TH STAN D A R D OPERAS ^2^^/^^ i liWiljl^ H A (k R Y A1«GUfRt The Standard Operas By GEORGE P. UPTON MUSICAL HANDBOOKS THE STANDARD OPERAS New revised edition from new plates. lamo. Illustrated. Net, $1.75 THE STANDARD CONCERT GUIDE A Handbook of the Standard Symphonies, Orato- rios, Cantatas, and Symphonic Poems, for the Concert Goer. Profusely Illustrated i2mo. $1.75 THE STANDARD CONCERT REPER- TORY Uniform in style with above. Illustrated with numerous portraits. Indexed. i2mo. $i'75 THE STANDARD MUSICAL BIOGRA- PHIES Uniform in style with above. Illustrated with numerous portraits. i3mo. $i.7S WOMAN IN MUSIC i6mo. $1.00 A. C. McCLURG & COMPANY • CHICAGO Lilli Lehmann as Isolde Co fy right, Aimi Dupont The LStandard Operas Their Plots and Their Music By George P. Upton Author of " Standard Handbooks on Music," " Life of Theodore Thomas," etc., etc. New Edition, Enlarged and Revised Profusely Illustrated Chicago A. C. McClurg & Co. 1914 Copyright By Jansen, McClurg & Co., 1885 By a. C. McCluhg & Co., 1896, 1906, 1912 Entered at Stationers' Hall, London, England All rights reserved THE UNIVERSITY PRESS, CAMBRIDGE, U. S. A TO THE MEMORY OF THEODORE THOMAS MASTER OF MUSIC PREFACE THE object of the compiler of this Handbook is to present to the reader a brief but comprehensive sketch of the operas contained in the modern repertory. To this end he has consulted the best authorities, adding to the material thus collected his own observations, and in each case has presented the story of the opera, the general character of its music, its prominent scenes and numbers, — the latter in the text most familiar to opera-goers, — the date of first performances, with a statement of the original cast whenever it has been possible to obtain it, and such historical information concerning the opera and its composition as will be of interest to the reader. As many new operas have been produced since "The Standard Operas" was first published in 1885, these have been included in the new edition, although it is as yet uncertain whether some of them will become " standard " in the strict sense of the word. In a work of this kind, indeed, the selection of " standard " operas must be somewhat arbitrary. It is difficult to say where the line should be drawn. The writer's aim has been to acquaint his reader with the prominent operas of the past and the present, assuming that it may be well to know their story and musical construction whether they retain their places upon the stage or not. In preparing the present edition a few operas have been eliminated entirely. Some which appeared in the first edition have been retained for the reason that they were considered masterpieces in their time and may be of reference value to the reader. The work has been prepared for the general public rather than for musicians ; and with this purpose in view, techni- calities have been avoided as far as possible, the aim being to viii PREFACE give musically uneducated lovers of opera a clear understanding of the works they are likely to hear, and thus heighten their enjoyment. To add to their pleasure and recall delightful memories, the new edition has been illustrated generously with portraits of leading artists in their favorite roles. In a word, the operas are described rather than criticised, and presented with as much thoroughness as was possible, considering the necessarily brief space allotted to each. In the preparation of the Handbook the compiler acknowledges his indebtedness to Grove's " Dictionary of Music," Baker's " Biographical Dictionary of Musicians," Champlin and Apthorp's "Cyclopedia of Music and Musicians," and Ramann's " Opern Handbuch " for dates and other statistical information ; and he has also made free use of standard musical works in his library for historical events connected with the performance and composition of the operas. He has sought to obtain accuracy of statement by verification after consultations of the best authors, and to make " Standard Operas" a popular reference for opera-goers. It only remains to submit this work to them with the hope that it may add to their enjoyment and prove a useful addition to their libraries. G. P. U. Chicago, June, 1912. CONTENTS Adam Page The Postilion of Longjumeau 1 Albert, D' Tiefland 4 AUBEH Fra Diavolo 7 Masaniello 10 The Crown Diamonds 12 AUBERT Le For^t Bleue 17 Balfe The Bohemian Girl 20 The Rose of Castile 23 Beethoven Fidelio 26 Bellini Norma 30 La Sonnambula 32 I Puritani 34 BiTTNER Der Bergsee 37 Bizet Carmen 38 Blech Versiegelt 41 BOIELDIEU La Dame Blanche 43 BoiTO Mephistopheles 46 Breton La Dolores ,...,......,,,.,.. 49 X CONTENTS Bhuneau Page L 'Attaque du Moulin 51 Catalani LaWally 54 Charpentieb Louise 56 Chekubint The Water Carrier 59 Converse The Pipe of Desire 61 The Sacrifice 62 Debussy Pelleas and Melisande 64 Saint Sebastian 66 Delibes Lakme 69 Donizetti The Daughter of the Regiment 72 La Favorita 74 Don Pasquale 76 Lucia di Lammermoor 78 L'Elisir d'Amore 80 Lucrezia Borgia 82 Linda de Chamouni 85 DUKAS Ariane et Barbe Bleue 87 Ferrari-Wolf Suzanne's Secret 89 Le Donne Curiose 90 The Jewels of the Madonna 92 Flotow Martha 96 Stradella 99 Franchetti Germania 101 Gaune Hans, the Flute Player 103 CONTENTS xi Giordano page Andrea Chenier 105 Gluck Orpheus 107 GOLDMARK The Queen of Sheba 110 The Cricket on the Hearth 112 Gounod Faust 114 Romeo and Juliet 117 Halevt The Jewess 119 Herbert Natoma 122 Herold Zampa 125 Humperdinck Hansel and Gretel 128 Die Kbnigskinder 131 Lecocq Girofle-Girofla 134 La Fille de Madame Angot 136 Leoncavallo I Pagliacci 139 LSrtzing Czar and Carpenter 142 Marschner Hans Heiling 144 Mascagni Cavalleria Rusticana 147 Iris 149 Massenet Le Roi de Lahore 151 Le Cid 153 Manon 155 Esclarmonde 157 Griselidis 159 xii CONTENTS Massenet page Herodiade 161 Werther 163 Cendrillon 165 Thais 166 Le Jongleur de Notre Dame 167 Don Quixote 169 Meyerbeer The Huguenots 171 The Star of the North 175 Robert the Devil 178 Dinorah 181 The Prophet 184 L'Africaine 187 Mozart The Marriage of Figaro 191 Don Giovanni 195 The Magic Flute 199 Nessler The Trumpeter of Sakkingen 204 NiCOtAI The Merry Wives of Windsor 207 Notjges Quo Vadis 209 Offenbach The Grand Duchess of Gerolstein 212 La Belle Helene 214 Orphee aux Enfers 216 Les Contes de Hoffmann 218 Paderewski Manru 220 Parker Mona 223 Ponchielli La Gioconda 226 Puccini La Boheme 230 La Tosca » . . . . 232 CONTENTS xiii Puccini page Madame Butterfly 234 Manon Lescaut 235 Le Villi 237 The Girl of the Golden West 238 Reyek Sigurd 242 Rossini The Barber of Seville 245 Semiramide 248 William Tell 251 Rubinstein Nero 254 Saint-SaEns Samson and Delila 257 Henry VIII 259 Proserpine 262 Smetana The Bartered Bride 265 Strauss (Johann) The Merry War 267 The Bat 268 The Queen's Lace Handkerchief 269 The Gypsy Baron 271 Strauss (Richard) Feuersnot 272 Salome 274 Elektra 277 Der Rosenkavalier 278 Sullivan H. M. S. Pinafore 281 The Pirates of Penzance 283 Patience 285 lolanthe 288 Prmcess Ida 290 The Mikado 292 xiv CONTENTS Thomas page Mignon 295 Hamlet 298 Thuille Lobetanz 301 Tchaikovsky Eugen Onegin 303 Dame de Pique 304 Verdi Ernani 307 Rigoletto 310 La Traviata 313 II Trovatore 316 The Masked Ball 319 Aida 322 Othello 325 Falstaff 328 Wagner Rienzi 332 The Flying Dutchman 337 Tarmhauser 340 Lohengrin 344 Tristan and Isolde 348 The Mastersingers 351 The Ring of the Nibelung 355 'Das Rheingold 362 Die Walkure 365 Siegfried 369 Die Gotterdammerung 373 Parsifal 376 Wallace Maritana 383 Weber Der Freischiitz 388 Oberon 393 Euryanthe 397 LIST OF PORTRAITS LILLI LEHMANN as Isolde, in Tristan and Isolde .... Frontispiece ADAM Page The Postilion op Longjumeau: Theodore Wachtel, creator of the title role 2 AUBER Fra Diavolo : Charles Santley as Fra Diavolo 8 BELLINI Norma: Giuditta Grisi as Norma 30 BIZET Carmen: Emma Calve as Carmen 38 M. Jom-net as Escamillo 40 Enrico Caruso as Don Jose 40 BOITO Mephistopheles: Marie Roze as Helen 48 CHARPENTIER Louise: Mary Garden as Louise 56 DEBUSSY Pelleas and Meusande : Lilian Grenville as Melisande .... 64 DONIZETTI The Daughter of the Regiment: Jenny Lind as Marie ... 72 Lucia di Lammermoor: Albert Saleza as Edgardo 80 L'Elisir d'Amore: Marcella Sembrich as Adina 82 FERRARI-WOLF Suzanne's Secret : Caroline White as Countess Gil 90 The Jewels of the Madonna: Amadeo Bassi as Genarro . . 92 Mario Sammarco as Rafaele . 94 FLOTOW Martha: Marcella Sembrich as Martha 96 GLUCK Orpheus: Sophia Scalchi as Orpheus 108 / xvi LIST OF PORTRAITS GOUNOD PAGE Faust: Nellie Melba as Marguerite 114 Albert Saleza as Faust 116 Pol Plangon as Mephistopheles 116 KoMEO AND Juliet: Geraldine Farrar as Juliet 118 HALEVY The Jewess: Marie Falcon as Rachel 120 HUMPERDINCK Hansel and Geetel: Marie Cavan as Hansel 128 Bella Alten as Gretel 130 LECOCQ Le Fille de Madame Angot: Emily Soldene as Mademoiselle Lange 136 LEONCAVALLO I Pagliacci: Fritzi SchefiF as Nedda 138 Alvarez as Canio 138 Alice Zeppelin as Nedda 140 MASCAGNI Cavalleria Rusticana: Emma Calve as Santuzza 148 MASSENET Le Cid: Lucienne Breval as Chimene 154 Cendrillon: Maggie Teyte as Cinderella 164 ThaIs: Gustave Huberdeau as Palemon 166 MEYERBEER The Huguenots: Christine Nilsson as Valentin 172 Jean de Reszke as Raoul 174 Pol Plangon as St. Bris 174 The Prophet: Ernestine Schumann-Heink as Fides 184 M. Alvarez as the Prophet 184 L'Africaine: Andreas Dippel as Vasco di Gama 188 MOZART The Marriage of Figaro: Sigrid Amoldson as Cherubino . . 192 Don Giovanni: Henriette Sontag as Donna Anna 196 Edouard de Reszke as Leporello 198 Antonio Scotti as Don Giovanni 198 The Magic Flute: Joanna Gadski as Pamina 200 Andreas Dippel as Tamino 200 LIST OF PORTRAITS xvii OFFENBACH page The Gb-^-nd Duchess op Gerolstein: Hortense Schneider as the Grand Duchess 212 PADEREWSKI Manru: Marcella Sembrich as Ulana 220 David Bispham as Urok 220 Joseph Bandrowsky as Manru 220 PARKER Portrait of Composer of " Mona " 222 PONCHIEIXI La Gioconda: Louise Homer as Gioconda 226 Enrico Caruso as Enzo 226 PUCCINI La BoHtME: Albert Saleza as Rodolfo 230 Group of Rodolfo, CoUine, Marcel, and Schaunard 230 La Tosca: Antonio Scotti as Scarpia 232 The Girl of the Golden West: Caroline White as the Girl . 238 ROSSINI The Barber of Seville: Guiseppe Carapanari as Figaro . . . 246 Marcella Sembrich as Rosina .... 216 Semiramide: Group of Semiramide, Arsaces, and Assur .... 248 saint-saEns Samson and Delila: Charles Dalmores as Samson 256 Mile. Gerville-Reache as Delila 258 Francesco Tamagno as Samson 260 STRAUSS, J. The Bat: Marcella Sembrich as Rosalind 268 STRAUSS. R. Salome: Mary Garden as Salome 276 THOMAS Mignon: Helene Ambre as Mignon 298 Hamlet: Emma Calve as Ophelia 298 VERDI Ernani: Marcella Sembrich as Elvira 308 Rigoletto: Louise Homer as Gilda 310 Enrico Caruso as The Duke 310 La Traviata: Geraldine Farrar as Violetta 314 xviii LIST OF PORTRAITS VERDI PAGE II, Trovatore: Italo Campanini as Manrico 318 The Masked Ball: Emma Eames as Amelia 320 AIda: Joanna Gadski as Aida 322 Marie Brema as Amneris 324 Othello: Francesco Tamagno as Othello 326 WAGNER The Flying Dutchman: Fraulein Hiedler as Senta 338 Herr Muhlmann as the Dutchman . . 338 TANjnHAUSER: Charles Adams as Tannhauser 340 Milka Ternina as Elizabeth 340 Lohengrin: Ernestine Schumann-Heink as Ortrud 344 Ernest Krauss as Lohengrin 346 Emma Eames as Elsa 346 Tristan and Isolde: Lilli Lehmann as Isolde Frontispiece David Bispham as Kurwenal 348 Jean de Reszke as Tristan 348 Edouard de Reszke as King Mark . . . 348 The Mastersingers: David Bispham as Beckmesser 352 Anton Van Rooy as Hans Sachs .... 352 Hermann Winckelmann as Walter . . . 354 Das Rheingold: Portrait of Mme. Materna 360 Louise Homer as Erda 362 Die Walkure: Olive Fremstad as Sieglinde 364 Herr Burgstaller as Siegmund 364 Lillian Nordica as Briinnhilde 366 Joanna Gadski as Briinnhilde 366 Anton Van Rooy as Wotan 368 Siegfried: Max Alvary as Siegfried 370 Herr Reiss as Mime 372 David Bispham as Alberich 372 Die Gotterdammerttng : Jean de Reszke as Siegfried 374 Parsifal: Andreas Dippel as Parsifal (first act) 376 Andreas Dippel as Parsifal (third act) 376 M. Perron as Amfortas 378 Herr Goritz as Klingsor 378 Olive Fremstad as Kundry 380 THE STANDARD OPERAS THEIR PLOTS AND THEIR MUSIC ADAM (CHARLES ADOLPHE) The Postilion of Longjumeau THE Postilion of Longjumeau," opera comique, in three acts, text by De Leuven and Brunswick, was first produced at the Opera Comique, Paris, October 13, 1836. This sprightly opera is characterized by grace and elegance of treatment, fascinating rhythm, and odd contrasts in effects. Its plot is very dramatic, and aifords ample scope for humor- ous action. The opening scene of the first act, which is laid in Longjumeau, a French village, time of Louis the Fifteenth, introduces us to the wedding of Chapelou, the postilion, and Madeleine, mistress of the inn. During the merriment which follows, the Marquis de Courcy, superintendent of the Paris Grand Opera, whose carriage has broken down, makes his appearance, seeking aid of a wheelwright. He hears Chapelou singing, and is so pleased with his voice that he offers him a position in the opera. Chapelou, after some persuasion, ac- cepts, entreats Bijou, the village blacksmith, to look after Madeleine, and goes off with the Marquis in quest of artistic glory. Bijou informs Madeleine of Chapelou's baseness, and the act closes with her denunciations of him, in which she is enthusiastically assisted by the female members of the wedding-party. The second act opens in Paris. Madeleine has inherited a fortune from an aunt, and makes her appearance in the gay 2 THE STANDARD OPERAS city as a rich and noble lady, under the assumed name of IMadame de la Tour. The Marquis de Courcy, who is in love with her, at her request brings Chapelou, "w^ho is now a famous tenor known as St. Phar, Bijou, the Longjumeau blacksmith, who is primo basso under the name of Alcindor, and the operatic chorus to her chateau for a rehearsal. St. Phar, not wishing to sing, pleads a cold, but when he learns that he is in the apartments of Madame de la Tour he consents, and the rehearsal goes off finely. Left alone with his hostess, he proposes to her and is accepted, but as he is already married he arranges that Boudon, the chorus leader, shall play the part of priest. The Marquis, who overhears the conspiracy, informs Madame de la Tour, who sends for a real priest and accompanies St. Phar to the altar, where they are married for the second time. In the third act, St. Phar, who fears that he will be hanged for committing bigamy, finds a happy escape from his troubles. The Marquis, furious because he has been rejected by Madame de la Tour in favor of an opera singer, seeks revenge, but his plans are thwarted. A humorous scene ensues, in which St. Phar is tormented by Alcindor and the wedding-party, as well as by the Marquis, who is now reconciled. Finally, upon being left alone in a darkened room with Madame de la Tour, she also aggravates him by personating two characters, singing from different sides of the apartment in the voice of the Madame and that of Madeleine. The denouement ensues when she appears to him as the veritable Madeleine of Long- jumeau, whither the joyous pair return and are happy ever after. The principal music of the first act is a romanza for soprano, " Husband ever dear," leading into a dance chorus ; the spirited Postilion's Song with whip-snapping accompani- ment; and a balcony serenade by Madeleine. The second act opens with a long and well-written aria for soprano, which is followed by the rehearsal scene — a clever bit of humorous musical writing. In the course of this scene the tenor has a characteristic aria, preceded by a clarinet obligato, and the basso also has one running down to G, in which he describes Hen- Wachtel Famous as the creator of The Postilion of Longjumeau ADAM 3 with much gusto the immunities of a basso with a " double G." A duet follows for soj^rano and tenor with a cadenza of ex- traordinary length, the act closing with a finale in the con- ventional Italiaji style. The third act opens with a long clarinet solo, the refrain of which is heard in the close of the act. This is followed by a " Good Night " chorus in mazurka time. The tenor has an aria followed by a comic trio, which in reality is a duet, as the soprano is personating two singers with different voices. A duet and finale close the opera. The success of the " Pos- tilion of Longjumeau " w^hen it was first produced in the United States was largely due to Wachtel's remarkable dra- matic as well as vocal presentation of the role of Chapelou. ALBERT, D' (EUGENE FRANCIS CHARLES) Tiefland TIEFLAND " is a musical setting of a well-known and popular Spanish drama^ originally written in Catalonian by Angel Guimera, and called " Tevva Baixa." The Spanish dramatist, Jose Echegaray, next produced a version of it, called " Tierra Baja." An English version has been made familiar to American audiences by the actress, Bertha Kalich, as " Marta of the Lowlands." The libretto of " Tiefland " was adapted from the Catalonian version by Rudolph Lothar. The opera was first produced in Prague in 1903, but without marked success. It was then revised by D'Albert and brought out in Hamburg in 1907, also in Berlin, and had a long run in both cities. Its first performance in this country took place in New York, November 23, 1908. The opera is divided into a prologue and three acts. The prologue opens among the Pyrenees Mountains and discloses the shepherd Pedro tending his flocks. He lives in solitude but has dreamed that the Lord will sometime send him a wife. The rich landowner Sebastiano appears and informs Pedro that he has brought the young girl Marta to him for his wife, and that he must leave the mountains and go down to the Low- lands for his wedding. Pedro, thinking his dream is realized, is overjoyed at the prospect, although Marta is vmwilling and will not even look at Pedro. Behind Sebastiano's apparently generous proposal, however, is a dark plot. Years before this, Marta, the daughter of a strolling player, had come to the Lowlands where Sebastiano dwelt and had been induced to live with him as his mistress in consideration of his gift of a mill D'ALBERT 6 to her father. As Sebastiano is now about to wed an heiress, he has plotted to marry Marta to Pedro, and at the same time continue his illicit relations with her. The first act is devoted to Pedro's arrival at the Lowland village, where his marriage is to take place at the mill. At first he is unable to understand why the villagers, who are aware of Marta's relations to Sebastiano, make sport of him. After the wedding, Marta, wishing to avoid Sebastiano, does not go to her chamber nor accompany Pedro, all of which mystifies him still more. In the second act Marta begins to love her husband, but Pedro's persecutions continue and at last he tells her he is going back to the hills. She begs to go with him and tells him her story, whereupon he advances with his knife as if to kill her, but his love is stronger than his rage and they decide to go together. At this moment Sebastiano enters, ejects Pedro, and makes advances to Marta. In the last act the heiress whom Sebastiano expects to marry rejects him and he renews his advances to Marta, who calls to Pedro for help. He rushes in with his knife, but, seeing that Sebastiano is unarmed, throws it down and strangles him. Catching Marta in his arms, he rushes out with the passionate exclamation, " Back to the mountains, far from the lowlands, to sunshine, freedom, and light." It will be seen from this brief sketch that the plot is of the simplest kind and the story merely one of elemental human passion, ending in the inevitable tragedy. It is of the same type as the subjects chosen by the writers of many modern Italian operas, for instance Mascagni in " Cavalleria Rusti- cana " and " Iris," Puccini in " Tosca," and Leoncavallo in " Pagliacci"; in a word, it is the jealousy and sudden pas- sionate fury of the South, but set forth in this opera in the regular and symphonic Teutonic manner, so that its outcome is somewhat incongruous. It resembles these modern Italian music-dramas, however, in that it contains no formal numbers or sustained melodies. The composer has sought to make his music grow out of the dramatic situation, w.ith the result that it is declamatory rather than lyrical, and yet there are strong 6 THE STANDARD OPERAS and beautiful moments, such as Pedro's recital of the vision of the Virgin; the shepherd's description of his killing of the wolf; and Marta's story as she sits by the fire; as well as the passionate climax, when after the tragedy they leave Tiefland and go back to the mountains. But upon the whole, like " Pagliacci " and " Cavalleria Rusticana," the interest of this opera is dramatic rather than musical. The " Marta of the Lowlands," as presented by Kalich, however, is much stronger dramatically than the " Tiefland " of D 'Albert. AUBER (DANIEL FRANCOIS ESPRIT) Fra Diavolo FRA DIAVOLO," opera comique, in three acts, words by Scribe, was first produced at the Opera Comique, Paris, January 28, 1830; in English, at Drury Lane, Lon- don, November S, 1831; in Italian, at the Lyceum, London, July 9, 1857, for which occasion the spoken dialogue was converted into accompanied recitative. The composer him- self also, in fitting it for the Italian stage, made some changes in the concerted music and added several morceaux. The original Italian cast was as follows: Zerlina Mme. Bosio. Lady Allcash Mile. Makaj- ' Fra Diavolo Sig. Gardoni. Lord Allcash Sig. Ronconi. Beppo Sig. Tagliafico. Giacomo Sig. Zelgeb. The original of the story of " Fra Diavolo " is to be found in Lesueur's opera, " La Caverne," afterwards arranged as a spectacular piece and produced in Paris in 1808 by Cuvel- lier and Franconi, and again in Vienna in 1822 as a spectacle- pantomime, under the title of " The Robber of the Abruzzi." In Scribe's adaptation the bandit, Fra Diavolo, encounters an English nobleman and his pretty and susceptible wife. Lord and Lady Allcash, at the inn of Terracina, kept by Matteo, whose daughter Zerlina is loved by Lorenzo, a young soldier, on the eve of starting to capture Fra Diavolo when the action of the opera begins. In the first scene the English couple enter in great alarm, having narrowly escaped the robbery of all their valuables by Fra Diavolo's band. The 8 THE STANDARD OPERAS bandit himself, who has followed them on their journey in the disguise of a marquis, and has been particularly attentive to the lady, enters the inn just as Lord Allcash has been reprov- ing his wife for her familiarity with a stranger. A quarrel ensues in a duet of a very humorous character ("I don't object"). Upon the entrance of Fra Diavolo, a quintet ("Oh, Rapture ujibounded! ") occurs, which is one of the most effective and admirably harmonized ensembles Auber has ever written. Fra Diavolo learns the trick by which they saved the most of their valuables, and, enraged at the failure of his band, lays his own plan to secure them. In an inter- view with Zerlina, she, mistaking him for the Marquis, tells him the story of Fra Diavolo in a romanza (" On yonder Rock reclining "), which is so fresh, vigorous, and full of color, that it has become a favorite the world over. To further his schemes, Fra Diavolo makes love to Lady Allcash and sings a graceful barcarole to her (" The Gondolier, fond Passion's Slave "), accompanying himself on the mandolin. Lord Allcash interrupts the song, and the trio, " Bravi, Bravi," occurs, which leads up to the finale of the act. Fra Diavolo eludes the carbineers, who have returned, and they resume their search for him, leaving him unmolested to per- fect his plans for the robbery. The second act introduces Zerlina in her chamber about to retire. She first lights Lord and Lady Allcash to their room, a running conversation occurring between them in a trio (" Let us, I pray, good Wife, to rest "), which is one of the best numbers in the work. Before Zerlina returns to her chamber, Fra Diavolo and his companions, Beppo and Gia- como, conceal themselves in a closet, and, somewhat in viola- tion of dramatic consistency, Fra Diavolo sings the beautiful serenade, " Young Agnes," which had been agreed upon as a signal to his comrades that the coast was clear, Zerlina enters and after a pretty cavatina (" 'T is To-morrow ") and a prayer, charming for its simplicity (" Oh, Holy Virgin "), retires to rest. The robbers, in attempting to cross her room, partially arouse her. One of them rushes to the bed to stab her, but falls back awestricken as she murmurs her prayer --.<«» '^.. V ^^$^-11^ Santley as J-'ra Diavolo AUBER 9 and sinks to rest again. The trio which marks tliis scene, sung pianissimo^ is quaint and simple and yet very dramatic. The noise of the carbineers returning outside interrupts the plan of the robbers. They conceal themselves in the closet again. Zerlina rises and dresses herself. Lord and Lady Allcash rush in en deshabille to find out the cause of the uproar. Lorenzo enters to greet Zerlina, when a sudden noise in the closet disturbs tlie company. Fra Diavolo, know- ing he will be detected, boldly steps out into the room and declares that he is there to keep an appointment with Zer- lina. Lorenzo challenges him, and he promises to give him satisfaction in the morning, and coolly effects his escape. One of his comrades, however, is captured, and to secure his own liberty agrees to betray his chief. The third act introduces Fra Diavolo once more among his native mountains, and there is the real breath and vigor of the mountain air in his opening song (" Proudly and wide my Standard flies "), and rollicking freedom in the rondeau which follows it (" Then since Life glides so fast away "). He exults in his liberty, and gleefully looks forward to a meeting with Lord and Lady Allcash, which he anticipates will redound to his personal profit. His exultation is inter- rupted by the entrance of the villagers arrayed in festival attire in honor of the approaching wedding ceremonies, sing- ing a bright pastoral chorus ("Oh, Holy Virgin! bright and fair"). The finale of the act is occupied with the develop- ment of the scheme between Lorenzo, Beppo, and Giacomo, to ensnare Fra Diavolo and compass his death; and with the final tragedy, in which Fra Diavolo meets his doom at the hands of the carbineers, but not before he has declared Zer- lina's innocence. This finale is strong and very dramatic, and yet at the same time simple, natural, and unstudied. The opera itself has always been a favorite, not alone for its naturalness and quiet grace, but for the bright and even boisterous humor, which is displayed by the typical English tourist, who was for the first time introduced in opera by Scribe. The text is full of spirit and gayety, and these quali- ties are admirably reflected in the sparkling music of Auber. 10 THE STANDARD OPERAS How well it was adapted for musical treatment is shown by the fact that " Fra Diavolo " made Auber's reputation at the Opera Comique. Masaniello " Masaniello/' or " La Muette de Portici/' lyric opera in five acts, words by Scribe and Delavigne, was first pro- duced at Paris, February 29, 1828; in English, at London, May 4, 1829; and in Italian, at London, March 15, 1849. The original cast included Mme. Damoreau-Cinti as Elvira, Mile. Noblet as Fenella, and M. Massol as Pietro. In the Italian version, Sig. Mario, Mme. Dorus-Gras, and Mile. Leroux, a famous mime and dancer, took the principal parts ; while in its English dress, Braham created one of the great- est successes on record, and established it as the favorite opera of Auber among Englishmen. The scene of the opera is laid near Naples. The first act opens upon the festivities attending the nuptials of Alphonso, son of the Duke of Arcos, and the Princess Elvira. After a chorus of rejoicing, the latter enters and sings a brilliant cavatina (" O, bel Momento ") expressive of her happiness. In the fourth scene the festivities are interrupted by the appearance of Fenella, the dumb girl, who implores the princess to save her from Selva, one of the Duke's officers, who is seeking to return her to prison, from which she has escaped, and where she has been confined at the orders of some unknown cavalier who has been persecuting her. The part of Fenella is of course expressed by pantomime through- out. The remainder of the act is intensely dramatic. Elvira promises to protect Fenella, and then, after some spirited choruses by the soldiers, enters the chapel with Alphonso. During the ceremony Fenella discovers that he is her be- trayer. She attempts to go in, but is prevented by the sol- diers. On the return of the newly wedded pair Fenella meets Elvira and denounces her husband, and the scene ends with a genuine Italian finale of excitement. The second act opens on the seashore, and shows the fisher- AUBER 11 men busy with their nets and boats. Masaniello, brother of Fenella, enters, brooding upon the wrongs of the people, and is implored by the fishermen to cheer them with a song. He replies with the barcarole, " Piu bello sorse il giorno." His friend Pietro enters and they join in a duet (" Sara il morir ") of a most vigorous and impassioned character, expressive of Masaniello's grief for his sister and their mutual resolution to strike a blow for freedom. At the conclusion of the duet he finds Fenella preparing to throw herself into the sea. He calls to her and she rushes into his arms and describes to him the story of her wrongs. He vows revenge, and in a martial finale, which must have been inspired by the revolutionary feeling with which the whole atmosphere was charged at the time Auber wrote (1828), incites the fishermen and people to rise in revolt against their tyrannical oppressors. In the third act, after a passionate aria (" II pianto rasciuga ") by Elvira, we are introduced to the market-place, crowded with market-girls and fishermen disposing of their fruits and fish. After a lively chorus, a fascinating and genuine Neapolitan tarantella is danced. The merry scene speedily changes to one of turmoil and distress. Selva at- tempts to arrest Fenella, but the fishermen rescue her and Masaniello gives the signal for the general uprising. Before the combat begins, all kneel and sing the celebrated prayer, " Nume del Ciel," taken from one of Auber's early masses, and one of his most inspired efforts. The fourth act opens in Masaniello's cottage. He de- plores the coming horrors of the day in a grand aria (" Die! di me disponesti ") which is very dramatic in its quality. Fenella enters, and after describing the tumult in the city sinks exhausted with fatigue. As she falls asleep he sings a slumber song (" Scendi, O sonno dal ciel "), a most ex- quisite melody, universally known as " LAir du Sommeil." At its close Pietro enters and once more rouses Masaniello to revenge by informing him that Alphonso has escaped. After they leave the cottage, the latter and Elvira enter and implore protection. Fenella is moved to mercy, and a concerted number follows in which Masaniello promises safety and is 12 THE STANDARD OPERAS denounced by Pietro for his weakness. In the finale^ the magistrates and citizens enter, bearing the keys of the town and the royal insignia, and declare Masaniello king in a chorus of a very inspiriting and brilliant character. The last act is very powerful, both dramatically and musically. It opens in the grounds of the Viceroy's palace, and Vesuvius is seen in the distance, its smoke portending an eruption. Pietro and companions enter with wine-cups in their hands, as from a banquet, and the former sings a bar- carole (" Ve' come il vento irato"). At its close other fishermen enter and excitedly announce that troops are mov- ing against the people, that Vesuvius is about to burst into flame, and that Masaniello, their leader, has lost his reason. This is confirmed by the appearance of the hero in disordered attire, singing music through which fragments of the fisher- men's songs as they rise in his disturbed brain are filtered. Fenella rouses him from his dejection, and he once more turns and plunges into the fight, only to be killed by his own comrades. On learning of her brother's death she unites the hands of Alphonso and Elvira, and then in despair throws herself into the burning lava of Vesuvius. " Masaniello " made Auber's fame at the Grand Opera, as " Fra Diavolo " made it at the Opera Comique, but it has no points in common with that or any other of his works. It is serious throughout, and full of power, impetuosity, and broad dramatic treatment. Even Richard Wagner conceded its vigor, bold effects, and original harmonies. Its melodies are spontaneous, its instrumentation full of color, and its stirring incidents are always vigorously handled. In comparison with his other works it seems like an inspiration. It is full of the revolutionary spirit, and its performance in Brussels in 1830 was the cause of the riots that drove the Dutch out of Belgium. The Crown Diamonds "The Crown Diamonds" ("Les Diamants de la Cou- ronne "), opera comique, in three acts, words by Scribe and AUBER 13 St. George, one of the most charming of Auber's light operas, was first produced in Paris in 1841, but its reputation has been made on the English stage. It was first performed in London, at the Princess Theatre, May 2, 1844, with Mme. Anna Thillon, a charming singer and most fascinating woman, as Catarina; but its real success was made at Drury Lane in 1854 by Louisa Pyne and Harrison, who took the parts of Catarina and Don Henrique. The other roles. Count de Campo Mayor, Don Sebastian, Rebolledo, and Diana, were filled by Mr. Horncastle, Mr. Reeves, ^Ir. Borrani, and Miss Pyne, sister of the preceding, and with this cast the opera ran a hundred nights. The story of the opera is laid in Portugal, time, 1777. The opening scene discloses the ruins of a castle in the moimtains, near the monastery of St, Huberto, where Don Henrique, nephew of the Count de Campo Mayor, Minister of Police at Coimbra, overtaken by a storm, seeks shelter. At the time of his misfortune he is on his way to take part in the approaching coronation, and also to sign a marriage contract with his cousin Diana, daughter of the Minister of Police. He solaces himself with a song (" Roll on, roil on "), during which he hears the blows of hammers in a distant cavern. Looking about, he discovers Rebolledo, the chief of the coiners, and two of his comrades examining the contents of his trunk which is in their possession. Don Henrique conceals himself while Rebolledo is singing a rol- licking muleteer's song (" O'er Mountain steep, through Valley roaming"). At its conclusion Rebolledo, about to summon the other coiners to their secret work, discovers Don Henrique, and thinking him a spy rushes upon him. He is saved by the sudden entrance of Catarina, the leader of the gang, who tells the story of her life in a concerted number that reminds one very strikingly of the bandit song in " Fra Diavolo." After examining Don Henrique, and, to his sur- prise, showing an intimate acquaintance with his projects, she returns him his property, and allows him to depart on condition that he shall not speak for a year of what he has seen. He consents; and then follows another of the con- 14. THE STANDARD OPERAS certed numbers in which this opera abounds, and in which occurs a charming rondo (" The young Pedrillo "), accom- panied by a weird, clanging chorus. Before he can effect his departure the gang find that they are surrounded by troops led by Don Sebastian, a friend of Don Henrique. The coiners, in company with the latter, however, make their escape in the disguise of monks on their way to the neighbor- ing monastery, singing a lugubrious chorus (" Unto the Hermit of the Chapel "), while Catarina and Rebolledo elude the sol- diers by taking a subterranean passage, carrying with them a casket containing some mysterious jewels. The second act opens in the Chateau de Coimbra, and discovers the Count, Don Henrique, Don Sebastian, and Diana. The first scene discloses that Don Henrique is in love with the mysterious Catarina, and that Diana is in love with Don Sebastian. In a sportive mood Diana requests Don Henrique to sing with her, and chooses a nocturne called " The Brigand," which closes in gay bolero time (" In the deep Ravine of the Forest"). As they are singing it, Don Sebastian announces that a carriage has been overturned and its occupants desire shelter. As the duet proceeds, Catarina and Rebolledo enter, and a very florid quintet ("Oh, Surprise unexpected!") occurs, leading up to an ensemble full of humor, with a repe- tition of the brigand song, this time by Catarina and Diana, and closing with a bravura aria sung by Catarina ("Love! at once I break thy Fetters "). Catarina and Rebolledo ac- cept the proffered hospitality, but the latter quietly makes his exit when Diana begins to read an account of a robbery which contains a description of himself and his companion. Cata- rina remains, however, in spite of Don Henrique's warning that she is in the house of the Minister of Police. In a moment of passion he declares his love for her and begs her to fly with him. She declines his proffer, but gives him a ring as a souvenir. A pretty little duet ("If I could but Courage feel ") ensues between Diana and Don Henrique, in which she gently taunts him with his inattention to her and his sudden interest in the handsome stranger. At this juncture the Count enters in wild excitement over the announcement AUBER 15 that the crown jewels have been stolen. Don Henrique's ring is recognized as one of them, and in the excitement which en- sues, Catarina finds herself in danger of discovery, from which she is rescued by Diana, who promises Don Henrique she will send her away in the Count's carriage if he will agree to re- fuse to sign the marriage contract. He consents, and she departs upon her errand. At this point in the scene Don Henrique sings the beautiful ballad, " Oh, whisper what thou feelest ! " originally written for Mr. Harrison. This song leads up to a stirring finale, in which Don Henrique refuses to sign the contract and Catarina makes her escape. The last act opens in the anteroom of the royal palace at Lisbon, where Diana is waiting for an audience with the Queen. She sings another interpolated air, originally written for Louisa Pyne (" When Doubt the tortured Frame is rend- ing "), and at its close the Count, Don Henrique, and Don Sebastian enter. While they are conversing, Rebolledo ap- pears, announced as the Count Fuentes, and a quintet occurs, very slightly constructed, but full of humor. An usher inter- rupts it by announcing that the Queen will have a private audience with the Count. While awaiting her, the latter, in a monologue, lets us into the secret that the real crown jewels have been pledged for the national debt, and that he has been employed to make duplicates of them to be worn on state occasions until the real ones can be redeemed. The Queen enters, and expresses her satisfaction with the work, and promotes him to the position of ISIinister of Secret Police. On his departure she sings a charming cavatina (" Love, dwell with me "), and at its close Count de Campo Mayor enters with the decision of the Council that she shall wed the Prince of Spain. She protests that she will make her own choice. The Count seeks to argue with her, when she threatens to con- fiscate his estate for allowing the crown jewels to be stolen, and commands him to arrest his daughter and nephew for harboring the thieves. Diana suddenly enters, and an amus- ing trio ensues, the Queen standing with her back to Diana lest she may be discovered. The latter fails to recognize her as Catarina, and implores pardon for assisting in her escape. 16 THE STANDARD OPERAS The situation is still further complicated by the appearance of Don Henrique, who has no difficulty in recognizing Catarina. Bewildered at her presence in the Queen's apartments, he declares to Diana that he will seize her and fly to some dis- tant land. His rash resolution, however, is thwarted by his arrest, on the authority of the Queen, for treason. A martial £nale introduces us to the Queen in state. Don Henrique rushes forward to implore mercy for Catarina. The Queen reveals herself at last, and announces to her people that she has chosen Don Henrique, who has loved her for herself, for her husband and their king. And thus closes one of the most sparkling, melodious, and humorous of Auber's works. What the concerted numbers lack in solidity of construction is com- pensated for by their grace and sweetness. AUBERT (HENRI) Le Foret Bleue LE Foret Bleue," opera comique in three acts, by Aubert of the Paris Conservatory, text by Jacques Chenevieve, a French poet, was written for the opera comique, and was first produced in this country at New York in 1911. The story is a web deftly woven from the three nursery tales, " Little Red Riding Hood," " Hop o' My Thumb," and " The Sleeping Beauty." The three acts are entitled " The Village," " A Forest," and " The Palace." The two children, Little Red Riding Hood and Hop o' My Thumb, are the sopranos; Prince Charming and the Reaper, tenors ; and the Ogre and Hop o' My Thumb's father, baritones. The opening scene discloses the simple homes of Little Red Riding Hood and Hop o' My Thumb. The Good Fairy enters and assures the children of her protection. As the morning breaks. Little Red Riding Hood goes to the well for water, and a pretty love scene occurs between her and Hop o' My Thumb, during which she informs him of her approaching visit to her grandmother in the forest. The interview is dis- turbed by her mother, who drives Hop o' My Thumb away. His father, a poverty-stricken old man, sets out for the forest in quest of work, and failing to find it, decides to abandon the children there to the mercies of the Good Fairy. Hop o' My Thumb decides to go also and is met by Little Red Riding Hood, who gives him a cake, which he scatters along the road so that he may find his way back. In the meantime a Princess with the golden locks appears in the village. She is destined to prick her finger with a spindle and fall into a sleep, from which she can be aroused only by the kiss of a lover. The 18 THE STANDARD OPERAS lover appears in the form of Prince Charming and pays his suit to her. While joining the women at their spinning- wheels she pricks her finger, and as she falls to sleep he hastens to her rescue but is waved away with the declaration: " You ought not to follow me. In order that I can love, some one must deliver me." The curtain falls upon the farewell of the Prince and his resolve to brave the dangers of the enchanted forest in her behalf. The second act opens in the forest. Hop o' My Thumb has lost his way because the birds have eaten his crumbs, and is pursued by a hungry Ogre, while Little Red Riding Hood is fleeing in terror from a wolf. The children finally meet and fall asleep exhausted. The Good Fairy comes to protect them. As the Ogre prefers wihe to the flesh of children, she makes it gush from the trunk of a tree. He drinks of it and falls in a stupor, singing bacchanalian songs. While he is asleep, they pull off his seven league boots, which leaves him helpless for pursuit. In their delight they sing and dance the rondo of " The Big-bellied Ogre," and while thus engaged, Prince Charming appears in a melancholy mood, for he has failed to find the Princess. They advise him to invoke the help of the Good Fairy, which he does, whereupon he beholds the en- chanted castle of the Princess and the curtain falls. The opening scene of the third act reveals the palace and the sleeping Princess. The three enter. The Prince kisses her and she awakens, rapturously chanting her love with the Prince. Little Red Riding Hood, desiring to know what woke her, is told by Hop o' My Thumb. The Princess is anxious that the children remain, but as they are no longer afraid of the forest and are eager to see their mothers they set out upon their return, laden with gifts and accompanied by an escort. The Prince dismisses them with this graceful farewell: " Your humble story will be told by Grandmas near the fire. A fairy tale will be made of your adventures. Through all the ages children will adore you and you will live in the leaves of pic- ture books." The music of the opera is as charming as the story, though it now and then recalls the manner of Humperdinck in his AUBERT 19 " Hansel and Gretel." It is in modern style and yet melodi- cally retains the old scheme of the aria, duets, and chorus. Its principal numbers are the " Love Song " of the Reaper to his sweetheart Rosine and the accompanying chorus, the song of the fairy, the love scene between the Prince and Princess and the former's farewell, in the first act; the duet of the children, the bacchanalian song of the Ogre, the fairies' chorus, and the rondo of " The Big-bellied Ogre " in the second; the graceful duet of the Prince and Princess and the farewell of the children in the third. BALFE (MICHAEL WILLIAM) The Bohemian Girl THE Bohemian Girl," grand opera in three acts, words by Bunn, adapted from St. George's ballet of " The Gypsy," performed at the Paris Grand Opera in 1839 — itself taken from a romance by Cervantes — was first produced in London, November 27, 1843, at Drury Lane, with the following cast: Arline Miss Romer. Thaddeus Mr. Harrison. Gypsy Queen Miss Betts. DevUshoof Mr. Stretton. Count Arnhcim Mr. Borrani. Florestein Mr. Durnset. The fame of " The Bohemian Girl " was not confined to England. It was translated into various European lan- guages, and was one of the few English operas which secured a favorable hearing even in critical Germany. In its Italian form it was produced at Drury Lane as " La Zingara," February 6, 1858, with Mile. Piccolomini as Arline; and also had the honor of being selected for the state perform- ance connected with the marriage of the Princess Royal. The French version, under the name of " La Boh^mienne," for which Balfe added several numbers, besides enlarging it to five acts, was produced at the Theatre Lyrique, Paris, in December, 1869, and gained for him the Cross of the Legion of Honor. The scene of the opera is laid in Austria, and the first act introduces us to the chateau and grounds of Count Amheim, Governor of Presburg, whose retainers are prepar- BALFE 21 ing for the chase. After a short chorus the Count enters with his little daughter Arline and his nephew Florestein. The Count sings a short solo ("A Soldier's Life "), and as the choral response by his retainers and hunters dies away and they leave the scene, Thaddeus, a Polish exile and fugi- tive, rushes in excitedly, seeking to escape tlie Austrian sol- diers. His opening number (" 'T is sad to leave your Fatherland") is a very pathetic song. At its end a troop of gypsies enter, headed by Devilshoof, singing a blithe chorus ("In the Gypsy's Life you may read"). He hears Thaddeus's story and induces him to join them. Before the animated strains fairly cease, Florestein and some of the hunters dash across the grounds in quest of Arline, who has been attacked by a stag. Thaddeus, seizing a rifle, joins them, and rescues the child by killing the animal. The Count overwhelms him with gratitude, and urges him to join in the coming festivities. He consents, and at the banquet produces a commotion by refusing to drink the health of the Emperor. The soldiers are about to rush upon him, when Devilshoof interferes. The gypsy is arrested for his temer- ity, and taken into the castle. Thaddeus departs and the festivities are resumed, but are speedily interrupted again by the escape of Devilshoof, who takes Arline with him. The finale of the act is stirring, and contains one number, a prayer (" Thou who in Might supreme "), which is ex- tremely effective. Twelve years elapse between the first and second acts, and during this time Count Arnheim has received no tid- ings of Arline, and has given her up as lost forever. The act opens in the gypsy camp in the suburbs of Presburg. Arline is seen asleep in the tent of the Queen, with Thad- deus watching her. After a quaint little chorus (" Silence, Silence, the Lady Moon ") sung by the gypsies, they depart in quest of plunder, headed by Devilshoof, and soon find their victim in the person of the foppish and half-drunken Florestein, who is returning from a revel. He is speedily relieved of his jewelry, among which is a medallion, which is carried off by Devilshoof. As the gypsies disappear, 22 THE STANDARD OPERAS Arline wakes and relates her dream to Thaddeus in the joyous and well-known song ("I dreamed I dwelt in marble Halls "). At the close of the ballad Thaddeus tells her the meaning of the sear upon her arm, and reveals himself as her rescuer, but does not disclose to her the mystery of her birth. A musical dialogue, with its ensemble, " The Secret of her Birth," follows. Thaddeus declares his love for her just as the Queen, who is also in love with Thaddeus, enters. Arline also confesses her love for Thaddeus, and, according to the custom of the tribe, the Queen unites them, at the same time vowing vengeance against the pair. The scene now changes to a street in the city. A great fair is in progress, and the gypsies, as usual, resort to it. i^Vrline enters at their head, joyously singing, to the accom- paniment of the rattling castanets, " Come with the Gypsy Bride " ; her companions, blithely trijjping along, respond- ing with the chorus, " In the Gypsy's Life you may read." They disappear down the street and reappear in the public plaza. Arline, the Queen, Devilshoof, and Thaddeus sing an unaccompanied quartet (" From the Valleys and Hills "), a number characterized by grace and flowing harmony. As they mingle among the people an altercation occurs between Arline and Florestein, who has attempted to insult her. The Queen recognizes Florestein as the owner of the medallion, and for her courage in resenting the insult maliciously pre- sents Arline with it. Shortly afterwards he observes the medallion on Arline's neck, and has her arrested for theft. The next scene opens in the hall of justice. Count Arnheim enters with a sad countenance, and as he observes Arline's portrait, gives vent to his sorrow in the well-known melan- choly reverie, " The Heart bowed down." Arline is brought before him for trial. As it progresses he observes the scar upon her arm and asks its cause. She tells the story which Thaddeus had told her, and this solves the mystery. The Count recognizes his daughter, and the act closes with a pretty ensemble ("Praised be the Will of Heaven"). The last act opens in the salon of Count Arnheim. Arline is restored to her old position, but her love for Thaddeus BALFE 23 remains. He finds an opportunity to have a meeting with her, through the cunning of Devilshoof, who accompanies him. He once more tells his love in the tender and impas- sioned song, " When other Lips and other Hearts," and she promises to be faithful to him. As the sound of approach- ing steps is heard, Thaddeus and his companion conceal themselves. A large company enter, and Arline is presented to them. During the ceremony a closely veiled woman ap- pears, and when questioned acknowledges she is the Gypsy Queen. She reveals the hiding-place of her companions, and Thaddeus is dragged forth and ordered to leave the house. Arline declares her love for him, and her intention to go with him. She implores her father to relent. Thaddeus avows his noble descent, and boasts his ancestry and deeds in battle in the stirring martial song, " When the fair Land of Poland." The Count finally yields and gives his daughter to Thaddeus. The Queen, filled with rage and despair, induces one of the tribe to fire at him as he is embracing Arline; but by a timely movement of Devilshoof the bullet intended for Thaddeus pierces the breast of the Queen. As the curtain falls, the old song of the gypsies is heard again as they disappear in the distance with Devilshoof at their head. Many of the operas of Balfe, like other ballad operas, have become unfashionable; but it is doubtful whether " The Bohemian Girl " will ever lose its attraction for those who delight in song-melody, charming orchestration, and spark- ling, animated choruses. It leaped into popularity at a bound, and its pretty melodies are still as fresh as when they were first sung. The Rose of Castile " The Rose of Castile," comic opera in three acts, the text by Harris and Falconer, was first produced at the Lyceum Theatre, London, October 29, 1857. The scene is laid in Spain; time, last century. At the opening of the 24 THE STANDARD OPERAS opera, Elvira, Queen of Leon, has just ascended the throne, and her hand has been demanded by the King of Castile for his brother, Don Sebastian, the Infant. The latter, with the design of satisfying his curiosity about her, is on the eve of entering the city disguised as a muleteer. Elvira hears of this, and adopts the same expedient, by starting with Carmen, one of her attendants, disguised as peasants, to intercept him. In the opening of the first act the two appear at an inn where the peasants are dancing. The inn- keeper is rude to them, but Don Sebastian, disguised as Manuel, the muleteer, protects them, and offers his services as escort, which the Queen willingly accepts, for she has recognized him and he has fulfilled the motive of the story by falling in love Avith her. At this point Don Pedro, who has designs upon the throne, enters with his fellow- conspirators, Don Sallust and Don Florio. Observing Elvira's likeness to the Queen, they persuade her to personate Her Majesty, which, after feigned reluctance, she consents to do. She also accepts their services as escorts, and all the more unhesitatingly because she knows Manuel will follow her. The second act ojoens in the throne-room of the palace. Don Pedro enters, somewhat dejected by the uncertainty of his schemes. The Queen, who has eluded the surveillance of the conspirators, also appears and grants an audience to Manuel, in which he informs her of the meeting with the peasant girl and boy and declares his belief that they are the Queen and Carmen. He also informs her of the conspirators' plot to imprison her, which she thwarts by inducing a silly old Duchess to personate the Queen for one day and ride, closely veiled, to the palace in the royal carriage. Her scheme succeeds admirably. The Duchess is seized and con- veyed to a convent. In the next scene, while Don Pedro and Don Florio are mourning over the loss of their peasant girl, she appears. Their mourning turns to desperate perplexity when the Queen reveals herself and announces her intention of marrying the muleteer. In the last act Carmen and Don Florio agree to marry. The Queen and her ladies now enter, and a message is BALFE 25 delivered her from Don Sebastian announcing his marriage. Enraged at the discovery that the muleteer is not Don Sebastian, the Queen upbraids him and yet declares she will be true to him. This pleases Don Pedro, as he believes he can force her to abdicate if she marries a muleteer; but in the last scene Manuel mounts the throne, and announces he is King of Castile. Elvira expresses her delight, and all ends happily. The story of the opera is exceedingly involved, but the music is well sustained and ranks with the best that Balfe has written. The principal numbers of the first act are the lively chorus, "List to the gay Castanet"; the vocal scherzo by Elvira, " Yes, I '11 obey you " ; Manuel's rollicking song, " I am a simple Muleteer " ; the buffo trio, which ends in a spirited bacchanale, " Wine, Wine, the Magician thou art " ; and Elvira's pleasing rondo, " Oh ! were I the Queen of Spain." The second act contains the expressive conspirators' chorus, " The Queen in the Palace " ; the beautiful ballad, " Though Fortune darkly o'er me frowns," sung by Don Pedro; the ballad, "The Convent Cell," sung by Elvira, which is one of Balfe's happiest inspirations ; the buffo trio, "I'm not the Queen, ha, ha"; and Elvira's characteristic scena, " I 'm but a simple Peasant Maid." The leading numbers of the last act are the bravura air, "Oh! joyous, happy Day," which was intended by the composer to show the vocal ability of Eliza Pyne, who first appeared in the role of Elvira; Manuel's fine ballad, " 'T was Rank and Fame that tempted thee "; Don Pedro's martial song, " Hark, hark, methinks I hear " ; the stirring song by Manuel, when he mounts the throne, which recalls " The fair Land of Poland," in " The Bohemian Girl " ; and Elvira's second bravura air, " Oh ! no, by Fortune blessed." BEETHOVEN (LUDWIG VAN) Fidelio FIDELIO, Oder die eheliche Liebe " (" Fidelio, or Con- jugal Love "), grand opera in two acts, words by Sonnleithner, translated freely from Bouilly's " Leonore, ou I'Amour Conjugal," was first produced at the Theatre An der Wien, Vienna, November 20, 1805, the work at that time being in three acts. A translation of the original programme of that performance, with the exception of the usual prices of admission, is appended: IMPERIAL AND ROYAL THEATRE AN DER WIEN. NEW OPERA. To-day, Wednesday, 20 November, 1805, at the Imperial and Royal Theatre An der Wien, will be given for the first time FIDELIO; Or, CONJUGAL LOVE. Opera in three acts, translated freely from the French text by Joseph Sonnleithner. The music is by Ludwig van Beethoven. Dramatis Personce Don Fernando, Minister Herr Weinkopf. Don Pizarro, Governor of a State Prison Herr Meier. Florestan, prisoner Herr Demmer. Leonora, his wife, under the name of Fidelio Fraulein Milder. Rocco, chief jailer Herr Rothe. Marcellina, his daughter Fraulein Mijller. Jacquino, turnkey Herr Cache. Captain of the Guard Herr Meister. Prisoners, Guards, People. The action passes in a State prison in Spain, a few leagues from Seville. The piece can be procured at the boxoffice for fifteen kreutzers. During its first season the opera was performed three times and then withdrawn. Breuning reduced it to two acts, BEETHOVEN 27 and two or three of the musical numbers were sacrificed, and in this form it was played twice at the Imperial Private Theatre and again withdrawn. On these occasions it had been given under Beethoven's favorite title, " Leonore." In 1814 Treitschke revised it, and it was produced at the Karnthnerthor Theatre, Vienna, May 23, of that year, as " Fidelio," which title it has ever since retained. Its first performance in Paris was at the Theatre Lyrique, May 5, 1860; in London, at the King's Theatre, May 18, 1832; and in English at Covent Garden, June 12, 1835, with Malibran in the title role. Beethoven wrote four overtures for this great work. The first was composed in 1805, the second in 1806, the third in 1807, and the fourth in 1814-. It is curious that there has always been a confusion in their numbering, and the error remains to this day. What is called No. 1 is in reality No. 3, and was composed for a performance of the opera at Prague, the previous overture having been too difficult for the string section of the orchestra. The splendid " Leonora," No. 3, is in reality No. 2, and the No. 2 is No. 1. The fourth, or the "Fidelio" overture, contains a new set of themes, but the " Leonora " is the grandest of them all. The entire action of the opera transpires in a Spanish prison, of which Don Pizarro is governor and Rocco the jailer. The porter of the prison is Jacquino, who is in love with Marcellina, daughter of Rocco, and she in turn is in love with Fidelio, Rocco's assistant, who has assumed male disguise the better to assist her in her plans for the rescue of her husband, Florestan, a Spanish nobleman. The latter, who is the victim of Don Pizarro's hatred because he had thwarted some of his evil designs, has been imprisoned by him unknown to the world, and is slowly starving to death. Leonora, his wife, who in some way has discovered that her husband is in the prison, has obtained employment from Rocco, disguised as the young man Fidelio. The opera opens with a charming, playful love scene be- tween Jacquino and Marcellina, whom the former is teasing to marry him. She puts him off, and as he sorrowfully 28 THE STANDARD OPERAS departs, sings the Hope aria, " Die Hoffnung," a fresh, smoothly flowing melody, in which she pictures the delight of a life with Fidelio. At its close Rocco enters with the despondent Jacquino, shortly followed by Fidelio, who is very much fatigued. The love episode is brought out in the famous canon quartet, " Mir ist so wunderbar," one of the most beautiful and restful numbers in the opera. Rocco promises Marcellina's hand to Fidelio as the reward of her fidelity, but in the characteristic and sonorous Gold song, " Hat man nicht auch Geld daneben," reminds them that money as well as love is necessary to housekeeping. In the next scene, while Don Pizarro is giving instructions to Rocco, a packet of letters is delivered to him, one of which informs him that Don Fernando is coming the next day to inspect the prison, as he has been informed it contains several victims of arbitrary power. He at once determines that Florestan shall die, and gives vent to his wrath in a furious dramatic aria (" Ha! welch ein Augenblick! "). He attempts to bribe Rocco to aid him. The jailer at first refuses, but subse- quently, after a stormy duet, consents to dig the grave. Fidelio has overheard the scheme, and, as they disappear, rushes forward and sings the great aria, " Abscheulicher ! " one of the grandest and most impassioned illustrations of dramatic intensity in the whole realm of music. The reci- tative expresses intense horror at the intended murder, then subsides into piteous sorrow, and at last leads into the glorious adagio, " Komm Hoffnung," in which she sings of the immortal power of love. The last scene of the act in- troduces the strong chorus of the prisoners as they come out in the yard for air and sunlight, after which Rocco relates to Fidelio his interview with Don Pizarro. The latter orders the jailer to return the prisoners to their dungeons and go on with the digging of the grave, and the act closes. The second act opens in Florestan's dungeon. The prisoner sings an intensely mournful aria (" In des Lebens Friihlings- tagen "), which has a rapturous finale (" Und spiir' Ich nicht linde "), as he sees his wife in a vision. Rocco and Fidelio enter and begin digging the grave, to the accom- BEETHOVEN 29 paniment of sepulchral music. She discovers that Florestan has sunk back exhausted, and as she restores him recognizes her husband. Don Pizarro enters, and after ordering Fidelio away, who meanwhile conceals herself, attempts to stab Florestan. Fidelio, who has been closely watching him, springs forward with a shriek, and interposes herself between him and her husband. He once more advances to carry out his purpose, when Fidelio draws a pistol and defies him. As she does so the sound of a trumpet is heard outside announc- ing the arrival of Don Fernando. Don Pizarro rushes out in despair, and Florestan and Leonora, no longer Fidelio, join in a duet (" O namenlose Freude ") which is the very ecstasy of happiness. In the last scene Don Fernando sets Florestan and the other prisoners free in the name of the King. Pizarro is revealed in his true character, and is led away to punishment. The happy pair are reunited, and Marcellina, to Jacquino's delight, consents to marry him. The act closes with a general song of jubilee. As a drama and as an opera, " Fidelio " stands almost alone in its per- fect purity, in the moral grandeur of its subject, and in the resplendent ideality of its music. BELLINI (VINCENZO) Norma NORMA/' serious opera in two acts^ words by Roman!, was first produced during the season of Lent, 1832, at Milan, with the principal parts cast as follows: Norma Mme Pasta. Adalgisa Mme. Gbisi. PoUione Sig. Donzelli. It was first heard in London in 1833, and in Paris in 1855, and Planche's English version of it was produced at Drury Lane in 1837. The scene of the opera is laid among the Druids, in Gaul, after its occupation by the Roman legions. In the first scene the Druids enter with Oroveso, their priest, to the impressive strains of a religious march which is almost as familiar as a household word. The priest announces that Norma, the high priestess, will come and cut the sacred branch and give the signal for the expulsion of the Romans. The next scene introduces Pollione, the Roman proconsul, to whom Norma, in defiance of her faith and traditions, has bound herself in secret marriage, and by whom she has had two children. In a charmingly melodious scena (" Meco air altar di Venere ") he reveals his faithlessness and guilty love for Adalgisa, a young virgin of the temple, who has consented to abandon her religion and fly with him to Rome. In the fourth scene Norma enters attended by her priestesses, and denounces the Druids for their warlike dis- position, declaring that the time has not yet come for shaking off the yoke of Rome, and that when it does she will give the signal from their altar. After cutting the sacred mistletoe. Grisi as Norma BELLINI 31 she comes forward and invokes peace from the moon in that exquisite prayer, " Casta diva/' which electrified the world with its beauty and tenderness, and still holds its place in popular favor, not alone by the grace of its embel- lishments, but by the pathos of its melody. It is followed by another cavatina of almost equal beauty and tenderness ("Ah! bello a me ritorno "). In the next scene Adalgisa, retiring from the sacred rites, sings of her love for Pollione, and as she closes is met by the proconsul, who once more urges her to fly to Rome with him. The duet between them is one of great power and beauty, and contains a strikingly passionate number for the tenor (" Va, crudele "). Op- pressed by her conscience, she reveals her fatal promise to Norma, and implores absolution from her vows. Norma yields to her entreaties, but when she inquires the name and country of her lover, and Adalgisa points to Pollione as he enters Norma's sanctuary, all the priestess's love turns to wrath. In this scene the duet, " Perdoni e ti compiango," is one of exceeding loveliness and peculiarly melodious tender- ness. The act closes with a terzetto of great power ("O! di qual sei tu "), in which both the priestess and Adalgisa furiously denounce the faithless Pollione. In the midst of their imprecations the sound of the sacred shield is heard calling Norma to the rites. The second act opens in Norma's dwelling, and discovers her children asleep on a couch. Norma enters with the pur- pose of killing them, but the maternal instinct overcomes her vengeful thought that they are Pollione's children. Adalgisa appears, and Norma announces her intention to place her children in the virgin's hands, and send her and them to Pollione while she will expiate her offence on the funeral pyre. Adalgisa pleads with her not to abandon Pollione, who will return to her repentant; and the most effective number in the opera ensues, — the grand duet containing two of Bellini's most beautiful inspirations, the " Deh ! con te li prendi " and the familiar " Mira, O Norma." Pollione, maddened by his passion for Adalgisa, impiously attempts to tear her from the altar in the temple of Irminsul, where- 32 THE STANDARD OPERAS upon Norma enters the temple and strikes the sacred shield summoning the Druids. They meet, and she declares the meaning of the signal is war, slaughter, and destruction. She chants a hymn (" Guerra, guerra "), which is full of the very fury of battle. Pollione, who has been intercepted in the temple, is brought before her. Love is still stronger than resentment with her. In a very dramatic scena (" In mia Mano alfintu sei ") she informs him he is in her power, but she will let him escape if he will renounce Adalgisa and leave the country. He declares death would be preferable; where- upon she threatens to denounce Adalgisa. Pity overcomes anger, however. She snatches the sacred wreath from her brow and declares herself the guilty one. Too late Pollione discovers the worth of the woman he has abandoned, and a beautiful duet (" Qual cor tradisti ") forms the closing num- ber. She ascends the funeral pyre with Pollione, and in its flames they are purged of earthly crime. It is a memorable fact in the history of this opera, that on its first performance it was coldly received, and the Italian critics declared it had no vitality; though there are few operas in which such intense dramatic effect has been produced with simple melodic force. Its vitality is attested by the fact that Herr Dippel, the impresario of the Chicago Opera Company, announces it in the repertory of the season of 1912—13, eighty years after its first performance. La Sonnamhula " La Sonnambula," opera in two acts, words by Romani, was first produced in Milan, March 6, 1831, with the fol- lowing cast: Amina Mme. Pasta. Elvino Sig. Rubini. Rodolfo Sig. Mariano. Lisa Mme. Toccani. La Sonnambula was brought out in the same year in Paris and London, and two years after in English, with Malibran BELLINI 33 as Amina. The subject of the stoty was taken from a vaudeville and ballet by Scribe. The scene is laid in Switzerland. Amina, an orphan, the ward of Teresa, the miller's wife, is about to marry Elvino, a well-to-do land- holder of the village. Lisa, mistress of the inn, is also in love with Elvino, and jealous of her rival. Alessio, a peasant lad, is also in love with the landlady. Such is the state of affairs on the day before the wedding. Rodolfo, the young lord of the village, next appears upon the scene. He has arrived incognito for the purpose of looking up his estates, and stops at Lisa's inn, where he meets Amina. He gives her many pretty compliments, much to the dis- satisfaction of the half-jealous Elvino, who is inclined to quarrel with the disturber of his peace of mind. Amina, who is subject to fits of somnambulism, has been mistaken for a ghost by the peasants, and they warn Rodolfo that the village is haunted. The information, however, does not disturb him, and he quietly retires to his chamber. The officious Lisa also enters, and a playful scene of flirtation ensues, during which Amina enters the room, walk- ing in her sleep. Lisa seeks shelter in a closet. Rodolfo, to escape from the embarrassment of the situation, leaves the apartment, and Amina reclines upon the bed as if it were her own. The malicious Lisa hurries from the room to inform Elvino of what she has seen, and thoughtlessly leaves her handkerchief. Elvino rushes to the spot with other villagers, and finding Amina, as Lisa had described, declares that she is guilty, and leaves her. Awakened by the noise, the unfortunate girl, realizing the situation, sorrow- fully throws herself into Teresa's arms. The villagers im- plore Rodolfo to acquit Amina of any blame, and he stoutly protests her innocence; but it is of no avail in satisf5^ing Elvino, who straightway offers his hand to Lisa. In the last act Amina is seen stepping from the window of the mill in her sleep. She crosses a frail bridge which yields beneath her weight and threatens to precipitate her upon the wheel below; but she passes it in safety, descends to the ground, and walks into her lover's arms amid the jubilant songs of 34. THE STANDARD OPERAS the villagers. Elvino is convinced of her innocence, and they are wedded at once, while the discovery of Lisa's handker- chief in Rodolfo's room pronounces her the faithless one. Such is the simple little pastoral story to which Bellini has set some of his most beautiful melodies, the most striking of which are the aria, " Sovra il sen," in the third scene of the first act, where Amina declares her happiness to Teresa; the beautiful aria for baritone in the sixth scene, " Vi ravviso," descriptive of Rodolfo's delight in revisiting the scenes of his youth; the playful duet between Amina and Elvino, " Mai piu dubbi ! " in which she rebukes him for his jealousy; the humorous and very characteristic chorus of the villagers in the tenth scene, " Osservate, 1' Uscio e aperto," as they tiptoe into Rodolfo's apartment; the duet, "O mio Dolor," in the next scene, in which Amina asserts her inno- cence ; the aria for tenor in the third scene of the second act, " Tutto e sciolto," in which Elvino bemoans his sad lot; and that joyous ecstatic outburst of birdlike melody, " Ah ! non giunge," which closes the opera. In fact, " Sonnambula " is replete with melodies of the purest and tenderest kind. It is exquisitely idyllic throughout, and the music is as quiet, peaceful, simple, and tender as the charming pastoral scenes it illustrates. I Puritani " I Puritani," grand opera in two acts, text by Count Pepoli, was first produced at Paris, January 25, 1835, with the following cast: Elvira Mme. Grisi. Arturo Sig. Rubini. Ricardo Sig. Tamburini. Giorgio Sig. Lablache. The story of the opera is laid in England during the war between Charles II and his Parliament, and the first scene opens in Plymouth, then held by the parliamentary forces. The fortress is commanded by Lord Walton, whose daughter. BELLINI 35 Elvira, is in love with Lord Arthur Talbot, a young cavalier in the King's service. Her hand had previously been prom- ised to Sir Richard Forth of the parliamentary army; but to the great delight of the maiden, Sir George Walton, brother of the commander, brings her the news that her father has relented, and that Arthur will be admitted into the fortress for the celebration of the nuptials. Henrietta, widow of Charles I, is at this time a prisoner in the fortress, under sentence of death. Arthur discovers her situation and seeks to effect her escape by shrouding her in Elvira's bridal veil. On their way out he encounters his rival; but the latter, dis- covering that the veiled lady is not Elvira, allows them to pass. The escape is soon discovered, and Elvira, thinking her lover has abandoned her, loses her reason. Arthur is proscribed by the Parliament and sentenced to death, but Sir Richard, moved by the appeals of Sir George Walton, who hopes to restore his niece to reason, promises to use his influence with Parliament to save Arthur's life should he be captured unarmed. Arthur meanwhile manages to have an interview with Elvira; and the latter, though still suffering from her mental malady, listens joyfully to his explanation of his sudden flight. Their interview is disturbed by a party of Puritans who enter and arrest him. He is condemned to die on the spot; but before the sentence can be carried out, a messenger appears with news of the King's defeat and the pardon of Arthur. The joyful tidings restore Elvira to reason, and the lovers are united. The libretto of " I Puritani " is one of the poorest ever furnished to Bellini, but the music is some of his best. The prominent numbers of the first act are the pathetic cavatina for Ricardo, " Ah ! per sempre io ti perdei," in which he mourns the loss of Elvira; a lovely romanza for tenor ("A te o cara ") ; a brilliant polacca (" Son Vergin vezzosa ") for Elvira, and a concerted finale, brimming over with melody and closing with the stirring anathematic chorus, " Non Casa, non Spiaggia." The first grand number in the second act is Elvira's mad song, " Qui la voce," in which is brought out that rare gift for expressing pathos in melody for which Bellini 36 THE STANDARD OPERAS is so famous. The remaining numbers are Elvira's appeal to her lover (" Vien, diletto "), the duet for basses (" Suoni la tromba "), known as the " Liberty Duet," which in sonorous- ness, majesty, and dramatic intensity hardly has an equal in the whole range of Italian opera; a tender and plaintive romanza for tenor (" A una Fonte aflitto e solo ") ; a passion- ate duet for Arthur and Elvira (" Star teco ognor ") ; and an adagio, sung by Arthur in the finale (" Ella e tremante "). BITTNER (KARL) T)er Bergsee THE name of Bittner is a new one to the operatic world, and his operas have not yet been heard in this country, but if Vienna reports are reliable, it is not impossible that his third opera, " Der Bergsee," will yet be heard in this country, since it has made a great success in Germany as well as in Austria. Hence it is included in this collection. The composer, Julius Bittner, is not only a musician but his own librettist, and more than that is a lawyer by profession and at present judge in a Vienna court. The opera was first produced in Vienna in November, 1911, at the Imperial Opera House. In " Der Bergsee " (" The Mountain Lake "), as in his two previous operas, " Rothe Gred " and " Musikant," Austrian peasants are the central figures, the scene of the opera being laid in the sixteenth century, when they were at war with the Bishop of Salzburg. A young peasant, Joeg Steinlechner, is in the military service of the Bishop of Salzburg, and one night, while on guard duty, becomes homesick, deserts, and goes back home to his sweetheart, Gundula, and his friends. There he dis- covers not only that the latter are revolting against the Bishop's tyranny, but that Gundula, in her despair over the uncertainty of his return, has married a fisherman and is leading a wretched life. Shortly after his coming back the fisherman is supposed to have lost his life in the war, and Gundula, finding herself free, turns again towards her lover for comfort. Joerg, however, decides that he must follow his comrades. He accordingly goes with the peasant troops down a mountain pass and by a path which has been opened up by a dam which holds back the waters of the Bergsee. In her despair Gundula cuts the dam sufficiently to let the flood through and then plunges into the water herself, making a melodramatic denouement to the simple plot. BIZET (GEORGES) Carmen "/^ARMEN," opera in four acts, words by Meilhac and \^ Halevy, adapted from Prosper Merimee's romance of " Carmen/' was first produced at the Opera Comique, Paris, March S, 1875, with Mme. Galli-Marie in the title role and Mile. Chapuy as Michaela. The scene is laid in Seville; time, 1820. The first act opens in the public square, filled with a troop of soldiers under command of Don Jose, and loungers who are waiting the approach of the pretty girls who work in the cigar-factory near by, and prettiest and most heartless of them all, Carmen. Before they appear, Michaela, a village girl, enters the square, bearing a message to Don Jose from his mother, but not finding him departs. The cigar-girls at last pass by on their way to work, and with them Carmen, who observes Don Jose sitting in an indifferent manner and throws him the rose she wears in her bosom. As they disappear, Michaela returns and delivers her message. The sight of the gentle girl and his thoughts of home dispel Don Jose's growing passion for Carmen. He is about to throw away her rose, when a sudden disturbance is heard in the factory. It is found that Carmen has quarrelled with one of the girls and wounded her. She is arrested, and to prevent further mischief her arms are pinioned. She so bewitches the lieutenant, however, that he connives at her escape and succeeds in effecting it, while she is being led away to prison by the soldiers. In the second act Carmen has returned to her wandering gypsy life, and we find her with her com- panions in the cabaret of Lillas-Pastia, singing and dancing. Among the new arrivals is Escamillo, the victorious bull- Calve as Carfnen Copyright, Fa Ik BIZET 39 fighter of Grenada, with whom Carmen is at once fascinated. When the inn is closed, Escamillo and the soldiers depart, but Carmen waits with two of the gypsies, who are smugglers, for the arrival of Don Jose. They persuade her to induce him to join their band, and when the lieutenant, wild with passion for her, enters the apartment, she prevails upon him to remain in spite of the trumpet-call which summons him to duty. An officer appears and orders him out. He refuses to go, and when the officer attempts to use force Carmen sum- mons the gypsies. He is soon overpowered, and Don Jose escapes to the mountains. The third act opens in the haunt of the smugglers, a wild, rocky, cavernous place. Don Jose and Carmen, who is growing very indifferent to him, are there. As the contrabandists finish their work and gradually leave the scene, Escamillo, who has been following Carmen, appears. His presence and his declarations as well arouse the jealousy of Don Jose. They rush at each other for mortal combat, but the smugglers separate them. Escamillo bides his time, invites them to the approaching bull-fight at Seville, and departs. While Don Jose is upbraiding Carmen, the faithful Michaela, who has been guided to the spot, begs him to accompany her, as his mother is dying. Duty prevails, and he follows her as Escamillo's taunting song is heard dying away in the distance. In the last act the drama hur- ries on to the tragic denouement. It is a gala-day in Seville, for Escamillo is to fight. Carmen is there in his company, though her gypsy friends have warned her Don Jose is search- ing for her. Amid great pomp Escamillo enters the arena, and Carmen is about to follow, when Don Jose appears and stops her. He appeals to her and tries to awaken the old love. She will not listen, and at last in a fit of wild rage hurls the ring he had given her at his feet. The shouts of the people in the arena announce another victory for Escamillo. She cries out with joy. Don Jose springs at her like a tiger, and stabs her just as Escamillo emerges from the contest. " Carmen " is the largest and best-considered of all Bizet's works, and one of the best in the modern French repertoire. 40 THE STANDARD OPERAS The overture is short but very brilliant. After some char- acteristic choruses by the street lads, soldiers, and cigar-girls. Carmen sings the Habanera (" Amor, misterioso Angelo "), a quaint melody in which the air is taken from an old Spanish song by Iradier, called " El Aveglito." A serious duet be- tween Michaela and Don Jose (" Mia Madre io la rivedo ") follows, which is very tender in its character. The next striking number is the dance tempo, " Presso il Bastion de Seviglia," a seguidilla, sung by Carmen while bewitching Don Jose. In the finale, as she escapes, the Habanera is heard again. The second-act music is peculiarly Spanish in color, par- ticularly that for the ballet. The opening song of the gypsies in the cabaret, to the accompaniment of the castanets (" Vezzi e anella scintillar ") is bewitching in its rhythm, and is followed in the next scene by a stirring and very picturesque aria (" Toreador, attento "), in which Escamillo describes the bull-fight. A beautifully written quintet (" Abbiamo in vista "), and a strongly dramatic duet, beginning with an- other fascinating dance tempo (" Voglio Danzar pel tuo piacer "), and including a beautiful pathetic melody for Don Jose (" II fior che avevi), close the music of the act. The third act contains two very striking numbers, the terzetto of the card-players in the smugglers' haunt (" Mis- chiam! alziam ! "), and Michaela's aria (" Io dico no, non son paurosa "), the most effective and beautiful number in the whole work, and the one which shows most clearly the effect of Wagner's influence upon the composer. In the finale of the act the Toreador's song is again heard as he disappears in the distance after the quarrel with Don Jose. The last act is a hurly-burly of the bull-fight, the Toreador's taking march, the stormy duet between Don Jose and Carmen, and the tragic denouement in which the " Carmen " motive is repeated. The color of the whole work is Spanish, and tlie dance tempo is freely used and beautifully worked up with Bizet's ingenious and scholarly instrumentation. Ex- cept in the third act, however, the vocal parts are inferior to the orchestral treatment. 5 ^ s "5 t-l %; y\ *IJ ^ li '^ n $ ■4-) •&• [Lotte Lngel. The Senior Councillor Marcel Reiner. The Innkeeper Antonio Pini-Corsi. The Innkeepers Daughter Florence Wickham. The Tailor Julius Bayer. The Stablemaid Marie Mattfeld. First Gatekeeper Ernst Maran. Second Gatekeeper William Hinshaw. Conductor Alfred Hertz. For the original drama Humperdinck wrote preludes to the second and third acts, and incidental music. The first production took place at Munich, January 23, 1897, and in the next year it was played in New York. The preludes were heard before the play was first performed, Nikisch having conducted them at a Berlin Philharmonic concert in 1896. The Theodore Thomas orchestra also gave them their first hearing in this country in the same year. The play itself was not remarkably successful, but Humperdinck so 132 THE STANDARD OPERAS highly esteemed it that he expanded it with a grand opera in the strict sense, for the composer presents a musical fairy story in the Wagnerian manner and with the re- sources of a Wagnerian orchestra, yet retaining all the delicacy and charm which should characterize a work concerned with children. The first act discloses the Hella forest in Spring, the second a public place at Hellabrunn, and the setting for the third is the same as the second ex- cept that the season is Winter. The first act discovers the Goose Girl in the power of the Witch, who has cast spells over the bushes so that she can- not get away. Her lover, the King's son, finds her, but as she is still under the spell she cannot leave with him. The people of Hellabrunn meanwhile have sent out a fiddler, a woodchopper, and a broom-maker, commissioned to ask the witch where they may find a ruler. The witch deceives all of them but the fiddler, who learns of the Goose Girl's royal parentage, rescues her from the witch spell, and takes her with him back to Hellabrunn. The second act opens upon a scene of excitement. The King's son is in the town, a ragged beggar, recognized by no one but the broom-maker's daughter. As the clock strikes twelve and the people are expecting the entrance of their ruler, no one appears but the Goose Girl with her flock of geese, followed by the fiddler. The King's son joyfully recognizes her, but the people are furious, deride the lovers, and drive them out of the city. The last act is tragic. It is winter time. The lovers have lost their way in the forest. The Goose Girl is wasted by illness and both are exhausted by cold and hunger. At last they reach the hut of the witch and find it occupied by the woodchopper and the broom-maker. They beg for food and shelter but are refused. The Goose Girl seeks to con- sole the Prince by denying that she is ill, and dances in the snow until she faints to prove her assertion. The Prince gives his crown to the woodchopper in exchange for a loaf of bread which had been poisoned by the witch. The poison takes effect. The Goose Girl fancies the falling flakes are HUMPERDINCK 133 linden blossoms and the Prince believes he has found his way to his father's kingdom. When the fiddler arrives with the children of the town they find the two dead in each others' arms. Their bodies are placed upon a bier and car- ried away as the curtain falls upon the lament of the children. An analysis of tlie delightful music with which the com- poser has illustrated this story would be simply a statement of themes and phrases, for the score is Wagnerian through- out. It is a child's tale told in continuous melody, the music flowing gracefully on and invested now with charming har- monic quality and orchestral color, and anon with great impressiveness and a grand style as the tragic denouement approaches. The music has no separate numbers but is linked together symmetrically by the use of themes, and the result is a masterpiece of pure idealism. The most striking features of the opera are the bright music of the second act with the sparkling prelude and the passages in the open- ing of the last act, in which the children alone have a share. LECOCQ (CHARLES) Girofle-Girofla "/^IROFLE-GIROFLA," opera bouffe in three acts, text Vjf by Vanloo and Aterrier, was first produced at the Theatre des Fantasies Parisiennes, Brussels, March 21, 1874; in Paris, November 11, 1874; in New York at the Park Theatre in 1875. The scene is laid in Spain. The opening scene introduces Don Bolero d'Alcarazas, a Spanish grandee, and Aurore, his wife, also their tv/in daughters, Girofle and Girofla, who, being of marriageable age, have been hastily betrothed, Girofle to Marasquin, a banker, to whom Don Bolero is heavily indebted, and Girofla to Mourzook, a Moor- ish chief, who has made regular demands upon Don Bolero for money on penalty of death. By the double marriage he expects to get rid of his obligations on the one hand and avoid the paj^ment of the enforced tribute on the other. Girofle is married as arranged, but Girofla, who was to have been married the same day, is abducted bj' pirates before the ceremony can be performed. When Mourzook arrives and finds he has no bride, he is in a terrible rage, but is quieted down when, after a little manoeuvring by Aurore, Girofle is passed off on him as Girofla, and is thus to be married a second time. In the second act the wedding festivities are going on and both bridegrooms are clamoring for their brides. No word is heard from Admiral Matamoras, who has been sent to capture the pirates. Don Bolero and Aurore resort to all kinds of expedients to settle matters and pacify the irate banker and the furious Moor, and besides have much trouble in restraining Girofle from flying to her Marasquin. At last LECOCQ 135 she is locked up. She manages to get out, however, and goes off with some of her cousins for a revel. Her absence is explained by a report that the pirates have carried her off also, which adds to the parents' perplexity as well as to the fury of Marasquin and Mourzook. At last Girofle appears in a tipsy condition and is claimed by both. The act closes with the report that Matamoras has been defeated, and that the pirates have carried Girofla to Constantinople. The third act opens on the following morning. The two would-be husbands have been locked into their apartments. Marasquin has passed a quiet night, but Mourzook has smashed the furniture and escaped from his chamber through the window. The parents assure Marasquin that even if Mourzook returns he will have to leave that afternoon, and suggest that there can be no harm in letting him have Girofle for his wife until that time. Marasquin reluctantly consents, and when Mourzook returns and Girofle is pre- sented to him as Girofla, a ridiculous love scene occurs, which Marasquin contrives to interrupt by various devices. Finally the return of Girofla is announced, and Matamoras with his sailors appear, leading her by the hand. Explana- tions are made all round, the parents are forgiven, and Mourzook is satisfied. The music is lively throughout and oftentimes brilliant, and of a higher standard than usually characterizes opera bouffe. The most taking numbers are the ballad with pizzi- cato accompaniment, sung by Paquita, " Lorsque la Journee est fini (" When the Day is finished ") ; the concerted en- semble, " A la Chapelle " (" To the Church ") ; the grotesque pirates' chorus, " Parmi les Choses delicates " (" Among the delicate Things to do "), and the sparkling duet for Girofle and Marasquin, " C'est fini, le Mariage " ("The Marriage has been solemnized"), in the first act; the bacchanalian chorus, " Ecoutez cette Musique " ("Listen to this Music"), leading up to a dance ; a vivacious and well-written quintet, "Matamoras, grand Capitaine " ("'Matamoras, our great Captain ") ; a fascinating drinking song, " Le Punch scin- ti]]e " (" See how it sparkles "), and the andante duet, " O 136 THE STANDARD OPERAS Girofle, O Girofla," a smooth; tender melody, which is in striking contrast with the drinking-music preceding it and that which immediately follows the chorus of the half-tipsy wedding-guests, " C'est le Canon" ("It is the Cannon"), in the second act; and the rondo, " Beau Pere, une telle de- mand " ("Oh, my Father, now you ask"), sung by Maras- quin, and the duet for Mourzook and Girofle, " Ma belle Girofle" ("My lovely Girofle"), in the third act. La Fille de Madame Angot " La Fille de Madame Angot," opera boufife in three acts, text by Clairville, Sirandin, and Konig, was first pro- duced at the Fantasies Parisiennes, Brussels, November, 1872; in Paris at the Folies Dramatiques, February 23, 1873. The first act opens in a market square in Paris, where the market women and others in holiday attire are making ready to celebrate the wedding of Pomponnet, the hairdresser, and Clairette, the daughter of the late Madame Angot. During the festive preparations, for which Clairette has little desire, as her affections are fixed upon Ange Pitou, a street singer, who is continually in trouble by reason of his political songs, the latter makes his appearance. He is informed of the forth- coming wedding, which has been arranged by the market people, who have adopted Clairette as the child of the market. At the same time Larivaudiere and Louchard, the police offi- cials who caused his arrest because of his knowledge of the relations of Larivaudiere and Mademoiselle Lange, the come- dienne and favorite of Barras, are surprised to find him at large. To prevent him from reciting his knowledge in a song which he is sure has been written, Larivaudiere buys him off. Pitou subsequently regrets his bargain. When the crowd clamors for a song, he says he has none. The people are furious with him, but Clairette comes to his rescue. She has found the song denouncing Larivaudiere, sings it, and is arrested, notwithstanding Pitou's declaration that he is the author of it. Emily Soldene as Mdlle. Lange LECOCQ 137 The second act opens in Mademoiselle Lange's salon. She has persuaded Barras to release Clairette and have her brought to her apartments, so that she may discover why- she sings this song denouncing the government and insulting her also. In the meantime she has also sent for Pomponnet, her hairdresser, and informs him what his future wife has done. He replies that Pitou wrote the song, and that he (Pomponnet) has it. She orders him to fetch it to her. When Clairette arrives they recognize each other as old school friends. Mademoiselle Lange assures her she shall not go back to prison and that she need not marry Pomponnet. She retires to Mademoiselle Lange's boudoir when a visitor is announced. It is Ange Pitou, and a love scene at once occurs. The jealous Larivaudiere enters and accuses them of being lovers. To justify herself Mademoislle Lange declares that Pitou and Clairette are lovers, and the latter confirms the statement. Pomponnet's voice is heard in the outer room. He is admitted, and promptly arrested for having the revo- lutionary song on his person. The act closes with a meeting of conspirators, and Mademoiselle Lange's clever foiling of the grenadiers who have come to arrest them, by turning the whole affair into a grand ball, to which they are invited. The last act is occupied with plots and counter-plots which at last succeed in disentangling all the complications. Made- moiselle Lange's perfidy, as well as Pitou's, is shown up, Larivaudiere has his revenge, and Clairette and Pomponnet are made happy. The music of the opera is so bright, gay, and characteristic that it made Lecocq a dangerous rival of Offenbach. The most conspicuous numbers are Clairette's pretty romance, "L'Enfant de la Halle" ("The Child of the Market"); Amaranthe's jolly couplets, " Marchande de maree " ("A beautiful Fishwoman ") ; Ange Pitou's rondo, " Certaine- raent j'aimais Clairette" (" 'T is true I loved Clairette") and Clairette's spirited song, " Jadis les Rois, Race proscrite " ("Once Kings, a Race proscribed"), in the first act; an- other equally spirited song, " Comme un Coursier " (" Like a Courser"); Pomponnet's pretty air, " Elle est tellement 188 THE STANDARD OPERAS innocente " (" She is so innocent ") ; a charming sentimental duet for Mademoiselle Lange and Clairette, " Jours fortvmes de notre Enfance " (" Happy Days of Childhood ") ; a strik- ing ensemble in the form of a quintet, " Oui, je vous le dis, c'est pour elle " (" Yes, 't is on her Account alone ") ; and the famous conspirators' chorus, " Quand on conspire " ("When one conspires "), in the second act; and Clairette's couplets with chorus, " Vous aviez fait de la Depense " (" You put yourselves to great Expense"); the humorous duet, " Larivaudiere and Pomponnet," and Clairette's song, " Ah ! c'est done toi " ("Ah! 'tis you, then"), in the last act. «^ ^o ■^ Cfl rt '^ IM S> < "o .55 '^ <; ■5, m £5 rt ■Vj a:! ^ U •? LH is 'n |i 4-» LEONCAVALLO (RUGGIERO) I Pagliacci " T PAGLIACCI," Italian opera in two acts, words by the X composer, Ruggiero Leoncavallo, was first performed at Milan, May 21, 1892, and was introduced in this country in the spring of 1894, Mme. Arnoldson and Signors Ancona, Gromzeski, Guetary, and De Lucia taking the principal parts. The scene is laid in Calabria during the Feast of the As- sumption. The Pagliacci are a troupe of itinerant mounte- banks, the characters being Nedda, the Columbine, who is wife of Canio, or Punchinello, master of the troupe; Tonio, the Clown ; Beppe, the Harlequin ; and Silvio, a villager. The first act opens with the picturesque arrival of the troupe in the village, and the preparations for a performance in the rustic theatre, with which the peasants are overjoyed. The tragic element of the composition is apparent at once, and the action moves swiftly on to the fearful denouement. Tonio, the clown, is in love with Nedda, and before the per- formance makes advances to her, which she resents by slash- ing him across the face with Beppe's riding-whip. He rushes off vowing revenge, and upon his return overhears Nedda declaring her passion for Silvio, a young peasant, and ar- ranging to elope with him. Tonio thereupon seeks Canio, and tells him of his wife's infidelity. Canio hurries to the spot, encounters Nedda; but Silvio has fled, and she refuses to give his name. He attempts to stab her, but is prevented by Beppe, and the act closes with the final preparation for the show, the grief-stricken husband donning the motley in gloomy and foreboding silence. The second act opens with Tonio beating the big drum, 140 THE STANDARD OPERAS and the people crowding to the show, among them Silvio, who manages to make an appointment with Nedda while she is collecting the money. The curtain of the little theatre rises, disclosing a small room barely furnished. The play to be performed is almost an identical picture of the real situation in the unfortunate little troupe. Columbine, who is to poison her husband, Punchinello, is entertaining her lover, Harle- quin, while Tonio, the clown, watches for Punchinello's re- turn. When Canio finally appears the mimic tragedy becomes one in reality. Inflamed with passion, he rushes upon Nedda, and demands the name of her lover. She still refuses to tell. He draws his dagger. Nedda, conscious of her danger, calls upon Silvio in the audience to save her; but it is too late. Her husband kills her, and Silvio, who rushes upon the stage, is killed with the same dagger. With a wild cry full of hate, jealousy, and despair, the unfortunate Canio tells the audi- ence "La commedia e finita " ("The comedy is finished"). The curtain falls upon the tragedy, and the excited audience disperses. The story is peculiarly Italian in its motive, though the composer has been charged with taking it from " La Femme de Tabarin," by the French novelist, Catulle Mendes. Be this as it may, Leoncavallo's version has the merit of brevity, conciseness, ingenuity, and swift action, closing in a denoue- ment of great tragic power and capable, in the hands of a good actor, of being made very effective. The composer has not alone been charged with borrowing the story, but also with plagiarizing the music. So far as the accusation of plagiarism is concerned, however, it hardly involves anything more serious than those curious resemblances which are so often found in musical compositions. As a whole, the opera is melodious, forceful, full of snap and go, and intensely dramatic, and is without a dull moment from the prologue ("Si puo? Signore "), sung before the curtain by Tonio, to that last despairing outcry of Canio (" La Commedia e finita"), upon which the curtain falls. The prominent num- bers are the prologue already referred to ; Nedda's beautiful cavatina in the second scene (" O, che volo d' Angello ") ; her Ifp'S^f Alice Zeppellin as Nedda Copyright^ Matzene LEONCAVALLO 141 duet with Silvio in the third scene (" E allor perche"); the passionate declamation of Canio at the close of the first act ("Recitur! mentre preso dal Delirio ") ; the serenade of Beppe in the second act (" O Colombino, il tenero ") ; and the graceful dance music which plays so singular a part in this fierce struggle of the passions, that forms the motive of the closing scenes. LORTZING (GUSTAV ALBERT) Czar and Carpenter CZAR and Carpenter/' opera comique in three acts, text as well as music by Lortzing, was first produced in Berlin in 1839. The opening of the first act of the "Czar and Carpenter " discloses Peter the Great and Peter Ivanoff, a deserter from the Russian army, at work in the great ship- yard of Saardam. The British and French ambassadors, hav- ing been notified that the Czar is there in disguise, are search- ing for him with the object of negotiating a treaty with him, or, failing in that, to abduct him. The British ambassador employs the pompous burgomaster of Saardam to find him a Russian named Peter, without, however, disclosing his real character to him. The burgomaster happens upon Peter Ivanojff and brings him to the ambassador, who, supposing him to be the Czar, seeks to arrange a treaty with him, and finally gives him a passport so that he may visit England. Meanwhile the people of Saardam, being informed that the Czar is with them, prepare a reception for him. The French ambassador, who has also been searching for the Czar, finds the real one by telling him the story of a Russian defeat which causes him to betray himself. The Czar, who is now anxious to go home and crush out the re- bellion, seeks for some means to get away without the knowl- edge of the Dutch and the English. Finding out by chance that Ivanoff has an English passport, he secures it, and gives Ivanoff another paper which he is not to open until an hour has passed. During this time Ivanoff is enjoying the public reception, which suddenly is interrupted by the firing of cannon. The gateway of the port is opened, showing the LORTZING 143 Czar with the Russian and French ambassadors sailing away. Ivanoff opens his paper, and finds that his companion was the Czar, who has given him a good situation as well as his consent to his marriage with Marie, the burgomaster's niece. The leading numbers of the first act are the carpenter's spirited song ("Grip your Axes"); Marie's jealousy song ("Ah! Jealousy is a bad Companion"); the humorous aria of Van Bett ("Oh! Sancta Justitia, I shall go raving"); the long duet for Van Bett and Ivanoff (" Shall I make a full Confession?"), and the effective quartets in the finale. The second act contains the best music of the opera. It opens with a mixed chorus of a bacchanalian sort (" Long live Joy and Pleasure "), which after a long dialogue is followed by the tenor romanza (" Fare thee well, my Flandrish Maiden "), a quaint melody, running at the end of each stanza into a duet, closing with full chorus accompaniment. A sextet (" The Work that we 're beginning ") immediately follows, which, though brief, is the most effective number in the opera. The next number of any consequence in this act is a rollicking bridal song (" Charming Maiden, why do Blushes "), sung by Marie. The last act has a comic aria and chorus (" To greet our Hero with a stately Reception "), and an effective song for the Czar (" In Childhood, with Crown and with Sceptre I played "). MARSCHNER (HEINRICH) * Hans Heiling HANS HEILING/' romantic opera in three acts with a prologue, text by Edouard Devrient, was first produced in Berlin in 1833. Its theme is an old Erzgebirg legend. Hans Heiling, the king of the gnomes, has fallen in love with Anna, a beautiful girl of the upper earth. He announces to the gnomes in the prologue that he proposes to leave them and join Anna, and succeeds in his purpose notwithstanding the remonstrances of his mother. Finding him bent upon going, she gives him a magic book and set of jewels. Arrived in the upper world, Hans meets Anna, who accepts his suit and a golden chain. Her old mother, Gertrude, heartily approves of the match as well as of the chain. Anna, desirous of displaying her ornaments, as well as her lover, begs him to accompany her to a fair, but he declines to go. She is greatly disappointed, and her disappointment changes to fear when she finds the magic book in his room. She im- plores him to destroy it, and at last he consents, thus cutting off his only connection with the under world. Anna still remains so disappointed that he at 'last consents to go to the fair upon condition that she will not dance. She accepts the condition, but at the fair she meets another of her lovers, Conrad, the hunter, and at his urgent solicitation she violates the promise she has made. The second act discovers Anna in the forest, thinking only of Conrad. To her suddenly appear the gnomes and their Queen, who reveal to her the real identity of Hans and beg MARSCHNER 145 her to give him back to them. She soon meets Conrad and implores his help. He goes home with her, delighted to learn that she loves him, but immediately Hans appears with his bridal gift. He makes no impression upon Anna, who informs him that she has learned his origin. In a rage he hurls his dagger at Conrad and rushes out. The third act reveals Hans alone in the mountains where he decides to go back to the gnomes. They appear, but have little comfort for him as they tell him that having destroyed the magic book he has no further power over them, and they add to his wretchedness by the announcement that Anna is going to marry Conrad. The gnomes, however, at last take pity upon him, and he returns with them to the Queen. The act closes with the wedding. As Anna appears for the cere- mony Hans is by her side. Conrad attacks him, but his sword breaks. Hans summons the gnomes, but the Queen appears and persuades him to forgive Anna and Conrad and go back to the gnome realm with her. The prologue consists of a chorus (" Rastlos geschafft ") and a duet for Heiling and the Queen (" Genug beendet"). The principal numbers in the first act are the aria for the Queen (" O bleib' bei mir "), with chorus of spirits; terzetto for Anna, Heiling, and Gertrude ("Ha! welche Zeichen ") ; a delightful aria for Heiling ("An jenem Tag"); a brisk unison chorus of peasants (" Juchheisen ") ; a song for Con- rad with choral accompaniment (" Ein sprodes allerliebstes Kind ") ; and the stirring finale (" Wie hupft mir von Freude das Herz "). The second act opens with a scene and aria for Anna (" Einst war so tiefer Freude "), which inevitably suggests Marguerite's song in the garden in Gounod's " Faust." The principal numbers in the act are the ensemble and aria for the Queen with choral accompaniment ("Aus der Klufte ") ; the scena (" Wohl durch der griinen Wald ") ; the duet for Conrad and Anna ("Ha! dieses Wort"); Gertrude's effec- tive melodramatic scene and aria ("Die Nacht ") ; and the finale (" Ihr hort es schon "). The most important numbers in the last act are the open- 146 THE STANDARD OPERAS ing melodramatic scena and air with chorus (" Herauf ") ; the charming peasants' wedding march; the stately choral song in the chapel (" Segne Allmachtiger ") ; the animated duet for Anna and Conrad (" Nun bist du mein ") ; and the finale (" So wollen wir auf kurze Zeit"). MASCAGNI (PIETRO) Cavalleria Rusticana "•^AVALLERIA Rusticana," opera in one act, words V^ by Signori Targioni-Tozzetti and Menasci, was written in 1890, and was first performed at the Costanzi Theatre, in Rome, May 20, of that year, with Gemma Bellinconi and Roberto Stagno in the two principal roles. It had its first American production in Philadelphia, September 9, 1891, with Mme. Kronold as Santuzza, Miss Campbell as Lola, Guille as Turridu, Del Puente as Alfio, and Jeannie Teal as Lucia. The story upon which the text of " Cavalleria Rusticana " is based is taken from a Sicilian tale by Giovanni Verga. It is peculiarly Italian in its motive, running a swift, sure gamut of love, flirtation, jealousy, and death, — a melodrama of a passionate and tragic sort, amid somewhat squalid environ- ments, that particularly lends itself to music of Mascagni's forceful sort. The overture graphically presents the main themes of the opera, and these themes illustrate a very simple but strong story. Turridu, a young Sicilian peasant, arrived home from army service, finds that his old love, Lola, during his absence has married Alfio, a carter. To console himself he makes love to Santuzza, who returns his passion with ardor. The inconstant Turridu, however, soon tires of her and makes fresh advances to Lola, who, inspired by her jealousy of Santuzza, and her natural coquetry, smiles upon him again. The latter seeks to reclaim him, and, when she is rudely re- pulsed, tells the story of Lola's perfidy to Alfio, who chal- lenges Turridu and kills him. During the overture Turridu sings a charming Siciliana (" O Lolo, c hai di latti "), and the curtain rises, disclosing 148 THE STANDARD OPERAS a Sicilian village with a church decorated for Easter service. As the sacristan opens its doors^ the villagers appear and sing a hymn to the Madonna. A hurried duet follows, in which Santuzza reveals to mother Lucia her grief at the perfidy of Turridu. Her discourse is interrupted by the entrance of Alfio, singing a rollicking whip-song (" II Cavallo scalpita ") with accompaniment of male chorus. The scene then de- velops into a trio, closing with a hymn (" Inneggiamo, il Signor "), sung by the people in the square, and led by Santuzza herself, and blending with the " Regina Coeli," per- formed by the choir inside the church with organ accom- paniment, the number finally working up into a tremendous climax in genuine Italian style. In the next scene Santuzza tells her sad story to Lucia, Turridu's mother, in a romanza of great power (" Voi lo sapete "), closing with an outburst of the highest significance as she appeals to Lucia to pray for her. In the next scene Turridu enters. Santuzza upbraids him, and a passionate duet follows in which Santuzza's suspicions are more than confirmed by his avowal of his passion for Lola. The duet is interrupted by a song of the latter, heard in the distance with harp accompaniment (" Fior di Giaggolo "). As she approaches the pair the song grows livelier, and at its close she banters poor Santuzza with biting sarcasms, and assails Turridu with all the arts of coquetry. She passes into the church, confident that the infatuated Turridu will follow her. An impassioned duo of great power follows, in which San- tuzza pleads with him to love her, but all in vain. He rushes into the church. She attempts to follow him, but falls upon the steps just as Alfio comes up. To him she relates the story of her troubles, and of Turridu's baseness. Alfio promises to revenge her, and another powerful duet follows. As they leave the stage, there is a sudden and most un- expected change in the character of the music and the motive of the drama. In the place of struggle, contesting passions, and manifestations of rage, hate, and jealousy ensues an intermezzo for orchestra, with an accompaniment of harps and organ, of the utmost simplicity and sweetness, breathing Calve as ^aiituzza MASCAGNI 149 something like a sacred calm, and turning the thoughts away from all this human turmoil into conditions of peace and rest. It has not only become one of the favorite numbers in the concert repertory, but is ground out from every barrel-organ the world over, and yet it has retained its hold upon popular admiration. At its close the turmoil begins again and the action hastens to the tragic denouement. The people come out of the church singing a glad chorus which is followed by a drinking-song ("Viva il Vino"), sung by Turridu, and joined in by Lola and chorus. In the midst of the hilarity Alfio appears. Tur- ridu invites him to join them and drink; but he refuses, and the quarrel begins. Lola and the frightened women with- draw. Turridu bites Alfio's right ear, — a Sicilian form of challenge. The scene closes with the death of the former at Alfio's hands, and Santuzza is avenged; but the fickle Lola has gone her way bent upon other conquests. Iris " Iris," opera in three acts, text by Luigi Illica, was first produced at the Theatre Costanzi, Rome, in November, 1898, and in a revised form at Milan in 1899. The first act opens with a musical picture of dawn and reveals Iris, a beautiful Japanese girl, daughter of Cieco, a blind man, playing with her dolls and talking adoringly to the sun. Osaka, a young roue, plans to abduct her with the aid of his accomplice, Kyoto. They arrange a puppet show, and disguising them- selves as players, seize Iris and carry her off as she is watch- ing the play. Osaka has left money for the father, who, when he receives it, believes she has left him voluntarily. His rage is increased when he is told she has fled to the Yoshimara, a place of evil resort, and he begs to be taken there that he may curse her. In the second act Iris wakens to find herself in a beautiful apartment in the Yoshimara, with Osaka and Kyoto standing near and admiring her. As she awakens, they leave, and she 150 THE STANDARD OPERAS fancies herself dead and in paradise. Osaka however shortly returns and makes love to her, but is baffled by her ignorance of what he is doing. Thereupon he abandons her to Kyoto, and seeks to make money by placing her on exhibition to the street crowds. Osaka makes a second attempt to win her, but in vain. Soon the blind father appears and Iris flies to him, but he flings mud in her face and curses her. She rushes from the spot and throws herself into a sewer basin. The third act opens with her discovery by rag-pickers who seek to despoil the body of its dress and ornament, but Iris moves and scares them away. She sinks back and dies, but hovering between life and death she beholds the rising sun, and they discourse together. Flowers spring up about her as she is lifted up and taken to the Infinite. The opening scene is by far the strongest number in " Iris." The curtain rises upon a dark stage. Gloomy rumblings tell of the night. Successive ascents towards a climax paint the approach of dawn, the opening of the flowers, the increase of light, and finally the uprising of the sun in a powerful outburst of instrumentation with full chorus (" II sole son ioson io la Vita "). Other important numbers are the opening song of Iris with harp accompaniment (" Ho fatto un triste Sogno pauroso ") ; the graceful orchestration accompanying the washerwomen's chorus; the characteristic puppet show music, in which one of the geishas hums an oriental melody; Iris's solo (" Un di al Tempio vidi ") in the second act; and the finale to the third act in which she sings to the sun as she sinks into death and the sun answers her as in the beginning of the opera. MASSENET (JULES EMILE FREDERIC) Le Roi de Lahore LE Roi de Lahore " (" The King of Lahore "), opera in five acts, text by Lovis Gallet, was first produced in Paris, April 27, 1877. The scene is laid at Lahore and in the Gardens of the Blessed in the Paradise of Indra. Nair, a priestess of Indra, is sworn to celibacy but is in love with King Alim and is also loved by his minister, Scindia. The latter declares his passion but is repulsed. Thereupon he informs Timour, the High Priest, that Nair entertains a lover in the Temple. A watch is kept and the King is dis- covered entering by a secret door. The High Priest de- mands that he shall atone for this profanation by going to the war against the Mussulmans, and he consents. Eventu- ally he is betrayed by Scindia, deserted by his army and killed. He is then transported to the gardens of Indra and there begs the divinities to permit him to return to earth that he may find Nair. His prayer is granted but upon condition that he shall go back as an ordinary person, never resume his former position, and give up his life when Nair dies. When he reaches earth he finds that Scindia has usurped the throne and forced Nair to be his wife. Alim proclaims him a traitor and Scindia in turn denounces Alim as an impostor. Nair, however, recognizes her lover and improves the first oppor- tunity to join him. They are pursued by Scindia, whereupon Nair, rather than submit to him, stabs herself, upon which Alim also dies and the lovers are welcomed by Indra. The first act opens with an impressive temple prayer to Indra, mostly in unison. A duet between Nair and Scindia follows with beautiful violin obbligato accompaniment to Nair's recitative. The finale is very dignified and the en- 152 THE STANDARD OPERAS semble massive, especially as the King enters the temple and agrees to go to the wars, and the act closes with a spirited war chorus behind the scenes. The striking numbers of the second act are the opening song for mezzo soprano, which is followed by a spectacular scene in the camp of Alim enlivened by the sports and dances of the slaves, and a most brilliant ballet, though the scene lies in the desert. No place is too remote, no time too in- congruous, for a French composer's ballet. A duet for Nair and Kaled leads to a vigorous and most spirited chorus, deal- ing with the rebellion against Alim, and this is followed by tlie delightful love-music of Nair and Alim, with a tenderly melodious 'cello accompaniment, leading up to a strong finale. The third act might well be called the Apotheosis of the Dance. The act opens in the Gardens of the Blessed in the Paradise of Indra with a celestial march and chorus of happy spirits, followed by a ballet, the music based upon Hindu melodies 'and charming waltz movements. As a spectacle and as an example of refined, graceful, fascinating music, this ballet is hardly excelled in modern operas. Another effective number in this act is Alim's song of joy which is heard in the celestial chorus as consent is given for his return. The fourth act opens with a repetition of the spirits' in- cantation music in the finale of the third act. The other important numbers are the pompous march attending the coronation of Scindia; Alim's aria, " Anima doler," followed by the baritone aria, " O casta Fior " ; the priestesses' chorus in the second act, repeated by the orchestra, followed by the animated chorus, " Re dei regi." The fifth act from a musical point of view may be summed up in the passionate love-music for Nair and Alim, and the dramatic music illustrating Scindia's rage and Indra's wel- come to the lovers. The opera is a spectacular one in every sense of the word and yet of much musical importance. Hervey, one of Massenet's biographers, says : " In the third act, Massenet has given full rein to his fancy, and has com- posed dance-music of a really superior kind, which he has enriched with a piquant and effective instrumentation." MASSENET 153 Le Cid " Le Cid," opera in four acts and ten tableaux, text by Dennery, Gallet, and Blau, was first produced at L'Academie- Nationale de Musique, Paris, November 30, 1885, Jean de Reszke creating the part of Rodrigue, Edouard de Reszke that of Don Diegue, Pol Planfon that of Comte de Gormas, and Madame Fides-Devries that of Chimene. The first perform- ance in the United States was in New Orleans. The first act opens in Burgos at the house of Count Gormas, Cliimene's father, upon the occasion of the knighting of Rodrigue by Ferdinand IV. It appears also that Count Gormas is to have a share of the honors by appointment as governor to the King's son. It is further developed, by the announcement of Chimene, that she is in love with Rodrigue. The daughter of the King is also in love with him, but as her high position forbids personal attachments she relinquishes her claim in favor of Chimene. In the next scene, Rodrigue receives his new sword in the cathedral and becomes a Knight of Saint Jacques. The unsuspecting King meanwhile makes Don Diegue, Rodrigue's father, the governor instead of Gormas. The Count thereupon in a fury insults and assaults Don Diegue and he is left disarmed and humiliated. He calls upon his son to revenge him, which the latter is ready to do until he learns that his opponent is Chimene's father, but in the end filial duty prevails. The second act opens with a duel between Gormas and Rodrigue in which the former is killed. Chimene coming upon the scene recognizes his murderer and falls fainting into the arms of her attendants, monks chanting a dirge behind the scenes. The next tableau represents a Spanish fete. In the midst of the revelry Chimene appears and implores the King to punish Rodrigue. Her pleadings are interrupted by the sudden appearance of a Moorish cavalier, sent by Boabdil, King of Grenada, to declare war. Thereupon Ferdinand de- cides to offer the leadership of his forces to Rodrigue and bids Chimene cherish and delay her revenge until the end of the campaign. 154 THE STANDARD OPERAS The third act reveals Chimene weeping in her chamber and Rodrigue in her presence; notwithstanding recent events they declare their love for each other and Rodrigue, the Cid, goes away happy. In the next scene the Spanish soldiers in the Cid's camp are seen revelling while the enemy is near. Rodrigue expostulates with them and finally retires, despair- ing of his fate, but the vision of Saint Jacques appears and proclaims him victor in the coming battle. The announce- ment is confirmed. In the last act a rumor of the Cid's death reaches court and Chimene is prostrated with grief and makes a passionate avowal of her love for him, but when the report is contradicted and Rodrigue is announced as approach- ing, the changeable Chimene demands his head. The sensible King apparently gives way and orders that she shall pronounce sentence. At this unexpected decision she once more changes and orders Rodrigue to live and love her. She is specially moved to this reconciliation when the Cid draws his dagger to kill himself because she refuses to accept the hand of the man who slew her father. Chimene was a changeable person. The important numbers of the first act are the brief but graceful duet for Chimene and her father (" Que c'est beau "), and the duet for Chimene and the Infanta ("Ah! la chere Promesse"), which intermingles with the chimes of bells, sonorous organ peas, and fanfares of the knightly ceremonial, followed up by Rodrigue's bold and soldierly sword song (" O, noble lame Etincelant "), in which he sings his allegiance to Spain and dedicates his sword to Saint Jacques. The remain- ing numbers of striking importance in this act are the music to the quarrel scene and the soliloquy of the insulted Don Diegue (" O Rage, O Desespoir"). The second act opens with a fine declamatory scene for Rodrigue ("Perce jusques au fond du Cceur"), followed by the duel music (" A moi, Comte, deux Mots ! "), and the dra- matic music to Chimene's demand that the slayer of her father shall reveal himself, closing with the thrilling cry " Ah, lui ! Ciel ! Rodrigue ! c'est lui ! " which is heard through the solemn strains of the De Profundis. In the next scene occurs the fete music which is of the most attractive Spanish character, Breval as Chimene Copyright, Aime Dupont MASSENET 155 including the Castillane, Andalouse, Aragonaise, Catalane, Madrilene, and Navarraise. A distinctive feature in this scene is the Infanta's "Alleluia." The great ensemble ("Ah! je doute et je tremble") which follows Chimene's demand for justice closes the act. The third act opens with Chimene's touching soliloquy (" De cet affreux Combat "), followed by one of the most powerful numbers in the whole work, the duet between Chimene and Rodrigue ("Oh, Jours de premiere Tendresse "). Then follow the camp scene with its dance music of a Moorish rhapsody and the effective apparition of Saint Jacques, ac- companied by harps and celestial voices promising victory. The sword song of the first act, transformed into a battle song, closes the act. The principal numbers of the last act are the duet of Diegue and Chimene mourning the supposed death of Rodrigue, the pageantry music (" Gloire a celui que les Rois maures "), in which Massenet always excels, and the climax at the close, in which Chimene accepts the hand of Rodrigue, closing with the spirited outburst, " Gloire au Cid, au Vainqueur." Manon " Manon," opera in four acts, text by Meilhac and Gille, founded upon Abbe Prevost's famous novel, which was also the inspiration for Halevy's ballet and Balfe's and Auber's operas based on the same subject, was first produced in Paris, January 19, 1884, Mme. Heilbronn creating the part of Manon in London, May 7, 1885; and in the United States, at the New York Academy of Music, December 23, 1885. The first act opens in the courtyard of an inn where several travelers are arriving, among them Manon, who has been consigned to a convent against her will. There she meets the Chevalier des Grieux and they fall in love with each other, notwith- standing the remonstrances of her cousin Lescaut, who is travelling with her, and incontinently elope. Guillot Monfon- taine, an old roue and gambler who has been captivated by her beauty, is much chagrined when he learns of the elopement. 156 THE STANDARD OPERAS ' In the second act the lovers are in Paris, where they have been followed by Lescaut and Bretigny, another of Manon's lovers. Lescaut's anger is appeased by Des Grieux's promise to marry her, but when she finds out that the latter has not wealth enough to suit her, and besides is informed by Bretigny that Des Grieux will be abducted that night, she consoles herself by becoming Eretigny's mistress. The third act opens in the gardens of the Cours de la Reine during an open air fete. Manon is among the pleasure-lovers with Bretigny, but hearing that Des Grieux is about to take holy orders, she follows him to Saint Sulpice and prevails upon him to abandon his purpose and come back to her. In the last act Des Grieux is found in a gambling room, where he has been winning large sums from Guillot, encour- aged by Manon, who grows more and more affectionate as he increases his winnings. The playing is at last interrupted by the police, who have been privately called by Guillot in revenge against Manon, who had rejected his advances. She and Des Grieux are placed under arrest, but Des Grieux is saved by his father, who pays his debts. Manon is sentenced to transportation, but on the road to Havre she is overcome by exhaustion and sorrow and dies in Des Grieux's arms. In an opera as musically compact as this, and in which the instrumentation plays so important a part, even to the ac- companiment of spoken dialogue as well as in the character- ization of the dramatis personce by motifs, and in which the development of the story is perhaps given greater dramatic intensity by the orchestra than by the voice, it is diificult to follow the work by individual numbers. Manon, Des Grieux, and Lescaut are much more easily recognized by the melodies which introduce and accompany them than in any other man- ner. One critic has excellently said of the work in general: * "The subject is essentially French, or rather Parisian, and the music of Massenet fits it like a glove. The composer's mannerisms seem less out of place in the mouth of Manon * See article "Jules Massenet" in Arthur Hervey's "Masters of French Music." MASSENET 157 than they do in that of Mary Magdalen. Massenet is essen- tially a eolorist, and even as he had succeeded in imparting an Eastern cachet to his ' Roi de Lahore,' and giving a tinge of the antique to his music for ' Les Erinnyes/ so in ' Manon ' he has felicitously caught the spirit of the last century. This delicately perfumed score is in many places suggestive of the boudoir of a petite maitresse." While it is difficult to dissect " Manon," yet it may be said that some of the " suggestive places" are Manon's opening song; the charming romanza, just before the seizure of Des Grieux (" Piccolo casetta bianca ") ; the delightfully flowing dream song of Des Grieux with the muted violin accompaniment; the great impassioned duet of Manon and Des Grieux in the Seminary with its even greater orchestral accompaniment, set off against the music of the church; the minuet in the fete which afterwards ac- companies Manon so frequently, and which in this scene is heard through Manon's passionate pleading with Des Grieux; and the four effective finales which are all powerfully musical and dramatic in effect. Esclarmonde " Esclarmonde," designated by its composer " opera roma- nesque," in four acts and eight tableaux, besides prologue and epilogue, text by Blau and de Gramont, was prodiiced for the first time at the Theatre National de I'Opera Comique, Paris, May 15, 1889, with the following cast of principal parts: Esclarmonde Miss Sybil Sanderson. Parseis Mile. Nardi. Roland M. Gibert. Phorcas M. Taskin. Bishop of Blois . . . M. Bouvet. Phorcas, Emperor of Byzantium, tired of rule, resolves to delegate it to his daughter Esclarmonde, whom he has in- structed in magic, but upon condition that she conceal her beauty from men until her twentieth year, when her hand shall be the prize at a tournament, the penalty for non- 158 THE STANDARD OPERAS fulfilment, however, being the loss both of legal and magical powers. She falls in love with Roland, a French cavalier, who, of course, has never seen her face, and by her magic she discovers that he is affianced to a daughter of the King of France. She also sees him hunting in the forest of Ardennes. By her orders he is transported to an enchanted island where she joins him and enters into a mystical sort of alliance with him, still concealing her name and face. Meanwhile France is invaded by Saracens, so Esclarmonde gives him a magic sword with a blade that shines by night like the sun, is in- vincible in the hand of a true knight, but useless to a perjurer. Roland, with this weapon, delivers the city of Blois, and in reward the King of France offers him his daughter's hand, which Roland declines, subsequently telling the Bishop the secret cause of his action in his confession. The Bishop sur- prises the lovers, tears off Esclarmonde's veil, and drives her away by exorcism. She loses her power, but her father agrees to restore it to her if she will abandon Roland, otherwise he must die. Esclarmonde resigns herself to this sacrifice and Roland seeks for death in the tournament, but instead he is crowned with laurels and wins Esclarmonde. The prologue contains a solo for Phorcas (" Dignitaires ! Guerriers ! ") in which he announces his intention to abdicate, and the appearance of Esclarmonde, enveloped in her veil, who enters to the choral accompaniment (" O divine Esclar- monde "). The first act opens with Esclarmonde's song (" Comme il tient ma Pensee "), followed by a duet for her and Parseis (" O ma Soeur "), this is in turn followed by a duet for Esclarmonde, Parseis, and Eneas, the jiance of Parseis (" Salut, Imperatrice "). A very characteristic chorus of spirits ("O Lune! triple Hecate! O Tanit ! Astarte!") leads up to a duet for Parseis and Esclarmonde (" Dans la Foret des Ardennes "). The second act opens with another of Massenet's always interesting ballets, after which comes a strong duet for Esclarmonde and Roland (" Sois benie, O INIagie "), followed by another effective spirit chorus, reaching a fine climax on the words, " C'est I'Heure de I'Hymenee ! " MASSENET 159 The third act opens with a chorus of the people (" O Blois ! miserable Cite!"), followed by the Bishop's prayer (" Dieu de misericorde "), in which all join. The next number of striking merit is Roland's air (" La Nuit sera bientot venue "), followed by an expressive duet for Roland and the Bishop (" Mon fils, je te benis "). At the close of this number Esclarmonde's voice is heard calling Roland, followed by the bravura aria (" Roland! tu m'as trahie "), which is extremely brilliant and difficult, as it makes exacting demands upon the voice. In the last act the principal numbers are a cantabile (" Regarde les Yeux ") ; a melodious song for Esclarmonde ("Plus en profond Sommeil"); and the duet with Roland (" Viens, viens "). The epilogue merely repeats the material of the prologue. The opera as a whole is quite spectacular but effective music also forms an important part of it. As in " Manon " the instrumental part is the strongest. It is built somcM^hat on the lines of the " music of the future " in its use of motifs. Indeed one of the French critics after the opening performance called Massenet " Mile. Wagner." Griselidis " Griselidis," an opera, with prologue and three acts, libretto by Armand Silvestre and Eugene Morand, was first produced in Paris in 1901 and in this country in 1909. It is based upon a mystery play. The prologue opens with a scene in southern France with Alain, the shepherd, singing of his love for Griselidis. The Marquis Saluzzo, lord of the region, sees her, takes her away from Alain, and marries her. In the first act the Marquis, about to depart for the Crusades, is warned by the Prior that the Devil will tempt his v/ife to be unfaithful while he is away, but he has such faith in her that he dares the Devil to do his worst. The latter wagers he will be successful and the Marquis accepts the wager and gives him the wedding ring as a pledge. 160 THE STANDARD OPERAS The second act opens on the terrace by the castle. The Devil appears with his wife Flamina, who is jealous of him, and spiteful against all wives. She is aiding her husband, therefore, in his villanous plot and is more than willing to ruin Griselidis, and, to carry out her part, appears as a slave. They inform her that the Marquis has ordered Flamina to be the head of the house. She consents, and the Devil then brings Alain with his declaration of love, hoping that Griselidis will accept him and thus solace herself for the Marquis' supposed affront. She is about to do so when her little boy Loys ap- pears and saves her. The infuriated Devil seizes the boy and carries him away. The third act discloses Griselidis praying at the shrine of Saint Agnes from which the Devil has removed the image. The Devil is at her side and tells her a pirate has her boy, hut that he will be restored to her for a kiss. She starts to find Loys and meets the Marquis returning from the wars. The plot of the Devil is foiled when the Marquis informs her that he never sent any one to be her mistress, and they are speedily reunited. The Devil then returns and taunts the Marquis with the loss of the child. In a rage he attempts to seize his sword, but the weapons on the wall disappear as if by magic. They kneel before the altar of Saint Agnes imploring help. Suddenly the cross upon it changes to a flaming sword. Griselidis appeals again for help and to the accompaniment of a peal of thunder the candles are lighted and the triptych of the altar opens, disclosing the boy at the feet of the saint, whereupon the Devil disappears, vanquished. The music of the opera abounds in melodic beauty and thrilling episodes. Its leading features are the opening song of Alain, the invocation scene of the Devil in the forest with the responses of the unseen choir, the temptation scene in the garden, Griselidis' solo in the second act with a beautiful viola accompaniment, Satan's satirical song, and the climax of the miracle in the oratory. The choral parts are delightful throughout and the chorus is always invisible, which adds the feeling of mystery. The orchestration lends itself to the same feeling and contains many beautiful solo effects. Though the MASSENET 161 situations might suggest it, it is never theatrical, but always adapts itself to the mysterious and sometimes supernatural mood. Herod'iade " Herodiade " is one of Massenet's earlier works, having been written in 1877. It was first intended for production in Milan in the Spring of 1881, but was postponed and was not given until December of that year, in Brussels. Massenet then made some changes in it for production in Paris in 188i. In 1903 it was revived in Paris and was then taken to London where after many alterations of the text by the Lord Cham- berlain it was produced as " Salome." The original libretto by Zanardini was made over in most absurd, inconsistent, and incongruous fashion by Milliet and Gremiet, and in this form it was produced in this country in 1908. The opera is arranged in four acts. The first opens in a court of the palace of Herod, where Phanuel, an astrologer, is berating some merchants for not expelling the Romans. Salome enters and tells Phanuel that she is following John, whom she met in the desert where she was abandoned by her mother. After her exit Herod enters with a declaration of his love for Salome, but is interrupted by Herodias' demand of vengeance ujjon John for denouncing her. John next appears and repeats his denunciation, whereupon Herod and Herodias leave. Salome appears again and declares her love for John, who bids her forget love and think of higher things. The second act transpires in Herod's apartments. He de- clares to Phanuel he will expel the Romans and avail himself of John's influence to make himself king. In the next scene he urges the populace to rise, but upon the appearance of Vitellius, the Roman proconsul, the people follow him. John next appears, followed by Salome and Canaanite women who greet the Proconsul enthusiastically, while Phanuel draws Herod away. The third act opens in Phanuel's house, where Herodias requests him to point out for her the star of the woman who 162 THE STANDARD OPERAS has stolen Herod's love from her. He does so and while Herodias is uttering threats of vengeance Phanuel shows her Salome entering the Temple. In the change of scene Salome falls exhausted as Herod enters. He declares his love for her and is spurned, whereupon he threatens to find his rival and send them both to the executioner. The priests meanwhile are importunate in their demands that John' shall be sacrificed. He is brought in, and Herod offers to save him if he will abet him in his plans. He refuses, and again the priests clamor for his blood. Salome throws herself at his feet asking that she may share his fate. Herod, recognizing John as his rival, orders the execution of both. The last act opens in a subterranean vault of the Temple. Salome has been pardoned by Herod, but she suddenly ap- pears with the declaration to John that she has come to die with him. The last scene transpires in the Proconsul's banquet-hall. Salome is there and appeals to Herod and Herodias for John's life. " H you are a mother, have pity," she exclaims. At this word Herodias is seized with remorse and begins to relent, but when the executioner appears with a bloody sword, Salome draws a dagger and with the cry, " You have killed him," hurls herself upon Herodias, who exclaims, " Pity me ! I am your mother." The revelation comes too late. Herodias is killed. From this rough sketch of the outline it will be seen how absurd, if not irreverent, the story is. One of Massenet's critics says, " He lacks the depth of thought and strength to grapple with Biblical subjects." He was certainly aided and abetted by his librettists in their effort to make a commonplace operatic love story out of the Biblical narrative. To add to the general incongruity, the work abounds in sensuous melodies and a general condition of mellifluousness unbecoming the Scriptural story and better adapted to the Songs of Solomon than to the fate of John the Baptist. And yet the music in itself has great charm. The duets of John and Salome are alluring. Salome's aria, " Ilest doux, il est bon," and Herod's beautiful aria, " Vision fugitive," are, and will long remain, prime favorites in the concert-room. The concerted effects MASSENET 163 also, like the scene in the Temple, with the religious service and intonings, the entrance of the Proconsul with the stately fanfares of trumpets and martial music, followed by the Canaanites singing hosannahs, and the fascinating ballet of the Babylonian dancers, form ensembles that irresistibly appeal to eye and ear, and make one unmindful of the absurd story. Werther The opera of " Werther," or lyrical drama, as it is usually styled, was written in 1887, but it was not produced until 1892. It was while Massenet was in Vienna superintending re- hearsals of his " Manon " that he was requested to bring out " Werther " at the Imperial Opera House. It proved to be such a great success that it was performed in the following year at the Opera Comique, Paris, and its success was re- peated there. It was first given in this country in 1894, and has also been produced in several seasons since that time. "Werther" is arranged in three acts, the time 1772, and the place near Wetzlar. The text, founded upon Goethe's " Sorrows of Werther," is by Edouard Blau, Paul Millet, and Georges Hartmann. The first act opens at the house of the Bailiff, the heroine's father, where Charlotte, Sophie her sister, and others are preparing for a ball. Before leaving, Char- lotte " cuts the bread and butter " for the children. The Bailiff presents Werther to her and they all go to the ball. Albert, her affianced, in the meantime comes back from a journey and goes to the inn intending to meet her in the morning. When Werther and Charlotte return from the ball, he is so violently in love with her that he makes a proposal which she at first refuses, and then she displays great agita- tion as she reflects upon what she has done. Werther leaves disheartened. In the second act Charlotte and Albert have been married three months. Werther sees them entering church and is so overcome that he falls to the ground. Albert rushes to him, assures him he understands it all, and forgives him. Werther 164 THE STANDARD OPERAS thanks him and asks for his friendship. Sophie now appears with flowers for him, and Albert vainly urges him to pay his attentions to her. Charlotte at last convinces him that she is true to her husband, which adds to the " sorrows of Werther," as well as to those of Sophie. The third act opens in Charlotte's home. She has discov- ered that she really loves Werther and fears for herself as she reads his letters hinting at self-destruction. In Albert's absence the distracted Werther appears at her door. They have a long interview in which she does not deny her love but says it is in vain and flees from him. He takes Albert's pistol and leaves, and in the end kills himself. Before he dies Char- lotte reaches him again, confesses her love, and begs his for- giveness as he expires in her arms in a denouement somewhat different from that described by Thackeray in his well-known verse: Charlotte, having seen his body Borne before her on a shutter. Like a well-conducted person Went on cutting bread and butter. Notwithstanding the morbid character of the text and the tiresome nature of Werther's surging passion with its sui- cidal ending, Massenet's score is characterized by refinement, beauty, and tenderness instead of the languorous and sensu- ous touches one might naturally expect in his treatment of such a tempting subject. Like Gounod he is fond of senti- mental scenes and is somewhat feminine in his treatment of them. He once said : " We musicians, like the poets, must be the interpreters of true emotion. To feel, to make others feel, therein lies the whole secret." He has succeeded in doing this in his " Werther." It abounds in graceful, refined, melodic beauty. The Christmas Carol and Werther's two songs in the first act, Sophie's gladsome aria and Werther's closing song in the second, and the duets of Charlotte and Werther in the third illustrate this. Maggie Teyte as Cinderella Copyright, I\Tafze7ie MASSENET 165 Cendrillon " Cendrillon," entitled on the score a " Fairy Tale " in four acts and six tableaux, text by Henri Cain, was first per- formed in Paris, at the Opera Comique, May 24, 1899. The libretto, written by Henri Cain, is based upon the well- known fairy tale of Cinderella by Perrault. The first act opens at the home of Madame de la Halliere, who is preparing to take her two daughters to the ball at which the young Prince is to select his wife. Cendrillon is the daughter of her husband, Pandolph, by his first wife, and is left at home while her father, the madame, and her two daughters go to the ball. After they are gone the fairy god- mother appears, dresses Cendrillon in finery, and sends her to the festivity. In the second act Prince Charming is revealed in the palace gardens wandering about dejectedly. His father appears and tells him that he must select a wife as the remedy for his ennui. Many ladies show off their graces before him, among them Madame de la Halliere's daughters, but their appeals are useless. At last he espies Cendrillon and falls in love with her at first sight, but at the stroke of the midnight bell she obeys the fairy godmother's instruction and disappears, leaving her glass slipper behind her as the only consolation for the Prince. The third act discloses Cendrillon about to end her un- happy life at the Fairies' Oak and the Prince arriving there for the same purpose. The fairies render them invisible to one another and they fall asleep. In the last act Cendrillon imagines that her adventure was only a dream, but gives up the delusion when she learns that the Prince is seeking for the owner of the slipper. In the finale it is tried on and fits her and she becomes the Princess, much to her delight and that of her father and the discomfiture of the madame and her two daughters. The most attractive numbers in the opera are instrumental, particularly the music accompanying the dances and the fairy scenes, and those assigned to the Fairy Queen, as well as the 166 THE STANDARD OPERAS love scene between Cendrillon and the Prince. The music throughout is light and sparkling and peculiarly expressive of the various situations. The opera is rather a succession of musical episodes than a sustained emotional work. Thais " Thais/' a lyric opera, the libretto by Gallet, was first produced in Paris in 1894. It is arranged in four acts and the scene is laid at Thebes and in the desert, during the Greek occupation of Egypt. The first act opens beside the Nile and discloses the monks at supper. Athanael, a young monk, who has been to Alex- andria to protest against Grecian luxury and corruption, returns disheartened by his task, having found that city given over to the influences of Thais, a courtesan of great beauty. After their separation for the night Athanael dreams of Thais appearing before the people as Venus. The next scene is laid at the house of Nicias in Alexandria, whither Athanael has gone to resume his exhortations. Nicias greets him, and Athanael questions him as to Thais. He confesses he has been ruined by her and laughs at Athanael's determina- tion to reclaim her. To afford him the opportunity Ni- cias gives a supper for her at which Athanael, handsomely arrayed, is present. He attracts the admiration of Thais, and while he is bent upon his purpose she seeks to allure him with her charms. Athanael denounces her and flees from the house when she once more prepares to pose as Venus. The second act opens in the house of Thais. While she is regarding her charms in the mirror, Athanael appears at the door, prays for her, and tells her he loves her with his spirit. As she listens to him she places incense in a burner and invokes Venus. Athanael commands her to follow him, but hears the distant voice of Nicias calling her. She hesi- tates, and Athanael says he will wait until the dawn. Nicias and his friends appear, and revelry begins. As it proceeds Gustave Huberdeau as Palevion CopyrigM, Matzene MASSENET 167 Athanael fires the house and Thais, clad in a woollen gar- ment, follows him away amid the execrations of Nicias' followers. The opening scene of the third act is laid at an oasis, where Thais and Athanael appear, overcome with fatigue. Athanael consoles her, then leads her to a convent and leaves her in charge of the abbess, after she has bidden him a last farewell. In the next scene a storm arises and Athanael appears among the monks in a dejected condition. He con- fesses that since he has reclaimed Thais he has been haunted by impure dreams. A vision of Thais comes before him, whereupon he rushes out into the storm. The last act shows the gardens of the monastery. Thais lies dying with the nuns by her side, when Athanael enters inquiring for her. The nuns lead him to her and he kneels by her side as she tells him of her conversion. Athanael, however, still under the influence of his love for her, tries to divert her mind to earthly things, but Thais points to the sky where angels are awaiting her. As she dies Athanael falls to the earth with a cry of despair. The music of " Thais " is brilliant, impassioned, dramatic throughout, especially the instrumental part, as in the medi- ation music of the second act and the Oriental music which accompanies the scenes in Alexandria. Among the most strik- ing vocal numbers are Athanael's solo, as he awakes from his dream of Thais ; her love song and incantation and the dance music of the second act; the exquisite duet for Thais and Athanael as he brings her water in the desert; and the celestial song of Thais, " Heaven opens its Gates," in the finale of the last act. Le Jongleur de Notre Dame " Le Jongleur de Notre Dame " (" Our Lady's Juggler "), entitled a miracle play, was first produced at Monte Carlo in 1892, in Paris in 1904, and in this country in 1908. It is arranged in three acts and is based upon a mediaeval 168 THE STANDARD OPERAS legend;, as told in Anatole France's " Etui de Nacre," the libretto by Maurice Lena. The story is mainly concerned with Jean, a strolling men- dicant juggler. In the first act he appears outside the gates of the monastery of Cluny seeking a meal by exhibiting his tricks to the people on market day. As he is singing a drinking-song the prior passes and censures him, at the same time soliciting him to enter the monastery and become a monk. Moved by the prior's admonitions and at the same time by the appearance of the monastery cook and his donkey laden with provisions, he enters. The second act opens upon preparations in the monastery for the celebration of the Feast of the Assumption. Jean beholds the artists among the monks preparing an image of the Virgin and realizes that he alone of all his companions is doing nothing in her honor. After they leave he finds himself alone with Boniface, the cook, to whom he confides his anxiety to do something. Boniface relieves him with the assurance that anything he does will be pleasing to the Virgin. The third act reveals Jean in the chapel at night practising his songs and dances before the new image of the Virgin. The Prior and the monks suddenly enter and are scandalized at his antics. They are about to seize him and drag him from the chapel when suddenly the image is illuminated with a bright glow and the Virgin stretches her hands above him with a smile. The monks are overcome by the miracle and Jean sinks to the floor and expires while celestial voices are heard commending him. The subject is one which is admirably adapted to Mas- senet's style. He has invested it with a mediaeval atmosphere and has added to the mystic feeling by the use of the Gregorian Chant and the old folk-song. There is no passionate fervor nor dramatic outburst. The music flows along quietly, simply, and melodiously, and preserves the mystic character of the story it illustrates. Its most effective numbers are the prelude to the first act, the wine song by Jean (" Alleluia du Vin "), Boniface's melody, which is jovially ecclesiastic, as he appears with his donkey, the prelude to the second act, Boniface's MASSENET 169 song in which he tells the story of the Sage Brush, Jean's songs before the Virgin and his address to her, and the climax of the miracle at the close with the celestial chorus. Don Quixote " Don Quixote," the last opera from the fertile pen of the veteran Massenet, was performed for the first time at Monte Carlo in January, 1910. The librettist is Henri Cain, who has drawn his situations more liberally from a play by Lc Lorrain, a French poet, than from Cervantes' romance. Don Quixote is represented as a pattern of kindness and magnanimity instead of the fantastic, serio-comic knight, and Dulcinea in place of a rustic appears as a gay courtesan. Don Sancho alone retains his original qualities. The opera is in five short acts, played in the German version however in three. The first act reveals a public square before the house of Dulcinea, whose praises a crowd of her admirers are extol- ling. Don Quixote and Sancho arrive and are greeted with shouts of derision at their ludicrous appearance. The Knight serenades her, but is interrupted by the jealous Juan and a duel is prevented by Dulcinea, who tells the Knight she will consider his suit if he will recover a necklace which has been stolen from her. In the second act the two heroes, mounted on Rosinante and the donkey, set about their quest, but the scene is mainly occupied with the Don's Avindmill and other adventures. In the third act they encounter the brigands. Sancho flees, but the Don makes a stout resistance only to be taken prisoner and sentenced to death. He solaces himself by repeating the name of Dulcinea, and the bandits are so overcome by his patience and courage that they not only give him the neck- lace but implore his benediction. The fourth act opens with a fete at Dulcinea's house, dur- ing which, much to the astonishment of all, the Knight and Sancho enter bringing the necklace. Dulcinea embraces him in her delight and he asks her to marry him on the spot. She 170 THE STANDARD OPERAS only laughs at him and confesses that she is not a pure woman. The guests add to his depression by laughing at him. In the last act we find the forlorn, heart-broken Knight in the forest with Sancho and witness his death. The principal numbers in the first act are the Knight's serenade, which serves as a motive throughout the opera, and the music accompanying his lonely vigil in the moonlight before Dulcinea's house; in the second, the monologue for Sancho; in the third, the Knight's prayer and the orchestral accompaniment to the windmill fight; in the fourth, the duet in which Dulcinea acloiowledges her true character, Sancho's defence of his master, and a 'cello solo recalling the " Medi- tation " in " Thais "; and in the fifth, the death scene accom- paniment. The music runs mostly in melodious declamation, interspersed with short arias and accompanied by instrumen- tation of a fine delineative character and vivid coloring. MEYERBEER (GIACOMO) The Huguenots LES Huguenots/' grand opera in five acts, words by Scribe and Deschamps, was first produced at the Acade- mic, Paris, February 29, 1836, with the following cast of the principal parts : Valentin Mile. Falcon. Marguerite de Valois Mme. Dorus-Ghas. Urbain Mile. FL^iCHEUX. Count de St. Bris M. Lerda. Count de Nevers M. Derivis. Raoul de Nangis M. Nourrit. Marcel M. Levasseub. As its first production in London in Italian, as " Gli Ugonotti," July 20, 1848, the cast was even more remarkable than that above. Meyerbeer especially adapted the opera for the performance, transposed the part of the page, which was written for a soprano, and expressly composed a cavatina to be sung by Mme. Alboni, in the scene of the chateau and gardens of Chenonceaux, forming the second act of the original work, but now given as the second scene of the first act in the Italian version. The cast was as follows: Valentin Mme. PAmJNE Viaedot. Marguerite de Valois Mme. Castelx,an. Urbain Mile. Alboni. Count de St. Bris Sig. Tamburint. Count de Nevers Sig. Taguafico. Raoul de Nangis Sig. Mario. Marcel Sig. Marini. The action of the opera passes in 1572, the first and second acts in Touraine, and the remainder in Paris. The first act 172 THE STANDARD OPERAS opens on a scene of revelry in the salon of Count de Nevers, where a number of noblemen, among them Raoul de Nangis, a Protestant, accompanied by his faithful old Huguenot ser- vant, Marcel, are present, telling stories of their exploits in love. Marguerite de Valois, the betrothed of Henry IV, for the sake of reconciling the dispute between the two reli- gious sects, sends her page to De Nevers's salon and invites Raoul to her chateau. When he arrives. Marguerite informs him of her purpose to give him in marriage to a Catholic lady, daughter of the Count de St. Bris. Raoul at first con- sents ; but when Valentin is introduced to him and he dis- covers her to be a lady whom he had once rescued from insult and who had visited De Nevers in his salon, he rejects the proposition, believing that her affections have been bestowed upon another, and that his enemies are seeking to entrap him. St. Bris challenges Raoul for the affront, but the Queen disarms the angry combatants. Valentin is now urged to marry Count de Nevers, and begs that she may pass the day in prayer in the chapel. Meanwhile Count de St. Bris, who has been challenged by Raoul, forms a plot for his assassina- tion, which is overheard by Valentin from within the chapel. She communicates the plot to Marcel, who lies in wait with a party of Huguenots in the vicinity of the duel, and comes to Raoul's rescue when danger threatens him. A general combat is about to ensue, but it is suppressed by Marguerite, who sud- denly appears upon the scene. Raoul thus discovers that he owes his life to Valentin, and that her visit to De Nevers was to induce him to sever the relations between them, as she was in love with Raoul. The announcement comes too late, for the marriage festivities have already begun. Raoul visits her for the last time. Their interview is disturbed by the ap- proach of De Nevers, St. Bris, and other Catholic noblemen, who meet to arrange the details of the plot conceived by Catherine de Medicis for the slaughter of the Huguenots on Saint Bartholomew's Eve. Valentin hurriedly conceals Raoul behind the tapestries, where he overhears their plans and wit- nesses the conjuration and the blessing of the swords, as well as the refusal of the chivalrous De Nevers to engage in mur- Nilsson as Valeniin MEYERBEER 173 der. After the conspirators have departed, Raoul and Valentin have a long and affecting interview, in which he hesitates between love and honor, Valentin striving to detain him lest he may be included in the general massacre. Honor at last prevails, and he joins his friends just before the work of slaughter begins. He rushes to the festivities which are about to be given in honor of the marriage of Marguerite with the King of Navarre, and warns the Huguenots of their danger. He then makes his way to a chapel where many of them are gathered for refuge. He finds Marcel, who has been wounded, and who brings him the tidings of the death of De Nevers. The faithful Valentin joins them to share their fate. Amid the horrors of the massacre Marcel blesses and unites them. They enter the church and all perish together. The first act opens with the brilliant chorus of the revellers (" Piacer della Mensa "), which is full of courtly grace. Raoul tells the story of the unknown fair one he has encountered, in the romanza, " Piu bianca del velo." When Marcel is called upon, he hurriedly chants the hymn, " O tu che ognor," set to the Martin Luther air, " Ein feste Burg," and height- ened by a stirring accompaniment, and then bursts out into a graphic song (" Finita e pe' Frati "), emphasized with the piff-paff of bullets and full of martial fervor. In delightful contrast with the fierce Huguenot song comes the lively and graceful romanza of Urbain (" Nobil Donna e tanto onesta "), followed by a delightful septet. The scene now changes, and with it the music. We are in the Queen's gardens at Chenonceaux. Every number, the Queen's solo ("A questa Voce sola "), the delicate " Bathers' Chorus," as it is called ("Audiam, Regina, in questo amene sponde "), the brilliant and graceful allegretto sung by Urbain (" No, no, no, no"), the duet between the Queen and Raoul, based upon one of the most flowing of melodies, and the spirited and effective finale in which the nobles take the oath of allegiance (" Per la fe, per r Onore "), — each and every one of these is colored with masterly skill, while all are invested with chivalrous refine- ment and stately grace. The second act opens with a beautiful choral embroidery 174. THE STANDARD OPERAS in which different choruses, most striking in contrast, are skilfully interwoven. It is a picture, in music, of the old Paris. The citizens rejoice over their day's work done. The Huguenots shout their lusty rataplan, while the Papist maidens sing their solemn litany (" Ave Maria ") on their way to chapel; and as they disappear, the quaint tones of the cur- few chant are heard, and night and rest settle down upon the city. It is a striking introduction to what follows, — the exquisite duet between Marcel and Valentin, the great septet of the duel scene, beginning (" De dritti miei ho 1' alma accesa ") with the tremendous double chorus which follows as the two bands rush upon the scene. As if for relief from the storm of this scene, the act closes with brilliant pageantry music as De Nevers approaches to escort Valentin to her bridal. The third act is the climax of the work. After a dark and despairing aria by Valentin (" Eccomi sola ormai "), and a brief duet with Raoul, the conspirators enter. The great trio, closing with the conjuration, " Quel Dio," the awful and stately chant of the monks in the blessing of the unsheathed daggers (" Sia Gloria eterna e Onore "), and the thrilling unisons of the chorus " D' un sacro zel 1' Adore"), which fairly glow with energy, fierceness, and religious fury, — these numbers of themselves might have made an act; but Meyerbeer does not pause here. He closes with a duet be- tween Raoul and Valentin which does not suffer in comparison with the tremendous combinations preceding it. It is filled with the alternations of despair and love, of grief and ecstasy. In the Italian version the performance usually closes at this point; but there is still another striking and powerful scene, that in which Raoul and Valentin are united by the dying Marcel. Then the three join in a sublime trio, and for the last time chant together the old Lutheran hymn, and await their fate amid the triumphant harpings that sound from the orchestra and the hosannas they sing to its accompaniment. MEYERBEER 175 The Star of the North " L'fitoile du Nord," opera in three acts, words by Scribe, was first performed at the Opera Comique, Paris. February 16, 1854, and in Italian as "La Stella del Nord," at Covent Garden, London, July 19, 1855. In English it has been pro- duced under the title of " The Star of the North." The opera contains several numbers from the composer's earlier work, " Feldlager in Schlesien," which was written for the opening of the Berlin opera house, in memory of Frederick the Great, and was subsequently (February 17, 1817) performed with great success in Vienna, Jenny Lind taking the role of Vielka. The " Feldlager," however, has never been given out of Germany. The action of the opera transpires in Wyborg, on the Gulf of Finland, in the first act, at a camp of the Russians in the second, and at the palace of the Czar Peter in the third. In the first, Peter, who is working at Wyborg, disguised as a carpenter, makes the acquaintance of Danilowitz, a pastry cook, and Catharine, a cantiniere, whose brother George is about to marry Prascovia. Catharine brings about this mar- riage; and not only that, but saves the little village from an invasion by a strolling horde of Tartars, upon whose super- stition she practises successfully, and so conducts herself in general that Peter falls in love with her, and they are be- trothed, though she is not aware of the true identity of her suitor. Meanwhile the conscription takes place, and to save her newly wedded brother she volunteers for fifteen days in his place, disguising herself as a soldier. In the next act we find Catharine going her rounds as a sentinel in the Russian camp on the Finnish frontier. Peter and Danilowitz are also there, and are having a roistering time in their tent, drinking and making love to a couple of girls. Hearing Peter's voice she recognizes it, and curiosity leads her to peep into the tent. She is shocked at what she beholds, neglects her duty, and is found by the corporal in this insubordinate condition. He remonstrates with her, and she answers with a slap on his ears, for which she incurs the penalties of disobedience ij 176 THE STANDARD OPERAS orders as well as insulting behavior to her superior officer. Peter at last is roused from his drunkenness by the news of an insurrection among his own soldiers and the approach of the enemy. He rushes out and promises to give the Czar into their hands if they will obey and follow him. At last, struck with his bearing and authority, they demand to know who he is, whereupon he declares himself the Czar. The mutiny is at once quelled. They submit, and offer their lives as warrant for their loyalty. The last act opens in the Czar's palace, where his old companion, Danilowitz, has been in- stalled in high favor. Catharine, however, has disappeared. George and Prascovia arrive from Finland, but they know nothing of her. The faithful Danilowitz finds her, but she has lost her reason. Her friends try to restore it by sur- rounding her with recollections of home, and Peter at last succeeds by playing upon his flute the airs he used to play to her in Finland. Her senses come back, and thus all ends happily; for Catharine and Peter are at last united amid the acclamations of the people. In the first act the character of Peter is well expressed in the surly, growling bass of his soliloquy (" Vedra, vedx*a "). It is followed by a characteristic drinking-chorus (" Alia Finlanda, beviam "), a wild, barbaric minor rhythm, which passes into a prayer as they invoke the protection of Heaven upon Charles XII. In the eighth scene occur the couplets of Gritzensko as he sings the wild song of the Kalmucks. In charming contrast, in the next scene, Catharine sings the gypsy rondo, which Jenny Lind made so famous (" Wlastla la santa "), which is characterized by graceful coquetry; and this in turn is followed by a striking duet between Catharine and Peter, in which the individual characteristics of the two are brought out in genuine Wagnerian style. In the thirteenth scene occurs the bridal song of Prascovia ("Al Suono dell' ora "), with choral accompaniment, of a delicate and coquettish cast, leading up to the finale, beginning with the soldiers' chorus (" Onor che a Gloria "), with an accompaniment of drums and fifes, again passing to a pathetic prayer (" Veglia dal Ciel su lor ") sung by Catharine amid the ringing of bells MEYERBEER 177 as the bridal wreath is placed upon Prascovia's head, and closing with a florid barcarole (" Vascel che lasci ") as she sails away. The second act opens with ballet music, full of Eastern color, and then ensues one of those choral combinations, like that in the second act of " The Huguenots," in which Meyer- beer so much delighted, — a cavalry chorus ("Bel Cavalier del Cuor d' acciar "), followed by the Grenadier's song, accom- panied by chorus (" Granadier di Russia esperti "), the chorus taking up the " tr-r-r-um " refrain in imitation of the drum. In the eighth scene we have the orgy in the tent in the form of a very spirited dramatic trio, in which Peter sings a blithe drinking-song ("Vedi al par del Rubino ") ; this in turn re- solving into a quintet (" Vezzose Vivandiere "), and again into a sextet, as Ismailoff enters with a letter for the Czar. The finale is a superb military picture, made up of the imposing oath of death to the tyrant, the stirring Dessauer march, the cavalry fanfare, and the Grenadiers' march, interwoven with the chorus of women as they cheer on the marching soldiers. The third act opens with a romanza (" Dal Cor per iscac- ciare"), in which the rugged Czar shows us the sentimental side of his character. In the third scene occurs a long buffo trio between Peter, Gritzensko, and Danilowitz, which is full of humor. In the finale we have Catharine in the mad scene, singing the scena, " L' Aurora alfin succede," with bits of the old music running through the accompaniment; and in the final scene, as her reason returns, breaking out in the florid bravura, " Non s' ode alcun," accompanied by the first and second flutes. This number was taken from " The Camp in Silesia," and was given by Jenny Lind with immense success, not only in the latter work, but upon the concert stage. The opera as a whole abounds in humor, its music is fresh and brilliant, and its military character makes it especially attractive. 178 THE STANDARD OPERAS Robert the Devil " Robert le Diable/' grand opera in five acts, words by- Scribe and Delavigne, was first produced at the Academic, Paris, November 21, 1831, with the following cast: Alice Mile. Dorus. Isabella Mme. Cinti-Damobeau. The Abbess Signora Taglioni. Robert M. Nocirrit. Bertram M. Levasseur. Raimbaut M. Lafont. In the following year two versions in English, both of them imperfect, were brought out by the rival theatres, Covent Garden and Drury Lane. On the 20th of February it ap- peared at Drury Lane under the title of " The Demon; or, the Mystic Branch," and at Covent Garden the next evening as " The Fiend Father, or Robert Normandy." Drury Lane had twenty-four hours the start of its rival, but in neither case were the representations anything but poor imitations of the original. On the 11th of the following June the French version was produced at the King's Theatre, London, with the same cast as in Paris, except that the part of Alice was taken by Mme. De Meric, and that of the Abbess by the danseuse Mile. Heberle. On the 4th of May, 1847, the first Italian version was produced at Her Majesty's Theatre, with Jenny Lind and Staudigl in the cast. Gruneisen, the author of a brief memoir of Meyerbeer, who was present, says: "The night was rendered memorable, not only by the massacre at- tending the general execution, but also by the debut of Mile. Lind in this country, who appeared as Alice. With the excep- tion of the debutante, such a disgraceful exhibition was never before witnessed on the operatic stage. Mendelssohn was sitting in the stalls, and at the end of the third act, unable to bear any longer the executive infliction, he left the theatre." The libretto of " Robert the Devil " is absurd in its con- ceptions and sensational in its treatment of the story, not- withstanding that it came from such famous dramatists as Scribe and Delavigne; and it would have been still worse MEYERBEER 179 had it not been for Meyerbeer. Scribe, it is said, wished to introduce a bevy of sea-nymphs, carrying golden oars, as the tempters of Robert; but the composer would not have them, and insisted upon the famous scene of the nuns, as it now stands, though these were afterwards made the butt of almost endless ridicule. Mendelssohn himself, who was in Paris at this time, writes: " I cannot imagine how any music could be composed on such a cold, formal extravaganza as this." The story runs as follows: The scene is laid in Sicily, Avhere Robert, Duke of Normandy, who by his daring and gallantries had earned the sobriquet of " the Devil," banished by his own subjects, has arrived to attend a tournament given by the Duke of Messina. In the opening scene, Avhile he is carousing with his knights, the minstrel Raimbaut sings a song descrip- tive of the misdeeds of Robert. The latter is about to re- venge himself on the minstrel, when Alice, his foster-sister and the betrothed of Raimbaut, appears and pleads with him to give up his wicked courses, and resist the spirit of evil which is striving to get the mastery of him. Robert then confides to Alice his hopeless passion for Isabella, daughter of the Duke. While they are conversing, Bertram, " the un- known," enters, and Alice shrinks back affrighted, fancying she sees in him the evil spirit who is luring Robert on to ruin. After she leaves, Bertram entices him to the gaming- table, from which he rises a beggar, — and worse than this, he still further prejudices his cause with Isabella by failing to attend the tournament, thus forfeiting his knightly honor. The second act opens upon an orgy of the evil spirits in the cavern of St. Irene. Bertram is present, and makes a compact with them to loose Robert from his influence if he does not yield to his desires at once. Alice, who has an appointment with the minstrel in the cavern, overhears the compact, and determines to save him. Robert soon appears, mourning over his losses and dishonor; but Bertram promises to restore everything if he will visit the ruined Abbey of St. Rosalie, and carry away a mystic branch which has the power of conferring wealth, happiness, and immortality. He consents; and in the next scene Bertram pronounces the in- 180 THE STANDARD OPERAS cantation which calls up the buried nuns. Dazed with their ghostly fascinations^ Robert seizes the branch and flees. His first use of it is to enter the apartments of Isabella, unseen by her or her attendants, all of whom become immovable in the presence of the mystic talisman. He declares his inten- tion of carrying her away; but moved by her entreaties he breaks the branch, which destroys the charm. In the last act Bertram is at his side again, trying to induce him to sign the fatal compact. The strains of sacred music which' he hears, and the recollections of his mother, restrain him. In despera- tion Bertram announces himself as his fiend-father. He is about to yield, when Alice appears and reads to him his mother's warning against the fiend's temptation. As he still hesitates, the clock strikes, and the spell is over. Bertram disappears, and the scene changes to the cathedral, where Isabella in her wedding robes awaits the rescued Robert. From the musical point of view " Robert le Diable " is interesting, as it marks the beginning of a new school of grand opera. With this work, Meyerbeer abandoned the school of Rossini and took an independent course. He cut loose from the conventional classic forms and gave the world dra- matic music, melodies of extraordinary dramatic force, bril- liant orchestration, stately pageants, and theatrical effects. " Robert le Diable " was the first of the subsequent great works from his pen which still further emphasized his new and independent departure. It is only necessary to call at- tention to a few prominent numbers, for this opera has not as many instances of these characteristics as those which followed and which are elsewhere described. The first act contains the opening bacchanalian chorus (" Versiamo a Tazza plena"), which is very brilliant in character; the minstrel's song in the same scene (" Regnava un tempo in Normandia "), with choral accompaniment; and a very tender aria for Alice ("Vanne, disse, al Figlio mio"), in which she delivers his mother's message to Robert. The second act opens with a spirited duet between Bertram and Raimbaut, leading up to a powerful and characteristic chorus of the evil spirits (" Demoni fatali "). An aria for Alice (" Nel las ciar la MEYERBEER 181 Normandia "), a duet between Bertram and Alice (" Trionfo bramato "), and an intensely dramatic trio between Bertram^ Alice, and Robert (" Lo sguardo immobile "), prepare the way for the great scena of the nuns, known as " La Tempta- tion/' in which Meyerbeer illustrates the fantastic and often- times ludicrous scene with music which is the very essence of diabolism, and in its way as unique as the incantation music in " Der Freischutz." The third act contains two great arias. The first (" Invano il fato "), sung at the opening of the act by Isabella, and the second the well-known aria " Roberto, o tu che adoro," better known by the French words (" Robert! toi que j'aime "). The closing act is specially remarkable for the great terzetto in its finale, which is one of the most effective numbers Meyerbeer has written. The judgment of Hanslick, the well-known Viennese critic, upon this work is interesting in this connection. He compares it with " William Tell " and " Masaniello," and finds that in musical richness and blended effects it is superior to either, but that a single act of either of the works mentioned contains more artistic truth and ideal form than " Robert le Diable," — a judgment which is largely based upon the libretto itself, which he con- demns without stint. Dinorah " Dinorah," opera in three acts, founded upon a Breton idyl, words by Barbier and Carre, was first produced at the Opera Comique, Paris, April 4, 1859, under the title of " Le Pardon de Ploermel." It contains but three principal char- acters, and these were cast as follows : Dinorah, Mme. Cabel ; Corentin, M. Sainte-Foy; and Hoel, M. Faure. On the 26th of July, 1859, Meyerbeer conducted the work himself at Covent Garden, London, with Mme. Miolan-Carvalho as Dinorah, and it was also produced the same year in English by the Pyne-Harrison troupe. The first representative of Dinorah in this country was Mile. Cordier. The scene of the opera is laid in Brittany, and when the 182 THE STANDARD OPERAS first act opens, the following events are supposed to have transpired: On one of the days appointed by the villagers of Ploermel for a pilgrimage to the shrine of the Virgin, Hoel, the goatherd, and Dinorah, his affianced, set out to re- ceive a nuptial benediction. The festivity is interrupted by a thunder-storm, during which Les Herbiers, the dwelling- place of Dinorah, is destroyed by lightning. Dinorah is in despair. Hoel determines to make good the loss, and upon the advice of Tonick, an old wizard, resolves to go in quest of a treasure which is under the care of the Korigans, a super- natural folk belonging to Brittany. In order to wrest it from them,, however, it is necessary for Hoel to quit the country and spend a year in solitude in a desolate region. He bravely starts off, and Dinorah, thinking he has abandoned her, loses her wits, and constantly wanders about the woods with her goat, seeking him. Meanwhile the year expires and Hoel returns, convinced that he has the secret for securing the treasure. The overture to the work is unique among operatic over- tures, as it has a chorus behind the curtain interwoven with it. It is a picture of the opera itself, and contains a will-o'- the-wisp passage, a rustic song with accompaniment of goat- bells, a storm, and in the midst of the storm a chant to the Virgin, sung by the unseen chorus, and then a Pilgrimage march, the whole being in the nature of a retrospect. The curtain rises upon a rustic chorus, after which Dinorah ap- pears, seeking her goat, and sings a slumber-song (" Si, carina, caprettina ") which is very graceful, and concludes with phrases in imitation of birds. In the next scene, Corentin, the bagpiper, who has been away three months, and is nearly dead with terror of goblins and fairies, returns to his cottage, and to reassure himself sings a very quaint and original song (" Sto in Casa alfine "), to the accompaniment of his pipe. Dinorah suddenly appears and enters the cottage, and much to his alarm keeps him playing and singing, which leads to a very animated vocal contest between her and the bagpiper. It is abruptly terminated, however, by the arrival of Hoel. Dinorah makes her escape by a window, and Hoel relates to MEYERBEER 183 Corentin the story of the Korigans' treasure. As the first person who touches it will die, he determines that Corentin shall be his messenger, and to rouse his courage sends for wine. While Corentin is absent, Hoel sings an aria (" Se per prender"). After Corentin returns, the tinkling of the goat's bell is heard. Dinorah appears in the distance, and a charming trio closes the act, to the accompaniment of the whistling wind and booming thunder on the contra basses and drums of the orchestra. The second act opens with a drinking-song by woodcutters, and as they withdraw, Dinorah enters, seeking Hoel. She sings a tender lament, which, as the moonlight falls about her, develops into the famous " Shadow Song," a polka mazurka, which she sings and dances to her shadow. The aria, " Ombra leggiere," is fairly lavish in its texture of vocal embroidery. The next scene changes to the Val Maudit (the Cursed Vale), a rocky, cavernous spot, through which rushes a raging torrent bridged by a fallen tree. Hoel and Corentin appear in quest of the treasure, and the latter gives expression to his terror in a very characteristic manner, with the assistance of the orches- tra. Dinorah is heard singing the legend of the treasure (" Chi primo al tesor "), from which Corentin learns that whoever touches it first will die. He refuses to go on, and a spirited duet ensues between them, which is interrupted by the entrance of Dinorah and her goat. Hoel, fancying it is a spirit sent to keep him back, sings a very beautiful aria ("Le crede il Padre"). The act closes with the fall of Dinorah, who attempts to cross the bridge, into the torrent, and her rescue by Hoel, to the accompaniment of a storm set to music. The scene, though melodramatic, is very strong in its musical effects. The last act opens with a scene in striking contrast, intro- duced with a quintet of horns, followed by a hunter's solo, a reaper's solo, a duet for shepherds, and a quartet in the finale. Hoel arrives, bearing the rescued Dinorah, and sings to her an exquisite romance (" Sei vendicata assai "). The magic of his singing and her bath in the torrent restore her wandering senses. Hoel persuades her that all which has 184 THE STANDARD OPERAS transpired has been a dream. The old song of the Pardon of Ploermel comes to her^ and as she tries to recall it the chorus takes it up (" Santa Maria ! nostra Donna ") as it was heard in the overture. A procession is seen in the distance, and amid some striking pageant music Hoel and Dinorah wend their way to the chapel, where the nuptial rites are supposed to be performed. The Prophet " Le Prophete," opera in five acts, words by Scribe, was first produced in Paris, April 16, 1849, with INIme. Viardot- Garcia as Fides, and M. Roger as John of Leyden. " The Prophet " was long and carefully elaborated by its composer. Thirteen years intervened between it and its predecessor, " The Huguenots " ; but in spite of its elaboration it can only be said to excel the latter in pageantry and spectacular effect, while its musical text is more declamatory than melo- dious, as compared with " The Huguenots." In this sense it was disappointing when first produced. The period of the opera is 1534. The first act transpires in Dordrecht and Leyden, in Holland, and the other three in Munster, Germany. The text closely follows the historical narrative of the period when Munster was occupied by John of Leyden and his fanatics, who, after he had been crowned by them as Emperor of Germany, was driven out by the bishop of the diocese. The first act opens in the suburbs of Dordrecht, near the Meuse, with the chateau of Count Ober- thal, lord of the domain, in the distance. After a very fresh and vigorous chorus of peasants. Bertha, a vassal of the Count, betrothed to John of Leyden, enters and sings a cava- tina (" II Cor nel sento "), in which she gives expression to emotions of delight at her approaching union. As she can- not go to Leyden, where the marriage is to take place, with- out the Count's consent. Fides, the mother of John, joins her to make the request. In the meantime the three Anabaptists, Zacarie, Gione, and Mathisen, leaders of the revolt in West- phalia, arrive on their mission of raising an insurrection in ^ 5 ■5, =3 N 1- > :^ '^ .s I c c s o in MEYERBEER 185 Holland, and in a sombre trio of a religious but stirring character ("O Libertade ") incite the peasants to rise against their rulers. They make an assault upon the castle of Count Oberthal, who speedily repels them, and turns the tide of popular feeling against the Anabaptists, by recognizing Gione as a former servant who had been discharged from his ser- vice for dishonesty. Fides and Bertha then join in a romanza (" Delia mora un giorno "), imploring his permission for the marriage of Bertha and John. The Count, however, struck with her beauty, not only refuses, but claims her for himself, and seizes both her and Fides, and the act closes with a repe- tition of the warning chant of the Anabaptists. The second act opens in the hostelry of John of Leyden, and is introduced with a waltz and drinking-chorus, in the midst of which the Anabaptists arrive and are struck with his resemblance to a portrait of David in the Munster Cathe- dral. From a very descriptive and highly wrought scena (" Sotto le vasti Arcati ") sung by him they also learn that he is given to visions and religious meditations. They assure, him that he shall be a ruler; but in a beautiful romanza (" Un Impero piu soave ") he replies that his love for Bertha is his only sovereignty. Just as they depart, Bertha, who has es- caped, rushes in and claims his protection. He conceals her; but has hardly done so when the Count enters with his soldiers, bringing Fides as a prisoner, and threatens to kill her unless Bertha is given up. He hesitates ; but at last, to save his mother's life, delivers Bertha to her pursuers. Mother and son are left alone, and she seeks to console him. In this scene occurs one of the most dramatic and intense of Meyerbeer's arias (" O Figlio mio, che diro "), known more popularly by its French words, beginning, " Ah! mon fils." It has enjoyed a world-wide popularity, and still holds its place in all its original freshness and vigor. Fides hardly disappears before the ominous chant of the Anabaptists is heard again. He does not need much persuasion now. They make their compact in a quartet of great power, which closes the act; and some of John's garments are left behind stained with blood, that his mother may believe he has been killed. 186 THE STANDARD OPERAS The third act opens in the Anabaptists' camp in a West- phalian forest, a frozen lake near them, and Munster, which they are besieging, in the distance. In the second scene Zacarie sings a stirring psean of victory (" In coppia son"), followed by the beautiful ballet music of the skaters as they come bringing provisions to the troops. Count Oberthal mean- while has been taken prisoner and brought into camp. A buffo trio between himself and his captors follows, in which Gione penetrates his disguise and recognizes him. They are about to fall upon him; but John, learning from him that Bertha is still alive and in Munster, saves his life. He im- mediately resolves to take the place by assault, rouses his followers with religious chants of a martial character, and the act concludes with the march on the cit3\ The fourth act opens in the city itself after its capture, A mendicant appears in the public square begging for bread. It is Fides; and in a plaintively declamatory aria of striking power (" Pieta! pieta ! ") she implores alms. She meets with Bertha disguised as a pilgrim, and bent upon the destruction of the Prophet, who, she believes, has been the cause of John's death. The next scene opens in the cathedral, where the coronation of the Prophet is to take place; and among all Meyerbeer's pageants none is more imposing than this, with its accompaniment of pealing bells, religious chants, the strains of the organ, and the stately rhythms of the great Coronation March. It is a splendid prelude to the dramatic scene which follows. In the midst of the gorgeous spectacle, the voice of Fides is heard claiming the Prophet as her son. John boldly disavows her, and tells his followers to kill him if she does not confirm the disavowal. The feelings of the mother predominate, and she declares that she is mistaken. The multitude proclaim it a miracle, and Fides is removed as a prisoner. The last act opens with a trio by the Anabaptist leaders, who, learning that the enemy is approaching in force, deter- mine to save themselves by betraying John. In the third scene Fides in prison, learning that John is coming to see her, invokes the punishment of Heaven upon him in the passionate MEYERBEER 187 aria, " Spirto superno." A duet (" Tu che del Cielo ") of great power follows, in which Fides convinces him of the errors of his course. As they are about to leave. Bertha enters, bent upon the destruction of the palace, and in the trio which en- sues learns that John and the Prophet are one. She stabs herself, and dying in the arms of Fides curses him. The last scene opens in a banqueting hall of the palace, where John is revelling, with the Anabaptists around him. He sings a bacchanalian song of a wild description (" Bevian e intorno "), and, as it closes, the Bishop of Munster, the Elector, Count Oberthal, and the three Anabaptists who have betrayed him, enter the apartment. The revenge which John has planned is now consummated. An explosion is heard. Flames break out on all sides. Fides rushes in and forgives her son, and the Prophet, his mother, and his enemies perish together. Although " The Prophet " did not meet with the popularity of some of his other operas, it contains some of the most vigorous and dramatic music Meyerbeer has written, — notably the arias of Zacarie and Fides, the skating-ballet^ the Corona- tion March, and the drinking-song. L'Africaine " L'Africaine," grand opera in five acts, words by Scribe, was first produced at the Academic, Paris, April 28, 1865, with the following cast: Selika Mme. Maeie Saxe. Inez Mile. Mabie Batteo. Vasco di Gama M. Naudin. Nelusko M. Fatjre. Don Pedro M. Belval. High Priest M. Obin. The libretto of the opera was first given to Meyerbeer by Scribe in 1838; but such were the alterations demanded by the composer, that at last Scribe withdrew it altogether, al- though the music was already set. In 1852 he furnished a revised libretto, and the music was revised to suit it. The 188 THE STANDARD OPERAS work was not finished until I860, and owing to the difficulty of filling the cast satisfactorily, was not brought to rehearsal until the Fall of 1863. While still correcting and improving it, Meyerbeer died, and it was not produced until two years later. Shortly after the Paris performance it was brought out in London, with Mile. Lucca in the part of Selika. Mme. Zucchi was one of the earliest representatives of the slave in this country. The scene of the opera is laid in Portugal and Africa, and the first act opens in the council chamber of the king of the former country. Inez, his daughter, is mourning the long absence of her betrothed, Vasco di Gama, the explorer. Her father, wishing to marry her to Don Pedro, the President of the Council, tries to persuade her that Vasco has perished by shipwreck; but the refutation of the story comes in the sudden appearance of Vasco himself, who is summoned before the Council and narrates to them his discovery of a strange land, producing two of the natives, Selika and Nelusko, as confirma- tions of his announcement. Don Pedro incites the inquisitors to deny the truth of the story, at which Vasco breaks out in such a furious rage against them that he is arrested and thrown into a dungeon. The second act opens in the prison, where Selika is watching the slumbering Vasco. As he wakens she declares her love for him, and at the same time saves him from the dagger of the jealous Nelusko. She also indicates to him the course he should have taken to discover the island of which he is in quest. To save her lover, Inez consents to wed Don Pedro ; and the latter, to cheat Vasco of his fame, takes command of the expedition under the pilotage of Nelusko, and sets sail for the new land. The Indian, thirsting for vengeance, directs the vessel out of her course towards a reef; but Vasco, who has followed in another vessel, arrives in time to warn Don Pedro of his danger. He disregards the warn- ing, distrusts his motives, and orders him to be shot; but before the sentence can be carried out, the vessel strikes and is boarded by the savages, who slaughter the commander and most of his men. The fourth act opens on the island which Selika pointed out on the map, and of which she is queen. To — -« ^ ^liiifc. ^^^^^1^^' ' ^^n Kt' aEI^ ' ■ ■■^*P^V'" ^B^HEo^^^^b^^ alB m^ •t^l BBEjgs^ Dippel as Vasco di Gaina Copyright, Aimi Dufoitt MEYERBEER 189 save him from her subjects, she declares herself his spouse; but as the marriage rite is about to be celebrated, Vasco hears- the voice of Inez in the distance, deserts Selika, and flies to her. In the last act, as the vessel sails away bearing Vasco and Inez back to Portugal, Selika throws herself down under the poisonous manchineel tree and kills herself with its fatal flowers; expiring in the arms of Nelusko, who shares the same fate. The first act opens with a very sweet but sombre ballad sung by Inez (" Del Tago sponde addio "), which recalls the English song, " Isle of Beauty, fare thee well," and is fol- lowed by a bold and flowing terzetto. The third scene opens with a stately chorus (" Tu che la Terra adora ") sung by the basses in unison, opening the Council before which Vasco appears ; and the act closes with an anathema hurled at him (" Ribelle, insolente "), — an ensemble, pronounced in its rhythm and majestic in the sweep of its passionate music. The second act opens with the quaint slumber-song (" lo grembo a me") which Selika sings to Vasco in prison. It is Oriental in color, and is broken here and there by a barcarole which Vasco murmurs in his sleep. In striking contrast with its dreamy, quiet flow, it leads up to a passionate aria (" Tran- quil lo e gia ") based upon a strong and fiery motive. In the next scene follows an aria of equal vigor sung by Nelusko (" Figlia dei Re "), in which his devotion to Selika changing to his hatred of Vasco is characterized by a grand crescendo. The act closes with a vigorous sextet, the motive of which is strangely similar to the old song, " The JNIinstrel Boy." The third act contains a very impressive number, Nelusko's invocation of Adamastor (" Adamastor, re dell' Onde pro- fondo "), but is mainly devoted to the ship scene, which, though grotesque from the dramatic point of view, is accom- panied by music of a powerful and realistic description, writ- ten with all the vividness and force Meyerbeer always dis- plays in his melodramatic ensembles. The fourth act contains the most beautiful music of the opera, — Vasco's opening aria, " O Paradiso " ; the ensemble in the fourth scene, in which Selika protects Vasco and Nelusko swears vengeance (" Al 190 THE STANDARD OPERAS mio penar de fine ") ; the duet between Vasco and Selika (" Dove son "), which has often been compared to the duet in the fourth act of " The Huguenots/' though it has not the passionate intensity of the scene between Raoul and Valentin; and the graceful choruses of the Indian maidens and Inez's attendants which close the act. The last act contains two scenes, — the first in Selika's gardens, where there is a long and spirited duet between Inez and Selika. The second, known as " La Scene du Mancenil- lier," has a symphonic prelude in the form of a funeral march, based upon a fascinating melody, which is beyond question the finest of Meyerbeer's instrumental numbers in any of his works. From this point the story hastens to its tragic de- nouement ; and nearly the entire scene is occupied with Selika's dying song, which opens with a majestic apostrophe to the sea (" Da qui io vedo il Mar "), then turns to sadness as she sings to the fatal tree (" O Tempio sontuoso "), and at the close develops into a passionate outcry of joy (" O douce Extase "). Though the plot of " L'Africaine " is often absurd, many of its incidents preposterous, and some of its characters unattractive, the opera is full of effective situations, and re- peatedly illustrates Meyerbeer's powers of realization and his knowledge of musical and dramatic effects. (( MOZART (WOLFGANG AMADEUS) The Marriage of Figaro LE Nozze di Figaro/' in the German version " Die Hochzeit des Figaro," opera bouffe in four acts, the words by Lorenzo da Ponte, after Beaumarchais's comedy, " Le Mariage de Figaro," was first produced at the National Theatre, Vienna, May 1, 1786, with the following cast: Countess Almaviva Signora Storage. Susanna Signora Laschi. Chenibino Signora Mandini. Marcellina Signora Bussani. Barbarina Frau Gottlieb. Count Almaviva Sig. Mandini. Figaro Sig. Benucci. Bartolo Sig. Occheley. Basilio Sig. Bussani. It was first brought out in Paris in 1793, with Beau- marchais's spoken dialogue, in five acts, as " Le Mariage de Figaro," and in 1858 at the Theatre Lyrique in the same city, in four acts, as " Les Noces de Figaro," with text by Barbier and Carre. The late Mme. Parepa-Rosa introduced it in this country in its English form with great success. At the time the libretto was written, Beaumarchais's satiri- cal comedy, " Le Mariage de Figaro," had been performed all over Europe, and had attracted great attention. It had been prohibited in Paris, and had caused great commotion in Vienna. Mozart's notice was thus drawn to it, and he suggested it to Da Ponte for a libretto, and the Emperor Joseph subsequent!}'' commissioned the composer to set it to music, though he had already composed a portion of it. The entire opera was written during the month of April, and the wonderful finale 192 THE STANDARD OPERAS to the second act occupied him for two nights and a day. When it came to a performance, its success was remarkable. Kelly, who was present, says, in his " Reminiscences " : " Never was there a greater triumph than Mozart enjoyed with his ' Figaro.' The house was crowded to overflowing, and almost everything encored, so that the opera lasted nearly double the usual time; and yet at its close the public were unwearied in clapping their hands and shouting for Mozart." Popular as it was, it was soon laid aside in Vienna through the influence of the Italian faction headed by Salieri, one of Mozart's rivals. The story of the opera is laid in Spain. Count Almaviva, who had won his beautiful Countess with the aid of Figaro, the barber of Seville, becomes enamoured of her maid Susanna, and at the same time, by the collusion of the two, in order to punish him, is made jealous by the attentions paid to the Countess by Cherubino, the page. Meanwhile Figaro, to whom Susanna is betrothed, becomes jealous of the Count for his gallantry to her. Out of these cross-relations arise several humorous surprises. Besides these characters there are two others who have been disappointed in love, — Bartolo, who has been rejected by Susanna, and Marcellina, whose affection for Figaro has not been requited. The Count seeks to get rid of Cherubino by ordering him off to the wars, but he is saved by Susanna, who disguises him in female attire. The Countess, Susanna, Figaro, and Cherubino then conspire to punish the Count for his infidelity. The latter suddenly appears at his wife's door, and finding it locked demands an entrance. Cher- ubino, alarmed, hides himself in a closet and bars the door. The Count is admitted, and finding the Countess in confusion insists upon searching the closet. He goes out to find some means of breaking in the door, and Cherubino improves the opportunity to jump out of the window, while Susanna takes his place and confronts the puzzled Count. Antonio, the gardener, comes in and complains that some one has jumped from the window and broken his flower-pots. Figaro at once asserts that he did it. A ludicrous side plot unfolds at this point. Marcellina ap- Sigrid Arnoldson as Cherubiiio MOZART 198 pears with a contract of marriage signed by Figaro, bringing Bartolo as a witness. The Count decides that Figaro must fulfil his contract, but the latter escapes by showing that he is the son of Marcellina, and that Bartolo is his father. Meanwhile the main plot is developed in another conspiracy to punish the Count. Susanna contrives a rendezvous with the Count at night in the garden, having previously arranged with the Countess that she shall disguise herself as the maid, the latter also assuming the part of the Countess, and arrive in time to surprise the two. The page also puts in an ap- pearance, and gets his ears boxed for his attentions to the disguised Countess. Figaro, who has been informed that Susanna and the Count are to meet in the garden, comes on the scene, and in revenge makes a passionate declaration of love to the supposed Countess, upon which the Count, who is growing more and more bewildered, orders lights and makes his supposed wife unveil. The real wife does the same. Covered with confusion, he implores pardon of the Countess, which is readily given. The two are reconciled, and Figaro and Susanna are united. The whole opera is such a combination of playfulness and grace that it is a somewhat ungracious task to refer to par- ticular numbers. In these regards it is the most Mozartean of all the composer's operas. The first act opens with a sparkling duet between Figaro and Susanna, in which she informs him of the Count's gallantries. As she leaves, Figaro, to the accompaniment of his guitar, sings a rollicking song (" Se vuol ballare, Signor Contino "), in which he intimates that if the Count wishes to dance he will play for him in a style he little expects. In the second scene Bartolo enters, full of his plans for vengeance, which he narrates in a grim and grotesque song (" La Vendetta "). The fourth scene closes with an exquisite aria by Cherubino (" Non so piii cosa son "). After an exceedingly humorous trio (" Cosa sento.'' tosto andate") for the Count, Basilio, and Susanna, and a bright, gleeful chorus (" Giovanni liete "), Figaro closes the act with the celebrated aria, " Non piii andrai." Of the singing of this great song at the first rehearsal of the opera 194 THE STANDARD OPERAS Kelly says in his " Reminiscences ":" I remember Mozart well at the first general rehearsal, in a red furred coat and a gal- looned hat, standing on the stage and giving the tempi. Benucci sang Figaro's aria, ' Non piu andrai/ with the utmost vivacity and the full strength of his voice. I stood close be- side Mozart, who exclaimed, sotto voce, ' Brava ! brava ! Benucci ! ' and when that fine passage came, ' Cherubino, alia vittoria, alia gloria militar,' which Benucci gave in a stentorian voice, the effect was quite electrical, both upon the singers on the stage and the musicians in the orchestra. Quite trans- ported with delight, they all called out, ' Brava ! brava. Maes- tro ! viva ! viva ! viva il grand Mozart ! ' In the orchestra the applause seemed to have no end, while the violin players rapped their bows on their desks. The little Maestro ex- pressed his gratitude for the enthusiasm, testified in so unusual a manner, by repeatedly bowing." The second act is the masterpiece of the opera, and contains in itself music enough to have made any composer immortal. It opens with a serious aria by the Countess (" Porgi amor "), followed by Cherubino's well-known romanza (" Voi, die sapete "), one of the sweetest and most effective songs ever written for contralto, and this in turn by Susanna's coquettish song (" Venite,inginocchiatevi"), as she disguises Cherubino. A spirited trio and duet lead up to the great finale, begun by the Count (" Esci omai, garzon malnato "). Upon this finale Mozart seems to have lavished the riches of his musical genius with the most elaborate detail and in bewildering profusion. It begins with a duet between the Count and Countess, then with the entrance of Susanna changes to a trio, and as Figaro and Antonio enter, develops into a quintet. In the close, an independent figure is added by the entrance of Marcellina, Barbarina, and Basilio, and as Antonio exits, this trio is set against the quartet with independent themes and tempi. The third act opens with a duet (" Crudel ! perche finra ") for the Count and Countess, followed by a very dramatic scena for the Count, beginning with the recitative, (" Hai gia vinto la causa!") which in turn leads up to a lively and spirited sextet (" Riconosci in questo amplesso "). The two numbers MOZART 195 which follow the sextet are recognized universally as two of the sweetest and most melodious ever written, — the exquisite aria (" Dove sono ") for the Countess, and the " Zephyr Duet/' as it is popularly known (" Canzonetta suU' aria. Che soave zefiretto "), which stands unsurpassed for elegance, grace, and melodious beauty. The remaining numbers of prominent interest are a long and very versatile buffo aria for tenor (" In quegl' anni"), sung by Basilio, Figaro's stirring march number (" Ecco la Marcia "), and a lovely song for Su- sanna (" Deh, vieni, non tardar"). The opera is full of life and human interest. Its wonderful cheerfulness and vital sym- pathy appeal to every listener, and its bright, free, joyous tone from beginning to end is no less fascinating than the ex- quisite melodies with which Mozart has so richly adorned it. Like " Don Giovanni " and the " Magic Flute," the best test of the work is, that in its third century it is as fresh and bright and popular as ever. Don Giovanni " Don Giovanni," opera bouffe in two acts, words by Da Ponte, was first produced at Prague, October 29, 1787. The full title of the work is " II dissoluto punito, ossia il Don Giovanni," and the subject was taken from a Spanish tale by Tirso de Molina, called " El combidado de piedra." The original cast of the opera was as follows: Donna Anna Signora Teresa Sapohitti. Donna Elvira Signora Micelu. Zerlina Signora Bondini. Don Ottavio Sig. Baglioni. Don Giovanni . Sig. Luigi Bassi. Leporello Sig. Feuce Ponziani. Masetto and Don Pedro Sig. Loixi. The success of " The Marriage of Figaro " prepared the way for " Don Giovanni." Mozart wrote the opera in Prague, and completed it, except the overture, October 28, 1787, about six weeks after he arrived in the city. The first performance 196 THE STANDARD OPERAS took place the next evening. The overture was written during the night, the copyist received the score at seven o'clock in the morning, and it was played at eight in the evening. He had only a week for stage rehearsals, and yet the opera created a furor. As an instance of his extraordinary memory, it is said that the drum and trumpet parts to the finale of the second act were written without the score, from memory. When he brought the parts into the orchestra, he remarked, " Pray, gentlemen, be particularly attentive at this place," pointing to one, " as I believe that there are four bars either too few or too many." His remark was found to be true. It is also said that in the original score the brass instruments frequently have no place, as he wrote the parts continually on separate bits of paper, trusting to his memory for the score. The next year (1788) the opera was brought out in Vienna, and for this production he wrote four new numbers, — a recitative and aria for Donna Elvira (" In quali eccessi, O Numi ") ; an aria for Masetto (" Ho capito. Signer, si ") ; a short aria for Don Ottavio (" Dalla sua pace"); and a duet for Zerlina and Leporello (" Per queste tue manine "). The scene of the opera is laid in Spain. Don Giovanni, a licentious nobleman, becomes enamoured of Donna Anna, the daughter of the Commandant of Seville, who is betrothed to Don Ottavio. He gains admission to her apartments at night, and attempts to carry her away; but her cries bring her father to her rescue. He attacks Don Giovanni, and in the encounter is slain. The libertine, however, in company with his rascally servant, Leporello, makes good his escape. While the precious pair are consulting about some new amour, Donna Elvira, one of his victims, appears and taxes him with his cruelty; but he flies from her, leaving her with Leporello, who horrifies her with an appalling list of his master's con- quests in various countries. Don Giovanni next attempts the ruin of Zerlina, a peasant girl, upon the very eve of her marriage with her lover, Masetto. Donna Elvira, however, appears and thwarts his purposes, and also exposes him to Donna Anna as the murderer of her father, whereupon she binds her lover, Don Ottavio, to avenge his death. Don Sontas: as Donna Anna MOZART 197 Giovanni does not abandon his purpose, however. He gives a fete, and once more seeks to accomplish Zerlina's ruin, but is again thwarted by her three friends. The second act opens in a public square of Seville at night. Don Giovanni and Leporello appear before the house of Donna Elvira, where Zerlina is concealed. Leporello, dis- guised in his master's cloak, and assuming his voice, lures Donna Elvira out, and feigning repentance for his conduct induces her to leave with him. Don Giovanni then proceeds to enter the house and seize Zerlina; but before he can ac- complish his purpose, Masetto and his friends appear, and supposing it is Leporello before them, demand to know where his master is, as they are bent upon killing him. Don Gio- vanni easily disposes of Masetto, and then rejoins his servant near the equestrian statue, which has been erected to the memory of the murdered Don Pedro. To their astonishment the statue speaks, and warns the libertine he will die before the morrow. Don Giovanni laughs at the prophecy, and in- vites the statue to a banquet to be given the next day at his house. While the guests are assembled at the feast, an omi- nous knock is heard at the door and the statue unceremoniously enters. All except Leporello and Don Giovanni fly from the room in terror. The doomed man orders an extra plate, but the statue extends its hand and invites him to sup with it. He takes the marble hand, and its cold fingers clutch him in a firm grasp. Thrice the statue urges him to repent, and as many times he refuses; whereupon, as it disappears, de- mons rise, seize Don Giovanni, and carry him to the infernal regions. Musically considered, " Don Giovanni " is regarded as Mozart's greatest opera, though it lacks the bright joyousness of " The Marriage of Figaro," and its human interest. Its melodies are more pronounced, and have entered more freely into general use, however, than those of the former. Repulsive as the story is, some of the melodies which illustrate it have been impressed into the service of the church. The first act is introduced with a humorous aria by Leporello (" Notte e giorno faticar"), in which he complains of his treatment by 198 THE STANDARD OPERAS his master. After the murder of Don Pedro, in the second scene, occurs a trio between Donna Elvira, Don Giovanni, and Leporello, the leading motive of which is a beautiful aria sung by Donna Elvira (" Ah! chi mi dice mai "). The scene closes with the great buffo aria of Leporello ("Madamina! 11 Catalogo ") popularly known as the " Catalogue Song," which is full of broad humor, though its subject is far from possessing that quality. In the third scene occur the lovely duet for Don Giovanni and Zerlina (" La, ci darem la Mano "), two arias of great dramatic intensity for Donna Elvira (" Mi tradi ") and Donna Anna (" Or sai, chi 1' Onore "), and Don Giovanni's dashing song (" Fin ch'han dal Vino "), the music of which is in admirable keeping with the reckless nature of the libertine himself. The last scene is a treasure-house of music, containing the exquisitely coquettish aria, " Batti, batti," which Zerlina sings to the jealous Masetto, and the beautiful trio of Donna Anna, Donna Elvira, and Don Ottavio, known as the Masked Trio, set off against the quaint minuet music of the fete and the hurly-burly which accompanies the dis- covery of Don Giovanni's black designs. The second act opens with a humorous duet between master and servant (" Eh, via, Buffone "), followed by the trio, " Ah! taci, ingiusto Core ! " as Elvira appears at her window. After she leaves with Leporello, Don Giovanni sings a serenade (" Deh vieni alia Finestra? ") to Zerlina, which is interrupted by the appearance of Masetto and his friends. Zerlina is summoned to the scene by the cries of Masetto after Don Giovanni has beaten him, and sings to him for his consolation the beautiful aria (" Vedrai, carino "), which has more than once been set to sacred words, and has become familiar as a church tune, notwithstanding the unsanctity of its original setting. The second scene opens with a strong sextet (" Sola, sola, in bujo Loco"), followed by the ludicrously solemn ap- peal of Leporello (" Ah ! pieta, Signori miei "), and that aria, beloved of all tenors (" II mio tesoro "). The finale is occupied with the scenes at the statue and at the banquet, a short scene between Donna Anna and Don Ottavio intervening, in which she sings the aria (" Non mi dir "). The statue music through- 5 ^ fi :? ."a i ^ 15 "Vj *«4 •V ^ ^ > 03 ,_ |N S -4-* ,^ O ^ o c/2 "vS ^> Ss. ^ ■§^ N 5 Cfl ■5, ri Q V ■^ ^ .5 N > lA (U vT ry> ■>; h— H ■^ 1^ i) :S "^ 1 X! u rs 3 O -a W MOZART 199 out is of a sepulchral character, gradually developing into strains almost as cold and ominous as the marble of the Com- mandant himself, and yet not without an element of the grotesque as it portrays the terror of Leporello. It is said that in revenge at his Italian rivals, Mozart in- troduced an aria from Martin's " La Cosa Rara," arranged for wind instruments, and also a favorite aria of Sarti's, to be played at the banquet when the hungry Leporello beholds his master at the table and watches for some of the choice morsels, and parodied them in an amusing manner. He never could retain an enmity very long, however, and so at the end of the banquet he parodied one of his own arias, the famous " Non piu andrai," by giving it a comical turn to suit Leporello's situation. The criticism of one of the best biog- raphers of Mozart upon this opera is worth repeating in this connection: "Whether we regard the mixture of passions in its concerted music, the profound expression of melancholy, the variety of its situations, the beauty of its accompaniment, or the grandeur of its heightening and protracted scene of terror, — the finale of the second act, — ' Don Giovanni ' stands alone in dramatic eminence." The Magic Flute " Die Zauberflote," opera in two acts, words by Emanuel Schickaneder, was first produced at Vienna, September 30, 1791, with the following cast: Queen of Night Frau Hofer. Pamina Frl. Gotlieb. Papagena Frau Gohl. Tamino . Herr Schack. Monostatos Herr Gobl. Sarastro Herr Schickaneder, Sr. Papageno Herr Schickaneder, Jr. " The Magic Flute " was the last great work of the com- poser, and followed the " Cosi fan tutte," which was given in January, 1791. In 1780 Mozart had made the acquaintance 200 THE STANDARD OPERAS of Schickaneder at Salzburg. He was a reckless, dissipated theatre manager, and at the time of the composition of " The Magic Flute " was running a small theatre in Vienna. The competition of the larger theatres had nearly beggared him, and in the midst of his perplexities he applied to Mozart to write him an opera, and intimated that he had discovered an admirable subject for a fairy composition. Mozart at first objected, but Schickaneder, like himself, was a Freemason, had been his companion in dissipation, and exercised a great influence over him. Mozart at last consented. A compact was made, and Schickaneder set to work on the libretto. As he was a popular buffoon, he invented the part of Papageno, the bird-catcher, for himself, and arranged that it should be dressed in a costume of feathers. It is a trivial part, but Schickaneder intended to tickle the fancy of the public, and succeeded. The first act was finished, when it was found that the same subject had been chosen by a rival theatre, the Leopoldstadt, which speedily announced the opera of " Kaspar der Fagottist, oder die Zauber-Zither," by a popular composer, Wenzel Miiller. The piece had a successful run, and in order to prevent a duplication, Schickaneder reversed the point of his story, and changed the evil magician, who stole the daughter of the Queen of Night, into a great philosopher and friend of man. It is owing to this change that we have the magnificent character of Sarastro, with its impressive music. The scene of the opera is laid in Egypt. Sarastro, the high priest of Isis, has induced Pamina to leave her mother, As- trifiamenti, the Queen of Night, who represents the spirit of evil, and come to his temple, where she may be trained in the ways of virtue and wisdom. At the opening of the opera the dark Queen is trying to discover some plan of recovering her daughter and punishing Sarastro. In the first act appears Tamino, an Egyptian Prince, who has lost his way, and is attacked by a huge serpent, from which he is rescued by the three attendants of the Queen. The latter accosts him, tells him her daughter's story, and demands that, as the cost of his deliverance, he shall rescue her. He consents. She gives him a magic flute, and with his companion Papageno, a rollick- •S I. ^ I ' — ' "? ex ^ imm. !^B»Ri * •^>»l^,^gP :^r-;-.. ■ . ^ ■5- i5 ^ ;? in -^i! ■? 'J MOZART 201 ing bird-catcher, who is also presented with a magical chime of bells, they set out for Sarastro's temple. Papageno ar- rives there first, and in time to rescue Pamina from the per- secutions of Monostatos, a slave, who flies when he beholds Papageno in his feather costume, fancying him the devil. They seek to make their escape, but are intercepted. Tamino also is caught, and all are brought before Sarastro. The Prince consents to become a novitiate in the sacred rites, and to go through the various stages of probation and purification, and Pamina again returns to her duties. They remain faith- ful to their vows, and the last ordeal, that of passing through a burning lake up to the altar of the temple, is triumphantly accomplished. The Queen of Night, however, does not aban- don her scheme of revenge. She appears to Pamina in her sleep, gives her a dagger, and swears that unless she murders Sarastro she will cast her off forever. Pamina pays no heed to her oath, but goes on with her sacred duties, trusting to Sarastro's promise that if she endures all the ordeals she will be forever happy. In the closing scene, Monostatos, who has been inflamed against Sarastro by the Queen, seeks to kill him, but is vanquished by the might of the priest's presence alone. The night of the ordeals is over. At a sign from Sarastro, the full sunlight pours in upon them. The evil spirits all vanish, and Tamino and Pamina are united amid the triumphant choruses of the priests and attendants, as the reward of their fidelity. In the opening scene, after the encounter of Tamino with the serpent, Papageno has a light and catching song (" Der Vogelf anger bin ich ja "), which, like all of Papageno's music, was specially written for Schickaneder, and has been classed under the head of the " Viennese ditties." Melodious as Mozart always is, these songs must be regarded as concessions to the buffoon who sang them. Papageno's song is followed by another in a serious strain (" Dies Bildniss ist bezaubernd schon") sung by Tamino. In the sixth scene occurs the first aria for the Queen of Night (" O zittre nicht, mein lieber Sohn "), which, like its companion to be mentioned later, is a remarkable exercise in vocal power, range, and gymnastics. 202 THE STANDARD OPERAS written for an exceptional voice. The next scene, known as the Padlock Quintet, is very simple and flowing in style, and will always be popular for its humorous and melodious char- acter. In the eleventh scene occurs the familiar duet between Pamina and Papageno ("Bei Mannern, welche Liebe fiihlen"), which has done good service for the church, and will be rec- ognized in the English hymn version, "Serene I laid me down." It leads up to the finale, beginning, " Zum Ziele fiihrt dich diese Bahn," and containing a graceful melody for Tamino (" O dass ich doch im Stande ware "), and another of the Viennese tunes (" Konnte jeder brave Mann") — a duet for Papageno and Pamina, with chorus. The second act opens with a stately march and chorus by the priests, leading up to Sarastro's first great aria (" O Isis und Osiris "), a superb invocation in broad, flowing harmony, and the scene closes with a strong duet by two priests (" Bewahret euch vor Weibertiicken "). The third scene is a quintet for Papageno, Tamino, and the Queen's three at- tendants (" Wie ihr an diesem Schreckensort ? "), and is fol- lowed by a sentimental aria by Monostatos (" Alles fiihlt der Liebe Freuden "). In the next scene occurs the second and greatest aria of the Queen of Night (" Der Holle Rache kocht "), which was specially written to show off the bravura ability of the creator of the part, and has been the despair of nearly all sopranos since her time. In striking contrast with it comes the majestic aria for Sarastro in the next scene (" In diesen heil'gen Hallen "), familiarly known on the con- cert stage by its English title, " In these sacred Halls," the successful performance of which may well be the height of any basso's ambition. In the twelfth scene there is a terzetto by the three boys (" Seid uns zum zweitenmal "), and in the next scene a long and florid aria for Pamina (" Ach ! ich fiihl's es ist verschwunden "), full of plaintive chords and very sombre in color. The sixteenth scene contains another stately chorus of priests (" O Isis und Osiris "), based upon a broad and massive harmony, which is followed by a terzetto between Sarastro, Pamina, and Tamino (" Soil ich dich, Theurer, nicht mehr sehen.'' "). Once more a concession to the buffoon occurs MOZART 203 in a melody (" Ein Madchen oder Weibchen "), which would be commonplace but for Mozart's treatment of the simple air. The finale begins with another terzetto for the three boys ("Bald prangt, den Morgen zu verkiinden " ) . It may be termed a finale of surprises, as it contains two numbers which are as far apart in character as the poles, — the first, an old choral melody (" Der, welcher wandelt diese Strasse "), the original being, " Christ, our Lord, to Jordan came," set to an accompaniment, strengthened by the trombones and other wind instruments; and the second, a nonsense duet (" Pa-pa- Papageno ") for Papageno and Papagena, which would close the opera in a burst of childish hilarity but for the solemn concluding chorus of the priests ("Heil sei euch Geweihten"). The great charm of the opera is its originality, and the wonderful freshness and fruitfulness of the composer in giv- ing independent and characteristic melodies to every character, as well as the marvellous combination of technicality with absolute melody. Beethoven said of it that this was Mozart's one German opera in right of the style and solidity of its music. Jahn, in his criticism, says : " ' The Zauberflote ' has a special and most important position among Mozart's operas. The whole musical conception is pure German, and here for the first time German opera makes free and skilful use of all the elements of finished art." NESSLER (VICTOR E.) The Trumpeter of Sdkkingen DER Trompeter von Sakkingen " (" The Trumpeter of Sakkingen "), opera comique in a prelude and three acts, text by Rudolph Bunge, was first produced at the Stadt Theatre, Leipzig, May 4, 1884-, and in this country by the New York Metropolitan Opera Company, November 23, 1887. The scene is laid in Sakkingen, on the Rhine, in 1650, near the close of the Thirty Years' War. Few operas have had the advantage of such an excellent book as Nessler's " Trumpeter of Sakkingen," and few light operas have had their stories so legitimately and skilfully illustrated with music. The text is based upon the metrical romance of Victor von Scheffel's " Trompeter von Sakkingen," known and admired all over Germany, which tells the story of the young Werner and the fair Margaretha, their romantic wooing and final union. The time is near the close of the Thirty Years' War, and the hero is Werner Kirchoff, a handsome, dashing young student, who, with others of his comrades, is expelled from the University of Heidelberg because of their frequent carousals. They join a body of troopers, Werner in the capacity of a trumpeter, and go with them to Sakkingen. While there he has the good fortune to protect Margaretha, on a saint's fete day, from the rudeness of some Hauenstein peasants who are ready for a revolt against the Baron von Schoenau, her father. Mar- garetha, who is in company with the Countess Wildenstein, a cousin of the Baron, who has separated from her husband, gratefully gives Werner a forget-me-not. The Countess in- quires his name of his trooper comrade, Conradin, and is struck with his resemblance to her son who had been carried off by gypsies in his childhood. In the next scene the Baron NESSLER 205 has received a letter from Count Wildenstein^ in which he states that his second wife has died, that he wishes to settle the misunderstanding with his first wife, the Countess, and proposes Damian, his son by the second marriage, as a hus- band for Margaretha, — a proposal which the Baron promptly accepts. When Margaretha enters and tells of her adven- tures with Werner, the Baron regrets that his old trumpeter, Rassmann, is not alive to summon assistance from the city in case of attack by the peasants. Margaretha tells him of Werner, and notwithstanding the Countess' objections, he gives the position to him. The second act opens with a love scene between Werner and Margaretha, which is discovered by the Countess, who at once informs the Baron. When Werner asks him for the hand of Margaretha, he not only refuses it, but orders him to leave the castle. Werner takes his farewell of Margaretha, and leaves for his old position with the troopers in the city. Meanwhile the Count of Wildenstein arrives with Damian, but he makes no impression upon Margaretha notwithstand- ing the Baron's favor. In the last act the denouement comes quickly. The peas- ants attack the castle, and the Baron calls upon Damian to head his retainers and go out to meet the mob. He proves himself, however, an arrant coward, and in the midst of his irresolution Werner rides up at the head of his troopers, performs prodigies of valor, and saves the inmates of the castle. A birthmark upon his arm reveals him as the long- lost son of the Countess, and nothing now stands in the way of Margaretha's and Werner's felicity. In the prelude and first act the most noticeable numbers are the students' and troopers' choruses, written in the best German style — the prelude indeed is almost entirely choral ; the peasants' choruses and lively dances on St. Fridolin's Day; the characteristic growl of the Baron over his gout and the unreasonable peasants; and the charming lyric sung by Margaretha (" How proud and grand his Bearing"). The most conspicuous numbers in the second act are a lyric, sung by Werner (" On Shore I played me a merry Tune ") ; the 206 THE STANDARD O^KKAS love scene between Margaretha and Werner (" Sun, has thy Light not grown in Splendor?"); the dramatic quintet (" Must so soon the Sunshine vanish? ") ; and Werner's senti- mental and beautiful farewell (" Oh, it is sad that in this Life below"). The principal numbers of the third act are Mar- garetha's song (" My Love rode out to the wide, wide World ") ; the May song (" There comes a Youth of sweet Renown ") ; the pantomime and dance composing a May idyl; the duet for Margaretha and Werner ("True Love, I give thee Greeting"); and the ringing mass chorus ("Faithful Love and Trumpet blowing"), which closes the opera. NICOLAI (OTTO) The Merry Wives of Windsor " r llHE Merry Wives of Windsor," opera comique, in three X acts, text by Mosenthal, was first produced in Berlin, March 9, 1849; in London, May 3, 1864; in New York, April 27, 1863. The story of the opera follows closely that of the Shakespearean comedy, though the action is principally concerned with Falstaff's adventures with the merry wives, the attachment between Fenton and Anne furnishing the romantic incident. Though the work of a German, the music is largely in the Italian style, and the dramatic finish is French. It is unnecessary to indicate the plot in further detail than to say it includes the receipt of Sir John's amatory epistles by Mrs. Ford and Mrs. Page, his concealment among the foul linen in the hamper and subsequent sousing in the Thames, his sad experiences with Ford's cudgels, and his painful encounter with the mock fairies, elves, and other sprites in Windsor Park. The leading numbers in the opera are a duet for the two merry wives, opening the opera, in which they read Falstaff's letters (" No, no, this really is too bad "), closing with an exquisitely humorous phrase as they pronounce the name of the writer in unison; a beautiful little aria ("Joking and Laughter "), in the Italian style, sung by Mrs. Ford; and the finale to the first act, beginning with a serio-comic aria in which Mrs. Ford bewails her husband's jealousy, followed by a sextet and chorus, and closing with a highly dramatic aria in which Mrs. Ford changes from grief to rage and violently denounces Ford. The second act opens with a drinking-song for Falstaff 208 THE STANDARD OPERAS ("Whilst yet a Child on my Mother's Breast"), which, as well as the accessories of the song, is full of rollicking, bacchana- lian humor. Falstaff sings one verse, and his followers drain their huge mugs to the bottom. One of them falls senselessly drunk, and is immediately borne out upon the shoulders of his comrades with funereal honors, led off by Falstaff, all chanting a sort of mock dirge. A descriptive and spirited buffo duet between Falstaff and Ford follows, in which the former relates his adventures in the hamper. The only re- maining number of consequence in this act is the romanza (" Hark, the Lark in yonder Grove "), sung by Fenton. The last act is very short, and made up of a beautiful trio for Mrs. Ford, Mrs. Page, and Falstaff (" The Bell has pealed the Midnight Chime"); the romantic ballad ("Of Heme, the Hunter, a Legend old "), and the fairy dance and chorus (" About, about, ye Elves, about "), which closes the opera. NOUGES (JEAN) Quo Vadis THE historical opera, " Quo Vadis," music by Jean Nouges, text by Henri Cain, founded upon Sienkiewicz's story of the same name, had its American premiere at Philadelphia, March 25, 1911, with the following cast: Eunice Lilian Grenville. Lygie Alice Zeppili. Poppea Eleonora di Cisnero. Peironius Maurice Renaud. Vicinius Charles Dalmores. Chilon Hector Dufranne. Nero ViTTORio Arimondi. Pierre Gtjstave Huberdeau. The part of Ursus, the giant, and Croton, the gladiator, were taken respectively by Walter and Arthur Wheeler, local society athletes. The opera is arranged in five acts and six scenes and the story follows that of the book, though in an episodical rather than continuous style. The scene of the first act is laid in the gardens of Petronius, the Beau Brummel of his day. Eunice and Iras, two Grecian slave girls, are decorating the statue of Venus. While thus engaged Chilon, a mendicant philosopher, enters with the announcement that he has jewels which will enable them to see into the future. During their conversation Chilon discovers that Eunice secretly loves Pe- tronius, her master. The latter soon appears with his nephew, Vicinius, a young Roman warrior. Vicinius informs his uncle that since he has returned to Rome he has fallen in love with Lygie, a beautiful girl he has seen at the bath, but he has been unable to find her. Chilon offers his services and declares that 210 THE STANDARD OPERAS Lygie is a hostage^ guarded in Rome by Ursus^ a giant, her slave. Vicinius says that when the girl fled she left a mys- terious design of a fish, the meaning of which Chilon agrees to decipher. Petronius meanwhile offers to induce Nero to have Lygie in attendance at the festival to Venus on the following night. The second act reveals the terrace of Nero's palace. In the midst of the revels Poppsea, the Empress, is disturbed by jealousy, thinking that Lygie is her rival, but is consoled by Petronius, who assures her Lygie was brought there for his nephew. As the guests withdraw inside the palace a love scene ensues between Vicinius and Lygie, in the course of which she declares his suit is hopeless as they are not of the same faith. Thereupon Vicinius seizes her in his arms, but is knocked senseless by Ursus, who carries the girl away. The third act transpires on the bank of the Tiber. Chilon has discovered that the mysterious fish is the password of the Christians, who gather at a certain spot at night for worship. Pierre (the Apostle Paul) is among them, and at the end of the services Pierre and Lygie are alone. She tells him of her love for Vicinius but thinks it a sin. Chilon reappears with Vicinius and Croton, a gladiator, who has been hired to kid- nap Lygie. In making the attempt, however, a terrible cry is heard, and Ursus emerges from the house bearing Croton, whose back he has broken and whose body he throws into the Tiber, Chilon flees, muttering threats of revenge against the Christians. The opening scene of the fourth act discloses the Christians in the subterranean dungeons of the Coliseum, whence they are to be taken out and slaughtered. Vicinius, who has be- come a Christian, has bribed the guard and come to rescue Lygie. The scene in the arena follows. Nero announces that Ursus will have a combat with a bull bearing Lygie bound to its horns. Ursus is successful and demands of Nero her release as his prize, when Vicinius rushes into the arena, claims her as his own, and carries her away. The furious Emperor thereupon orders the slaughter of the Christians, upon the charge that they have burned Rome. Chilon, in NOUGES 211 remorse, denounces Nero as the real incendiary, whereupon the Emperor orders that his tongue shall be torn out. While the order is being executed the people rise in revolt and Nero flies in terror. The last act takes place in Petronius' garden. The Arbiter, sick of life, has resolved to commit suicide. He invites his friends for a final banquet and sends a letter to Nero, ridi- culing him for his cowardice and folly. Vicinius and Lj^gie entreat him to go with them to Sicily, but he declines, where- upon they leave. Petronius tells Eunice he has left everything to her, but she replies she will die with him. He assents, and, singing a hymn to Hesperus, they die together upon a bed of roses. The opera is spectacular throughout and the music may well be characterized as theatrical. It has few set melodies of the conventional kind, and is often reminiscent of Wagner, Massenet, and Puccini, and yet is hardly liable to the charge of unoriginality. The orchestration is particularly effective and withal simple when the dramatic character of the inci- dents is considered. The strings and woodwinds indeed are most freely used, and even in the tumultuous scenes in the arena little use is made of the brass and percussion instru- ments, where they would naturally be expected. The best numbers are the aria of Eunice, and Petronius' aria at the close of the first act, in which he foreshadows the time when he shall denounce Nero; the dance music of the second act; the music in the first scene of the third act, including the prayer of the Christians, and the aria in which Pierre coun- sels his followers ; and the love duet by Petronius and Eunice in the last act. OFFENBACH (JACQUES) The Grand Duchess of Gerolstein THE Grand Duchess of Gerolstein/' opera bouffe in three acts, text by Meilhac and Halevy, was first pro- duced at the Varietes, Paris, April 12, 1867. The scene is laid in the imaginary duchy of Gerolstein, in the year 1720. " The Grand Duchess of Gerolstein," though in some respects inferior musically to " Orpheus," by the same composer, is altogether the most perfect type of the opera bouffe. For the drollness of its story, the originality of its characters as well as of its music, its obstreperous gayety, dash, and geniality mixed with occasional seriousness and grace, this work when it first appeared was unique, though Offenbach rose to his highest achievement when dealing with the gods and goddesses of Olympus in his " Orpheus," which revealed his powers of musical burlesque at their best. The first act opens with a grand review of the army of the duchy, commanded by the pompous General Boum, at which the Duchess is present. In its ranks there is a recruit, known by the name of Fritz, who has already aroused the General's jealousy by his attentions to Wanda, a peasant girl. He continues still further to add to this jealousy when the Duchess, attracted by his good looks, singles him out for her regard and promotes him to the post of corporal. When she learns of his relations to Wanda, she raises him to the rank of lieutenant, evidently to separate him from Wanda by the new elevation. The review over, the Duchess studies the plan of a pending campaign against a neighboring enemy. She summons General Boum in the presence of Baron Puck, her court chamberlain. Prince Paul, a feeble and neglected suitor Mine. Schneider as La Grande Dtichesse OFFENBACH 213 of the Duchess, and Lieutenant Fritz, who is now her special bodyguard, and asks him for his plan of campaign, which he states, much to the disgust of P'ritz, who declares it to be sheer nonsense. The Duchess then asks the latter for his plan, and is so much pleased with it that she appoints him general and raises him to the rank of baron, much to the discomfort and indignation of the others. The second act opens with the return of Fritz. He has been victorious, and at the public reception given him he tells the story of his adventures. Subsequently, at a tete-a-tete with the Duchess, she makes open love to him; but he is so occupied with thoughts of Wanda that he is insensible to all her advances, which puts her in a rage. Overhearing a con- spiracy between Puck, Paul, and the deposed General Boum against his life, she joins with them, and the act closes with a wild, hilarious dance. In the third act Baron Grog, emissary of Prince Paul's father, appears upon the scene to expedite the marriage of the Prince to the Duchess. He joins the conspiracy against Fritz, and so ingratiates himself with the Duchess that she finally consents to marry the Prince. In the meantime she counter- mands the order for Fritz's assassination, and gives him per- mission to marry Wanda. The conspirators, however, play a practical joke upon Fritz by a false message summoning him to the battlefield. He leaves at once on the wedding-night, but through the connivance of General Boum is waylaid and badly beaten. While the betrothal of the Duchess is being cele- brated, Fritz returns in sad plight, with the sabre which the Duchess had given him in a battered condition. She adds to his misfortunes by depriving him of his command and bestow- ing it upon Baron Grog, but learning that he has a family, she reinstates General Boum. In the denouement Fritz is restored to his Wanda and the Duchess marries Prince Paul. The music is in keeping with the drollery of the situations, and abounds in vivacity and odd descriptiveness, defying all accepted laws and adapting itself to the grotesquerie and ex- travagance of the action. The principal numbers in the first act are the pompous " Pif, paf, pouf " song of General Boum; 214 THE STANDARD OPERAS the Grand Duchess's air ("Ah! que j'aime les Militaires ") ; the regiment song for her and Fritz ("Ah! e'est un fameux Regiment ") ; the couplets of Prince Paul (" Pour epouser une Princesse ") ; and the famous sabre song (" Voici, le Sabre de mon Pere "). The best numbers of the second act are Fritz's spirited rondo (" En tres bon Ordre nous partimes "), in which he tells the stor}'^ of his victor}^; the romanza (" Dites lui "), a delightful little song, and so refined that it hardly seems to belong to the opera; and the conspirators' trio ("Max etait Soldat de Fortune "), which is irresistible in its broad humor and queer rhythms. The musical interest really reaches its climax in the second act. Outside of the chorus work in the third act there is little of interest except the Duchess's ballad (" II etait un de mes Aieux "), and Fritz's song to the Duchess (" Eh bien, Altesse, me voila! "). La Belle Helene " La Belle Helene/' opera bouffe in three acts, text by De Meilhac and Halevy, was first produced at the Theatre des Varietes, December 17, 1864. In " La Belle Helene " Offen- bach goes back to the mythical period, and presents the heroes of the time of Helen and Paris in modern burlesque. The first act opens at the temple of Jupiter in Sparta, where, among others who have placed their offerings at his shrine, is Helen. When alone with Calchas, the augur, they discuss some means of avoiding the decree of the oracle which has declared she is to leave Menelaus, her husband, and flee with Paris, son of Priam, to Troy. Before a decision is reached, Paris, dis- guised as a shepherd, arrives, and soon he and Helen are lovers. They meet again in a grand tournament in which the two A j axes, Achilles, Agamemnon, and others announce them- selves in the most comic fashion and guess at conundrums for a prize. Paris wins, and proclaims his name and lineage, to the joy of Helen, whose delight is still further enhanced when the oracle orders Menelaus to set off at once for Crete. In the second act Helen struggles against the decrees of OFFENBACH 215 Venus. Paris has an interview with her, but she will not yield, and he retires. By the aid of Calchas he secures ad- mission to the chamber of the slumbering Queen, when Mene- laus suddenly returns and an altercation ensues, during which Paris defies all the Grecian heroes, and Helen philosophically informs Menelaus he should have announced his coming be- forehand. Paris again retreats, and Helen is now in despair. In the third act Helen and Menelaus have a family quarrel, and he charges her with being false. She denies it, and de- clares he has been dreaming. Calchas now appears, and announces that a new augur has been appointed and is on his way there. A golden galley is seen approaching, and the augur is found to be Paris himself. He brings word that Venus is angry at what has been going on, but will relent if Helen will return with him to her shrine and sacrifice white heifers. She is reluctant to go, but finally decides to obey the voice of destiny, and sails away with him, leaving all behind in grief and Menelaus in rage. The dialogue of " La Belle Helene " is very witty, though coarse at times, and many of the situations are full of a humorous incongruity and drollness growing out of the at- tempt to modernize these mythological heroes. The music admirably fits the text, and though not so gay as that of " The Grand Duchess," yet is fresh, original, and interesting throughout. The chief - numbers of the work are Helen's passionate song of mourning for Adonis (" Amours divins ") ; Paris's fable (" Au Mont Ida, trois Deesses "), in which he tells the well-known apple story ; the march and chorus (" Void les Rois de la Grece "), in which, one after the other, they come forward and announce themselves in an irresistibly funny manner; Helen's mock sentimental song (" Nous nais- sons tou^es Soucieuses ") ; the droll goose march of the kings; a fascinating chorus (" En Couronnes tressons Roses ") ; Helen's song (" Un Mari sage "), one of the most characteris- tic numbers in the opera ; and in the last act Orestes's song (" Malgre cette ardente Flamme ") ; the spirited trio (" Lorsque la Grece est un Camp de Carnage ") ; and the final chorus (" Que notre Colere "), which preludes the Trojan war. 216 THE STANDARD OPERAS Orphee aux Enfers " Orphee aux Enfers," opera bouffe, in three acts, text by Cremieux, was first produced at the Bouffes Parisiens, Paris, October 21, 1858. The best musical work of Offenbach un- doubtedly is to be found in his " Orphee aux Enfers," and the text which his librettist furnished him is in keeping with the music. It was a bold as well as droll conception to invest the Olympian gods and goddesses with human attributes and make them symbols of worldly departments of action and official life, to parade them in processions like the ordinary street pageant, to present them in banquets, to dress them in the most fantastically individual manner, and to make nineteenth-century caricatures of the whole Olympian coterie. The first scene of the opera discloses Eurydice in the Theban meadows plucking flowers with which to decorate the cabin of Aristeus, the shepherd, who is really Pluto in dis- guise. Suddenly Orpheus appears, not with his tortoise-shell lyre, but playing the violin and serenading, as he supposes, a shepherdess with whom he is in love. His mistake reveals the fact that each of them is false to the other, and a violent quarrel of the most ludicrous description ensues, ending in their separation. He goes to his shepherdess, she to her shep- herd. Shortly afterwards, Aristeus meets Eurydice in the fields and reveals his real self. By supernatural power he turns day into night and brings on a tempest, in the midst of which he bears her away to the infernal regions, but not be- fore she has written upon Orpheus's hut the fate that has overtaken her. When Orpheus returns he is overjoyed at his loss, but in the midst of his exultation, Public Opinion appears and commands him to go to Olympus and demand from Jupi- ter the restoration of his wife. Orpheus reluctantly obeys the order. The second act opens in Olympus, where the gods and god- desses are enjoying a nap, from which they are awakened by the blasts of Diana's horn. Thereupon much slanderous gossip is circulated amongst them, the latest news discussed being Pluto's abduction of Eurydice. Pluto himself shortly comes OFFENBACH 217 in, and is at once taxed by Jupiter with his unseemly behavior, whereupon Phito retaliates by reference to Jupiter's numerous amours with mortals. This arouses the jealousy of Juno. Venus, with Cupid's assistance, starts a veritable riot, which is suddenly interrupted by the arrival of Orpheus and his guide. Public OiMnion. He demands that his wife shall be restored to him, and Jupiter not only consents, but agrees to attend to the matter personally. The third act finds Eurydice in Hades, carefully guarded by John Styx. Jupiter is faithful to his promise, and soon arrives there, but not in his proper person. He appears in the disguise of a fly, and allows Eurydice to catch him, after which he reveals himself. When Pluto comes in, he finds her transformed into a bacchante of the most convivial sort. Other deities make their appearance, and finally Orpheus comes sail- ing up the Styx, playing his violin, and demanding of Jupiter the fulfilment of his contract. Jupiter consents, but makes the condition that he shall return to his boat, Eurydice following him, and that he must not look back. Orpheus sets out, but just before he reaches the boat, the cunning Jupiter launches a thunderbolt after him, which causes him to turn and lose Eurydice, much to the disgust of Public Opinion, but greatly to the edification of Orpheus, who is now at liberty to return to his shepherdess on the Theban plain. The most striking numbers in this curious travesty are the opening aria of Eurydice, as she gathers the flowers (" La Femme dont la Coeur reve ") ; the pastoral sung to her by Aristeus (" Voir, voltiger sous les Treilles ") ; the fascinating hunting-song of Diana (" Quand Diane descend dans la Plaine ") ; the characteristic and taking song of John Styx (" Quand j' etais Roi de Beotie "), which in its way is as strik- ing as the sabre song in " The Grand Duchess "; Eurydice's delicate fly-song ("Bel Insecte, a I'Aile doree ") ; the drinking- song in the infernal regions (" Vive le Vin ") ; and Eurydice's vivacious bacchanalian song which immediately follows it (" J'ai vu le Dieu Bacchus "). 218 THE STANDARD OPERAS Les Contes de Hoffmann "Les Contes de Hoffmann" ("Tales of Hoffmann"), a lyric opera arranged in prologue, three acts or scenes, and epilogue, was first produced in Paris in 1880. The libretto is by Jules Barbier and is based upon the well-known tales by Hoffmann. The opera is a remarkable one in two respects. First, it is the only lyric work by Offenbach, all his other dramatic compositions being extravaganzas in the form of opera bouffe. Second, it is so constructed that the leading soprano appears in four different roles, those of the mistresses of Hoffmann, and the leading baritone in three, those of Hoff- mann's enemies. The story itself is unique. The prologue reveals that the wealthy Lindorf is in love with the singer, Stella, with whom Hoffmann had also been in love at Milan. When she once more sees the latter her passion for him is rekindled and she writes him a letter mak- ing an appointment to meet him. By bribery Lindorf secures this letter and plots to make Hoffmann drunk so that Stella will be disgusted with him. Lindorf succeeds, and Hoffmann while intoxicated tells his companions the story of his three love adventures. In the first scene Hoffmann is in love with the automaton, Olympia. This automaton has been constructed by Spalan- zani, aided by Coppelius, and is exhibited as his daughter. Ploffmann is so enamoured of her that he writes her a letter making an appointment. The secret of the irresponsive au- tomaton is revealed to him by Coppelius. The second scene shows the beautiful Giulietta entertaining her admirers in Venice, the favorite among them being Schlemihl, the man without a shadow. Hoffmann falls vio- lently in love with her. His enemy, Dapertutto, who owns Schlemihl's shadow, connives with Giulietta who induces Hoff- mann to exchanjre his shadow for her love. She then violates her promise and betrays him to his enemies. In the third scene the inamorata is Antonie, the daughter of Krespel, Avhose mother had been a famous singer and whose death was occasioned by Dr. Mirakel, who closely resembles OFFENBACH 219 the character of Svengali. As Antonie is in failing health her father forbids her to sing. Hoffmann falls in love with her, but Krespel, fearing he will encourage her to sing, opposes his suit. In this juncture a quarrel ensues between Krespel and Dr. Mirakel, in the course of which the latter summons the spirit of the mother, who requests Antonie to sing. She attempts it and dies, and Hoffmann thus loses his bride. These are the stories which Hoffmann relates in his intoxi- cated condition. In the epilogue he sings a song to Stella and he is left with his bottle, " all I have to embrace." The opera is replete with beautiful melodies, such as the drinking-songs, the love song of Hoffmann, the waltz move- ment of the automaton, the duet between Antonie and Hoff- mann, the passionate music of Antonie in her death scene, and the barcarole, " Fair night, O night of love," one of the best known and most popular of all of Offenbach's many popular lyrics. The sorrowful feature of this opera is that Offenbach did not live to hear his own work in which he made so wide a departure from his opera bouffe style. « PADEREWSKI (IGNACE JAN) Manru MANRU," opera in three acts, text by Alfred Nossig, was first produced at the Court Theatre, Dresden, May 29, ICOl, with the following cast: Manru Herr Anthes. TJlana Frl. Krull. Hedmg Frl. von Chavanne. Urok Herr Scheidemantel. Asa Frl. Kammer. The first performance in this country was given in New York, February 14, 1902, with the following cast of the above characters : Manru M. von Bandrowski. Ulana Mme. Sembrich. Hedwig Mme. Homer. Urok Mr. Bispham. Asa Miss Fritzi Scheff. The other parts were cast as follows : Landmddchen, Mme. Van Cauteren; Oros, Mr. Muhlmann; and Jagu, Mr. Blass. The libretto of " Manru " is based upon a Polish novel by Kraszewski, called " Chata za wsia," or " The Cabin behind the Wood." The scene is laid in the Tatra Mountains on the border of Hungary, In a hut in these mountains lives Manru, a gypsy, who has abandoned his own people and Asa, his gypsy love, for the sake of Ulana, daughter of Hedwig and belle of the village, whom he has married and taken to this lonely spot. She also has been disowned by her people and their only associate is Urok, an ugly dwarf, who is in love with Ulana. Her mother promises to forgive her if she will Bispham as Urok Bandrowski as Maiiru Photos^ Copyrii^ht, Aim^ Ditpotit Sembrich as Ulana PADEREWSKI 221 leave Manru, but she refuses. She confesses to Urok that Manru is growing restless and she fears the Wanderlust has seized him. At her bidding the dwarf mixes an herb potion which is to revive Manru's love. The second act discloses Ulana rocking her child in the cabin. Manru is at work in his smithy and Urok is taunting the two. While bitterly lamenting that he ever left his people and longing to return to his old wandering ways, he hears Jagu, one of the band, approaching and playing on his violin to bring him back to his band and to Asa, his old love. Manru rushes to meet him ; Urok appears bringing the potion which he gives to Ulana; Jagu labors with Manru and begs him to return, but Manru is not yet ready, however, to leave her, and Jagu departs ; subsequently he drinks the potion and his love is restored for the time at least. In the last act the old desire returns stronger than ever. The potion is no longer poAverful, and Manru wanders off into the mountains to find his people. There he meets Asa, who urges him to return and make her his wife, offering him as an inducement the leadership of the tribe which has been assumed by Oros, his rival. Ulana, searching for him, finds him going away with Asa, and throws herself into the lake. As Oros appears, seeking to punish his rival, who, in the meantime, is seeking for Ulana, Urok comes up behind Manru and pushes him into the lake, where, it is to be assumed, his troubles are ended. The opera is without overture. The opening scene is in- troduced by a brief, plaintive oboe melody preceding a very tender chorus of peasants (" Windet den Kranz "). Indeed the peasants' choruses, the motive of which is contained in the recurring phrase, " 1st der Mond am Himmel voll, dann wird der Zigeuner toll " (" When the Moon is full the Gypsy runs wild "), constitute the principal material of the act, which closes with a wild gypsy dance, full of fascinating melody and haunting rhythms. The second act is also without prelude. Its opening scene is a powerful one, especially in the duet between Manru, working in his smithy (" Da sitzt sie d'rin und wiegt das 222 THE STANDARD OPERAS Kind ") and Ulana^ during which the latter sings a charming- lullaby (" Schlaf wohl, theures Kind "). The next point of interest is the strange, appealing gypsy strain played by Jagu upon his violin which is fascinating in its rhythmic effect. Then follow some long musical declamations leading up to the love duet closing the act (" Wie im Sonnenscheine ") which is full of passionate energy. There is a strong symphonic prelude to the last act de- scriptive of the tempest raging in Manru's soul which has much musical as well as poetical significance. The remaining numbers of the highest importance in this act are the gypsy march and choruses; what might be called Asa's Temptation scene or scenes abounding in Tzigane music with its marked rhj^thm and weird effects, in which the gypsy dulcimer plays its part; and the furious hurly-burly of the double tragedy at the close, which ends this orgy of jealousy, hate, and passion. Horatio W. Parker, Composer of " Mona " PARKER (HORATIO W.) Mona " "ly >TONA," opera in three acts, music by Horatio W. Parker, IVX text by Brian Hooker, was first performed upon any stage March 14, 1912, at the Metropolitan Opera House, New York, with the following cast of characters: Mona, Princess of Britain Louise Homer. Enya, her foster mother Rita Fornia. Gwynn, son of the Roman Governor Ricc.mido Martin. Arth, husband of Enya Herbert Witherspoon. Gloom, son of Arth, a Druid Wilu,vm Hinshaw. Carodoc, Chief Bard Lambert Murpht. Nial, a changeling Albert Reiss. Roman Governor Putnam Griswold. An old man Basil Rutsdael. The opera of " Mona " is interesting from two incidental points of view. First, it was composed by an American, Mr. Parker being the head of the musical department at Yale University, and all the artists who took part in the premiere, with one exception, were Americans. Second, the opera was the successful competitor in a contest for a prize of $10,000 offered by the Metropolitan Opera House management, the selection being made from twenty-four operas submitted to a committee consisting of Walter Damrosch, George W. Chad- wick, Charles M. Loeffler, and Alfred Hertz. Mr. Brian Hooker, the author of the libretto, gives the following analysis of the plot of " Mona ": " In the days of the Roman rule in Britain, Quintus, the son of the Roman Governor by a British captive, has grown up as one of his mother's people, known to them as Gwynn; has won place and power among them as a bard, making their 224 THE STANDARD OPERAS peace with Rome, and is to wed Mona, the foster child of Enya and Arth and last of the blood of Boadicea. But a great rebellion has brewed in Britain under Carodoc, their chief bard, and Gloom, the Druid, foster brother of Mona. She is by birthright and by old signs and prophecies foretold their leader, and thereto she has been bred up hating Rome and dreaming of great deeds. This Gwynn withstands in vain, and lest he lose Mona and all his power is driven to swear fellowship in their conspiracy. Even so, for urging peace he is disowned and cast off by them and by her. " Nevertheless, he follows her as she journeys about the land arousing revolt ; holding back the Roman garrisons from seizing her, and secretly saving her life and the life of the rebellion many times. For this he is blamed by the Governor, his father ; but answers that through Mona he will yet keep the tribes from war. The Governor lays all upon him, promis- ing to spare the Britons if they bide harmless, but if they strike to crush them without mercy. Gwynn therefore, meet- ing Mona upon the eve of the battle, so moves her love for him that she is from then utterly his own. " And in that triumph he begins to tell her of his plans for peace. But she, not hearing him out and merely understand- ing that he is a Roman, cries for help and calls in the Britons upon him. Yet even so she will not betray him, and lies to save his life. They make him prisoner and, led by Mona and the bards, rush forth against the Roman town. " The fight is crushed, Arth falls and Gloom is hurt to death saving Mona against her will. Gwynn, escaping in the turmoil of defeat, comes upon them and tries to stay further harm, telling Mona of his parentage and beseeching her aid. But she, having taken him for a traitor, takes him now for a liar, and deeming all their woe his doing and her fault for having saved his life, she slays him with her own hand. Then presently come the Governor and his soldiers, and Mona, before she is led away captive, learns how Gwynn spoke the truth, and how by yielding up her high deeds womanly for love's sake she might have compassed all her endeavor." Considering the music of " Mona " as a whole it is virtually PARKER 225 impracticable to single out numbers. An analysis would neces- sitate the notation of motives, for Mr. Parker has freely used descriptive themes, and apart from these has relied for his effects ujion harmonic treatment, dramatic declamation, and orchestral color, specially illustrated by the interludes, the Roman march, the dance of Nial, and indeed by the entire orchestration, which shows the composer a master of his craft. In a word, the music of " Mona " is strictly in the modern style, the style of Strauss and Debussy in the use of motives, dissonances, and declamation which lacks the melodic character. In these respects Professor Parker's first opera shows a wide departure from all his previous work, which has been marked by distinctive and very effective lyricism. PONCHIELLI La Gioconda " T A Gioconda," opera in four acts, text by " Tobio Garrio " 1 J (anagram for Arrigo Boito ), was first produced at La Scala, Milan, April 8, 1876, with the following cast: Gioconda Sig. Mariani. Laura Sig. Biancolini. La Cieca Sig. Barlandini. Enzo Sig. Gayarro. Barnaba Sig. Aldighieri. The first performance in this country was in New York, December 20, 1883, under the direction of Signor Vianesi. The libretto is partly based upon Victor Hugo's drama, " Angelo, the Tyrant of Syracuse." The scene is laid in Venice in the seventeenth century. The first act, called " The Lion's Mouth," opens in the court- yard of the Ducal Palace, upon a great festivity. After the lively regatta chorus (" Feste e pane "), and the departure of the crowd to see the sports, Barnaba, the Inquisition's spy, is left alone. He sings a monologue (" E danzan su lor Tombe "), which contains a motive that follows him throughout. From this monologue it appears that he loves Gioconda, who appears at that instant leading her blind mother. La Cieca, to the neighboring church. Barnaba conceals himself and a very dramatic trio (" Figlia, che reggi il tremulo ") follows, as Gioconda goes in quest of Enzo, a noble whom she loves. Barnaba seizes her and forces his protestation of love upon her so violently that the mother is alarmed and makes an outcry. The crowd returns bearing the winner of the regatta in ri O u a U a -a c o u o O I H-1 o