. Each of the acts, -taken separately, awakens a real interest which, however, is not -caused by what goes before and which stops brusquely without -connection with the scene which is going to follow." Let us add that -some of these scenes are written entirely in prose while others are in -verse and we will have a general idea of the make-up of the libretto -of "Boris Godounoff," which moreover offered the composer a series of -scenes very favourable to music. - -The score of Moussorgsky is uneven, like his talents, but nevertheless -remains very interesting and indicative of a distinct personality. -Although the composer was not much of a symphonist and rather -indifferently understood how to manage the resources of the orchestra, -although his harmony is sometimes strange and rude and his modulation -incorrect and excessive, he had at least a lavishness of inspiration, -the abundance and zest of which are calculated to cause astonishment. -He is a musician perhaps of more instinct than of knowledge, who goes -straight ahead without bothering himself about obstacles and who -sometimes trips while on his way but who nevertheless reaches his -object, sometimes even going beyond it by his strength of audacity. - -Not much of a symphonist, as I have said, Moussorgsky did not even -take the trouble to write an overture and some entr'actes. But certain -pages of his score are not the less remarkable for their accent, their -colour, and their scenic effect, and especially for the national -feeling which from a musical point of view flows from them. Under this -head we would point out in the first act the great military scene, -which is of superb brilliance, and the chorus of begging monks; in the -second, the entire scene of the inn, in which the dramatic intensity -does not lessen for a second and which presents an astonishing variety -of rhythm and colour; then, in the third, the chorus of female -attendants, sung on a Cracovian woman's air, the song of _Marina_ in -the style of a mazurka, and a great Polish dance full of go and -warmth; finally the whole episode of the death of _Boris_, which has a -really gripping effect. These are enough, in spite of the inequalities -and defects of the work, to cause regret for the death of an artist -endowed with a very individual style, whose instruction had been -doubtless incomplete, but who nevertheless seemed called to have a -brilliant future. - - -EUGEN ONEGIN - - Opera in three acts; music by Peter Ilitsch Tschaikowsky; - text after Pushkin's tale by Modeste Tschaikowsky, the - composer's brother; German text by von A. Bernhard. Produced - at Moscow, March, 1879. - - CHARACTERS - - LARINA, who owns an estate _Mezzo-Soprano_ - TATIANA } her daughters { _Soprano_ - OLGA } { _Alto_ - FILIPIEVNA, a waitress _Mezzo-Soprano_ - EUGEN ONEGIN _Baritone_ - LENSKI _Tenor_ - PRINCE GREMIN _Baritone_ - A CAPTAIN _Bass_ - SARETSKY _Bass_ - TRIQUET, a Frenchman _Tenor_ - -As the characterization of the opera as "lyrical scenes" shows, the -poet offers no substantial work, but follows closely, often even word -for word, Pushkin's epic tale, with which one must be fully -acquainted--as is the case with everybody in Russia--in order to be -able to follow the opera properly. - -Act I. _Eugen Onegin_ has been called from a wild life of pleasure to -his sick uncle, of whose property he takes possession after the -uncle's sudden death. He has brought with him from the big city a -profound satiety of all enjoyments and a deep contempt for the society -of mankind in his solitary country seat. Here, however, he forms a -friendship for a young fanatic, the poet _Lenski_. Through him he is -introduced to _Larina_, a woman who owns an estate. Her two daughters, -_Olga_ and _Tatiana_, correspond to the double nature of their mother, -whose youth was a period of sentimentality in which she allowed -herself to be affected like others by Richardson's novels, raved over -Grandison, and followed the wild adventures of Lovelace with anxious -thrills. Life later had made her rational, altogether too rational and -insipid. _Olga_ now has become a cheerful, superficial, pleasureful -silly young girl; _Tatiana_, a dreamer whose melancholy is increasing -through reading books which her mother had once used. _Lenski_ is -betrothed to _Olga_. _Tatiana_ recognizes at her first sight of -_Onegin_ the realization of her dreams. Her heart goes out to meet him -and in her enthusiasm she reveals all her feelings in a letter to him. -_Onegin_ is deeply stirred by this love; a feeling of confidence in -mankind that he had not known for such a long time awakens in him. But -he knows himself too well. He knows that every faculty as a husband is -departing from him. And now he considers it his duty not to disappoint -this maiden soul, to be frank. He refuses her love. He takes the blame -on himself, but he would not have been the worldly wise man if his -superiority to the simple country child had not been emphasized -chiefly on this account. But _Tatiana_ only listens to the refusal; -she is very unhappy. _Onegin_ remains her ideal, who now will be still -more solitary, in spite of it. - -Act II. _Tatiana's_ name-day is being celebrated with a big ball. -_Onegin_ goes there on _Lenski's_ invitation. The stupid company with -their narrow views about him vex him so much that he seeks to revenge -himself on _Lenski_ for it, for which he begins courting _Olga_. -_Lenski_ takes the jest in earnest; it comes to a quarrel between the -friends. _Lenski_ rushes out and sends _Onegin_ a challenge. Social -considerations force _Onegin_ to accept the challenge; a duelling -fanatic landlord, _Saretsky_ stirs _Lenski's_ anger so severely that a -reconciliation is not possible. This part in Pushkin's work is the -keenest satire, an extraordinarily efficacious mockery of the whole -subject of duelling. There is derision on _Onegin's_ side, too, for he -chooses as his second his coachman Gillot. But the duel was terribly -in earnest; _Lenski_ falls shot through by his opponent's bullet. -(This scene recalls a sad experience of the poet himself; for he -himself fell in a duel by the bullet of a supercilious courtier, Georg -d'Anths-Heckeren, who died in Alsace in 1895.) - -Act III. Twenty-six years later. _Onegin_ has restlessly wandered over -the world. Now he is in St. Petersburg at a ball given by _Prince -Gremin_. There, if he sees aright, Princess Gremina, that accomplished -woman of the world is "his" _Tatiana_. Now his passion is aroused in -all its strength. He must win her. _Tatiana_ does not love him with -the same ardour as before. When she upbraids _Onegin_ that he loves -her only because she has now become a brilliant woman of the world it -is only a means of deceiving herself and her impetuous adorer as to -her real feelings. But finally her true feeling is revealed. She tells -_Onegin_ that she loves him as before. But at the same time she -explains that she will remain true to her duty as a wife. -Broken-hearted _Onegin_ leaves her. - - -PIQUE-DAME - -THE QUEEN OF SPADES - -The libretto of Tschaikowsky's "Pique-Dame" was first prepared by the -composer's brother Modeste for a musician who later refused to use it. -Tschaikowsky wrote it in six weeks, during a stay in Florence. The -libretto is that of the well-known story by Pushkin. _Herman_, the -hero, a passionate gambler, loves _Lisa_, whom he met while walking in -the summer garden in St. Petersburg. He learns that she is the -granddaughter of "the belle of St. Petersburg," famous in her old age -as the luckiest of card players. So strange is the old lady's -appearance that she has been named "The Queen of Spades." The two -women exert conflicting influences over _Herman_. He loves _Lisa_, -while the old woman awakens his gambling impulses. It is said that the -old _Countess's_ success at the card table is based upon her secret -knowledge of a combination of three cards. _Herman_ is bent upon -learning the secret. Although _Lisa_ loves _Herman_ she engages -herself to _Prince Yeletsky_. With the hope of forcing the old woman -to reveal her secret, he hides in her bedroom one night. When she sees -him the shock kills her, and _Herman_ learns nothing. Half-crazed with -remorse _Herman_ is haunted by the old _Countess's_ ghost. The -apparition shows him the three cards. - -When he goes to her house the night after her funeral and plays -against _Prince Yeletsky_, he wins twice by the cards shown him by the -ghost. He stakes everything he possesses on the third card but he -turns up, not the expected card, but the queen of spades herself. At -the same instant he sees a vision of the _Countess_, triumphant and -smiling. Desperate, _Herman_ ends his life. - -Tschaikowsky enjoyed his work on this opera. He wrote as follows to -the Grand Duke Constantine: "I composed this opera with extraordinary -joy and fervour, and experienced so vividly in myself all that happens -in the tale, that at one time I was actually afraid of the spectre of -the Queen of Spades. I can only hope that all my creative fervour, my -agitation, and my enthusiasm will find an echo in the heart of my -audiences." First performed at St. Petersburg in 1890, this opera soon -rivalled "Eugen Onegin" in popularity. - - -LE COQ D'OR - -THE GOLDEN COCK - - Opera pantomime in three acts with prologue and epilogue. - Produced in May, 1910, at Zimin's Private Theatre, Moscow. - Music by Rimsky-Korsakoff. - - CHARACTERS - - KING DODON _Baritone_ - PRINCE GUIDON _Tenor_ - PRINCE AFRON _Baritone_ - VOEVODA POLKAN (the General) _Baritone_ - AMELFA (the royal housekeeper) _Contralto_ - THE ASTROLOGER _Tenor_ - THE QUEEN OF SHEMAKHAN _Soprano_ - THE GOLDEN COCK _Soprano_ - -"Le Coq D'Or" was Rimsky-Korsakoff's last opera. The censor refused to -sanction its performance during the composer's lifetime and his -difficulties with the authorities in this matter are supposed to have -hastened his death. When the work was given in Petrograd it was -thought to be over-taxing for the singers who are obliged to dance, or -for the dancers who are obliged to sing. M. Fokine ingeniously devised -the plan of having all the singers seated at each side of the stage, -while the dancers interpreted, in pantomime, what was sung. In spite -of the protests made by the composer's family, this was done in Paris, -London, and New York. - -The opera is composed to a libretto, by V. Bielsky, based upon a -well-known poem by Pushkin. In a preface to the book the author says: -"The purely human nature of Pushkin's 'Golden Cock'--that instructive -tragicomedy of the unhappy consequences following upon mortal passions -and weaknesses--permits us to place the plot in any region and in any -period." - -_King Dodon_, lazy and gluttonous, is oppressed by the cares of state. -Warlike neighbours harass him with their attacks. Holding council in -the hall of his palace with his Boyards, he asks the advice first of -one son, then the other. But the wise old _General_ disagrees with the -solutions suggested by the young princes. Soon the entire assembly is -in an uproar. The astrologer then appears and offers the _King_ a -golden cock. The bird has the power to foretell events, and in case of -danger will give warning. The _King_ is overjoyed. From a spire in the -capital the bird sends out various messages. At its bidding citizens -now rush for their weapons, now continue peaceful occupations. -_Dodon's_ bed is brought upon the stage, and the monarch relieved of -all responsibility goes to sleep, after having been tucked in by the -royal housekeeper. Suddenly the cock sounds the war alarm. The rudely -awakened sovereign first sends his sons, then goes himself. _Dodon's_ -army fares ill. In the second act, the moonlight in a narrow pass -reveals the bodies of his two sons. At dawn, _Dodon_ notices a tent -under the hillside. The _King_ thinks it is the tent of the enemy -leader, but to his astonishment, a beautiful woman emerges. The lovely -_Queen_ lures on the aged _Dodon_, mocks at his voice, and forces him -to dance, until he falls exhausted to the ground. Finally she agrees -to become his bride. - -The third act shows the populace preparing to welcome _Dodon_, There -is a wonderful procession led by _Dodon_ and the _Queen_, followed by -a grotesque train of giants and dwarfs. Soon the _Queen_ is bored. The -astrologer returns, claiming a reward for his magic bird. He demands -the _Queen_. _Dodon_ kills the astrologer by a blow on the head with -his sceptre, but this does not improve his position with his bride. -With an ominous cry, the bird flies towards the _King_ and fells him -with one blow from his beak. A thunderclap is followed by darkness. -When light returns both _Queen_ and cock have disappeared. The people -lament the death of the _King_. In the epilogue the resuscitated -astrologer announces that the story is only a fairy tale and that in -_Dodon's_ kingdom only the _Queen_ and himself are mortals. - - -MANRU - - Opera in three acts. Music by Ignace Jan Paderewski. Book by - Alfred Nossig. The first performance in New York was on - February 14, 1902, at the Metropolitan Opera House. Mr. - Damrosch conducted. The cast included Mme. Sembrich, Mme. - Homer, Miss Fritzi Scheff, Alexander van Bandrowski, Mr. - Mhlmann, Mr. Blass, Mr. Bispham. - -The opera had its first performance on any stage at the Court Theatre, -Dresden, May 29, 1901. Before being sung in New York it was heard in -Cracow, Lemberg, Zurich, and Cologne. - -The scene is laid among the Tatra mountains, between Galicia and -Hungary. The story illustrates the gypsy's wanderlust. The plot is -borrowed from a Polish romance. _Manru_ has won the love of a Galician -girl, _Ulana_, and married her gypsy fashion. After a time she returns -to her native village among the Tatra mountains, seeking her mother's -help and forgiveness. But her mother curses her, and she is the object -of the villagers' scorn. They taunt her with a song which celebrates -the inconstancy of all gypsies under the spell of the full moon. As -she has already noticed signs of uneasiness in her husband, _Ulana_ -seeks the help of _Urok_, a dwarf, who loves her and who is said to be -a sorcerer. He gives her a magic draught by means of which she wins -back _Manru_ for a time. Alone in the mountains, however, the -influence of the moon, the charm of gypsy music, and the fascinations -of a gypsy girl are too strong for him. He rejoins his companions. -_Oros_, the gypsy chief, himself in love with the maiden of _Manru's_ -fancy, opposes her reinstatement in the band. But through the -influence of _Jagu_, a gypsy fiddler, his wishes are overruled and -_Manru_ is made chief in _Oros's_ place. The deposed chief revenges -himself by hurling his successful rival down a precipice, a second -after the distraught _Ulana_ has thrown herself into a mountain lake. - - - - -American Opera - - - No really distinguished achievement has as yet been reached - in the world of American opera. Various reasons are given - for the delinquency. Some say that American composers are - without that sense of the theatre so apparent in the - composers of the modern Italian school. But whatever the - reasons, the fact remains inalterably true. - - The Metropolitan has housed several worthy efforts. Two of - the most successful were Mr. Parker's "Mona" and Mr. - Damrosch's "Cyrano de Bergerac." After much fulsome praise - had been bestowed upon both, however, these operas were - promptly shelved. Others have taken their place. But the - writer of a truly great American opera has yet to make his - appearance. - - -THE SACRIFICE - -Opera in three acts by Frederick Shepherd Converse. - -Mr. Converse wrote his own libretto. The lyrics are by John Macy. The -story takes place in southern California in 1846. Americans are -guarding the Anaya mansion, and the American officer, _Burton_, a -baritone, is in love with _Chonita_, the beauty of the household. -_Chonita_ has an old Indian servant, _Tomasa_, who hates the -Americans, yet seems to realize that they will conquer. _Chonita_, -praying in the Mission Church desecrated by the invaders, is told by -_Burton_ that he has killed a Mexican. Her questions reveal that -_Bernal_ is the dead man. But _Bernal_ is wounded, not dead, and he -comes into the church. _Burton_ again assures _Chonita_ of his love -and promises to do for her all that a man can do. "You wretched devil, -'tis I she loves," cries _Bernal_, and he rushes at _Burton_ with a -dagger. _Chonita_ throws herself between the two, and is accidentally -wounded by the American's sword. _Bernal_ is held a prisoner. - -In the third act, _Chonita_ is in bed apparently dying. If she could -only have her lover she would live, she sings; despair is killing her. -_Padre Gabriel_ brings her consolation, and sets a trap for the -Americans. _Burton_ brings _Bernal_ that he may sing a love duet with -_Chonita_. She pleads for _Bernal's_ freedom. "He is not a spy." -_Burton_ stands between love and duty. To give _Chonita_ happiness he -is willing to die. The Americans are suddenly attacked and _Burton_, -throwing down his sword, is killed by Mexican rescuers. _Tomasa_ looks -at _Burton's_ corpse and sums up the whole tragedy: "'Tis true as -ever. Love brings life and death." - - -THE PIPE OF DESIRE - -Opera in one act by Frederick Shepherd Converse. Poem by George -Edwards Barton. - -The scene takes place in a wood during the first day of spring. Elves -flit to and fro performing sundry occupations. One scatters seeds to -the winds. Others remove dead leaves from flowers. They sing of the -awakening of Nature from her sleep through the winter. _Iolan_, a -peasant, is heard singing in the distance. The elves although -reproached by the _Old One_ desire to show themselves to him. _Iolan_ -tells them that he is to wed _Naoia_ tomorrow, and bids them come to -the wedding. The _Old One_ reminds them that it is forbidden to show -themselves to man, and adds that no good can come of it. _Iolan_ -laughs at the _Old One_ and his Pipe. The _Old One_ plays for the -elves to dance, but with misgivings. _Iolan_ still defies the power of -the Pipe. The elves demand that the _Old One_ make him dance and -respect its power. When he cannot resist the music, he snatches the -Pipe and breaks the cord which holds it. The _Old One_ tells him that -it is the Pipe God gave to Lilith, who played it to Adam in Eden, and -that the mortal who now plays the Pipe without understanding its -secret will die when it becomes known to him. _Iolan_, however, puts -the Pipe to his lips. At first only discordant sound, later beautiful -music is his reward. _Iolan_ sees a vision of what he most desires. He -is rich. He owns horses, goats, and wine. _Naoia_, his wife, comes to -him through roses. His children play about the door of their home. He -calls on _Naoia_ to come to him. She comes to him, bleeding. Because -he played the Pipe misfortune has come to her. She dies and _Iolan_ -soon follows her, while the sorrowing elves proclaim that they who die -for love have accomplished their life. - - -SHANEWIS, OR THE ROBIN WOMAN - - An American opera in two parts; book by Nelle Richmond - Eberhardt; music by Charles Wakefield Cadman. Produced at - the Metropolitan Opera House, March 23, 1918, with the - following cast: - - SHANEWIS _Sophie Braslau_ - MRS. EVERTON _Kathleen Howard_ - AMY EVERTON _Marie Sundelius_ - LIONEL _Paul Althouse_ - PHILIP _Thomas Chalmers_ - -An Indian girl, whose voice has been elaborately cultivated, falls in -love with the son of her benefactress. The young man is already -betrothed to _Mrs. Everton's_ daughter. An Indian suitor offers -_Shanewis_ a bow and poisoned arrow which she rejects. When he -discovers that his rival has left _Shanewis_ in ignorance of his -previous betrothal he shoots the gay deceiver, and finishes both the -youth and the opera. - - -THE TEMPLE DANCER - - Opera in one act in English by John Adam Hugo. Libretto by - Jutta Bell-Ranske. Performed for the first time on any stage - at the Metropolitan Opera House, March 12, 1919, with - Florence Easton, Morgan Kingston, and Carl Schlegel. - - CHARACTERS - - TEMPLE DANCER _Soprano_ - GUARD _Tenor_ - YOGA _Bass_ - -The leading dancer of the Temple of Mahadeo has fallen in love with a -youth who is not of her faith. Through her lover's suffering she -realizes the unjust and immoral demands made upon the temple dancers -whose beauty is sold to passers-by in order that jewels may be bought -for Mahadeo. The opera opens with a ceremony in the temple. The great -Mahadeo sits blazing in jewels. _The Dancer_ enters. She has decided -to take the jewels for her lover, who is in want. She considers that -the jewels bought with the price of her beauty are hers, by right. She -pleads for a sign from the god, but as her prayer remains unanswered -she threatens the temple. The returning temple guard, hearing her -imprecations, threatens her with death. To protect herself, she takes -the snake from Mahadeo and winds it around her. She begs to be -permitted to pray before being slain, and in a seductive dance, that -interprets her prayer, fascinates the guard. He promises her his -protection and she pretends to return his passion. In a love scene he -loosens the bands of her outer robe, which falls off. A letter to her -lover tells of her plan to meet him with the stolen jewels. The guard, -enraged, prepares to torture her. But she dances again, and as a last -prayer begs for a drop of water. When the guard brings her the water -she poisons it and persuades him to drink to her courage in facing -death. He drinks and dies cursing her, her laughter, and her mocking -dance. As he dies the dancer calls down curses upon the temple. A -thunderstorm is the answer. Lightning shatters the walls and as the -dancer puts out her hand to take the jewels of the god it strikes her -and she falls dead beside the guard. The priests, returning, see the -bodies of guard and dancer and call upon the gods for protection. The -opera closes with the singing of the hymn of redemption, which -implores forgiveness for the erring spirits of the dead. - - -THE LEGEND - -A lyric tragedy in one act in English by Joseph Breil, with a libretto -by Jacques Byrne. Produced for the first time on any stage at the -Metropolitan Opera House, March 12, 1919, with Rosa Ponselle, Kathleen -Howard, Paul Althouse, and Louis d'Angelo. - -_Count Stackareff_, an impoverished nobleman, lives with his daughter, -_Carmelita_, at his hunting lodge in Muscovadia, a mythical country in -the Balkans. In order to make his living, he leads a double life. By -day he is a courtly nobleman, and by night a bloodthirsty bandit, -_Black Lorenzo_. No one but his daughter knows his secret, and she is -in constant fear of his discovery for there is a price upon his head. -The story opens on a stormy night. _Stackareff_ tells his daughter -that he has captured a wealthy merchant, and is holding him for a -large ransom. He expects the ransom to arrive by messenger at any -moment. If it does not come _Stackareff_ intends to kill the prisoner. -_Carmelita_ not only fears for the safety of her father, but that her -lover _Stephen Pauloff_, whom she met in Vienna, will find out that -she is the daughter of such a rogue, and cast her off. She prays -before the statue of the Virgin that the young man will not discover -her father's double life. _Marta_, an old servant, enters and tells -_Carmelita_ that she has seen _Stephen_ in the woods. He has told her -that he will soon come to see his sweetheart. _Carmelita_ rejoices but -_Marta_ warns her of the legend that on this night the Evil One walks -abroad and knocks at doors. He who opens the door dies within a year. - -_Carmelita_ scoffs and asks _Marta_ to tell her fortune with the -cards. The ace of spades, the death card, presents itself at every -cutting. _Marta_ refuses to explain its significance and leaves her -young mistress bewildered. The storm increases. There are two knocks. -Thinking it is _Stephen_, _Carmelita_ opens the door. No one is there. -She is terrified. Later _Stephen_ arrives. In his arms she for the -moment forgets her fears, but they are soon renewed when her lover -tells her that he has been sent to take the murderous bandit, _Black -Lorenzo_, dead or alive. _Carmelita_ makes the young man swear before -the Virgin that he will never desert her. Then she prepares to elope -with him. - -_Stackareff_ enters, expecting to find the messenger. He is -apprehensive when he sees a soldier at his fireside. _Carmelita's_ -assurance that _Stephen_ is her lover calms his fear. But _Stephen_ in -answer to _Stackareff's_ questions tells him that he is after _Black -Lorenzo_. Again the knocks are heard. _Stackareff_, after shouting at -_Stephen_ that he is his man, escapes through the door. When the young -soldier resists her prayers to desist from pursuing the murderer -_Carmelita_ stabs him. Two soldiers bring in the mortally wounded body -of her father. Realizing that _Carmelita_ has killed their captain -they fire upon her. Their shot rings out through the music of the -finale. - - -NATOMAH - - Opera in three acts by Victor Herbert. First performance on - any stage at the Metropolitan Opera House, Philadelphia, - February 23, 1911, with Miss Mary Garden, Miss Lillian - Grenville, Mr. Huberdeau, Mr. Dufranne, Mr. Sammarco, Mr. - Preisch, Mr. Crabbe, Mr. Nicolay, Mr. McCormack. - - CHARACTERS - - DON FRANCISCO DE LA GUERRA, a noble Spaniard - of the old rgime _Bass_ - FATHER PERALTA, Padre of the Mission Church _Bass_ - JUAN BAPTISTA ALVARADO, a young Spaniard _Baritone_ - JOS CASTRO, a half-breed _Baritone_ - PICO } bravos, comrades of Castro _Tenor_ - KAGAMA } _Bass_ - PAUL MERRILL, Lieut. on the U.S. - Brig _Liberty_ _Tenor_ - BARBARA DE LA GUERRA, daughter of - Don Francisco _Soprano_ - NATOMAH, an Indian girl _Soprano_ - -The time is 1820, under the Spanish rgime. The scene of Act I is laid -on the Island of Santa Cruz, two hours' sail from the mainland. Act II -takes place in the plaza of the town of Santa Barbara on the mainland, -in front of the Mission Church. Act III represents the interior of the -Mission Church. - -At the beginning of the opera _Don Francisco_ is awaiting the return -from a convent of his only child, _Barbara_. His reverie is -interrupted by the arrival of _Alvarado_ and his comrades _Castro_, -_Pico_, and _Kagama_. _Alvarado_ wishes to marry his cousin _Barbara_ -in order to gain possession of the estates left to her by her mother. -_Castro_ is a half-breed. _Pico_ and _Kagama_ are vaqueros and -hunters. All three have come to the island ostensibly for a wild-boar -hunt, but _Alvarado_ has timed his arrival with the return of his -cousin. - -_Lieutenant Paul Merrill_, an American naval officer, and _Natomah_, a -pure-blooded Indian girl, appear together at the back of the stage. -His ship has dropped anchor in the Bay of Santa Barbara. _Natomah_ has -never seen an American before and she is fascinated by him. She tells -him of a legend of her people. She is the last of her race. During -their childhood she was _Barbara's_ playmate. She tells him of the -young girl's beauty, and imagining that when he sees _Barbara_ he will -fall in love, the Indian girl begs him to permit her to be at least -his slave. _Barbara_ and _Father Peralta_ enter. With the young girl -and _Paul_ it is a case of love at first sight. When all but _Castro_ -and _Natomah_ have gone into the hacienda, the half-breed urges -_Natomah_ to cease spending her time with white people and to follow -him, the leader of her race. _Natomah_ turns from him in disgust. When -they separate, _Alvarado_ serenades _Barbara_ who appears on the -porch. He has heard that she has eyes only for the American. Fearing -to lose time he declares his love. But he does not advance his suit by -taunting her with her infatuation for the American officer. When she -leaves him he swears to have _Paul's_ life. _Castro_ suggests that it -would be better to carry _Barbara_ off. _Natomah_, hidden in an -arbour, overhears them discussing their plans. The next day a fiesta -will be held in honour of _Barbara's_ return. When the festivity is at -its height fast horses will be ready to bear the young girl away to -the mountains where pursuit would be difficult. - -When all the guests have departed, _Barbara_ speaks aloud in the -moonlight of her love for _Paul_. He suddenly appears and they -exchange vows. - -The next act shows the fiesta. _Alvarado_ dances the Habanera with the -dancing-girl _Chiquita_. There is formal ceremony in which the -_Alcalde_ and the leading dignitaries of the town pay tribute to the -young girl on her coming of age. _Alvarado_ begs the honour of dancing -with his cousin. The American ship salutes and _Paul_ arrives with an -escort to pay tribute to the Goddess of the Land, _Barbara_. -_Alvarado_ demands that his cousin continue the dance. A number of -couples join them and the dance changes into the Panuelo or -handkerchief dance of declaration. Each man places his hat upon the -head of his partner. Each girl retains the hat but _Barbara_ who -tosses _Alvarado's_ disdainfully aside. During this time _Natomah_ has -sat motionless upon the steps of the grand-stand. When _Castro_ -approaches in an ugly mood, rails at the modern dances and challenges -someone to dance the dagger dance with him, she draws her dagger and -hurls it into the ground beside the half-breed's. The crowd is -fascinated by the wild dance. Just as _Alvarado_ is about to smother -_Barbara_ in the folds of his serape, _Natomah_, purposely passing -him, plunges her dagger into the would-be abductor. The dance comes to -a sudden stop. _Alvarado_ falls dead. _Paul_ and his escort hold the -crowd at bay. _Natomah_ seeks protection in the Mission Church at the -feet of _Father Peralta_. - -At the opening of the third act _Natomah_ is crooning an Indian -lullaby to herself in the church. She wishes to join her people, but -instead _Father Peralta_ persuades her to enter the convent. - - -MONA - -Opera in three acts. Poem by Brian Hooker. Music by Horatio Parker. -The action takes place during the days of the Roman rule in Britain. -First performance at the Metropolitan, March 4, 1912. - -_Quintus_, son of the Roman _Governor_, by a British captive, has -grown up as one of his mother's people. Known to them as _Gwynn_, he -has won power and position among them as a bard. He is about to marry -_Mona_, foster-child of _Enya_ and _Arth_, and last of the blood of -Boadicea. But a great rebellion is stirred up in Britain by _Caradoc_, -the chief bard, and _Gloom_, the Druid, foster-brother of _Mona_. By -birthright and by old signs and prophecies she is proclaimed leader. -The girl has been taught to hate Rome and to dream of great deeds. -_Gwynn_, fearing to lose _Mona_ and his power, swears fellowship in -the conspiracy. But in spite of this, for urging peace, he is cast off -by _Mona_ and her followers. - -The faithful lover follows her about on her mission to arouse revolt, -prevents the Roman garrisons from seizing her, and secretly saves her -life many times. The _Governor_, his father, blames him for this, but -he replies that through _Mona_ he will yet keep the tribes from war. -The _Governor_ lays all the responsibility upon his shoulders. He -promises to spare the Britons if they remain passive, but swears to -crush them without mercy if they attack. _Gwynn_ meets _Mona_ just -before the battle and so moves her love for him that she becomes his -creature from that moment. Triumphantly he begins to tell her of his -plans for peace. Suddenly she seems to realize that he is a Roman, and -calls the Britons to her aid. Still, she lies to save his life. The -youth is made prisoner and led by _Mona_ and the bards against the -Roman town. - -The rebellion is crushed. _Arth_ and _Gloom_ are slain. _Gwynn_, -coming upon them and _Mona_, tells her of his parentage and pleads for -assistance. But having believed him a traitor, she now thinks him a -liar and slays him. The _Governor_ and his soldiers take her captive. -From them she learns that _Gwynn_ had spoken the truth. - - -CYRANO - - Opera in four acts by Walter Damrosch. Book by William J. - Henderson after the drama by Edmond Rostand. First - performance on any stage at the Metropolitan Opera House, - February 27, 1913, with Pasquale Amato as _Cyrano_, Frances - Alda as _Roxane_, and Riccardo Martin as _Christian_. - - CHARACTERS - - CYRANO DE BERGERAC _Baritone_ - ROXANE _Soprano_ - DUENNA _Alto_ - LISE _Soprano_ - A FLOWER GIRL _Soprano_ - RAGUENEAU _Tenor_ - CHRISTIAN _Bass_ - DE GUICHE _Bass_ - LE BRET _Bass_ - A TALL MUSKETEER _Tenor_ - MONTFLEURY _Bass_ - FIRST CAVALIER _Bass_ - SECOND CAVALIER _Tenor_ - THIRD CAVALIER _Bass_ - A CADET _Tenor_ - -Act I. Interior of the Htel de Bourgogne. Act II. "The Poet's Eating -House," _Ragueneau's_ cook and pastry shop. Act III. A small square in -the Old Marais. Act IV, Scene 1. Entrenchment at the siege of Arras. -Scene 2. A convent garden near the field of battle. - -Rostand's play was first produced, October, 1898, by Richard -Mansfield, and repeated in subsequent seasons. In 1900 it was given in -French by Bernhardt and Coquelin. The libretto of the opera follows -the play closely. Mr. Henderson retained and successfully remodelled -the main incidents of the drama. The operatic version begins at the -Htel de Bourgogne where "La Clorise" is to be played. _Cyrano_ orders -the leading actor off the stage because he has dared to cast insolent -glances at his cousin _Roxane_, whom _Cyrano_ loves but dares not woo -because of the deformity of his hideous nose. _Roxane_, from a box, -sees in the audience the man with whom she has fallen in love, -although she has never met him. _Cyrano_ fights a duel with _De -Guiche_, a married suitor of _Roxane_, and pricks him in the arm. -Elated at the prospect of a meeting with his cousin arranged through -her duenna, _Cyrano_ rushes off to disperse one hundred men who are -waiting to kill one of his friends. - -In Act II, _Cyrano_ is at _Ragueneau's_ shop waiting for his cousin. -He writes an ardent love letter, intending to give it to her. His -hopes are high, but they are dashed to the ground when _Roxane_ tells -him of her love for _Christian_, who is to join her cousin's regiment -that day. _Cyrano_ promises to watch over _Christian_. He bears his -insults and agrees to woo _Roxane_ for _Christian_ by his wit and -verse. He even sacrifices his own love letter. - -In Act III, _Christian_ rebels at the second-hand love-making. But -when _Roxane_ is disgusted with his commonplaces he is glad to turn -again to _Cyrano_. Under cover of night, _Cyrano_ courts _Roxane_ -beneath her balcony. She is delighted and rewards her lover with a -kiss. _De Guiche_ sends a priest with a letter in which he attempts to -gain an interview with her. _Roxane_ tells the priest that the letter -contains an order for him to perform the marriage ceremony. While -_Cyrano_ keeps _De Guiche_ outside the lovers are married. In revenge, -_De Guiche_ orders the Gascon regiment of which _Cyrano_ and -_Christian_ are both members to the war. - -In the last act, _Roxane_ visits the entrenchment at the siege of -Arras. Her carriage is driven by the faithful _Ragueneau_. _Cyrano's_ -love letters, ostensibly from _Christian_, have prompted her coming. -Her husband realizes that the man she really loves is _Cyrano_, -although she believes it to be _Christian_. He leaves the cousins -alone, urging _Cyrano_ to tell the truth. He is soon brought back, -mortally wounded. _Cyrano_ assures him that he has told _Roxane_ of -the deception and that _Christian_ is the man she loves. - -The second scene takes place in a convent. _Cyrano_, wounded and -dying, visits _Roxane_. He begs to see her husband's last letter. -Forgetting himself, he recites it in the dusk. Thus he betrays his -love. But when _Roxane_ realizes the truth he denies it, "dying," as -he declares, "without a stain upon his soldier's snow-white plume." - - -THE CANTERBURY PILGRIMS - - Opera in four acts by Reginald de Koven. Book by Percy - Mackaye. Produced for the first time on any stage at the - Metropolitan Opera House, March 8, 1917, with the following - cast: - - CHAUCER _Johannes Sembach_ - THE WIFE OF BATH _Margaret Ober_ - THE PRIORESS _Edith Mason_ - THE SQUIRE _Paul Althouse_ - KING RICHARD II _Albert Reiss_ - JOHANNA _Marie Sundelius_ - THE FRIAR _Max Bloch_ - JOANNES _Pietro Audisio_ - MAN OF LAW _Robert Leonhardt_ - THE MILLER _Basil Ruysdael_ - THE HOST _Giulio Rossi_ - THE HERALD _Riccardo Tegani_ - TWO GIRLS { _Marie Tiffany_ - { _Minnie Egener_ - THE PARDONER _Julius Bayer_ - THE SUMMONER _Carl Schlegel_ - THE SHIPMAN _Mario Laurenti_ - THE COOK _Pompilio Malatesta_ - - Conductor, Bodanzky - -The time is April, 1387; the place, England. _Chaucer_, first -poet-laureate of England, travelling incognito with pilgrims from -London to Canterbury, encounters _Alisoun_, the _Wife of Bath_, a -woman of the lower middle class, buxom, canny, and full of fun, who -has had five husbands, and is looking for a sixth. She promptly falls -in love with _Chaucer_ who, instead of returning her sprightly -attentions, conceives a high, serious, poetic affection for the -_Prioress_. She is a gentlewoman, who, according to the custom of the -time, is both ecclesiastical and secular, having taken no vows. - -The _Wife of Bath_, however, is determined to win her man. Devising a -plan for this, she wagers that she will be able to get from the -_Prioress_ the brooch, bearing the inscription "Amor Vincit Omnia," -that this lady wears upon her wrist. Should _Alisoun_ win, _Chaucer_ -is bound by compact to marry her. After much plotting and by means of -a disguise, the _Wife of Bath_ wins her bet, and _Chaucer_ ruefully -contemplates the prospect of marrying her. In his plight he appeals to -_King Richard II_, who announces that the _Wife of Bath_ may marry a -sixth time if she chooses, but only on condition that her prospective -bridegroom be a miller. A devoted miller, who has long courted her, -joyfully accepts the honour, and the opera ends with a reconciliation -between _Chaucer_ and the _Prioress_. - -Mr. Mackaye in speaking of his libretto at the time of the production -of the opera had this to say: - -"In writing 'The Canterbury Pilgrims' one of my chief incentives was -to portray, for a modern audience, one of the greatest poets of all -times in relation to a group of his own characters. As a romancer of -prolific imagination and dramatic insight, Chaucer stands shoulder to -shoulder with Shakespeare. For English speech he achieved what Dante -did for Italian, raising a local dialect to a world language. - -"Yet the fourteenth-century speech of Chaucer is just archaic enough -to make it difficult to understand in modern times. Consequently his -works are little known today, except by students of English -literature. - -"To make it more popularly known I prepared a few years ago (with -Professor J.S.P. Tatlock) 'The Modern Readers' Chaucer'; and I wrote -for Mr. E.H. Sothern in 1903 my play 'The Canterbury Pilgrims,' which -since then has been acted at many American universities by the Coburn -Players, and in book form is used by many Chaucer classes. - -"In the spring of 1914, at the suggestion of Mr. De Koven, I -remodelled the play in the form of opera, condensing its plot and -characters to the more simple essentials appropriate to operatic -production. Thus focussed, the story depicts Chaucer--the humorous, -democratic, lovable poet of Richard Second's court--placed between two -contrasted feminine characters, the _Prioress_, a shy, religious-minded -gentlewoman, who has retired from the world, but has as yet taken no -vows; and the _Wife of Bath_, a merry, sensual, quick-witted hoyden of -the lower middle class, hunting for a sixth husband. These three, with -many other types of old England, are pilgrims, en route from London to -the shrine of Thomas Becket, at Canterbury. - -"Becoming jealous of the _Prioress_, the _Wife of Bath_ makes a bet -with _Chaucer_ concerning the gentlewoman's behaviour--a bet which she -wins by a trick in the third act, only to lose it in the fourth. - -"The work is a comedy in blank verse of various metres, interspersed -with rhythmed lyrics. For the first time, I believe, in drama of any -language, it inaugurates on the stage the character of the famous -first poet-laureate of England--the 'Father of English Literature.'" - -Mr. De Koven also tells how he came to compose the music: - -"I have often been asked the question why I have never before now -written a work in the larger operatic form, and my answer has always -been that I was waiting until I could find a really good book. For an -opera libretto that successfully meets the requirements of a lyric -work of this class, which is primarily for and of the stage, in the -way of dramatic interest, development and climax, a poetic knowledge -of the possibilities and limitations of the English language when -sung, and those visual and picturesque qualities in the story which -alone can make the unreal conditions of opera, _per se_, either -plausible or intelligible, is about as rare as the proverbial white -crow--as many gifted composers have found to their cost. - -"All these requirements are, I think, fulfilled in the really charming -libretto which Mr. Mackaye has written in 'The Canterbury Pilgrims,' -which came to me unsought as it were. As a member of a committee for -choosing plays to be used in settlement work on the East Side, my wife -read Mr. Mackaye's earlier play of the same name, and told me she -thought it contained excellent operatic material. Agreeing with her, I -went to Mr. Mackaye and suggested the idea to him. He agreed with me -and soon afterwards, early in 1914, we set to work. To adapt a play of -over 17,000 words for operatic purposes by merely cutting it was -manifestly impossible. Entire reconstruction, both in structure and -language, was necessary, and this Mr. Mackaye has so successfully -accomplished that in my judgment his libretto, as an artistic whole, -is far superior to his earlier play. - -"I took the first act with me when I went abroad in March, 1914, and -the entire opera, begun October 10, 1914, was finished on December 21, -1915, during which time I lived at Vevey, Switzerland, amid, and yet -far from, wars and rumours of wars. - -"As to my part of the work, the characters of Mr. Mackaye's story, -whose essentially old English atmosphere appealed to me strongly from -the first, naturally suggested Verdi's 'Falstaff' as a model in a -sense. But Verdi abjured the leit motif or motto theme, and I had -always felt that Wagner's theory, applied in some form, was the true -basis of construction for all musico-dramatic work. Yet again it -always seemed to me that, save in the hands of a consummate master, -the leit motif, pushed to its logical development, was only too apt to -become tiresome, obscure, and ineffective. So, after much -consideration, I bethought me of the very way in which Massenet in -'Manon' had used a limited number of what might be called recurrent -themes--such as the one for 'Des Grieux'--and made up my mind to try -what could be done along these simpler and more plastic lines. - -"So, without attempting to describe pictorially in music, swords, -tarnhelms, or dragons, or to weave music into an intricate -contrapuntal work, I have in 'The Canterbury Pilgrims,' while -following closely the spirit and meaning of Mr. Mackaye's poetic text, -attributed a number of saliently melodic themes to the characters, -incidents, and even material objects of the story, and when these -recur in or are suggested by the text the attributive themes recur -with them, so that, as I hope, they may be readily recognizable by -the untechnical opera-goer and aid him in following this story and -action. - -"Just a word in regard to the English language as a medium for opera -and song. As Mr. Gatti says that a typical operatic audience in Italy, -knowing their own language and generally familiar with both text and -story of their operas, only expect to understand about half the words -as sung, owing to the very conditions of opera itself, may it not be -fairly said that American audiences who go to hear operas in English, -expecting to understand every word, expect the impossible, and should -be more reasonable in their demands? - -"Again, I have always contended and maintained that the English -language, properly used, is an entirely singable language, and as so -far during the rehearsals of 'The Canterbury Pilgrims' none of the -artists has seemed to find any great difficulty in singing in English -beyond that inherent to a certain lack of familiarity with the -language itself, it looks as if my contention stands at least a fair -chance of being admitted." - - - - -Spanish Opera - - -During the winter of 1915-16 the interest in Spanish music was at its -height in New York. Enrique Granados, a distinguished Spanish composer -and pianist, came to the city to superintend the production of his -opera, "Goyescas," sung in Spanish at the Metropolitan. Pablo Casals, -the famous Spanish 'cellist, and Miguel Llobet, virtuoso of the -guitar, were making frequent appearances. La Argentina was dancing, -and Maria Barrientos made her dbut at the Metropolitan. In the season -of 1917-18 the Spanish craze culminated in "The Land of Joy," a -musical revue which came first to the Park Theatre, then was -transferred to the Knickerbocker Theatre. The music was by Joaquin -Valverde, fils, and the entertainment was an entrancing blend of -colour and intoxicating rhythms, with the dancing of the passionate -gipsy, Doloretes, as the most amazing and vivid feature. - - -GOYESCAS - -The characters and setting of the opera are suggested by the work of -the Spanish painter Goya. The opera opens with a crowd of _majas_ and -_majos_ enjoying a holiday on the outskirts of Madrid. Some of the -_majas_ are engaged in the popular pastime of tossing the _pelele_ (a -man of straw) in a blanket. _Paquiro_ the toreador is paying -compliments to the women. _Pepa_, his sweetheart of the day, arrives -in her dogcart. Popular, she is warmly welcomed. Soon _Rosario_, a -lady of rank, arrives in her sedan-chair to keep a tryst with her -lover, _Fernando_, a captain in the Royal Spanish Guards. _Paquiro_ -reminds her of a _baile de candil_ (a ball given in a room lit by -candlelight) which she once attended. He invites her to go again. -_Fernando_ overhears his remarks. His jealousy is aroused. He informs -_Paquiro_ that _Rosario_ shall go to the ball, but that he, -_Fernando_, will accompany her. He extracts _Rosario's_ promise to go -with him, while _Pepa_, enraged by _Paquiro's_ neglect, vows vengeance -upon her. - -The second tableau shows the scene at the ball. _Fernando_ appears -with _Rosario_. His haughty bearing and disdainful speech anger all -present. The two men arrange for a duel that evening, and when -_Rosario_ recovers from a swoon, _Fernando_ takes her away. - -The third tableau reveals _Rosario's_ garden. _Fernando_ visits her -before keeping his appointment with _Paquiro_. When a bell strikes the -fatal hour, _Fernando_ tears himself away. He is followed hesitatingly -by _Rosario_. Soon the silence is broken by a cry from _Fernando_, -followed by a shriek from _Rosario_. The lovers reappear. _Rosario_ -supports _Fernando_ to a stone bench where he dies in her arms. - -Enrique Granados, perhaps the first important composer from Spain to -visit North America, was born July 27, 1867, at Lerida, Catalonia. He -died March 24, 1916, a passenger on the _Sussex_, torpedoed in the -English Channel. The libretto for his "Goyescas" is by Fernando -Periquet. - - - - -INDEX - - - NOTE: In setting this index, different faces of type have - been used as follows: - - For operas, thus: =Ada=. - For characters, thus: Rhadames. - For singers, thus: _Eames_. - For composers, thus: VERDI. - - - A - - Abimelech, 725 - - Adalgisa, 326 ff. - - ADAM, ADOLPHE CHARLES, 467, 497 - - _Adams, Suzanne_, 45, 516 - - Adina, 335 ff. - - Adriano, 94 ff. - - neas, 539, 541 - - Aennchen, 64 ff. - - Afron, Prince, 829 - - Aegisthus, 804 - - Agathe, 64 ff. - - Agnes, 816 - - Agramente, Mother, 765 - - Ah-Joe, 686 ff. - - =Ada=, 1, 6, 7, 90, 433, 438, 439, 466, 602, 618, 672 - - Alain, 728 - - Alberich, 89, 141, 148, 208 - - Albert, 748 - - _Alboni_, 306, 308 - - =Alceste=, 493 - - Alcindoro, 643 ff. - - _Alda, Frances_, 458, 466, 602, 680, 762, 841 - - =Alessandro Stradella=, 559 - - Alessio, 319 ff. - - Alfio, 612 ff. - - Alfonso, 52, 53, 496 - - Alfonso XI., 359 ff. - - Ali, 762 - - Alice, 343 ff., 501 ff. - - Aline, 767 - - Alisa, 343 - - Allaine, 760 - - Almaviva, 308 - - Almaviva, Count, 23 ff., 295 ff. - - Almaviva, Countess, 23 ff. - - Almrio, 762 - - _Alston, Elizabeth_, 23 - - _Althouse, Paul_, 834, 836, 843 - - Altichiara, 680 ff. - - Alvar, Don, 524 ff. - - Alvarado, Juan Baptista, 838 - - _Alvarez, M._, 458, 516, 543, 736, 745 - - Alvaro, Don, 437 ff. - - _Alvary, Max_, 69, 140, 148, 191, 208, 227 - - Alvise, 482 ff. - - _Amato, Pasquale_, 14, 427, 475, 482, 587, 602, 622, 639, 674, 680, - 690, 707, 841 - - _Ambr, Mme._, 586 - - Ambrosio, 295 - - Amelfa, 829 - - Amelia (Adelia), 427 ff. - - Amfortas, 272 ff. - - =Amico Fritz, L'=, 618 ff. - - Amina, 319 ff. - - Amneris, 439 ff. - - _Amodio_, 402, 416, 531 - - Amonasro, 439 ff. - - Amor, God of Love, 9 ff. - - =Amore Medici, L'=, 698 - - Anacoana, 718 ff. - - _Ananian, Paolo_, 765 - - _Ancona_, 359, 602, 628 - - Andrs, 724 - - =Andr Chnier=, 712 ff. - - Andromache, 539 - - ANGELINO, 638 - - _Angelo_ (Director), 434 - - Angelotti, Cesare, 653 ff. - - Angioletta, 765 - - _Angrisani, Carlo_, 44, 295 - - Anita, 746 - - Anna, 523 ff., 541, 639, 720, 764 - - =Anna Bolena=, 334 - - Anne, 466 ff. - - Annetta, 718 ff. - - Annina, 416 ff., 807 - - _Anschtz, Carl_ (Director), 69 - - Antipas, Herod, 801 - - _Antognini, Signor_, 333 - - Antonia, 724 - - Antonio, 23 ff., 367 ff., 581 ff., 622 ff. - - =Aphrodite=, 756 ff. - - _Araline, Mme._, 62 - - Araquil, 746 - - ARBELL, LUCY (Librettist), 750 - - Archibaldo, 690 ff. - - _Arden, Cecil_, 765 - - ARDITI, 306 - - Ariadne, 813 - - =Ariadne= (=Arianna=), 5 - - =Ariadne auf Naxos=, 813 - - Ariane, 759 ff. - - =Ariane et Barbe-Bleue=, 759 - - =Arianna= (=Ariadne=), 5 - - Ariofarno, 715 - - Arkel, 752 ff. - - Arlecchino, 705 ff., 814 - - =Armide=, 8, 20, 85, 493 - - Armide, 14 ff. - - Armuth, Lena, 721 - - Arnold, 313 ff. - - _Arnoldson, Sigrid_, 748 - - Arnolfo, 706 - - Arontes, 15 ff. - - Arrigo, 436 ff. - - Arsaces, 310 ff. - - =Artaxerxes=, 4 - - Artemidore, 15 ff. - - Arth, 840 - - Arturo, 343 - - Ascanio, 536 ff. - - Ascanius, 539, 541 - - Asdrubale, Don, 719 - - Ashby, 674 ff. - - Ashton, Lord Henry, 343 ff. - - Assad, 773 - - Assur, 310 ff. - - Astaroth, 773 - - Astolfo, 339 ff. - - Astyonax, 539 - - Astrofiammante, Queen of the Night, 45 - - Asvezel Moslain, Khan, 767 - - Athanal, 732 - - =Attaque du Moulin, L'=, 758 ff. - - AUBER, DANIEL FRANOIS ESPRIT, 2, 306, 426, 496, 498, 510 - - _Audisio, Pietro_, 765, 844 - - Autharite, 752 - - Avito, 690 ff. - - Azema, 310 ff. - - Azucena, 403 ff. - - - B - - Baal Hanau, 773 - - Bacchis, 757 - - Bacchus, 813 - - _Bada, Angelo_, 765 - - _Baglioni, Antonio_, 32 - - Bahis, Dr., 706 - - _Baklanoff, Georges_, 767 - - Balducci, 536 ff. - - BALFE, 467 - - =Ballo in Maschera, Un=, 426, 438 - - Balthazar, 359 ff. - - _Bandrowski, Alexander Van_, 830 - - Baptista, 772 - - Barbarina, 23 ff. - - =Barber of Bagdad, The=, 770 - - =Barber of Seville=, 7, 22, 25, 295, 307, 308, 315, 376, 742 - - BARBIER, JULES (Librettist), 23, 531, 535, 562, 565, 574, 580, 585, 723 - - _Barbieri, Mme._, 44 - - Bardolph, 466 ff. - - _Barili, Clothilda_, 367 - - Barnaba, 482 ff. - - Baroncello, 94 ff. - - _Barr_, 585 - - _Barrientos, Maria_, 849 - - _Bartet, Miss_, 728 - - Bartolo, 719 - - Bartolo, Doctor, 23 ff., 295 ff. - - BARTON, GEORGE EDWARDS (Librettist), 833 - - Basilio, 295 - - _Bassett, Charles_, 612 - - _Bassi, Signor_, 32, 699 - - Bastien, 52 - - =Bastien and Bastienne=, 51 - - Bastienne, 52 - - BATKA, RICHARD (Libretttist), 781, 788 - - _Bayer, Julius_, 272, 776, 844 - - _Beale, Kittie_, 765 - - Beatrice, 583, 704 ff. - - =Beatrice and Benedict=, 538 - - BEAUMARCHAIS (Librettist), 23 - - Beckmesser, Sixtus, 246 ff. - - BEETHOVEN, 22, 54, 55, 56, 77 - - _Behne, Harriet_, 665 - - Belcore, 335 ff. - - _Belhomme_, M., 724 - - BELL-RANSKE, JUTTA (Librettist), 834 - - Bellangre, 760 - - _Bellati_, 665 - - _Bellini, Laura_, 612 - - BELLINI, VINCENZO, 1, 318 ff., 325, 329, 334, 376, 493, 608 - - Benedict, 538 - - BENELLI, SEM (Librettist), 690 - - Benjamin, 495 - - Benoit, 643 ff. - - Benson, Mrs., 725 - - =Benvenuto Cellini=, 535 ff. - - Benvolio, 575 ff. - - Beppe, 619 ff., 628 ff. - - Berardengo, Ser Toldo, 680 ff. - - _Brat, Louis_, 699 - - _Bergmann, Carl_ (Director), 63, 107 - - BERGMLLER, ROBERT, 559 - - BERLIOZ, HECTOR, 13, 63, 78, 85, 535, 542 - - Bernal, 832 - - Bernardino, 536 ff. - - BERNDE, ARTHUR (Librettist), 749 - - BERNHARD, A. (Librettist), 825 - - Bersi, 713 ff. - - Berta, 295 - - Bertel, 781 - - Bertha, 516 ff. - - BERTONI, FERNANDINO, 12 - - Bertram, the Unknown, 501 - - Bervoix, Flora, 416 ff. - - Besenbinder, Der, 776 - - =Betrothed, The= (=I Promessi Sposi=), 481 - - _Bettaque, Katti_, 148 - - _Bettini_, 501 - - _Betz_, 89 - - BEY, MARIETTE (Librettist), 439 - - _Beyle, Leon_, 756 - - _Biachi, Hannibal_, 562 - - Bianca, 772 - - Biancofiore, 680 ff. - - Biaso, 699 ff. - - BIELSKY, V., 829 - - BIERBAUM, OTTO JULIUS (Librettist), 791 - - _Bignardi_, 386 - - BIS (Librettist), 317 - - _Bischoff, A._, 163 - - _Bispham, David_, 52, 227, 375, 830 - - BISHOP, HENRY ROWLEY, 30 - - _Bishop, Mme. Anna_, 546 - - Biterolf, 107 ff. - - BIZET, GEORGES, 2, 494, 510, 586, 601, 603, 728 - - Black Lorenzo, 836 - - Blanchefleur, 788 - - _Blass, M._, 272, 830 - - BLAU, EDOUARD (Librettist), 742, 747 - - BLECH, 781 - - _Bloch, Max_, 772, 844 - - Blue-Beard, 759 ff. - - _Blum, A._, 163 - - Bobadilla, 718 ff. - - BODANZKY, ARTUR, 769, 773, 844 - - =Bohme, La= (Leoncavallo), 628 - - =Bohme, La= (Puccini), 638, 643 ff. - - _Bohner, Mrs. Jennie_, 612 - - BOIELDIEU, FRANOIS ADRIEN, 495 - - BOTO, ARRIGO (Librettist), 458, 466, 474, 480, 482, 715 - - Bombardon, 779 - - _Bonci_, 329, 372, 639 - - _Bondini, Teresa_, 32 - - Boniface, 747 - - _Bonnard_, 745 - - Bonze, The, 665 ff. - - _Borghese, Signora_, 333 - - Borgia, Lucrezia, 339 ff. - - _Bori_, 620, 686, 690 - - =Boris Godounoff=, 822 - - BORODIN, 819 - - Borov, 720 - - Borsa, 387 ff. - - _Bosio, Signorina_, 501, 503 - - Bostana, 771 - - Botta, 620, 686 - - BOUILLY (Librettist), 55 - - Boy, 440 - - _Braendle, Miss_, 272 - - Brander, 543 ff. - - Brangne, 227 ff. - - _Brandt, Marianne_, 62, 69, 117, 163, 236, 272, 516 - - _Braun_, 18, 504 - - Braun, 781 - - _Braslau, Sophie_, 834 - - Brayole, Captain, 788 - - BREIL, JOSEPH, 836 - - _Brema_, 516 - - _Bressler-Gianoli_, 586, 602 - - Bret, Le, 841 - - BREUNING (Librettist), 54 - - _Brval, Lucienne_, 729, 752 - - _Bridewell, Carrie_, 752 - - Brighella, 814 - - _Brignoli_, 339, 402, 416, 513, 585 - - _Broschi, Carlo_, 4 - - _Brough_, 319 - - BRLL, 779 - - BRUNEAU, ALFRED, 758 - - Brnnhilde, 7, 89, 140, 142, 146, 164, 208 - - Bucklaw, Lord Arthur, 343 ff. - - BUNGE, RUDOLF (Librettist), 784 - - _Burgstaller_, 272 - - Burton, 832 - - Butterfly, Madam (Cio-Cio-San), 665 ff. - - =Butterfly, Madama=, 638, 644, 664 - - BYRNE, JACQUES (Librettist), 836 - - - C - - Cadi, 762 - - CADMAN, CHARLES WAKEFIELD, 834 - - CAIN, HENRI (Librettist), 743, 745, 749 - - Cajus, Dr., 466 ff. - - Calatrava, Marquis di, 437 ff. - - Caliph, The, 771 - - =Calife de Bagdad, Le=, 495 - - Callids, 756 ff. - - _Calv, Mme._, 475, 543, 564, 586, 602, 604, 612, 618, 745 - - CALZABIGI, RANIERO DI (Librettist), 9 - - =Cambiale di Matrimonio, La=, 294 - - CAMMARANO, SALVATORE (Librettist), 343, 372, 402 - - _Campanari_, 23, 628 - - =Campanello di Notte, Il=, 334, 374 ff. - - _Campanini, Cleofante_ (Director), 354, 458, 466, 611, 665, 699 - - _Campanini, Italo_, 117, 343, 354, 359, 402, 437, 440, 475, 503, 531, - 546, 562, 586, 587 - - _Campbell, Miss_, 612 - - Canio, 628 ff. - - _Canissa, Pauline_, 163 - - =Canterbury Pilgrims, The=, 843 - - _Capoul_, 575, 580 - - Capulet, Count, 575 ff. - - Caradoc, 840 - - Carlos, Don, 377, 437, 438 - - Carmela, 699 ff. - - Carmelita, 836 - - =Carmen=, 2, 303, 510, 586, 587, 603 - - Caroline, Queen, 708 ff. - - CARR, MICHEL (Librettist), 2, 531, 562, 565, 574, 580, 585, 603, 723 - - _Caruso_, 14, 335, 337, 339, 343, 354, 386, 388, 402, 412, 426, 475, - 482, 504, 516, 546, 564, 587, 602, 604, 611, 620, 622, 640, 665, 674, 714 - - _Cary, Annie Louise_, 117, 359, 402, 437, 440, 475, 503, 585 - - _Case, Anna_, 807 - - Cassandra, 539 - - Cassio, 459 ff. - - _Castelmary_, 557 - - Castiglione, 765 - - CASTIL-BLAZE (Librettist), 299, 307 - - =Castor and Pollux=, 1 - - Castro, Jos, 675, 838 - - CATALINA, ALFRED, 719 - - Caterina, 619 ff. - - Catherine, 530 - - CAVALIERI, CATERINA, 43 - - _Cavalieri, Lina_, 640, 715, 749 - - =Cavalleria Rusticana=, 609, 610, 612, 626, 698, 707, 746 - - CAVALLI, 5 - - Cavaradossi, Mario, 652 ff. - - Cellini, Benvenuto, 536 ff. - - =Cendrillon=, 728, 745 - - Ceprano, Count, 386 ff. - - Ceprano, Countess, 387 ff. - - Cesano,765 - - =Cesare Borgia=, 627 - - _Cesarini, Duke_ (Director), 300 - - _Chaliapine_, 475 - - _Chalmers, Thomas_, 762, 834 - - Chappelou, 497 - - _Chapuis_, 601 - - Charles, Vicomte de Sirval, 367 ff. - - Charlotte, 748 - - Charming, Prince, 745 - - CHARPENTIER, GUSTAVE, 750 - - Chaucer, 843 - - =Chemineau, Le=, 766 - - Chnier, Andr, 713 ff. - - CHERUBINI, LUIGI, 493, 494 - - Cherubino, 23 ff. - - Chiarina, 765 - - Chim-Fen, 686 ff. - - Chimaris, 757 - - Chimne, 742 - - Chonita, 832 - - CHOPIN, 306 - - CHORLEY (Librettist), 574 - - Choroebus, 539 - - Christian, 841 - - Christine, 779 - - Chrysis, 757 - - Chrysothemis, 804 - - Ciccillo, 699 ff. - - =Cid, Le=, 742 - - Cieca, La, 482 ff. - - Cinderella, 745 - - _Cinti-Damoreau, Mlle._, 501 - - CIVINI, G., 674 - - CLARETIE, JULES (Librettist), 745 - - _Clarke, Payne_, 612 - - Claudio, 538 - - =Clemenza di Tito=, 51 - - Cleo, 788 - - Cleopatra, 750 - - =Cloptre=, 750 - - Clitandro, 706 - - Clotilda, 326 ff. - - Clytemnestra, 804 - - Cochenille, 724 - - Colas, 52, 779 - - COLAUTTI (Librettist), 720 - - _Coletti_, 503, 562 - - _Colin_, 562 - - _Collin, M._, 724 - - Colline, 643 ff. - - Colombina, 704 ff. - - Colombo, Cristoforo, 717 ff. - - Colonna, Steffano, 94 ff. - - Comare, La, 719 - - Concetta, 699 ff. - - =Conchita=, 685, 716 - - Conchita, 716 ff. - - _Conried, Heinrich_ (Director), 272, 612, 804 - - =Contes d'Hoffmann, Les=, 723 - - CONVERSE, FREDERICK SHEPHERD, 832, 833 - - Copplius, 724 - - =Coq d'Or, Le=, 828 - - _Coquelin_, 728 - - _Cordier_, 531 - - Corentino, 531 ff. - - CORMON (Librettist), 603 - - CORNEILLE, 742 - - CORNELIUS, PETER, 769, 770 - - =Corregidor, Der=, 792 - - _Corsi, Pini_, 674 - - =Cortez, Fernando=, 80 - - Cortez, 765 - - Cosse, 504 ff. - - =Cos Fan Tutte=, 24, 52 - - COSTA, 63, 78 - - _Crabbe, Mr._, 837 - - _Cremonini_, 359, 652 - - =Crepusculum=, 627 - - Crespel, 724 - - =Cricket on the Hearth, The=, 775 - - Crisogono, 721 - - =Crispino e La Comare=, 718 ff. - - Crispino, 718 ff. - - =Cristoforo Colombo=, 717 ff. - - _Crivelli, Signor_, 295 - - Cuno, 63 ff. - - Cyril, 720 - - =Cyrano de Bergerac=, 832, 841 - - =Czar und Zimmermann= (=Czar and Carpenter=), 80 - - - D - - =Dafne=, 4 - - Daland, 98 ff. - - Dalila, 725 - - _Dalmors, Charles_, 543, 587, 602, 749 - - =Dame Blanche, La=, 495 - - Damian, 784 - - =Damnation de Faust, La=, 535, 542 ff. - - _Damrosch, Dr. Leopold_ (Director), 62, 90, 107, 163, 498, 523, 542, 830 - - DAMROSCH, WALTER, 832, 841 - - _d'Angelo, Louis_, 836 - - Danielo, 765 - - Danish Knight, The, 15 ff. - - DA PONTE, LORENZO (Librettist), 29, 30, 31, 44, 52 - - David, 247 ff., 619 ff. - - DBUSSY, 2, 752 - - _Defrre, Dsir_, 767 - - D'ENNERY, M. (Librettist), 742 - - _de Gebel, Frida_, 163 - - DE GRAMONT, LOUIS (Librettist), 756 - - DE KOVEN, REGINALD, 843 - - DELAVIGNE (Librettist), 496, 501 - - DELDEVEZ, EDOUARD, 559 - - DELIBES, 724 - - _Delmas, M._, 736 - - _Delpouget, M._, 736 - - _Del Puente_, 402, 503, 562, 586, 612, 736 - - _de Luca, Giuseppe_, 628, 665, 762 - - _Demellin_, 756 - - Dmtrios, 756 ff. - - _de Reszke, douard_, 45, 208, 227, 246, 440, 503, 516, 523 - - _de Reszke, Jean_, 23, 45, 140, 208, 227, 246, 426, 503, 516, 523, - 542, 575, 563, 586, 736, 748 - - DESCHAMPS (Librettist), 503 - - _Deschamps-Jhin, Mme._, 750 - - Desdemona, 459 ff. - - _de Segurola, Andrs_, 674, 762 - - Desfonandres, Dr., 706 - - Despina, 52 - - Despraux, 707 ff. - - d'Este, Alfonso, Duke of Ferrara, 339 ff. - - _Destinn, E._, 427, 466, 475, 482, 504, 665, 674 - - =Deux Journes, Les=, 493 - - Diable, Le, 728 - - Diana, 18 ff. - - Dido, 541 - - _Didur, Adamo_, 516, 622, 674, 686, 690, 765, 776 - - Diego, Don, 524 ff., 742 - - Diemut, 797 - - _Dilthey, Minnie_, 9 - - Dimitri, the Pretender, 822 - - _di Murska, Ilma_, 531 - - _Dinh-Gilly_, 674 - - Dinorah, 531 ff. - - =Dinorah, ou le Pardon de Plormel=, 500, 530 - - Di Silva, Don Ruy Gomez, 377 ff. - - =Djamileh=, 605 - - Djamileh, 605 - - Dmitri, 720 - - d'Obigny, Marquis, 416 ff. - - Dodon, King, 828 - - _Dolci, Alessandro_, 720 - - Dominique, 759 - - Donati, 679 - - =Don Carlos=, 437, 441 - - Donella, 680 ff. - - DONIZETTI, 1, 308, 334, 359, 366, 372, 376, 493, 608 - - =Donne Curiose, Le=, 698, 704 - - Donner, 89, 148 - - Dorabella, 52 - - D'ORINVILLE (Librettist), 720 - - Doris, 788 - - _Dorus, Mlle._, 501 - - Dot, 775 - - Douphol, Baron, 416 ff. - - =Duca d'Alba, Il=, 366 - - _Dufranne, Mr._, 729, 837 - - _Dufriche_, 652, 745, 752 - - DUKAS, PAUL, 759 - - Dulcamara, 335 ff. - - Dulcine, La belle, 743 ff. - - DU LOCLE, CAMILLE (Librettist), 752 - - _Duprez_, 313, 343 - - Durham, Lady Harriet, 546 ff. - - Dursel, 788 - - =Dusk of the Gods, The=, 89 - - Dutchman, The, 98 - - DUVAL, ALEXANDER (Librettist), 495 - - DU WAILLY (Librettist), 535 - - - E - - _Eames, Emma_, 23, 140, 246, 402, 426, 458, 466, 475, 564, 575, 586, - 612, 620, 715, 748 - - _Easton, Florence_, 622, 769, 835 - - EBERHARDT, NELLE RICHMOND (Librettist), 834 - - Eboli, Princess, 438 - - =Edgar=, 639 - - Edgar of Ravenswood, 343 ff. - - Edgardo, 343, 608 - - Edmund, 640 ff. - - _Egener, Minnie_, 844 - - Eislinger, Ulrich, 246 ff. - - El Dancairo, 587 ff. - - Eleanora, 704 ff. - - =Elektra=, 769, 804 - - Elektra, 804 - - Elena, 475 ff. - - Elisa, Princess, 708 ff. - - Elizabeth, 107 ff. - - Elizabeth, St., 769 - - Ellen, 725 - - _Ellis, Mary_, 765 - - =Elopement from the Serail, The= (=Belmonte und Constance=), 52 - - El Remendado, 587 ff. - - Elsa of Brabant, 117 ff. - - Else, 781 - - Elvino, 319 ff. - - Elvira, 330, 377, 608 - - Elvira, Donna, 31 ff. - - Emilia, 459 ff. - - Engel, Friedrich, 787 - - _Engel, Lotta_, 776 - - Enrico, 343, 375 - - =Enrico di Borgogna=, 335 - - =Ensorcele, L'=, 764 - - Enya, 840 - - Erda, 89, 140, 142, 148 - - Eric, 98 ff. - - ERLANGER, CAMILLE, 756 - - =Ernani=, 377, 385 - - Ernani, 608 - - Ernani, John, of Aragon, 377 ff. - - Ernesto, 372 ff. - - Eroshka, 820 - - Escamillo, 587 ff. - - Eschenbach, Wolfram von, 107 ff. - - Esmeralda, 816 - - Estella, 716 ff. - - TIENNE, V.J. ("JOUY"), 313 - - =Eugen Onegin=, 825, 828 - - =Euryanthe=, 63, 69, 77, 85 - - Eurydice, 9 ff. - - Eva, 247 ff. - - =Evangelimann, Der=, 787 - - Everton, Amy, 834 - - Everton, Mrs., 834 - - - F - - Fabrizio, 718 ff. - - Fafner, 141, 148 - - =Fairies, The=, 82 - - =Falstaff=, 7, 376, 466, 480, 847 - - Falstaff, Sir Henry, 466 ff. - - =Fanciulla del West, La=, 638, 674 - - =Faniska=, 494 - - Farlaf, 818 - - _Farneti, Marie_, 620 - - _Farrar, Geraldine_, 23, 45, 565, 586, 602, 611, 622, 665, 705, 707, - 741, 765, 776 - - Fasolt, 141, 148 - - Fatimah, 762 - - _Faure_, 45, 531, 562, 585 - - =Faust=, 7, 79, 510, 561, 562 - - Faust, 475, 543, 562 - - Favart, 788 - - =Favorita, La=, 334, 359 - - =Fedora=, 714, 720 - - Fedora, Princess, 720 - - =Feldlager in Schlesien, Das=, 500, 530 - - Fenella, 496 - - Fenton, 466 ff. - - Feodor, 822 - - Ferdinand, 359 ff. - - Fernando, 850 - - =Fernando Cortez=, 80 - - Fernando, Don, 54 ff. - - Ferrando, 52, 402 - - _Ferrari-Fontana_, 690 - - =Feuersnot=, 769, 796 - - FEVRIER, HENRY, 761 - - Fiamina, 729 - - =Fidelio=, 22, 54, 56, 62, 77 - - Fides, 516 ff. - - Fieramosca, 536 ff. - - Figaro, 23, 24, 295, 309 - - =Figaro, Marriage of=, 51, 295 - - =Figlia del Reggimento, La=, 334, 355 - - =Figliuol Prodigo, Il=, 481 - - Filipievna, 825 - - =Fille de Roland, La=, 763 - - Finn, 818 - - Fiordiligi, 52 - - Fiorello, 295 - - _Fischer, Emil_, 69, 117, 140, 148, 191, 208, 227, 246 - - _Fitziu, Anna_, 719 - - Flaminio, 690 ff. - - Flammen, 622 ff. - - Flavius, 326 ff. - - Flville, 713 ff. - - Flora, 690 ff. - - Florestan, 54, 62 - - Florinda, 704 ff. - - Flosshilde, 148, 208 - - =Flying Dutchman, The=, 69, 79, 84, 98, 109, 118, 226 - - Folco, 626 - - Folz, Hans, 246 ff. - - _Fontaine, Charles_, 761, 767 - - Ford, 466 ff. - - Ford, Mistress, 466 ff. - - Fort, Lysiart de, 69 ff. - - _Formes, Carl_, 313, 501, 503 - - _Fornia_, 807 - - Forth, Sir Richard, 330 ff. - - FORTUNA, FERDINANDO (Librettist), 639 - - =Forza del Destino, La=, 436 ff. - - FORZANO, GIOACCHINO (Librettist), 622 - - Fouch, 707 - - =Fra Diavolo=, 497 - - Francesca, 680 ff. - - =Francesca Da Rimini=, 680 ff. - - Francesco, 536 ff. - - FRANCHETTI, ALBERTO, 717, 721 - - =Franco Arciero, Il=, 63 - - Franois, 767 - - Franoise, 759 - - Frantz, 724 - - Franz, 622 ff. - - Frasquita, 587, 793 - - Frdric, 581 ff. - - Frederica, Duchess of Ostheim, 434 ff. - - Frederick, 724 - - Frederick of Telramund, 117 ff. - - Frederico, 619 ff. - - Freia, 141, 148 ff. - - =Freischtz, Der=, 62, 77, 81, 85 - - _Fremstad, Olive_, 14, 140, 227, 801, 804 - - Freudhofer, Johannes, 787 - - Freudhofer, Matthias, 787 - - _Frezzolini_, 386 - - _Friche, Claire_, 756 - - Fricka, 89, 142, 148, 164 - - Friedhold, 799 - - Froh, 148 ff. - - _Fuchs_, 272 - - _Fugre, Lucien_, 729, 750 - - Furies, The, 10 - - _Fursch-Madi_, 483 - - Furst, Walter, 313 ff. - - - G - - GABEAUX, PIERRE, 55 - - Gabriel, Padre, 833 - - _Gadski, Johanna_, 9, 227, 246 - - _Galassi, Antonio_, 332, 354, 367, 387, 402, 437, 458, 587 - - Galitzky, Prince, 820 - - _Gall, Yvonne_, 767 - - GALLET, M. LOUIS (Librettist), 605, 731, 742, 758 - - _Galli-Curci, Amelita_, 295, 306, 343, 386, 388, 416, 532, 575, 742 - - _Galli-Mari_, 586, 601 - - GANDONNIRE, 542 - - Gansemagd, Die, 776 - - Garcia, 716, 743 ff. - - _Garcia, Mme._, 44 - - _Garcia, Manuel_, 44, 295, 309 - - _Garcia, Jr., Manuel_, 44 - - _Garcia, Maria_, 44, 295 - - _Garden, Mary_, 587, 603, 747, 750, 756, 761, 801, 804, 837 - - _Garrison, Mabel_, 52 - - Garrito, Gen., 746 - - Garsenda, 680 ff. - - Gaspar, Don, 359 ff. - - _Gates, Lucy_, 52, 375 - - _Gatti-Casazza_, 516, 611 - - GAUTHIER-VILLARS, HENRY (Librettist), 804 - - _Gay_, 466 - - Gazello, 339 ff. - - GAZZANIGA, GIUSEPPE, 31 - - Gelsomino, 707 ff. - - Gennaro, 339, 699 ff. - - Genoveva, 752 ff. - - Gelier, Le, 756 ff. - - Gerald, 724 - - GRARD (Librettist), 542 - - Grard, Charles, 713 ff. - - =Germania=, 720 - - Germont, Alfredo, 416 ff. - - Germont, Giorgio, 416 ff. - - =Gerolamo Savonarola=, 627 - - _Gerold, Herman_, 612 - - Geronte de Ravoir, 640 ff. - - _Gerster, Etelka_, 45, 319, 325, 329, 335, 343, 546 - - Gertrud, Frau, 781 - - Gertrude, 575, 778 - - Gertrude, Queen of Denmark, 586 - - _Gerville-Rache, Jeanne_, 746, 749 - - Gessler, 313 ff. - - GHISLANZONI, ANTONIO, 439, 441 - - GIACOSA, GIUSEPPE (Librettist), 643, 652, 664 - - _Gianini_, 736 - - Giannetta, 335 ff. - - Giannetto, 622 ff. - - =Gianni Schicchi=, 677 - - Giarno, 581 ff. - - GIESEKE (Librettist), 45, 46 - - Gil, Count, 705 - - Gilda, 387 ff. - - _Gilibert, Charles_, 355, 602, 652, 745, 752 - - GILLE, PHILIPPE (Librettist), 724, 736 - - =Gioconda, La=, 480, 481, 482, 638 - - Gioconda, La, 482 ff. - - GIORDANO, UMBERTO, 607, 707, 726 - - Giorgetta, 678 - - Giorgio D'Ast, 765 - - _Giorgi-Righetti_, 300, 308 - - Giovanni, 377, 387, 680 - - =Giovanni di Guzman--Vespri Siciliani=, 436 - - =Giovanni, Don=, 21, 22, 25, 30, 31, 32, 33, 43, 51, 85, 493 - - Giovanni, Don, 21, 31 ff. - - _Giraldoni_, 482 - - =Giovanni Gallurese=, 697 - - GIRARD, ERNEST, 723 - - Giscon, 752 - - =Gismonda=, 761 - - Gismonda, 761 - - Giuseppe, 416 ff. - - GLINKA, MICHAEL IVANOVICH, 818 - - Gloom, 840 - - _Gluck, Alma_, 9, 14 - - GLUCK, CHRISTOPH WILLIBALD, 1, 4, 6, 8, 12, 14, 17, 19, 20, 22, 77, - 90, 293, 493, 494 - - Godfrey, Duke, 117 ff. - - =Godounoff, Boris=, 822 - - Godounoff, Boris, 822 - - GOETZ, HERMANN, 769, 772 - - _Goff, Winifred_, 665 - - =Golden Cross, The=, 779 - - _Golden, Grace_, 612 - - GOLDMARK, CARL, 769, 773, 775 - - GOLISCIANI, ENRICO (Librettist), 699, 705 - - Golo, 752 ff. - - GONDINET (Librettist), 724 - - Gorislava, 819 - - _Goritz, Otto_, 246, 272, 772, 776, 807 - - Gormas, Comte de, 742 - - Goro, 665 - - =Gtterdmmerung=, 140, 207 - - GOUNOD, CHARLES FRANOIS, 2, 438, 459, 494, 510 - - _Gourdon, M._, 724 - - =Goyescas=, 849 - - GRANADOS, ENRIQUE, 849 - - _Grange, La_, 416, 503 - - _Grau, Maurice_ (Director), 509, 563 - - Grazia, 699 ff. - - _Graziani_, 417 - - Grech, 720 - - Grgoras, 762 - - Gregory, 575 ff. - - Gremin, 825 - - Grenvil, Dr., 416 ff. - - _Grenville, Miss Lilian_, 837 - - Gretel, 778 - - Grieux, Chevalier Des, 640, 736 ff. - - Grieux, Count Des, 736 ff. - - Grimaldo, Enzo, 482 ff. - - Griselda, 727 - - =Grislidis=, 727 - - _Grivot, M._, 724 - - _Grisi_, 306, 309, 326, 329, 339, 374 - - Grumio, 772 - - _Grn, Frau_, 89 - - _Guadagni, Gaetano_, 12, 14 - - Gubetta, 339 ff. - - _Gudehus_, 272 - - Guerra, Barbara de la, 838 - - Guerra, Don Francisco de la, 837 - - Guevara, Don Fernando, 717 ff. - - Guglielmo, 52 - - Guidon, Prince, 828 - - Guiche, de, 841 - - GUILLARD, FRANOIS (Librettist), 18 - - =Guillaume Tell=, 294, 312 - - _Guille_, 612 - - GUNSBOURG, RAOUL, 767 - - Gunther, 89, 143, 208 - - =Guntram=, 798 - - Guntram, 799 - - _Gura_, 89 - - Gurnemanz, 272 ff. - - Gusmann, Leonora di, 359 ff. - - =Gustave III, ou Le Bal Masqu=, 426 - - GUTIERREZ, ANTONIO GARCIA (Librettist), 402 - - Gutrune, 89, 143, 208 - - Gwynn, 840 - - - H - - Hnsel, 778 - - =Hnsel und Gretel=, 746, 769, 778, 807 - - Hagen, 89, 143, 208 - - HALVY, JACQUES, 2, 498, 510 - - Haltire, Mme. de la, 745 - - Hamilcar, 752 - - =Hamlet=, 585 - - Hamlet, 585 - - _Hammerstein, Oscar_ (Director), 612 - - HNDEL, 14 - - Handsome, 674 - - Hanego, 619 ff. - - Hans, 816 - - =Hans Heiling=, 79 - - Happy, 674 ff. - - =Happy Shade, A=, 9 ff. - - _Harden_, 272 - - Haroun, Prince, 605 - - =Harriette, ou La Servante de Greenwiche=, 559 - - Harry, 674 ff. - - HARTMANN, G. (Librettist), 747 - - HASSE, JOHANN ADOLPH, 4 - - _Hastreiter, Helene_, 9 - - Hate, 14 ff. - - _Hauck, Minnie_, 575, 586, 602, 612, 736 - - HAYDN, 51 - - _Hayes, Miss_, 516 - - Hecuba, 539 - - Hedvige, Signora, 721 - - Hedwiga, 313 ff. - - _Hglon, Mme._, 736 - - Hlne, Duchess, 436 ff. - - HELL, THEODOR (Librettist), 76 - - =Hllra=, 697 - - _Hempel, Freda_, 23, 45, 246, 427, 475, 504, 807 - - HENDERSON, WILLIAM J. (Librettist), 841 - - Henrietta, 330 ff. - - Henry the Fowler, 117 ff. - - HERBERT, VICTOR, 837 - - Herman, 827 - - Hermann, 107 ff. - - Hermann, Landgrave, 769 - - Hero, 538, 715 - - =Hero e Leandro=, 715 ff. - - Herod, 749 - - =Hrodiade=, 748 - - Herodias, 749, 801 - - HROLD, LOUIS J.F., 497 - - Hexe, Die, 776 - - Hidraot, 15 ff. - - _Hill_, 89, 272 - - _Hincks, Mrs. Pemberton_, 612 - - _Hinrichs, Gustave_ (Director), 612, 618, 628 - - _Hinshaw, William_, 776 - - HIPPOLYTE (Librettist), 313 - - Hol, 531 ff. - - _Hofer, Mme._, 52 - - Hoffman, 724 - - _Holman, Miss_, 309 - - _Holman, Mrs._, 23 - - Holzhacker, Der, 776 - - _Homer, Louise_, 9, 14, 140, 246, 272, 402, 427, 475, 482, 665, 776, 830 - - HOOKER, BRIAN (Librettist), 840 - - Hortensio, 355, 772 - - _Howard, Kathleen_, 762, 765, 834, 836 - - Hua-Qui, 686 ff. - - _Huberdeau, Gustave_, 756, 761, 837 - - Hu-chi, 686 ff. - - Huebscher, Catherine, 708 ff. - - HUGO, JOHN ADAM, 834 - - HUGO, VICTOR (Librettist), 343, 377, 386 - - =Huguenots, Les=, 294, 498, 500, 503, 510, 527, 731 - - HUMPERDINCK, ENGELBERT, 769, 776, 778 - - Hunding, 142, 163 - - Hu-Tsin, 686 ff. - - Hylas, 541 - - - I - - Iago, 458 ff. - - =Ib and Little Christina=, 689 - - =Idomeneo=, 51 - - Idrenus, 310 ff. - - Igor, 820 - - =Igor, Prince=, 819 - - Igoreivitch, Vladimir, 820 - - Iguamota, 718 ff. - - =Il Barbiere di Siviglia=, 705 - - Il Cieco, 620 ff. - - =Il Dissoluto Punito, ossia il Don Giovanni=, 30 - - ILLICA, LUIGI (Librettist), 619, 625, 643, 652, 664, 712, 717, 721 - - Inez, 359, 403, 523 - - Infanta, 742 - - Intendant, 367 - - Iolan, 833 - - =Iphignie en Aulide=, 493 - - =Iphignie en Tauride=, 8, 9, 18, 19, 20 - - Iphignie, 18 ff. - - =Iphigenia in Aulis=, 85 - - Irene, 94 ff. - - =Iris=, 611, 619, 620 - - Irma, 750 - - _Isaac, Mlle. Adle_, 724 - - Ispo, 482 ff. - - =Isabeau=, 611, 625 - - Isabeau, 625 ff. - - Isabella, 501 ff. - - Isabel of Spain, Queen, 717 ff. - - Isolde, 227 ff. - - - J - - Jackrabbit, Billy, 674 ff. - - Jacob, 495 - - Jacquino, 54 ff. - - _Jadlowker, Herman_, 705, 776 - - _Jger_, 272 - - Jago, 377 ff. - - Jagu, 831 - - _Jaide_, 89 - - _Jamet_, 585 - - Jane, 721 - - _Janouschoffsky, Mme._, 612 - - Javotte, 736 ff. - - Jean, 746, 747 - - =Jean de Paris=, 495 - - Jebbel, 721 - - Jemmy, 313 ff. - - =Jessonda=, 79 - - =Jewels of the Madonna, The=, 699 - - Joannes, 844 - - Joe, 674 ff. - - Johanna, 844 - - John, 775 - - Johnson, Dick (Ramerrez), 674 ff. - - John the Baptist, 749 - - Jokanaan, 801 - - Jonas, 516 ff. - - =Jongleur de Ntre Dame, Le=, 746 ff. - - Jopas, 541 - - Jos, Don, 587 ff. - - Josef, 764 - - =Joseph en Egypte=, 495 - - Joseph, 495 - - _Journet, Marcel_, 272, 477, 620, 752, 761 - - "JOUY," V.J. TIENNE (Librettist), 313 - - Juan, 744 - - _Juch, Emma_, 9 - - =Juive, La=, 498, 510, 731 - - Julia, 708 ff. - - Julien, 750 - - Juliet, 575 ff. - - - K - - Kagama, 838 - - KALBECK, MAX (Librettist), 51 - - Karnac, 727 - - Kaspar, 64 ff. - - Katharina, 772 - - Katrinka, 815 - - KEISER, REINHARD, 4 - - _Kellogg, Clara Louise_, 367, 546, 562 - - _Kelly, Michael_, 24 - - _Kemlitz_, 227, 246 - - _Kerker, Gustave_ (Director), 612 - - Kezal, 817 - - KIENZL, WILHELM, 787, 788 - - Kilian, 64 ff. - - _Kingston, Morgan_, 835 - - Kirchhofer, Werner, 784 - - Klingsor, 272 ff. - - Kobus, Fritz, 619 ff. - - _Kgel, Josef_, 107, 163 - - Konchak, Khan, 820 - - Konchakovna, 820 - - =Knigskinder=, 776 - - Knigssohn, Der, 776 - - Konradin, 784 - - Krner, Carlo, 721 - - Kothner, Fritz, 246 ff. - - _Kousnezova, Marie_, 750 - - KREUTZER, CONRADIN, 80 - - _Kronold, Selma_, 612, 628 - - _Krusceniski_, 665 - - Kruschina, 815 - - =Kuhreigen, Der=, 788 - - Kundry, 273 ff. - - Kunrad, 797 - - _Kurt_, 18, 140 - - Kurwenal, 227 ff. - - Kyoto, 630 ff. - - - L - - _Lablache_, 45, 329, 374, 562 - - LACHMANN, HEDWIG (Librettist), 800 - - Laertes, 581, 586 - - =L'Africaine=, 500, 523, 527 - - =Lakm=, 724 - - Lakm, 724 - - _L'Allemand, Pauline_, 725 - - LALO, 727 - - _Lambert, A._, 728 - - =L'me en Peine=, 546 - - _Lammert, Frulein_, 89 - - =L'Amore Medici=, 705 ff. - - =L'Amore Dei Tre Re=, 690 ff. - - Lampe, 781 - - L'Anery, Gontran de, 779 - - LANGE, FERDINAND, 76 - - LANNER, 808 - - Larina, 825 - - Larkens, 674 ff. - - _Lasalle_, 523, 585 - - Laura, 434, 482 - - _Laurenti, Mario_, 765, 844 - - Lawrence, Friar, 575 ff. - - _Lazaro, Hipolito_, 765 - - LAZZARI, SYLVIO, 764 - - _Lazzari, Virgilio_, 720 - - Leandro, 704, 715 - - =Le Villi=, 638 - - _Leesugg, Miss_, 295, 308 - - Lefebvre, 707 ff. - - _Legros_, 12, 13 - - =Legend, The=, 836 - - _Lehmann, Lilli_, 45, 62, 69, 89, 93, 140, 191, 207, 227, 326, 475, - 516, 603 - - _Lehmann, Marie_, 89 - - =Leila=, 603 - - Leila, 604 - - Lelio, 704 ff. - - =L'Elisire d'Amore=, 334, 335 - - LEMAIRE, FERDINAND (Librettist), 725 - - LNA, MAURICE (Librettist), 746 - - Lenski, 825 - - Leonato, 538 - - LEONI, 607, 686 - - LEONCAVALLO, RUGGIERO, 7, 91, 607, 608, 627, 628, 638 - - _Leonhardt, Robert_, 769, 772, 844 - - Leonora, Donna, 437 ff. - - Leonora, Duchess, 403 ff. - - =Leonora, ossia L'Amore Conjugale=, 55 - - Leonore, 54, 62 - - Leporello, 31 ff. - - =Lpreuse, La=, 764 - - LEROUX, XAVIER, 765, 766 - - Leroy, 707 ff. - - Lescaut, 640, 736 - - =L'toile du Nord=, 500, 530 - - Letorires, Gastone de, 416 ff. - - Leuthold, 313 ff. - - _Levasseur_, 501 - - _Levi, Hermann_ (Director), 52, 272 - - _Lherie_, 601 - - =Liebesverbot, Das=, 82 - - _Lind, Jenny_, 325, 334, 355, 501 - - Linda, 367 ff. - - =Linda di Chamounix=, 367 - - Lindorf, 724 - - Lionel, 546, 834 - - Lisa, 319, 827 - - Lise, 841 - - Lisetta, 706, 719 - - _Listner, Mme._, 163 - - LISZT, FRANZ, 86, 98, 117, 120, 535, 769 - - =Lituani, I=, 481 - - Liverotto, 339 ff. - - =Lobetanz=, 791 - - Lobetanz, 791 - - LOCLE, CAMILLE DU (Librettist), 439, 441 - - =Lodoletta=, 611, 622 - - Lodoletta, 622 ff. - - Lodovico, 459 ff. - - Loewe, Frederick, 721 - - Loge, 89, 148 - - =Lohengrin=, 68, 69, 79, 86, 99, 117, 118, 273, 516 - - Lohengrin, 117 ff. - - Lola, 612 ff. - - _Lolli, Giuseppe_, 32 - - Lopez, Juan, 793 - - =Loreley=, 719 ff. - - Loreley, 720 - - Loris, Count, 720 - - LORTZING, ALBERT, 80 - - Lothario, 581 ff. - - Louis VI., 69 ff. - - =Louise=, 750 - - Louise, 750 - - Los, 729 - - Luc Agnolo, 765 - - _Lucca_, 355, 523 - - Lucentio, 772 - - Lucia, 343 - - =Lucia di Lammermoor=, 7, 334, 343, 376, 426, 608, 673 - - Lucia, Mamma, 612 ff. - - Lucinda, 706 - - Lucinde, 14 ff. - - =Lucrezia Borgia=, 334, 339 - - Lucy, 343 ff. - - Ludmilla, 818 - - _Ludwig_, 736 - - Ludwig, Landgrave, 769 - - Luigi, 678 - - Luisa, 434 ff. - - =Luisa Miller=, 433, 438 - - LULLY, 4, 6, 17, 21 - - _Lussan, Zlie de_, 466 - - Ltzow, Luigi, 721 - - - M - - _Macbeth, Florence_, 719 - - MACKAYE, PERCY (Librettist), 843 - - Macroton, Dr., 706 - - Madda, 764 - - Maddalena, 387 ff. - - Madeleine, 713 ff. - - Madeline, 367 ff. - - Madelon, 713 ff. - - MAETERLINCK, MAURICE (Librettist), 752, 759 - - Magda, 676 ff. - - Magdalena, 247, 787 - - _Magunat, Alfred_, 750 - - MAHLER, GUSTAVE, 76 - - =Magic Flute, The=, 7, 21, 22, 45, 52, 55, 77, 85, 307 - - Malatesta, Dr., 372 ff. - - _Malatesta, Pompilio_, 844 - - Malatestino, 680 ff. - - =Mala Vita=, 707 - - _Malibran_, 44 - - Maliella, 699 ff. - - Mallika, 724 - - _Malten_, 262 - - _Mancinelli_ (Director), 752 - - MANCINELLI, LUIGI, 715 - - Manfredo, 690 ff. - - =Manon Lescaut=, 638, 640, 736, 741, 742 - - Manon Lescaut, 640, 736 ff. - - _Maran, Ernst_, 776 - - Mantua, Duke of, 386 ff. - - Manuela, 793 - - _Mapleson_ (Director), 354, 712 - - Manrico, 402 ff. - - =Manru=, 830 - - Manru, 831 - - _Mantelli_, 359, 503 - - Marcel, 504, 643 - - MARAST, ARMAND (Librettist), 313 - - Marc Antony, 750 - - Marcellina, 23 ff., 54 ff. - - _Marconi_, 458 - - _Marcy, Mme._, 736 - - _Mardones_, 516 - - _Marchal, Mr._, 729, 746, 750 - - _Maretzek, Mme._, 516 - - Margared, 727 - - Margherita, 475 ff. - - Margiana, 771 - - Marguerite, 543, 562 - - Maria, 784 - - Marianne, 807 - - Marie, 355, 816 - - _Marimon_, 531 - - =Marina=, 707 - - Marina, 822 - - _Marini_, 501, 503 - - _Mario_, 45, 326, 374, 388, 516 - - =Marion Delorme=, 481 - - Marke, King, 227 ff. - - Marouf, 762 - - =Marouf, the Cobbler of Cairo=, 762 - - =Marriage of Figaro, The=, 21, 22, 23, 30, 31, 295 - - MARSCHNER, HEINRICH, 79 - - Marta, 836 - - =Martha=, 546 ff. - - Martha, 475, 787 - - _Martinelli_, 680 - - _Martin, Riccardo_, 841 - - _Martyn, Mrs._, 62 - - Marullo, 387 ff. - - Mary, 98 ff. - - =Masaniello=, 496, 498, 510 - - Masaniello, 496 - - MASCAGNI, PIETRO, 7, 91, 607, 610, 612, 618, 638 - - =Maschere, Le= (=The Maskers=), 611 - - Masetto, 31 ff., 36 ff. - - =Masked Ball, The= (=Un Ballo in Maschera=), 426 ff. - - _Mason, Edith_, 843 - - MASSENET, JULES, 2, 7, 306, 494, 510, 727, 731, 736, 742, 743, 745, - 746, 747, 748, 750 - - Massimelle, Marquis, 788 - - Mateo, 716 ff. - - _Materna, Frau_, 89, 163, 272, 498 - - Mathieu, 713 ff. - - _Mathieu-Lutz, Mme._, 756 - - Matheos, 718 ff. - - Math, 752 - - _Mattfeld, Marie_, 674, 765, 772, 776, 807 - - Matthisen, 516 ff. - - MATTINATA, 306 - - _Matzenauer, Margarete_, 23, 427, 504, 516, 769 - - _Maurel, Victor_, 45, 440, 458, 466, 503, 623, 627 - - Max, 64 ff. - - May, 775 - - MAYR, SIMON, 55 - - MEYREDER-OBERMAYER, ROSA, 792 - - _Mazarin_, 804 - - _Mazzoleni, Francesco_, 523, 562 - - _McCormack, John_, 45, 355, 837 - - _McGuckin, Barton_, 736 - - _McIntyre, Margaret_, 475 - - =Medici, I=, 627 - - Mefistofele, 475 ff. - - MHUL, TIENNE NICHOLAS, 495 - - MEILHAC, HENRI (Librettist), 586, 736 - - =Meistersinger von Nrnberg, Die=, 88, 91, 119, 246, 376 - - _Melba, Nellie_, 295, 306, 343, 388, 416, 458, 503, 543, 564, 628 - - Melcthal, 313 ff. - - MLSVILLE (Librettist), 497 - - Mlisande, 753, 760 - - Mlisse, 14 ff. - - Melot, 227 ff. - - MENASCI, G., 612 - - MENDS, CATULLE (Librettist), 765 - - =Mephistopheles=, 474 - - Mphistophls, 543, 562 - - Mercedes, 587 ff. - - Mercedes, Doa, 793 - - Mercutio, 575 ff. - - =Mre Coupable, La=, 296 - - Merlier, 759 - - Merrill, Paul, 838 - - =Merry Wives of Windsor, The=, 80 - - Mru, 504 ff. - - MRY (Librettist), 437 - - =Messiah, The=, 14 - - MEYERBEER, GIACOMO, 1, 2, 79, 438, 440, 459, 494, 498, 499, 510, 523 - - Micaela, 587 ff. - - _Micelli, Catarina_, 32 - - Micha, 816 - - Michela, 765 - - Michele, 678 - - _Mierzwinski_, 313 - - =Mignon=, 580 ff. - - Mignon, 581 ff. - - Mikkel, 764 - - Mikleford, Lord Tristan de, 546 ff. - - Miller, 434 ff. - - MILLIET, PAUL (Librettist), 747, 748 - - _Milon_, 44 - - Mime, 89, 148 - - Mimi, 143, 644 - - Minnie, 674 ff. - - _Miolan-Carvalho_, 562, 575 - - _Mirabella_, 475 - - Mirabolano, 719 - - Miracle, Dr., 724 - - Missail, 822 - - Mitranus, 310 ff. - - _Mol, Mlle._, 724 - - =Mona=, 832, 840 - - Mona, 840 - - =Monna Vanna=, 761 - - Monna Vanna, 761 - - Montano, 459 ff. - - _Monteux, Pierre_ (Director), 762 - - _Montegriffo_, 628 - - MONTEMEZZI, ITALO, 607, 690 - - Monterone, Count, 386 ff. - - MONTEVERDI, CLAUDIO, 5 - - Montfleury, 841 - - Montford, Guy de, 436 ff. - - Morales, 587 ff. - - MORAND, EUGNE (Librettist), 727 - - _Moran, Miss_, 272 - - _Moran-Oldern_, 140, 148 - - _Morello, Signor_, 43 - - Morfontaine, Guillot de, 736 ff. - - =Mors et Vita=, 561 - - MOSENTHAL, G.H. (Librettist), 773 - - MOSENTHAL, H. (Librettist), 779 - - Moser, August, 246 ff. - - _Mottl, Felix_ (Director), 539 - - Monostatos, 46 ff. - - MOUSSORGSKY, 822, 824 - - MOZART, 21, 22, 24, 30, 33, 43, 45, 51, 55, 77, 293, 295, 426, 493 - - =Muette de Portici, La= (=Masaniello=), 496 - - Muff, 816 - - _Mhlmann_, 272, 830 - - MLLER, WENZEL, 46 - - _Muratore_, 564, 575, 761 - - _Murska, Ilma di_, 45 - - Musetta, 643 ff. - - Mustapha, Baba, 771 - - _Muzio_, 516 - - Mylio, 727 - - Myrto, 757 - - =Mystres d'Isis, Les=, 45, 51 - - - N - - Nachtigall, Conrad, 246 ff. - - =Nachtlager in Granada, Das=, 80 - - Nadir, 604 - - Naiad, 15, 814 - - Nancy, 546 ff. - - Nangis, Raoul de, 504 ff. - - _Nannetti_, 440 - - Naoia, 833 - - Napoleon Bonaparte, 707 ff. - - Narbal, 541 - - Narraboth, 801 - - Narr'Havas, 752 - - =Natomah=, 837 - - Natomah, 838 - - =Navarraise, La=, 605, 728, 745 - - Nedda, 608, 628 - - Neipperg, Count de, 707 ff. - - Nelusko, 523 ff. - - Nemorino, 335 ff. - - Nereno, 475 ff. - - =Nerone= (=Nero=), 480 - - NESSLER, VIKTOR E., 784 - - _Neuendorff, Adolff_, 107, 162, 163 - - _Neumann, Angelo_ (Director), 140 - - Nevers, Adolar de, 69 ff. - - Nevers, Count de, 504 ff. - - =Nibelungen, Der Ring des=, 139 ff. - - =Nibelung, The, Dramas=, 87, 88 - - Nicias, 732 - - Nick, 674 ff. - - Nicklausse, 724 - - NICOLAI, OTTO, 80, 466 - - _Nicolay, Mr._, 837 - - _Nicolini_, 575 - - _Niemann_, 62, 89, 140, 207, 227 - - Nikitin, (Michael), 822 - - Nilakantha, 724 - - _Nilsson, Christine_, 117, 402, 416, 475, 483, 503, 546, 562, 580, 585 - - Ninus, Ghost of, 310 ff. - - Nomie, 745 - - _Nordica, Lillian_, 45, 140, 227, 482, 503, 523 - - Norina, 372 ff. - - =Norma=, 318, 325 - - Norma, 326 ff. - - Norman, 343 ff. - - Normanno, 343 - - NOSSIG, ALFRED (Librettist), 830 - - Nourabad, 604 - - _Nourrit_, 13, 313, 501 - - _Novara_, 475, 483, 562 - - =Nozze di Figaro, Le=, 23, 24, 309, 376, 493, 808 - - Nureddin, 771 - - - O - - _Ober, Margarete_, 482, 772, 807, 843 - - =Oberon=, 63 - - Oberthal, Count, 516 ff. - - Ochs, Baron, 807 - - Octavian, 807 - - OFFENBACH, JACQUES, 723 - - Olga, 825 - - Olga, Countess, 720 - - Olympia, 724 - - Onegin, Eugen, 825 - - Ophelia, 585 - - =Oracola, L'=, 686 ff. - - Orestes, 18, 20, 804 - - Orfeo, 8, 9, 13, 14 - - =Orfeo ed Euridice=, 4, 5, 6, 8, 9, 20, 77, 493 - - Orlando, 765 - - Oroe, 310 ff. - - Oros, 831 - - Oroveso, 326 ff. - - Orsini, Maffio, 339 ff. - - Orsino, Paolo, 94 ff. - - Ortel, Hermann, 246 ff. - - Orti, 764 - - Ortrud, 117 ff. - - Osaka, 620 ff. - - Oscar (Edgardo), 427 ff. - - Ostasio, 680 ff. - - =Othello=, 7, 376, 458, 480 - - Othello, 458 ff. - - Ottavio, 704 ff. - - Ottavio, Don, 31 ff. - - Ottokar, Prince, 63 ff. - - =Ory, Comte=, 294 - - - P - - PADEREWSKI, IGNACE JAN, 830 - - PAR, 55 - - Page, Mistress, 466 ff. - - =Pagliacci, I=, 608, 618, 626, 628, 698 - - PAISIELLO, 300 - - Palm, Giovanni, 721 - - _Paltrinieri, Giordano_, 765 - - Pamina, 45 ff. - - Pandolfe, 745 - - Pantalis, 475 ff. - - Pantalone, 704 ff. - - Pantasille, 765 - - Pantheus, 539, 541 - - Paolo, 680 ff. - - Papagena, 46 ff. - - Papageno, 45 ff. - - _Pappenheim_, 163 - - Paquiro, 849 - - _Parepa-Rosa_, 503 - - Paris, Count, 575 ff. - - PARKER, HORATIO, 832, 840 - - Parpignol, 643 ff. - - =Parsifal=, 90, 119, 247, 272 - - Parsifal, 272 ff. - - _Pasquali, di_, 372 - - =Pasquale, Don=, 334, 372 - - Pasquale, Don, 372 ff. - - PASQU, ERNST, 76 - - _Patti, Adelina_, 295, 305, 308, 309, 319, 343, 354, 355, 367, 377, - 388, 416, 531, 546, 564, 725, 742 - - _Patti, Carlotta_, 45 - - Pauloff, Stephen, 836 - - _Pearman_, 23 - - =Pcheurs de Perles, Les=, 603 ff. - - Pedro, 743, 793 - - Pedro, Don, 31, 523, 538 - - Pellas, 752 ff. - - =Pellas et Mlisande=, 2, 752 - - PEPOLI, COUNT (Librettist), 329 - - Peralta, Father, 837 - - PERI, JACOPO, 4 - - PERINET (Librettist), 46 - - _Perini, Flora_, 765 - - PERIQUET, FERNANDO (Librettist), 850 - - _Perozzi, Signor_, 333 - - PERRIER, MARTIAL (Librettist), 764 - - _Persiani_, 343 - - =Pescatori di Perle=, 603 - - _Peschka-Leutner_, 306 - - Peter, 779 - - Peters, 721 - - Peter the Great, 530 - - Petruchio, 772 - - _Pettigiani_, 523 - - Phanuel, 749 - - Phenice, 14 ff. - - Philine, 581 ff. - - Philip, 834 - - Philip II., 438 - - _Phillipps, Thomas_, 23, 295, 308 - - Philodme, 756 ff. - - PIAVE, FRANCESCO MARIA (Librettist), 377, 386, 416, 718 - - PICCINI, NICOLA, 8, 9, 20 - - _Piccolomini_, 416 - - Pico, 838 - - Pierre, 767 - - Pierrot, 367 ff. - - Pimen, 822 ff. - - _Pini-Corsi, Antonio_, 372, 776 - - _Pinkert_, 329 - - Pinkerton, Kate, 665 ff. - - Pinkerton, Lieutenant B.F., 665 ff. - - =Pipe of Desire, The=, 833 - - =Pique-Dame=, 827 - - Pistacchio, Don Hannibal, 375 - - Pistol, 466 ff. - - Pizarro, 54 ff. - - _Placide, Mr._, 62 - - _Planon, Pol_, 359, 427, 475, 482, 503, 516, 565, 587, 715, 745 - - Plummer, Edward, 775 - - Plunkett, 564 ff. - - Pogner, Veit, 246 ff. - - Polkan, Voevoda, 829 - - Pollione, 326 ff. - - Polonius, 586 - - Polyxena, 539 - - Pomone, 765 - - Pompeo, 536 ff. - - PONCHIELLI, AMILCARE, 480, 481, 638 - - _Ponselle, Rosa_, 836 - - _Ponziani, Felice_, 32 - - PORDES-MILO (Librettist), 781 - - =Postillon de Longumeau, Le=, 497 - - Poussette, 736 ff. - - Prefect, 367 ff. - - _Preisch, Mr._, 837 - - Prtre, Le Grand, 756 ff. - - _Preusser, Felix_, 163 - - Priam, 539 - - Procida, Giovanni di, 436 ff. - - =Prodigal Son, The=, 481 - - =Prophte, Le=, 500, 504, 516, 731 - - _Pruette, William_, 612 - - PUCCINI, GIACOMO, 1, 7, 91, 482, 607, 638, 643, 652 - - _Puente, Del_, 117, 437, 483 - - Puiset, Eglantine de, 69 ff. - - =Puritani, I=, 318, 329 - - PUSHKIN (Librettist), 822 - - Pylades, 182 ff. - - - Q - - =Quichotte, Don=, 743 ff. - - Quichotte, Don, 743 ff. - - Quickly, Dame, 466 ff. - - QUINALT, FRANOIS (Librettist), 14, 17 - - Quintus, 840 - - - R - - RABAUD, HENRI, 763 - - Rachel, 498 - - Rafaele, 699 ff. - - =Raggio di Luna=, 689 - - Ragueneau, 841 - - Raimbaut, 501 - - Raimondo, 343 - - Raimondo, 94 ff. - - Raimondo, King, 625 ff. - - _Raisa, Rosa_, 625 - - Rambaldo, 676 ff. - - RAMEAU, 1, 21 - - Ramphis, 439 - - Rance, Jack, 674 ff. - - Rangoni, 822 - - _Rappold, Marie_, 18, 772 - - Ratmir, 818 - - Ratsalteste, Der, 776 - - Raymond, 343 ff. - - =Rdemption, La=, 561 - - _Reichmann_, 272 - - =Reine Fiammette, La=, 765 - - _Reiner, Marcel_, 776 - - Reinhart (Renato), 427 ff. - - _Reiss, Albert_, 52, 375, 665, 674, 765, 772, 776, 807, 843 - - _Renaud, Maurice_, 45, 387, 475, 543, 747, 749 - - Renaud (Rinaldo), 15 ff. - - Repela, 793 - - Retz, de, 504 - - REYER, 752 - - Rhadames, 439 ff. - - =Rheingold, Das=, 87, 89, 139, 148 - - Rhinedaughters, 89, 141 - - Rhodis, 757 - - Riccardo, Don, 377 ff. - - RICCI, FEDERICO, 718 - - RICCI, LUIGI, 718 - - RICCORDI, TITO (Librettist), 680 - - Richard, Count of Warwick, 427 ff. - - Richard II., King, 843 - - RICHEPIN, JEAN (Librettist), 766 - - _Richings_, 319 - - _Richter, Hans_ (Director), 89, 107, 246 - - Ricke, 721 - - =Rienzi, der Letzte der Tribune=, 84, 94, 98, 109, 118 - - Rienzi, Cola, 94 ff. - - RIESE, WILHELM FRIEDRICH (Librettist), 546 - - =Rigoletto=, 7, 376, 386, 426, 438, 466, 471, 602 - - Rigoletto, 386 ff. - - _Rimini, Giacomo_, 720 - - RIMSKY-KORSAKOFF, 828 - - =Rinegata, La=, 343 - - =Ring Dramas, The=, 91, 119, 122, 247 - - _Rioton, Miss_, 750 - - =Rip Van Winkle=, 689 - - RIVAS, DUKE OF (Librettist), 437 - - Robert, 639 - - Robert, Duke, 501, 799 - - Roberti, 653 ff. - - =Robert le Diable=, 498, 500, 504, 510 - - Robertson, Sir Benno, 330 ff. - - Robin, 466 ff. - - _Robinson, Adolf_, 107, 117, 208, 227 - - Rocco, 54, 699 - - ROCHE, HENRI PIERRE (Librettist), 764 - - Roderigo, 459 ff. - - Rodolpho, Count, 319, 434 - - Rodrigo, 742 - - Rodrigo, Marquis de Posa, 438 - - Rodriguez, 744 - - =Roi d'Ys, Le=, 727 - - =Roland of Berlin=, 628 - - ROMANI, FELICE (Librettist), 318, 325, 335, 339 - - Romeo, 575 ff. - - =Romo et Juliette=, 561, 574 - - _Ronconi, Mlle._, 580 - - _Ronconi_, 387 - - =Rondine, La=, 639, 676 - - ROQUETTE, OTTO (Librettist), 769 - - _Rosa, Parepa_, 546 - - Rosario, 850 - - Rosaura, 704 ff. - - =Rosenkavalier, Der=, 376, 759, 807 - - Rose, 725 - - ROSENFELD, SYDNEY, 374 - - Rosette, 736 ff. - - _Rosick, Signor_, 295 - - Rosina, 295, 306, 308 - - ROSMER, ERNST (Librettist), 776 - - Rossa, La, 708 ff. - - ROSSI, GAETANO (Librettist), 309, 367 - - _Rossi, Giulio_, 335, 844 - - ROSSINI, GIOACHINO ANTONIO, 1, 22, 25, 293, 307, 309, 312, 334, 426, - 493, 494, 498, 510, 608 - - _Rothier, Lon_, 762, 765 - - Roucher, 713 ff. - - Roustan, 707 ff. - - Rouvel, Baron, 720 - - Roxana, 841 - - ROYER, ALPHONSE (Librettist), 359 - - _Roze, Marie_, 736 - - Rozenn, 727 - - _Rubini_, 45, 329 - - Rudolph, 313, 643 - - Ruedi, 313 ff. - - Rufina, 716 ff. - - _Ruffo, Titta_, 387, 475, 585, 717 - - Ruggero, 676 ff. - - =Ruin of Athens, The=, 56 - - Ruiz, 402 ff. - - _Russitano_, 466 - - Russlan, 818 - - =Russlan und Ludmilla=, 818 - - Rustighello, 339 ff. - - _Ruysdael, Basil_, 769, 772, 844 - - - S - - SABINA, R. (Librettist), 815 - - Sachs, Hans, 145, 246 - - =Sacrifice, The=, 832 - - SAGANA, LUIGI (Librettist), 704 - - St. Bris, Count de, 504 ff. - - =St. Elizabeth=, 769 - - ST. GEORGE, 559 - - SAINT-SANS, 725 - - =Salammb=, 752 - - Salammb, 752 - - _Salza, Albert_, 575, 587, 715, 752 - - _Salignac, Mr._, 752 - - SALIERI, 24, 466 - - =Salome=, 769, 800 - - Salome, 749, 801 - - Saluce, Marquis de, 728 - - _Salvi_, 502, 516 - - Salviati, Cardinal, 536 ff. - - _Salvini-Donatelli_, 417 - - Samaritana, 680 ff. - - _Sammarco, Mr._, 458, 705, 837 - - _Sammares_, 699 - - Samson, 725 - - =Samson et Dalila=, 14, 725 - - Samuel, 427 ff. - - Sancho, 743 ff. - - _Snger_, 227 - - _Sanderson, Sibyl_, 736, 741 - - =Sans-Gne, Madame=, 707 ff. - - Sante, 705 - - _Santley_, 503, 562, 585 - - Santuzza, 612 ff. - - _Saporiti, Teresa_, 32 - - =Sapho=, 561, 728, 749 - - Sarastro, 45 ff. - - SARDOU (Librettist), 728, 761 - - Saretsky, 825 - - Satan, 728 - - =Sauteriot, Le=, 764 - - Savoie, Euryanthe de, 69 ff. - - _Scalchi_, 309, 458, 466, 483, 562, 580 - - Scaramuccio, 814 - - _Scaria_, 272 - - SCARLATTI, ALESSANDRO, 5 - - Scarpia, Baron, 652 ff. - - Schaunard, 643 ff. - - =Schauspieldirektor, Der=, 52 - - _Scheff, Fritzi_, 23, 830 - - _Schefsky, Frulein_, 89 - - Schicchi, 679 - - SCHIKANEDER, EMANUEL (Librettist), 45, 46, 55 - - SCHILLER (Librettist), 434, 437 - - _Schlegel, Carl_, 769, 835, 844 - - _Schlosser_, 89 - - Schmidt, 713 ff. - - Schneider, Der, 776 - - _Schott, Anton_, 107, 163, 497, 516 - - Schreiber, Heinrich der, 107 ff. - - _Schrder-Devrient, Mme._, 56, 84 - - _Schroeder-Hanfstaengl_, 516 - - _Schumann-Heink_, 140, 246, 340, 516, 806 - - Schwartz, Hans, 246 ff. - - Schwerlein, Martha, 562 ff. - - Sciarrone, 653 ff. - - _Scolara_, 440 - - _Scotti, Antonio_, 23, 45, 335, 372, 427, 458, 466, 504, 620, 640, - 652, 665, 686, 705, 752 - - SCRIBE (Librettist), 436, 495, 498, 501, 503, 516, 523, 528 - - =Segreto di Susanna, Il=, 698, 705 - - _Seidl, Anton_ (Director), 62, 69, 117, 140, 227, 246, 255 - - _Seidl-Kraus_, 107, 117, 163, 191, 207, 246 - - Selika, 523 ff. - - Slysette, 759 ff. - - _Sembach, Johannes_, 18, 772, 843 - - _Sembrich_, 23, 45, 295, 306, 319, 325, 335, 343, 355, 372, 377, 416, - 483, 503, 546, 565, 725, 830 - - =Semiramide=, 309 ff. - - Semiramide, 310 ff. - - Seneschal, 769 - - Senta, 98 ff. - - Sentlinger, Ortolf, 797 - - Serafina, 375 - - Serena, 699 ff. - - Sso, 757 - - _Setti_, 503 - - Sforza, Cardinal, 765 - - Shahabarim, 752 - - Shanewis, 834 - - =Shanewis, or The Robin Woman=, 834 - - Sharpless, 665 ff. - - =Sheba, The Queen of=, 773 - - Sheba, Queen of, 773 - - _Sheehan, Joseph F._, 665 - - Shouisky, 822 - - =Siberia=, 714 - - Sid, 674 ff. - - Sidonie, 14 ff. - - Siebel, 562 ff. - - =Siegfried=, 87, 89, 91, 140, 191 - - Siegfried, 89, 140, 143, 208 - - Sieglinde, 89, 140, 142, 146, 164 - - Siegmund, 89, 140, 142, 146, 163 - - _Siehr_, 89, 272 - - _Silvain_, 728 - - Silvan, 427 ff. - - SILVESTRE, ARMAND (Librettist), 727 - - Silvio, 628 ff. - - Simon, 495 - - SIMONI, RENATO (Librettist), 707 - - =Singspiel=, 51 - - _Sinico, Mme._, 586 - - Siriex, de, 720 - - _Sizes_, 752 - - Skoula, 820 - - _Slach, Anna_, 107 - - _Slezak_, 458 - - Smaradi, 680 ff. - - SMETANA, FRIEDRICH, 769, 815 - - Solomon, King, 773 - - Somarone, 538 - - SOMMA-SCRIBE (Librettist), 426 - - =Songe d'une Nuit d't, Le=, 467 - - =Sonnambula, La=, 7, 318, 331, 376, 426, 608 - - SONNLEITHNER, JOSEPH (Librettist), 54, 55 - - Sonora, 674 ff. - - _Sontag_, 355 - - Sophie, 748, 807 - - Sophie, Landgravine, 769 - - Spalanzani, 724 - - Sparafucile, 386 ff. - - _Sparkes, Lenore_, 765 - - Spendius, 752 - - Spielmann, Der, 776 - - Splendiano, 605 - - SPOHR, LUDWIG, 79 - - Spoletta, 653 ff. - - SPONTINI, GASPARO, 80 - - Springer, 816 - - Stackareff, Count, 836 - - _Stagno_, 483 - - Stallmagd, Die, 776 - - Stapps, 721 - - STASSOFF (Librettist), 819 - - _Staudigl_, 163 - - Stchelakov, Andrey, 822 - - _Steffanone_, 402, 501, 503, 516 - - Stella, 699, 724 - - STERBINI, CESARE (Librettist), 295 - - _Stockton, Fanny_, 562 - - Stolzing, Walther von, 246 ff. - - _Storchio_, 665 - - _Strakosch, Max_ (Director), 440 - - STRAUSS, JOHANN, 808 - - STRAUSS, RICHARD, 7, 20, 32, 306, 769, 796, 798, 800, 804, 807, 813 - - _Stritt_, 117, 246 - - SUARATONI (Librettist), 618 - - Sulamith, 773 - - Sulpice, 355 ff. - - _Sulzer, Henrietta_, 562 - - _Sundelius, Marie_, 834, 844 - - =Suor Angelica=, 677 - - Susanna, 23 ff. - - _Susini_, 326 - - Suzanne, Countess, 705 - - Suzel, 619 ff. - - Suzuki, 665 ff. - - Sviatoslav, Prince, 820 - - Svietosar, 818 - - _Szamozy, Elsa_, 665 - - - T - - =Tabarro, Il=, 677 - - Tackleton, 775 - - _Tagliafico_, 516 - - _Taglioni_, 501 - - _Talazac, M._, 724 - - Talbot, Lord Arthur, 330 ff. - - _Tamagno_, 313, 458 - - _Tamburini_, 329, 374 - - =Taming of the Shrew, The=, 772 - - Tamino, 45 ff. - - =Tancredi=, 12, 294, 307 - - =Tannhuser=, 68, 69, 79, 85, 86, 88, 99, 106, 118, 226, 303, 516 - - Tannhuser, 107 ff. - - Tan Taanach, 752 - - TARGIONI-TOGGETTI, GIOVANNI (Librettist), 612 - - _Taskin, M._, 724 - - Tatiana, 825 - - Tavannes, 504 ff. - - Tchernomor, 819 - - _Teal, Jeannie_, 612 - - _Tegani, Riccardo_, 844 - - Tell, William, 313 ff. - - =Temple Dancer, The=, 834 - - =Templer und die Judin, Der=, 79 - - Tenebrun, 744 - - Teresa, 319, 536 - - _Ternina, Milka_, 140, 227, 272, 652 - - _Tetrazzini, Luisa_, 295, 319, 325, 329, 343, 355, 388, 416, 458, - 531, 725 - - =Thas=, 728, 731 - - Thas, 732 - - Thallus, Primus, 788 - - Thrse, 779 - - Thoas, 18 ff. - - THOMAS, AMBROISE, 580, 585, 586 - - Thore, 504 ff. - - =Three Pintos, The=, 76 - - THUILLE, LUDWIG, 791 - - _Tichatschek_, 84 - - _Tietjens_, 306, 339 - - _Tiffany, Marie_, 765, 844 - - Timon, 756 ff. - - Tio Lucas, 793 - - Titurel, 272 ff. - - Toinet, 767 - - Toinette, 708, 767 - - Tolak, 767 - - Tom (Tommaso), 427 ff. - - Tomaso, 832 - - Tomes, Dr., 706 - - =Tommaso Chatterton=, 626 - - Tonio, 355, 628, 716 - - Tonuelo, 793 - - _Torriani, Mlle._, 440 - - =Torvaldo e Dorliska=, 300 - - =Tosca=, 638, 644, 652 - - Tosca, Floria, 652 ff. - - _Toscanini_ (Director), 705 - - =Traviata, La=, 376, 416, 438, 471 - - Trebelli, 475, 581 - - TREITSCHKE, GEORG FRIEDRICH (Librettist), 54, 56 - - _Trentini_, 602 - - Trim, 674 ff. - - Trine, 764 - - Triquet, 825 - - Tristan, 227 ff. - - =Tristan und Isolde=, 87, 88, 91, 119, 227, 247, 335 - - =Trompeter von Skkingen, Der=, 784 - - Trouble (Cio-Cio-San's child), 665 ff. - - =Trovatore, Il=, 376, 402, 471 - - =Troyens Carthage=, 540 ff. - - =Troyens, Les, La Prise de Troie=, 539 ff. - - Truffaldin, 814 - - TSCHAIKOWSKY, MODESTE (Librettist), 825, 827 - - TSCHAIKOWSKY, PETER ILITSCH, 825, 827 - - Turiddu, 609, 612 - - Tybalt, 575 ff. - - - U - - Ubalde, 15 ff. - - _Ugalde, Mlle. Marguerite_, 724 - - Ulana, 831 - - Ulrica, 427 ff. - - =Undine=, 80 - - _Unger_, 89 - - Urbain, 504 ff. - - Urok, 831 - - Ursula, 538 - - Utobal, 495 - - - V - - _Valda, Giulia_, 434 - - Valentine, 504, 562 - - Valry, Violetta, 416 ff. - - =Valkyr, The=, 89, 91 - - _Valleria_, 475 - - Valois, Elizabeth de, 438 - - Valois, Marguerite de, 504 ff. - - _Valtellino, Signor_, 333 - - Valzacchi, 807 - - =Vampyr, Der=, 79 - - _Van Dyck_, 140 - - Vannard, 622 ff. - - _Van Rooy_, 140, 246, 272 - - _Van Zandt, Miss_, 725 - - _Varesi_, 417 - - Varlaam, 822 - - Vasari, 765 - - Vasco Da Gama, 523 ff. - - VAUCAIRE (Librettist), 716 - - Vecchio, Cecco del, 94 ff. - - Venus, 107 ff. - - =Vpres Siciliennes, Les=, 440 - - VERDI, GIUSEPPE, 1, 6, 7, 22, 90, 91, 334, 376, 377, 386, 402, 416, - 426, 436, 481, 493, 494, 608, 638, 847 - - =Verkaufte Braut, Die=, 815 - - VERNOY, BAYARD (Librettist), 355 - - VERNOY, JULES H. (Librettist), 355, 559 - - Verona, Duke of, 575 ff. - - =Versiegelt=, 781 - - =Vestale, La=, 80 - - _Vestivalli_, 309, 402 - - _Viardot-Garcia, Pauline_, 13, 44, 305, 516 - - _Vicini_, 434 - - =Vieil Aigle, Le=, 767 - - _Vietti_, 503 - - _Villani, Louise_, 690 - - =Villi, Le=, 639 ff. - - Vinaigre, 707 ff. - - Viola, 765 - - Violette, 765 - - Violine, 765 - - =Viscardello=, 402 - - Vitellozzo, 339 ff. - - _Vogel_, 89 - - Vogelgesang, Kunz, 246 ff. - - Vogelweide, von der, 107 ff. - - VON BREUNING, STEPHAN (Librettist), 56 - - _von Blow, Hans_ (Director), 227, 246, 535 - - VON CHEZY, HELMINE (Librettist), 69 - - _von Doenhof, Helen_, 612 - - von Faninal, 807 - - VON FLOTOW, FRIEDRICH, 546, 559 - - von Gundelfingen, Schweiker, 797 - - VON HOFMANNSTHAL, HUGO (Librettist), 804, 807, 813 - - _von Milde_, 227 - - von Schnau, Baron, 784 - - von Werdenberg, Princess, 807 - - von Wildenstein, Count, 784 - - VON WOLZOGEN, ERNST, 796 - - - W - - _Wachtel, Theodore_, 496, 497, 503 - - WAEZ, GUSTAVE (Librettist), 359 - - =Waffenschmied, Der=, 80 - - Wagner, 475, 562 - - WAGNER, RICHARD, 6, 8, 68, 71, 79, 81, 86, 90, 98, 106, 117, 118, - 139, 148, 163, 191, 207, 227, 293, 459, 481, 483, 494, 562, 626, 759, - 769, 803, 807, 847 - - _Walker, Edyth_, 482 - - =Walkre, Die=, 7, 87, 139, 163 ff. - - Wallace, Jake, 675 ff. - - Wlse, 142 ff. - - Walter, 720 - - Walter, Count, 434 ff. - - _Walter, Edna_, 776 - - Walton, Lord Gautier, 329 ff. - - Walton, Sir George, 329 ff. - - Waltraute, 89, 140, 208 - - _Warwick, Veni_, 765 - - WEBER, CARL MARIA VON, 63, 68, 76, 77, 79, 493, 562 - - _Weckerin, Frulein_, 89 - - _Weil_, 18, 807 - - Wellgunde, 148, 208 - - Wenzel, 816 - - =Werther=, 747 - - Werther, 748 - - WETTE, ADELHEID (Librettist), 778 - - _White, Carolina_, 699, 705 - - _White, Phillis_, 765 - - _Whitehill, Clarence_, 246, 769, 772 - - _Wickham, Florence_, 776 - - WIDMANN, VICTOR (Librettist), 772 - - Wilhelm, 584 ff., 724 - - =Wildschtz, Der=, 80 - - =William Tell=, 498, 510 - - Willmers, Frau, 781 - - WILLNER, M. (Librettist), 775 - - _Winckelmann_, 272 - - Win-San-Lui, 686 ff. - - Win-She, 686 ff. - - Wirt, Der, 776 - - Wirtstochter, Die, 776 - - Woglinde, 148, 208 - - WOLF-FERRARI, ERMANO, 607, 698 - - WOLF, HUGO, 792 - - _Wood, Mr._, 319, 501 - - _Wood, Mrs._, 319, 501 - - Worms, Carl, 721 - - Wotan, 89, 140, 141, 148, 164 - - Wowkle, 675 ff. - - Wulf, 639 - - - X - - Xenia, 822 - - Ximenes, Don Roldano, 718 ff. - - - Y - - Yakuside, 665 ff. - - Yamadori, Prince, 665 ff. - - Yaroslavna, Princess, 820 - - Yeletsky, Prince, 828 - - Ygraine, 759 ff. - - Yniold, 753 ff. - - Yoga, 835 - - _Yppolito, G._, 562 - - - Z - - Zaccaria, Franco, 762 - - Zacharias, 516 ff. - - _Zamboni_, 301 - - Zamiel, 64 ff. - - =Zampa=, 497 - - ZANARDINI (Librettist), 720 - - ZANDONAI, RICCARDO, 607, 680, 716 - - =Zanetto=, 611 - - ZANGARINI, C. (Librettist), 674, 699, 716 - - ZANONI, CAMILLO (Librettist), 686 - - =Zauberflte, Die=, 51, 493 - - =Zaza=, 628 - - _Zenatello_, 458, 665 - - Zerbinetta, 814 - - Zerlina, 31, 36 - - Zina, 767 - - Zitterbart, 787 - - Zorn, Balthazar, 246 ff. - - Zune, 482 ff. - - Zucarraga, 746 - - _Zucchi_, 523 - - Zuniga, 587 ff. - - Zurga, 604 - - Zweter, Reinmar von, 107 ff. - - - - -My Path Through Life - -By Lilli Lehmann - -Translated from the German by Alice Benedict Seligman - -_8o. About 500 pp. With 50 Illustrations_ - -Mme. Lehmann gives us a volume of memoirs, musical and personal, which -will command the attention of the world-wide public which this great -singer has charmed. The book is written with her characteristic -sincerity and frankness. She unfolds the complete story of her life, -devoting a generous measure of attention to her friends and rivals -upon the operatic stage. - -Her achievements in Prague, Leipsic, Vienna, and elsewhere, her -struggles in Berlin, her extended tours in Europe and America, are -fascinatingly told. She presents an account of her collaborations with -Wagner at Bayreuth, and tells of her experiences at Court. - -The pleasant as well as the arduous aspects of the artist's career are -presented with a wealth of anecdote. - - G.P. Putnam's Sons - New York - London - - - - -_"Clear in construction, direct in purpose, and written with -intellectual calm, yet with the enthusiasm of a musician."--N.Y. Sun._ - -The Life of Johann Sebastian Bach - -BY - -Sir Hubert Parry, M.A., Mus. Doc., D.C.L. - -Professor of Music, Oxford; Director of Royal College of Music - -Author of "Studies of Great Composers," "Evolution of the Art of -Music," etc. - -_8vo. With Portraits._ - -Sir Hubert Parry's _Johann Sebastian Bach, Composer_, is at once a -biography and a critical and historical study of the achievements of -the great eighteenth-century composer, director, and performer upon -the organ and piano. The eminence of Sir Hubert Parry himself as a -composer and as a writer and student of music needs no comment here. -For the last decade he has been professor of music at Oxford. -Considering the importance of the man who is the subject of this life, -and the authority of Sir Hubert Parry as a critic and writer, no -student of music can afford to be a stranger to this thorough and -comprehensive work. - - G.P. Putnam's Sons - New York - London - - - - -Memoirs of a Prima Donna - -By Clara Louise Kellogg - -(Mme. Strakosch) - -_8o. With 48 Illustrations._ - -Clara Louise Kellogg, who is now Clara Louise Strakosch, was the first -American prima donna to win recognition abroad. After making her dbut -in opera at the Academy of Music, in New York, in 1861, she appeared -in opera in London and later in Berlin, Vienna, and Saint Petersburg. -In every country she was received with acclaim and returned to her -native land covered with honors showered upon her by the best -audiences that the old world affords. - -Miss Kellogg created the rle of Marguerite in Gounod's _Faust_ in -this country, and of Mignon in Ambroise Thomas's opera of that name. -After winning laurels in Italian opera she organized an English opera -company of her own, which sang for several seasons in New York and the -principal cities of the United States. While at the head of her own -company she produced Wagner's _Flying Dutchman_ for the first time in -America, creating the rle of Senta, and she was the first prima donna -to sing _Ada_ and _Carmen_ in English. Miss Kellogg was famous not -only for the beautiful quality of her voice but for her marvelous -musical ear. It is said that there were over forty operas that she -could sing on twenty-four hours' notice, and that never once in the -course of her operatic career had she been known to sing a fraction of -a tone off the key. - -These Memoirs are filled with anecdotes of the interesting people whom -she met, on and off the stage, and contain a fund of information about -voice culture and the study of music that no one interested in the -subject can read without profit. - - G.P. Putnam's Sons - New York - London - - - - -_An Ideal Biography_ - -Richard Wagner - -His Life and His Dramas - -A Biographical Study of the Man and an Explanation of His Work - -By - -W.J. Henderson - -Author of "The Story of Music," "Preludes and Studies," "What Is Good -Music," etc. - -The purpose of this book is to supply Wagner-lovers with a single work -which shall meet all their needs. The author has told the story of -Wagner's life, explained his artistic aims, given the history of each -of his great works, examined its literary sources, shown how Wagner -utilized them, surveyed the musical plan of each drama, and set forth -the meaning and purpose of its principal ideas. The volume has been -prepared with great care and no little labor, and is not intended to -be critical, but is designed to be expository. It aims to help the -Wagner-lover to a thorough knowledge and understanding of the man and -his works. - -"An exposition rather than a criticism of Wagner's art, for in -Wagner's case it is peculiarly true that any biographical study of the -man is inseparable from an explanation of his works. Mr. Henderson's -book is intended to help the lover of Wagner to a thorough knowledge -and understanding both of the man and his works. Nothing in the -English language, at least, has ever so fully covered the -subject."--_Review of Reviews._ - - G.P. PUTNAM'S SONS - New York - London - - - - - - - - - -End of the Project Gutenberg EBook of The Complete Opera Book, by Gustav Kobb - -*** END OF THIS PROJECT GUTENBERG EBOOK THE COMPLETE OPERA BOOK *** - -***** This file should be named 40540-8.txt or 40540-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/5/4/40540/ - -Produced by Charlene Taylor, Linda Cantoni, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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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: The Complete Opera Book - The Stories of the Operas, together with 400 of the Leading - Airs and Motives in Musical Notation - -Author: Gustav Kobb - -Release Date: August 19, 2012 [EBook #40540] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE COMPLETE OPERA BOOK *** - - - - -Produced by Charlene Taylor, Linda Cantoni, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - - - - - -</pre> @@ -37101,375 +37064,7 @@ forces" should be "imprisons <i>Hnsel</i> in a kennel, and she forces".</p> -<pre> - - - - - -End of the Project Gutenberg EBook of The Complete Opera Book, by Gustav Kobb - -*** END OF THIS PROJECT GUTENBERG EBOOK THE COMPLETE OPERA BOOK *** - -***** This file should be named 40540-h.htm or 40540-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/5/4/40540/ - -Produced by Charlene Taylor, Linda Cantoni, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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